Jules-Élie Delaunay, “Study for David Triumphant”, circa 1874, Black and White Chalk, Graphite on Tan Wove Paper, No Watermark, 37.8 x 25.6 cm, Martin du Louvre Gallery, Paris

Jules-Élie Delaunay, “David Triumphant”, circa 1874, Oil on Canvas, 147 x 114 cm, Musée des Beaux-Arts de Nantes, France

Born in 1828 in the city of Nantes, Jules-Élie Delaunay was a French painter of portraits and historical scenes. Educated at an elite local school, he received his initial art education from Joachim Sotta, a local artist. In 1846, Delaunay was introduced to French Neo-classical painter Hippolyte Flandrin, who had been the favorite student of painter Jean-Auguste-Dominique Ingres. Two years later, he enrolled in Flandrin’s workshop at Paris’s École des Beaux-Arts. In addition to his studies with Flandrin, Delaunay also studied under French academic artist Louis Lamothe, principally a painter of portraits and historical scenes who had studied under both Ingress and Flandrin. 

Jules-Élie Delaunay regularly entered into competitions for the Prix de Rome without success; his unsuccessful entry for the 1855 Prix de Rome was his historical painting “Caesar and His Fortune, which depicted Caesar attempting to cross the Straits of Brindisi in disguise as a slave. In 1856 Delaunay was awarded the prize jointly with painter Félix Auguste Clément. The next year, his painting “Christ on the Cross in the Midst of Holy Women” was purchased by the French State in 1857. This enabled him to move to the French Academy in Rome in January of 1857.

Living intermittently as a pensioner at the Villa Medici, Delaunay traveled to Sienna, Bologna, Venice, Verona, and Padua, before settling in Rome where he studied Raphael’s works at the Vatican. While in Rome, Delaunay met and befriended Edgar Degas, Léon Bonnat, and the prominent Symbolist painter Gustave Moreau. With only two years difference in age, Moreau and Delaunay shared a rapport and became close life-long friends. Delaunay returned to France at the beginning of 1861 and began to make studies for his painting “The Plague of Rome”. 

In 1862, Jules-Élie Delaunay briefly visited London and, upon his return to Paris, began receiving commissions for decorative paintings. These included frescoes for the church of Saint Nicholas in Nantes, the three murals for the foyer of the Paris Opera House, murals for the Chapel of the Virgin at Paris’s Church of the Holy Trinity, and twelve paintings for the grand hall of the State Council at the Palais Royal. 

In 1869, Delaunay finished his oil on wood painting “The Plague of Rome”. which was based on an episode in Italian chronicler Jacques de Voragine’s “The Golden Legend”, collected stories of the lives of medieval church saints. Depicting an angel in flight loosening a plague on Rome, the painting was exhibited at the Salon du Palais de l’Industrie in Paris. It was purchased by Napoleon III for public display and now resides in the Musée d’Orsay in Paris. Delaunay followed this canvas with two historical paintings: the 1870 “Death of Nessus” and the 1872 “Diana”, a full-length nude portrait of the goddess of the hunt. 

Jules-Élie Delaunay’s 1874 “David Triumphant” tells the Old Testament story of David and Goliath and portrays the young hero David after he had slain the Philistine giant Goliath. David is shown holding his slingshot aloft and carrying the bloody sword used to behead his slain foe. This painting was exhibited in the Paris Salon of 1874 and attracted considerable attention. Other notable works that followed were the 1876 “Ixion Plunged into Hades”, an 1882 portraiture of the Shakespearean heroine Ophelia, and two different works portraying the classical Greek poet Sappho, which was also a recurrent theme in his friend Moreau’s paintings.

In 1878, Delaunay was awarded a first-class medal at the Paris Exposition and became an officer of the Legion of Honor. He was made a member of the Institute in the following year. In 1889 Delaunay was awarded the Medal of Honor and became director of one of the three official workshops at the École des Beaux-Arts in Paris. After winning the Grand Prize at the Paris Exposition Universelle, his health started to deteriorate. Delaunay died in September of 1891 in Paris and was buried at the Miséricorde Cemetery in Loire-Atlantique. As one of his closest friends, Gustavave Moreau was appointed the executor of his will. The Musée de Beaux-Arts in Nantes holds the largest collection of Jules-Élie Delaunay’s work

Top Insert Image: Jules-Elie Delaunay, “Self Portrait”, 1850, Etching Second State, Plate Size 11 x 8.1 cm, Metropolitan Museum of Art, New York City

Middle Insert Image: Jules-Élie Delaunay, “In the Military Forge”, Date Unknown, Oil on Canvas, 114 x 146.8 cm, Private Collection

Bottom Insert Image: Jules-Élie Delaunay, Study of a Horse and Rider”, 1869-79, Charcoal with Gouache on Tan China Paper, 210 x 153 cm, Art Institute of Chicago

Larry Stanton

The Portrait Work of Larry Stanton

Born in June of 1947 in Rockville Center on the south shore of Long Island, Larry Stanton was a portrait painter who was lived and worked  in Manhattan, New York. His father, a graduate of Columbia University and the Juilliard School of Music, moved his family in 1948 to a dairy farm in New York’s Catskill Mountains to provide a country environment for the family and a source of income for his work as a freelance music arranger. Due to the foundering of both the farm and his musical aspirations, Stanton’s father often experienced periods of frustration and temper which affected the family. However, despite the familial tensions, both he and Stanton’s mother encouraged and supported Stanton’s early artwork. 

After graduating high school, Larry Stanton studied on an art scholarship at New York City’s Cooper Union for one semester. He worked in the following months at various odd jobs including mailrooms and an ice cream parlor. During this period, Stanton embraced his gay identity and gained some notoriety in New York City’s gay community. He became acquainted with banker Arthur Lambert in the summer of 1967 and the two were immediately drawn to each other. Upon returning from a trip with Lambert to London, Stanton followed him in the fall of that year to Los Angeles, where Stanton took a new financial position. 

In February of 1968, Stanton enrolled in Los Angeles’s Art Center College of Design where he received his first formal training in drawing and painting. After applying himself intensely to his studies, he became convinced it was possible to make a career in art. During his time at the college, Stanton met many people who would become lifelong friends, including Alice Sulit, an art student from the Philippines, and English painter David Hockney. In the fall of 1968, Stanton traveled with Lambert to Hockney’s residence in London where he met another major influence on his life, Henry Geldzahler, the Curator of Contemporary Art at New York’s Metropolitan Museum of Art.  

