“Sully is indeed a painter to be watched … This is clearly a figurative artist of exceptional intelligence, ability and possibility…”,
-Frank Martin, “Dashing Landscapes”, The Charleston Post & Courier, 1998

“Sully works in established genres, but while he acknowledges an interest in the work of his predecessors, his paintings are not backward looking.”
-Michael Haga, The Charleston City Paper, 1998

“Sully manages to revive and re-locate [Caspar David] Friedrich’s famous ‘wanderer,’ that transfixed loner, and directs him to ‘close the bodily eye’ (in Friedrich’s phrase) and to use the ‘spiritual’ one. He declares the validity of spiritual experience, and he makes you believe in it.”
– Terrington Calas, “Summer Notes”, The New Orleans Art Review, September/October 2003

“He has been sought after in the Crescent City (and the rest of the South) for his portrait miniatures of families and, occasionally, their pets. He has also undertaken a series of the strangest and most haunting of miniatures, the eye portrait.”
– John Biguenet, “The Intimate Art”, The Oxford American, Fall 2005

“In New Orleans, Thomas Sully III is combining his knack for painting portrait miniatures with a unique support. The artist paints on small, thinly sliced sheets of ivory cut from the tusks of prehistoric woolly mammoths.”
– Caroline McCoy, “Mammoth Minis”, Garden & Gun, Fall 2007

“Miniatures are the artistic equivalent of those people who speak so softly that everyone leans in to hear them.”
– Ted Loos, “Small Wonders”, Traditional Home, September 2016

“There is a constant metamorphosis occurring in nature and ourselves which the language of painting is uniquely suited to explore.”
– Carol Caldwell, “Eye of the Beloved”, Nashville Arts, March 2018

SUMMER NOTES, by Terrington Callas, The New Orleans Art Review, September/October 2003
THE INTIMATE ART, by John Biguenet, The Oxford American, Fall 2005