Observed actions are covertly and involuntarily simulated within the observer's motor system. It has been argued that simulation is involved in processing abstract, gestural paintings, as the artist's movements can be simulated by observing static brushstrokes. Though this argument is grounded in theory, empirical research has yet to examine the claim. Five experiments are described wherein participants executed arm movements resembling the act of painting horizontal brushstrokes while observing paintings featuring broad, discernable brushstrokes. Participants responded faster when their movement was compatible with the observed brushstrokes, even though the paintings were irrelevant to their task. Additional results suggest that this effect occurs outside of awareness. These results provide evidence that observers can simulate the actions of the painter by simply observing the painting, revealing a connection between artist and audience hitherto undemonstrated by cognitive science. (Contains 8 figures.)