Upon the return to New York, Larry Stanton moved into a Manhattan rent-controlled apartment owned by his father, who was relocating to retire in Florida; Lambert returned to his financial work in California. With a scholarship from the New School, Stanton began  to study printmaking and drawing; his studies were further supported by a grant for printmaking from the Tiffany Foundation. In January of 1970, Stanton had his first exhibition of drawings at New York City’s Gotham Gallery. This show was followed by a period of travel, accompanied sometimes by Henry Geldzabler, to Italy, Tunisia and sub-Saharan Africa. Upon his return, Stanton found a basement studio space in the Italian section of Greenwich Village where he could continue his painting. 

In early 1972, Arthur Lambert moved back to New York and noticed a change in Stanton. Stanton had begun drinking alcohol more frequently and had become less committed to painting. He began to pursue filmmaking and produced a few films on David Hockney. Stanton also began bringing back to his place young men he met on his travels around the city. By late 1977, he was not socializing as much and complained of lingering feelings of anxiety. Stanton’s mother, with whom he had a close bond, succumbed from cancer in 1979 after a three year struggle. The loss of this bond, intensified by the depressive effects of his developed alcoholism, resulted in Stanton having a psychological collapse for which he needed hospitalization.

From this trauma, Larry Stanton emerged a sober, non-smoking artist with an intense commitment to his art. Stanton moved his studio to a larger location nearer his apartment which enabled him to work on larger canvases. By 1983, his studio was attracting young writers and artists who admired his work and sought his company. In his apartment and studio, Stanton created a series of portraits in charcoal, oil crayon, pencil, and pen, as well as paint, drawing friends, familial relations, and people he met while wandering the streets of New York. Many of the people who posed for him would later die from the AIDS epidemic.

Holly Solomon, a prominent art dealer, commissioned two portraits, one of herself and one of her son. She later placed two of Stanton’s oversized portraits in a group show at her Soho gallery. Following this show, Stanton’s work was given an exhibition at the Aaron Berman Gallery in Brooklyn. In 1984, his work was included in a major group exhibition at the Queens, New York, city-owned exhibition space, PS1, which focused on emerging new artists. Stanton’s work was also presented in a group exhibition at the East Village’s Magic Gallery. With these shows, his work was gaining increased attention as he developed a consistent quality and a mature personal style. 

Beginning in February of 1984, Larry Stanton began to have health problems, initially shingles and later periodic unpleasant skin rashes. After numerous tests, the doctors assured there were no signs of immunity problems; there were no specific AIDS testing at this time. In August, Stanton developed a persistent and sore throat and was diagnosed with pneumocystis carinii pneumonia, a fatal fungal infection of the lungs and major cause of death for people with HIV/AIDS. Larry Stanton died, at the age of thirty-seven, of AIDS-related illness on October 18th of 1984. 

After Larry Stanton’s  death, a collection of his work was shown at New York City’s Charles Cowles Gallery in 1987. From May through July of 2021, the Daniel Cooney Fine Art Gallery in the Chelsea area of New York City held “It Doesn’t Thunder Every Day”, an exhibition of twenty works on paper by Stanton that captured the faces of a generation of people lost in the early stages of the AIDS epidemic. Larry Stanton’s work is housed in the permanent collection of New York City’s  Leslie-Lohman Museum of Gay and Lesbian Art.

Notes: A full collection of Larry Stanton’s paintings and drawings, as well as personal tributes and remembrances by friends such as Arthur Lambert,  Henry Geldzahler and David Hockney, can be found at: http://www.larrystanton.net

A recent collection of poems by gay poet Winthrop Smith entitled “Take Down Portraits: Drawings and Portraits by Larry Stanton” was published by Chiron Review Press. Bringing the portraits back to life, Smith’s poems imagine the encounters between Stanton and his sitters, which reconstruct the experience of New York at the height of the AIDS epidemic.

Top Insert Image: Photographer Unknown, “Larry Stanton”, circa 1968

Second Insert Image: Larry Stanton, “Man in Jockstrap”, circa Early 1970s, Pencil on Paper, Private Collection

Third Insert Image: Photographer Unknown, “Arry Stanton in His Village Basement Studio”, circa 1981

Fourth Insert Image: Larry Stanton, “Joey”, 1975, Pencil on Paper, Private Collection

Bottom Insert Image: Photographer Unknown, “larry Stanton, Fire Island Pines”, circa 1980

Nicholas Moegly

Illustrations by Nicholas Moegly

Based in Cincinnati, Ohio, Nicholas Moegly is a freelance illustrator and graphic artist who specializes in nostalgic, mostly dark imagery with a focus on light and shadows. An early influence on his work was the paintings of realist artist Edward Hopper whose scenarios of light and shadow gave an intimate perspective on urban life. Later in his career, images of scenes photographed at night became a prominent source of layout reference for Moegly’s initial sketch work.

In his early career, Moegly worked for several agencies in the Cincinnati area where he created graphic designs for advertising, packaging, and branding. Beginning a career as a freelance artist in 2016, he worked with multiple Fortune 500 companies and international beverage and apparel brands. Moegly has designed posters and music collection images for several Grammy-winning artists, such as The Dave Matthews Band, The Avett Brothers, and John Prine, among others.

Nicholas Moegly’s illustrations largely focuses on the normal, quiet landscapes of suburbia in the midwestern part of the United States. Done in a realistic style, his work is executed with great attention to perspective and the smallest detail. Nostalgic and expressing a sense of urban isolation, Moegly’s images often feature surreal details that lend an unworldly mystery to their conventional appearance. Scenes of local shops and urban homes might contain an oddly lit window in a dark, fog-bound dwelling, forest animals on the lawn or in a deserted classroom, or a lit desk lamp on the front sidewalk with no source for its electricity.

Moegly has produced many hand-drawn, screen printed editions of concert and gig posters which were made available in limited editions of one hundred. In addition to his personal work as an artist, he is now working as a software development lead in the digital enablement department at Moog Incorporated. Moegly continues to live and work in the Cincinnati area of Ohio.

Nicholas Moegly’s website, containing contact information and an online store, is located at: http://www.nicholasmoegly.com

A more complete collection of Nicholas Moegly’s work can be found at his Instagram site: https://www.instagram.com/nicholasmoegly/?hl=en

Alireza Shojaian

The Artwork of Alireza Shojaian

Born in Tehran in September of 1988, Alireza Shojaian is an Iranian artist. Shojaian received his Bachelor of Fine Arts in Painting from Tehran’s Islamic Azad University in 2014. Encouraged in his art studies by one of his professors, he began to explore his queer identity in his work through themes and narratives. Shojaian pursued his Masters of Fine Arts for two years at the Islamic Azad University; however, as his final thesis project was queer art, he was denied his degree.

