The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.
paintings
Important Art by William Baziotes
The Parachutists (1944)
The Parachutists showcases several of Baziotes's early influences. His interest in Cubism was short-lived but is evident in the faceted rendering of the parachutes and the grid-like geometry of the composition. His debt to Surrealism and especially their automatist techniques can be seen in the drips of paint that run down the canvas along with the scumbled brushwork through which color is directly blended on the canvas. The brilliant color and the heavy dark lines reveal his debt to the aesthetics of stained glass. The subject matter is a possible homage to the parachutists of D-Day who, at great risk to their lives, were dropped behind enemy lines at the beginning of the invasion of Normandy in 1944.
Dwarf (1947)
This work is one of a group of paintings from 1947 that are all distinguished by a single figure dominating the composition. The primitive, grotesque figures are derived from Surrealist biomorphism and are not clearly human or animal. Like The Parachutists (1944), this work is also about war, but without the lighthearted, almost playful quality of the former. Dwarf instead captures the gruesomeness and violence of war in its reference to a mutilated figure without arms who has oversized, sharp teeth. All of the images in the group have concentric circles or spaces in their lower halves that are meant to be suggestive of female genitalia or targets. The works are a good example of the "biomorphic abstraction," that marked much of the artist's output, characterized by organic forms that are familiar, resembling both plants and animals, but that do not coalesce into recognizable shapes. His use of such imagery is perhaps tied to his interest in Symbolist poetry that is characterized by indirect descriptions, making multiple meanings possible.
Flesh Eaters (1952)
In the early 1950s the artist turned more to abstracted depictions of nature with less of a focus on surface and paint handling and, indeed, Baziotes began to eliminate brushwork altogether by repetitive rubbing of the oil paint on the surface. In Flesh Eaters the soft application of paint creates a soft lyrical or poetic quality that contrasts markedly with the title of the work and thus creates ambiguity. The forms have become less recognizable than in the previous decade, evoking a primitive, primordial world where enigmatic and sometimes aggressive plant and animal forms float and collide.
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Henri Matisse -
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Roberto Matta 
Charles Baudelaire
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