In 2015, Shojaian’s artwork, the majority of which were prints,  appeared in several group exhibitions in Tehran including shows at Laleh Art Gallery and Vista Art Gallery. He also exhibited work at the 2015 Printmaking Exhibition held at the Cultural Section of the Embassy of Cote d’Ivoire.

The prevalent theme in Alireza Shojaian’s work is homosexuality in both identity and relationships. His work reflects on his own personal experiences as a queer person and the queer history of western Asia and its context in present society. Created with acrylics and color pencils, Shojaian’s images depict male figures, most often nude, in both portrait form and group presentations. His drawings present intimate relationships, often entwined and embracing, sometimes fighting; however, they all attempt to present real stories that are mutual to all human beings. Through his art, Shojaian attempts to fight societal prejudice against LGBTQ people and make space for non-heteronormative masculine identities.

Unable to exhibit work dealing with issues affecting the queer community in an open dialogue with the Iranian people, Shojaian relocated in 2016 to Beirut, Lebanon, as a place with more freedom to develop his art and identity. His university professor in Tehran, who knew of Shojaian’s sexual orientation, connected him with the owner of the ArtLab Gallery in Beirut, Antoine Haddad, who offered him a solo show. Shojaian entered the Beirut art scene with two solo exhibitions at the Artlab Gallery: the 2017 “Corpe à Corps” and “Sweet Blasphemy” held in 2018. 

The title for the “Sweet Blasphemy” exhibition was taken from Turkish writer Elif Shafak’s novel entitled “The Forty Rules of Love”. This exhibition was centered on the love story of Persian poet Jalai ad-Din Muhammed Rumi and fellow poet Shams-i-Tabrizi. After years living together in the Turkish city of Konya, Shams left Rumi, who after Sham’s untimely death dedicated his writings to his departed lover. The main image of the show consisted of a partially nude male figure, either asleep or dead, lying on a white blanket. Eight additional drawings, all modeled by Lebanese artist Mo Khansa, were included in the highly successful sold-out show. 

Alireza Shojaian exhibited his work at the Beirut Art Fair in 2017 and 2018. He relocated to Paris in 2019 after being offered by the French Embassy in Lebanon an art residency with the Académie des Beaux-Arts. Shojaian served as resident-in-art at La Villa les Pinsons in 2019 to 2020 and at Château de Lourmarin in 2021. His work was most recently presented in “Ombres D’Hommes” held at Nice’s Depardieu Gallery and in a group exhibition at Paris’s Lafalande Gallery, both in 2021.

Alireza Shojaian’s personal website, containing images, contact information and press coverage, can be found at: https://www.alirezashojaian.com

Note: A more extensive biography on Alireza Shojaian, including images of his work, can be found in the November 30th of 2018 issue of Queer Here located at: https://wearequeerhere.com/queerart

Middle Insert Image: Alireza Shojaian, “Remi”, 2021, Acrylic and Color Pencil, 60 x 60 cm, Private Collection

Wayne Howarth

The Artwork of Wayne Howarth

Based in North West England, Wayne Howarth is a British artist, the son of illustrator Walt Howarth who was known for his interior and cover art of such British serial comics as Doctor Who, The Avengers, and Tarzan .After graduating from Liverpool Polytechnic in 1979, Wayne Howarth became a successful interior designer for many high profile clients throughout Great Britain. In 2009, Howarth changed the focus of his career to drawing, a passion he has had since childhood.

Howarth’s portraiture work is most often done in a combination of mediums. Harris’s figurative images, mainly done in pencil, are combined with surface pattern designs taken from textiles and wall coverings, which are then rendered by Howarth in acrylics and watercolors. Gold and copper leaf are also occasionally applied to the background patterns for embellishment.

Wayne Howarth’s work and contacts, including image purchases and  commissions for portraits, can be found at the artist’s site located at: https://www.waynehowarthillustration.com

Soufiane Ababri

Drawings by Soufiane Ababri

Born in Rabat, Morocco in 1985, Soufiane Ababri is a multi-media artist who works in the fields of drawing, sculpture, film, and performance art. He graduated from the École Supérieure des Beaux-Arts in 2010 and earned his Masters of Arts at Paris’s École Supérieure des Arts Décoratifs in 2014. Ababri divides his life and work between the cities of Paris, France, and Tangier, Morocco. 

Although he works in many medias, Soufiane Ababri is best known for his homoerotic drawings of men portrayed in settings which depict a flourishing queer subculture. His scenes, either  humorous or infused with emotion, are drawn from his life as a gay Moroccan immigrant in Europe. Ababri’s most acclaimed series, “Bed Works”, was initiated in 2016 and is still continuing today. These pencil portraits of men, drawn while lying down in bed, are conveyed in bold, energetic colors and explore Ababri’s interest in the nuances of masculinity and male intimacy. 

Having a strong interest in sociology, Ababri’s oeuvre also deals with the idea of visual experience as an exercise in introspection, that is the artist sees the world as the world sees him. Ababri’s work, built from layers of personal and intimate events, also uses literary works, such as Antoine de Saint-Exupéry’s 1943 “Little Prince” and poet Frank O’Hara’s “A True Account of Talking to the Sun”, to examine the tensions, stigmas,  and ambivalences in present day  society. 

Soufiane Ababri’s 2020 “Tanned But Still Angry” series consisted of seventeen colored pencil on paper drawings that Ababri developed over several years in reaction to police violence. These drawings depicted real scenes and situations experienced by Ababri himself and fellow members of the LGBT and POC communities. Fueled by the deaths of Adama Traoré in 2016 and George Floyd in May, the series not only powerfully displays injustice, but also, often poetically, emphasizes the need for equality.

Soufiane Ababri’s most recent solo show, the 2021 “Bunch of Queequeg”, named after the “Moby Dick” character, included all works from the continuing “Bed Work” series and was held at Praz-Delavallade in Los Angeles.The triptych drawing from that exhibition, seen in the above images, shows Ababri as Queequeg in the middle panel, with Ishmael in tight-fitting shorts on the right panel and three skewered severed heads on the left panel. In this work, Ababri considers not only the literature of colonialism and its lasting effects on daily life and culture, but also its presence in our most intimate relationships.

Ababri’s installation / performance pieces include the 2017 “Moving Frontiers: Do and Undo” at the Espace Doual’Art in Doula, CM; the 2018 “Humes l’Ordeur des Fleurs Pendant Qu’il en est Encore Temps” held at the Marathon des Mots in Toulouse, France; the 2018 “Here is a Strange and Bitter Crop” at Space in London; the 2019 “Tropical Concrete Gym Park” at the Glassbox in Paris; the 2019 “Memories of a Solitary Cruise” held at The Pill in Istanbul; and the 2020 “Something New Under the Little Prince’s Body” at the Dittrich & Schlechtriem in Berlin.

Soufiane Ababri has exhibited in Berlin, Brussels, and Istanbul. His work is in the collections of Fonds Régional d’Art Contemporain Pointou-Charente and Musée d’Art Contemporain du Val-de-Marne, and Fonds Régional d’Art Contemporain, Pays de la Loire. In 2021 Ababri’s work was included in the Glasgow International Festival for Contemporary Art. 

Note: Photos of Soufiane Ababri’s performance and artwork, as well as  contact information, can be found at: https://soufianeababri.com

An interesting article, written by Joey Levenson, on Soufiane Ababri’s newest book and his use of intimacy as a means of social construct analysis can be found at: https://www.itsnicethat.com/articles/soufiane-ababri-art-100821

Lucien Freud

Lucien Freud, “Rabbit on a Chair”, 1944, Pencil and Crayon on Paper, 48 x 31 cm, Private Collection

Born in Berlin in December of 1922, Lucien Michael Freud was a British painter and draftsman. He was the son of British architect Ernst L. Freud and the grandson of the founder of psychoanalysis, Sigmund Freud. Lucien Freud’s “Rabbit on a Chair”, a pencil and crayon drawing executed in 1944, is one of his most refined and charming early works. It is a good example of his fascination with nature and his ability to express tone, texture, and shape.

Due to his upbringing and studies at London’s Central School of Art, Freud was probably familiar with Jean-Baptiste-Saméon Chardin’s finely executed watercolor and gouache depictions of rabbits or hares. and Albrecht Dürer’s 1502 “Young Hare”, widely produced in the early twentieth-century as a print. Dürer gradually animated his hare’s body by the use of a dry, small paintbrush to slowly build up the hair. Freud’s rabbit is executed with clean lines outlining the body of the animal and small pencil marks which move and curtl in the various directions of real fur.

Every fine detail of the rabbit, from its black whiskers and white tail to its mottled, golden-brown pelt, is a testament to Lucien Freud’s skilled draftsmanship. He used equal care in the execution of the rabbit’s resting place, a cane chair with its broken cane fronds and fallen shadows. Completed in two tones of mustard yellow and brown, the chair seat makes a geometrical and patterned backdrop for the rabbit. The seat’s vertical and horizontal lines fix the rabbit in place and draw the viewers’ eyes to the center of the picture plane. This use of background pattern also appears in Freud’s 1987 “Blonde Girl on a Bed”, in which the figure is depicted resting on a patterned bedspread.

Note: A short biography on the life and art of Lucien Freud, which included an image of his 1967-1968 “Two Men”, was published on this site in October of 2020. 

Insert Image: Clifford Coffin, “Lucien Freud”, March 1947 Studio Shoot, Silver Gelatin Print, Vogue Online September 2019

Jake Grewal

Drawings and Paintings by Jake Gerwal

Born in South London in 1994, Jake Grewal is an artist whose work, done in the mediums of oil paint, watercolor and colored pencils, expresses his own life experiences. 

In 2013, Grewal received his Foundation Diploma in Art and Design from Kingston University in London. He received his Bachelor of Arts with first-class Honors in Fine Art and Painting from the University of Brighton in 2016. Grewal completed a year of postgraduate studies at London’s Royal Drawing School in 2019 and, following that, undertook a month-long residency at the Rhode Island School of Design in Providence.

Grewal’s autobiographical work is a blend of Romanticism and his South Asian heritage. His drawings and paintings are influenced by his early exposure to the Romantic artists who emphasized nature and individualism, such as painter and watercolorist William Turner, landscape artist Caspar David Friedrich, biblical artist John Martin, and visionary artist William Blake. 

Themes of love and loss, identity, violence, and adolescence are presented  in Grewal’s populated scenes of the natural world. Seen through a queer perspective, the two dominant aspects of his work are the natural idyllic world setting and the relationship between the nude male figures contained within. 

Grewal’s paintings and drawings have evolved over the years to a point where natural surroundings, often used as an allegory for the work’s narrative, has become an intrinsic feature of his observational work. A major influence on this evolution was a trip taken to Borneo where he viewed the extensive deforestation undertaken to increase palm oil production.

Jake Grewal had his first solo show, held at Very Lab, which was entitled “When I First Met You, I Was Younger”. His work has been exhibited at Baltic 39, a contemporary art center in Newcastle, where he won the 2016 Woon Foundation Prize. In 2019, Grewal’s work was exhibited at the “Looking for Validation” group exhibition at the Nayland Rock Hotel and at the “Full English” exhibition at the multi-discipline art program Platform Southwark, both in London. Among other exhibitions, his work has also been shown at Christie’s in London and the Pallant House Gallery in Chichester.

Bottom Insert Image: Jake Grewal, Title and Date Unknown,Seed Pods, Colored Pencil on Paper

Guillermo Martin Bermejo

The Drawings of Guillermo Martin Bermejo

Born in 1971, Guillermo Martin Bermejo is a Spanish Postwar and Contemporary artist who is currently based in a small village north of Madrid. Influenced by the works of French novelist Marcel Proust and Swiss painter and graphic artist Otto Meyer-Andem, Bermejo’s pencil drawings reference both historical paintings and literature to form a very personal world. 

Drawn in pencil on pages from second-hand notebooks and the covers of paperback books, Bermejo’s  work, although deceptively simple in composition, is woven with his own life experiences and memories. While some of his drawings are simple portraits, others portray elaborate scenes which contain the settings and the traditions of village life in the mountainous area of norther Spain. 

Guillermo Bermejo’ stylized figures, often taken from history, appear in subtly altered scenes taken from renowned artworks,  These figurative scenes act, in a visual sense, as legends in which the total story is understood only through the underlying meaning of the objects placed in the tableaux. An example of this is found in Bermejo’s 2020 “Aschenbach’s Dream”,  a drawing which relates to an interpretation of Thomas Mann’s “Death in Venice”, drawn with figures from Luchino Visconti’s 1971 film of the same name . 

Guillermo Martin Bermejo’s work has appeared at the 2018 exhibition at Real Academia de San Fernando in Madrid, the Museo Carmen Thyssea Malaga in 2017, and the 2016 exhibiton at the Fundación Santiago y Segundo Momes in Valladolid. His most recent solo exhibition , entitled “La Pleyade de la Espana Moderna”, was held in 2019-2020 at Madrid’s Museo Lázaro Galdiano. Bermejo also exhibited at the 2020 Modern and Contemporary Art Fair in London. He is  currently represented by the James Freeman Gallery in London.

The Museum of Contemporary Art in Madrid acquired a series of twelve drawings by Bremejo in 2020 for the collection. His works appear in a number of notable collections, including the Koc Collection in Istanbul, the Caja Collection in Madird, the Marine International Bureau in Mónaco, and the Spanish Embassy in Tokyo, Japan.

Hedda Sterne

The Artwork of Hedda Sterne

Born Hedwig Lindenberg in Bucharest, Romania, in 1910, Hedda Sterne received a rich primary education that included the study of multiple languages, German philosophy, and art history. With the encouragement of Modernist painter and professor Max Hermann Maxy, Sterne began her formal art education in 1918. Her first teacher was the Realist sculptor Frederic Stock, a professor at the Bucharest National University of the Arts. 

As early as 1924, Hedda Sterne gravitated to the Constructivist, Dada, and Surrealist artist communities of Bucharest and Paris. She took classes in ceramics atVienna’s Museum of Fine Arts and, in 1929, enrolled at the University of Bucharest, where she studied under literary and art critic Tudor Vianu, and philosophers Nae Ionescu, and Mircea Florian. In addition to her early work with Frederic Stock, Sterne worked in the studio of Surrealist painter Marcel Janco, who was a co-founder of the Dada movement, and became a close friend with Surrealist painters Victor Brauner and his brother Théodore Brauner, realist painter Jules Perahim, classical painter Medi Wexler, and surrealist poet Gheorghe Dinu.

In the late 1930s, Sterne began her work in the mediums of painting and collage. Drawn to the Surrealist practice of automatism, a process which allows the subconscious mind control over the formation of a work, Sterne  developed her own unique style of collage. Sterne’s collage work was first recognized in 1939 at the Fiftieth annual Salon des Indépendants in Paris, where her work was singled out by painter Jean Arp, who recommended her work to art patron and collector Peggy Guggenheim. After the outbreak of World War II and the Bucharest pogrom, Sterne was able to acquire the necessary visas for travel, which enabled her to embark from Lisbon and sail to New York in October of 1941. 

Settling in Manhattan, Hedda Sterne established an apartment and studio on East 50th Street and soon developed a close friendship with Peggy Guggenheim, a close neighbor on Beekman Place. Sterne re-united with many Surrealistic artists she had known in Paris, including Marcel Duchamp, Max Ernst, and André Breton. She also began a close friendship with author Antoine de Saint-Exupéry, whom she encouraged to illustrate his own book “The Little Prince”. Involved with the circle of New York School of artists, Sterne’s work was included in surrealism’s seminal exhibition in the United States, “The First Papers of Surrealism”,  held in October of 1942 at Manhattan’s Whitelaw Reid Mansion.

By 1943 Sterne’s work was regularly show in exhibitions at Peggy Guggenheim’s Art of This Century gallery, including the 1943 “Exhibition by 31 Women”. In November of 1943, Sterne had her first solo show in the United States at the Manhattan’s Wakefield Gallery, organized by art dealer and collector Betty Parsons. This began a nearly forty-year collaboration between Sterne and Parsons, who represented her after the opening of her own gallery, the Betty Parsons Gallery, in 1947.

Throughout her career, Hedda Sterne’s diverse series of artwork were a reflection of the changing world around her.  In the 1940s, she began to draw inspiration from the motion, architecture and scale of her new New York surroundings.  Following a visit to Vermont with her husband and fellow artist Saul Steinberg, Sterne began studying farm machinery, as well as the construction sites and harbors of New York and post-war Paris. By the 1950s, these Machine paintings and drawings had evolved into a series about motion itself.   Often utilizing commercial spray paint to invoke a feeling of speed, Sterne’s large gestural canvases of the mid-1950s were inspired by city bridges and her travels on highways around the United States.

Hedda Sterne began, in the 1960s, to explore new themes in her work, expanding beyond the inspiration of her immediate surrounding to include her interests in science and philosophy.  The qualities of light and space were often a central focus of investigation in Stern’s work.  While on a Fulbright Fellowship in Venice in 1963, she experimented with mosaic and refined a series entitled “Vertical-Horizontals”, paintings that invoked an expansive, horizontal landscape, whose reach, however, was confined within a vertical format. Later in the decade, as drawing took on a more central role in her practice, Sterne developed dense and intricate organic abstractions in series entitled “Lettuces and Baldanders”.

In addition to exploring both physical and conceptual subjects in her work, Sterne also produced both geometric and organic abstractions.  Among her largest series of works on canvas are her 1980s “Patterns of Thought” paintings, in which she, now in her seventies, explored the universality of signs and symbols through prismatic geometric structures.  While doing this series, Sterne also developed various drawings and loose studies of nature, with elaborate organic structures and ghostly apparitions emerging from the page.

Hedda Sterne was a prolific artist who maintained  a daily practice of making art throughout a career that spanned nine decades. Her work intersected with some of the most important movements and figures of twentieth-century art. Even though affected by macular degeneration, she continued to create new work in her eighties and nineties; unable to paint by 1998, she still drew. Her vision and movement affected by two strokes between 2004 and 2008, Sterne passed away in April of 2011 at the age of one hundred.

In 1977 Hedda Sterne was honored with her first retrospective exhibition of her work at the Montclair Art Museum in New Jersey. Her second retrospective entitled “Hedda Sterne: Forty Years” was held at New York’s Queens Museum in 1985. Her third retrospective was held in 2006, entitled “Uninterrupted Flux: Hedda Sterne; A Retrospective:, at the Krannert Art Museum at the University of Illinois.

Top Insert Image: Henri Cartier-Bresson, “Hedda Sterne”, 1961, Silver Gelaton Print.   Second Image: Edith Glogau, “Hedda Sterne, October 1932 Issue of Die Bühne Magazine, Vienna;   Third Image: Lilian Bristol, “Hedda Sterne in Her Studio with Her Portrait of Joan Mitchell”, 1955;   Bottom Image: Nina Leen, Hedda Sterne and New York School of Painters, January 1951 Life Magazine Photo

More information on Hedda Sterne’s life and a complete body of her work cna be found at the Hedda Sterne Foundation located at: https://heddasternefoundation.org

Felicia Chiao

Illustrations by Felicia Chiao

Born in Houston, Texas, Felicia Chiao is an industrial designer and illustrator who is currently residing in San Francisco. She attended Providence’s Rhode Island School of Design where she graduated in 2016 with a degree in Industrial Design. Chiao has experience in toy design, machining and shop work, sketching, and digital and physical prototyping. She balances her work at the global design and consulting firm IDEO with her greatest passion, drawing in her free time.

Traveling frequently due to work, Chiao carries an artist’s notebook with her, in which she daily draws illustrations. Her imaginative illustrations are traditionally done with Copic markers and gel-ink pens on brown paper. Much of Chiao’s work, often infused with a surrealistic atmosphere, are populated by a common humanoid protagonist, as well as black spirit-figures reminiscent of the creatures in Japan’s manga artist and animator Hayao Miyazaki. 

Felicia Chiao’s layered illustrations often depict her protagonists in mundane, everyday narratives and exhibiting states of anxiety and other complex emotions. Although the scenes appear whimsical, there is often, particularly in her most recent work, a sense of loneliness, foreboding, or confinement, a common feeling during this time of isolation.   

Chiao exhibited her work at the GR2: 8 x 8- Group Exhibition held by Giant Robot in July of 2020. Most recently she has a solo show at the GR2 Gallery through March 20th of 2021. The online show is at: https://www.giantrobot.com/collections/gr2-daydreams-felicia-chiao

For more information and images of her work, Felicia Chiao’s website is located at https://society6.com/feliciachiao/prints

Patrick Angus

The Artwork of Patrick Angus

Born in December of 1953 in North Hollywood, California, American painter Patrick Angus studied at the Santa Barbara Art Institute. Inspired by David Hockney’s book “72 Drawings”, he came to New York in 1980 to see the Picasso retrospective at the Museum of Modern Art. Angus settled in the city and started illustrating the emerging modern gay culture with visual narratives and humor which had not been visible to the general population at that time. 

Patrick Angus depicted not only the pleasant aspects of the scenes he witnessed; but he was also concerned with the unadorned sides of the persons and situations. The central theme that is expressed in many of Angus’s works is the longing for true, not only physical, intimacy. With his distinct observation skills, his compositions, and the use of light and expressive color, he depicted his observation of the scene, but also captured its atmosphere and the vulnerability of its individuals. The loneliness that Angus, as well as other gay men, often felt during this time and the attempts to offset it play an important role in Angus’ body of work.

Angus is known for his depiction of the gay New York scene in the 1980s, particularly its bar scenes, porn theaters, bathhouses, and strip shows. He is especially known for his large paintings of the Gaiety Theater, above the Howard Johnson’s restaurant at the corner of 46th Street and Broadway, with its nightlife of bold colors, flashing lights, and young male erotic dancers. Angus often created a dialogue in his work with references to known artists; such as Picasso and Manet,, by depicting them in his work, a practice common with the notions of post-modern art. 

An example of this dialogue is Angus’s 1979 “Los Angeles Drawings”, which capture his experience discovering the city and its inhabitants at the beginning of his career as an openly gay artist. These drawings, which features portraits of men together in everyday life, are a direct conversation with fellow painter David Hockney, who remained a mentor, a collector of Angus’s work, as well as a friend until his death. 

Patrick Angus died in 1992 at the age of 38 from the effects of AIDS, without receiving due recognition for his work during his lifetime. In recent years, however, his popularity increased with major retrospective exhibitions being held. An exhibition in early 2015 at Galerie Thomas Fuchs was followed by art fair presentations in Karlsruhe, Berlin, Miami, and other cities. A comprehensive monograph was produced in 2016 by art publisher Hatje Cantz with the participation of Galerie Thomas Fuchs. 

This monograph was followed in 2017 by a major exhibition entitled “Patrick Angus” at the Kunstmuseum Stuttgart, Germany, on the occasion of which a publication was released by Distanz Verlag. In 2019 the Long Beach Museum of Art in California presented a retrospective of his work. The Leslie-Lohmann Museum of Gay and Lesbian Art in New York later showed Angus’s work in the group exhibition “On Our Backs: The Revolutionary Art of Queer Sex Work”. 

Patrick Angus is represented in the collections of the Fort Smith Regional Art Museum, the Kunstmuseum Stuttgart, the Leslie-Lohmann Museum of Gay and Lesbian Art and the Schwules Museum Berlin, and in many private collections.

Otto Greiner

Otto Greiner, Study for the “Triumph of Venus”, 1909

Otto Greiner was born on the 16th of December, 1869 in Leipzig, Germany. He began his artistic career in 1884 as an apprentice lithographer and etcher in his hometown. In 1888 Greiner was awarded a bursary which enabled him to study from 1888 to 1891 at the Akademie der Bildenden Künste in Munich under illustrator and historical painter Sándor Liezen-Mayer.

At an exhibition in Munich, Greiner encountered the work of painter and sculptor Max Klinger, who was already a leading figure in the Symbolist movement. In the autumn of 1891, Greiner made his first journey to Rome, where he met Klinger, forming a close friendship, and the painter and printmaker Käthe Kollwitz, who became the first woman elected to the Prussian Academy of Arts and receive  professor status.  

Otto Greiner returned to Germany and worked in Munich and Leipzig between the years 1892 and 1898. He returned to Rome where he settled permanently in 1898, moving into Max Klinger’s former studio near the Colosseum. Greiner was in contact with and highly regarded by the community of German artists living and working in Rome. 

In 1915, Greiner was forced to return to Germany because Italy sided with France and England in World War I. He settled in Munich, where many of his works were published in journals of the day. Otto Greiner died in Munich, after contracting pneumonia, on September 24th of 1916. 

A talented draughtsman, printmaker, and painter, Otto Greiner also produced a large body of studies, working in ink, charcoal, red chalk, gouache, and colored crayon. These studies show the precision of his working methods, and his confident handling of materials and techniques.In his finished paintings, Greiner specialized in the depiction of nudes, often placed in complex poses and set in Italianate landscapes, for which mythological subjects provided an excellent opportunity. He also painted portraits and produced an impressive oeuvre of prints. 

Note: Otto Greiner made several studies for the “Triumph of Venus”, his unfinished work that was destroyed in World War II. Three, which are known to exist, are: an oil on canvas study for the figure of Venus, c 1903, 120 x 79.5 cm, now residing in a private collection; the study of three male figures (shown above), 1909, location unknown ; and a preliminary sketch of the entire  work, date and location of this sketch is unknown.

Louis Eugene Larivière

Louis Eugene Larivière, “Academic Drawing of a Nude Male with Arm Raised”, 1820, Black Pencil, Charcoal, and Stump on Paper, 58.6 x 43.7 cm, Private Collection

Born in Paris in December of 1800, Louis-Eugene Larivière was the second son of the painter André Philippe Larivière, and grandson of Charles Lepeintre, Painter to the Duke of Orleans. Three years separated Eugene from his elder brother, Charles-Philippe. The sons having   demonstrated natural abilities for painting, the father placed both with French painter Anne-Louis Girodet who in turn presented them to the Special School for Fine Arts: Charles-Philippe in 1813 and Louis-Eugene in February 1816.

Following in his older brother’s footsteps, Louis-Eugène Larivière participated in the historic composition competition as Girodet’s student. Ranked thirteenth, he did not enter the second round, but was noticed and, as a painter, was exempted from military service. Unfortunately, illness prevented Larivière from competing again in 1823; and the illness finished by carrying him off prematurely in June of 1923 at the age of twenty-one years old. 

A few family portraits by Louis-Eugène Larivière survive: one full of candor of his sister Pamela-Eugenie conserved at the Louvre; a protrait of his brother Edmond Larivière, and a “Self-Portrait”, both at the Museum of Picardy in Amiens. The works come from the collection of the painter Albert Maignan, the artist’s nephew by marriage who donated them to the Amiens Museum from the contents of the Lariviere brothers’ studio. 

A few male acacemy drawings by Eugene can be found at the Amiens Museum  similar to the image above. One of them is inscribed on the verso, “Eugène Larivière. 18 août 1817”, and countersigned by his teacher, the painter Pierre-Narcisse Guérin ,who corrected the student exercises of the Fine Arts students that day. Another academy drawing, dated 1818, and a few anatomical studies are know to exist in private collections. 

Toussaint Dubreuil

 

Toussaint Dubreuil, “Apollo Victorious Over the Python”, Date Unknown, Black Ink and Stone Wash on Paper, Private Collection

Born in 1561 in Paris, Toussaint Dubreuil was a French painter associated with the Second School of Fontanebleau, a period of the arts during the late Renaissance that, centered on the royal palace,  became crucial in the formation of Northern Mannerism in France.

A man of noble character, Dubreuil was a master lute player, horseman, and skilled as a jouster. His works, many of which have been lost, are in the late Mannerist style, with highly elongated and undulating forms and crowded compositions. Many of Duvreuil’s themes included mythological scenes and scenes taken from fictional literature by such writers as Italian poet Torquato Tasso, the French poet Pierre de Ronsard, and the ancient Greek novelist Heliodorus of Emessa.   

In twenty years Toussanint Dubreuil had mastered all the significant innovations of the Mannerists in Italy and France. Not content with being their brilliant heir, he had achieved recognition, outshining contemporary painters Martin Fréminet and Ambroise Dubois, as the uncontested master of the Second School of Fontainebleau. Late in his brief career, Dubreuil  began working in a new, eloquently clear style which in France paved the way for the Baroque Classicism of painters Laurent de La Hyre, Simon Vouet and Nicolas Poussin. 

First painter to King Henry IV, Toussaint Dubreuil, after a short career, passed away on November 22, 1602, leaving behind him the image of a painter being exceptionally intelligent and notably skilled in drawing and the nude.

Alan Spazzali

Three Artworks  by Alan Spazzali

Born in Trieste, Italy, Alan Spazzali is a photographer with Dutch citizenship. He graduated with a Bachelors Degree from the Ecole Nationale Superieur des Beaux-Arts and the Ecole des Arts Decoratief in Paris. Spazzali’s post-graduate work was done at the Rietveld Modern Art Academy located in Amsterdam.

Inspired by the work of surrealist artist Max Ernst and the minimalist works of Joan Miro, Alan Spazzail, a private person by inclination, constructs his work using various mediums to present a personal and symbolic narrative to his images. His work has been exhibited at the Biennale of Modern Art in Buenos Aires, the Biennale Lorenzo in Florence, and the Biennale Sao Paulo in Brazil.

Alan Spazzali’s site is located at: https://alanspazzali.wordpress.com/inicio/

Sergei Eisenstein

Drawings and Sketches by Sergei Eisenstein

People who are passionate about cinema are familiar with Sergei Eisenstein’s films and cinema theory; fewer people know of his enthusiasm for drawing. Ever since his childhood in the Latvian city of Riga, Eisenstein has been drawing, eventually producing five thousand works over the course of his lifetime, with only a short break in the 1920s when he made his first films. The drawings were playful, funny, provocative, and inventive. 

Drawing for Eisenstein was a means to develop a visually effective language, which he applied in his work as film director. He drew circus scenes, story boards for his films, sketches to map out his filming process, as well as erotic, sacrilegious, and sexual scenes. The drawings were private affairs to Eisenstein, sources for his amusement and also a form of freedom, emotionally and artistically, from the pressures, often political, he experienced in his work. Some of the drawings were in-jokes meant to be shared with close friends; and some drawings were given away as gifts.

In 1931, Sergei Eisenstein worked in various locations of Mexico on the film project “¡Que viva México!”, produced by Upton Sinclair and a small group of investors. During this time, which included an intimate affair with his Guanajuato guide Jorge Palomino y Cañedo, the production of Eisenstein’s drawings resulted in a dramatic increase. His interest in line and the interplay of figures showed his connection to the work of Mexican muralists including Diego Rivera, whom Eisenstein first met in 1927, and whose work he greatly admired. At the end of his Mexican adventure, he told his friend Anita Brenner, that drawings were just as important to him  as film writing and film production.

“it was in Mexico that my drawing underwent an internal catharsis, striving for mathematical abstraction and purity of line. The effect was considerably enhanced when this abstract, ‘intellectualized’ line was used for drawing especially sensual relationships between human figures.” —Sergei Eisenstein, 1947

Drawings done after Eisenstein’s return to the Soviet Union are no less provocative than the Mexican ones, but they are more sparsely articulated. In these later works, Eisenstein used line only, minimizing the shading and shaping of figures. Included in these, we find two sketches for an unrealized film on Alexander Pushkin; several drawings done during the filming of his “Ivan the Terrible”; and а series that appears to have been inspired by George Grosz’s images of maimed war veterans.

After Eisenstein’s death, his widow, Pera Atasheva, gave most of his drawings to the Russian State Archive of Literature and Art. She did not release a relatively small cache of about 500 drawings that had sexual subject matter, because Atasheva feared that they might be considered harmful to the Eisenstein’s legacy. Later, she passed them for safekeeping to Andrei Moskvin, a friend and the cameraman who had worked with Eisenstein on the filming of “Ivan the Terrible”. After perestroika, Moskvin’s descendants sold the drawings to a private collector in the west. 

Eisenstein’s drawings kept at the Russian State Archive were first shown in 2000 at the Drawing Center, a not-for-profit art institution, in Soho. New York, A first-show  exhibition of the drawings, once held safely by Andrei Moskvin, were shown at the contemporary art gallery Alexander Gray Associates in New York in early 2017.

Ubaldo Gandolfi

The Artwork of Ubaldo Gandolfi

Ubaldo Gandolfi was born in San Matteo della Decima, near Bologna, on 14 October 1728. His father, a man of some standing in society, allowed him to move to Bologna when he was barely over the age of ten in order to begin studying drawing. He studied under Baroque painter Felice Torelli before moving in 1748 to the school of painter Ercole Graziani the Younger. 

At the same time, Gandolfi began to frequent the Accademia Clementina and won the much-prized Fiori Award for attendance and for quality in the depiction of the nude in 1746. Gandolfi’s tireless practice of drawing from life, from posing models which became a constant feature of his mindset, was organized under the academic teaching of the anatomist Ercole Lelli.

Gandolfi’s first public success came in 1759 in the shape of an altarpiece with the “Assumption of the Virgin and Saints” for Castel San Pietro in Verona, preceded by a small rough clay model, now in the Uffizi Museum. The altarpiece owes a debt to the models of painter Guido Reni and to painters and teachers Ludovico and Annibale Carracci in the attitudes and gestures of its figures. Ubaldo’s renown grew to the point where he was made a full member of the Academy in 1760, and his work was  sought even by the Empress Catherine II of Russia.

Gandolfi’s colleagues in the Clementina entrusted him in 1766 with painting a fresco in the Eleventh Chapel in the Portico of St. Luke, depicting the Resurrection of Christ. “The Resurrection” is a magnificent example of Ubaldo Gandolfi’s fervent style with its evocative, theatrical character. For the senatorial nobility Gandolfi  produced ancient and modern myths, such as the “Four Seasons’” on a wall and “Aurora” on the ceiling at the Palazzo Segni Facchini.

In 1769 Gandolfi painted figurative frescoes for nobleman Conte Bentivoglio, who commissioned the decoration of the rooms on the ground floor of his palazzo in order to mark his term as magistrate. But Ubaldo Gandolfi’s ability to convey the solidity of his figures’ bodies was to allow the artist to produce superb results in secular fables, for instance in his 1770 paintings “Perseus and Andromeda” and “Diana and Endymion”, commissioned by  Senator Marchese Gregorio Casali; the “Mercury About to Behead  Argus” commissioned for the Marescalchi family palace; and the six mythological stories painted some time later for the Marescalchi family’s Palazzo Dall’Armi.

The painter’s renown grew in the field of religious painting thanks to his highly theatrical Baroque pieces, such as the Medicina Altarpiece in the church of San Mamante with its “Christ in Glory and Saints” or his “St. Francis Receiving the Stigmata”, a composition of passionate gesture. This highly productive decade ended with a large canvas for the church of Sant’ Agostino in Imola, depicting “St. Nicholas of Tolentino Preaching to the Crowds”.

Throughout his career, Ubaldo Gandolfi produced portraits of young girls, children, apprentices, men and women portrayed from life, and old men with intense features. These works, for instance the “Young Woman” now hanging in the Louvre, were extremely popular in the 1770s. In his graphic work, Gandolfi produced numerous very fine studies from life, displaying a certain inclination to portray the natural, an inclination that showed prominently in his pen and ink studies of heads.

Ubaldo Gandolfi died of malaria in Ravenna, where he had just recently moved, on July 24, 1781.

Ethan Murrow

 

Ethan Murrow received his B.A. in Studio Arts with a focus on painting and printmaking from Carleton College in Minnesota. His Master of Fine Arts degree in drawing, painting and sculpture was awarded by the University of North Carolina in Chapel Hill. Murrow is currently living in Boston where he is a professor at the School of the Museum of Fine Arts at Tufts University.

Ethan Murrow creates large-scale graphite drawings that are translated form film and photographic narratives. His rendered drawings focus on innovative and explorative characters attempting with confidence and passion to succeed in their endeavors, despite the unlikely outcomes. Murrow incorporates the art of perspective with great skill; his use of vantage points render the scenes real but intentionally absurd. 

Murrow’s drawings are dependent on still captured photographic images. They resemble the look and feel of early cinema and black and white photography due to their grainy surface appearance and use of gray scale tones. The process of drawing is extensive, The sense of depth is developed by complex layering and mark-making, filling large areas of space on the drawing surface, sometimes measuring up to fourteen feet wide.

Ethan Murrow’s series “Zero Sum” consists of a body of work centered around the same single figure shown in different positions as the figure hurtles upward or falls downward through the air. The heavily bandaged figure appears poised in the air, contorted but floating peacefully. A combination of both awkwardness and beauty is achieved in this series.

Drawing inspiration from contemporary literature and historical articles of Victorian-era exploration and voyages, Murrow plays with these romanticized stories that hid the grim realities and human mistakes, by depicting a new set of explorers who are foolhardy and quite apt to fail. His “Narwhal Hoax” series shows pseudo-scientists faking their expeditions; his “Doomed Explorer” series show explorers on oddball quests who never show any doubt of success. 

Ethan Murrow’s work is represented by Obsolete Gallery, in Venice Beach, California; Winston Winston Wächter Fine Art, in New York City and Seattle; and La Galerie Particulière, in Paris. His work in in collections worldwide, including the Guggenheim Foundation.