A Gay-Oriented Collection of Art Works, Literary Quotes, Songs, Films, Cubs, Otters, and Other Guys. Please be aware thet there is mature content on this blog. Available worldwide to all above the age of eighteen. Information and links to sources will be provided unless unknown. Enjoy your visit.
Born in Mexico City in 1918, Emilio Baz Vlaud was a painter whose work mostly included portraiture and scenes in the style ofCostumbrismo, images of local Hispanic life, customs, and mannerisms executed inboth artistic Realism and Romanticism.Influenced by the Magical Realism movement that spread through the art and literary worlds after the first World War, Vlaud was known for his meticulous brushwork and his trompe-d’oeil technique.
Emilio Baz Vlaud, at a very early age, had great skill in the arts. He would often watch his older gay brother, Ben-Hur Baz Vlaud, a 1926 graduate of the Academy de San Carlos and twelve years his senior, working on his own precisionist drawings and paintings. At the age of seventeen, Emilio Vlaud executed his first self-portrait, the 1935 “Self Portrait as a Teenager”, a highly refined work that is closely related to a self-portrait painted by his brother in the same year. In his self-portrait, Emilio shows himself with perfectly combed hair and dressed in a white shirt. He isholding a green pencil at an angle, a position which visually divides the canvas in two,and is shown gripping his elbow with his left hand.
Emilio Baz Vlaud entered the Academia de San Carlos in 1938 where he initially studied architecture before changing his vocation to painting. He later took courses at the Escuela Nacional de Artes Plásticas, where he studied under the strict training of painter Manuel Rodríguez Lozano, an openly gay artist whose work is often linked to the works of metaphysical painter Giorgio de Chirico. Vlaud made several visits over the years to his older brother who had moved to New York City and was working as a successful commercial illustrator for magazines, such as Newsweek and Time.
In 1950, Emilio Vlaud relocated to San Miguel Allende, situated in the far eastern part of Guanajuato. He exhibited his work in several collective exhibitions, where he showed his work alongside such prominent artists as painters and muralists Diego Rivera and David Alfaro Siqueiros. In 1951, Vlaud had his first solo exhibition; his flamenco-inspired technique of applying dry oil paints to surfaces by means of small strokes of a short brush were praised by critics and his fellow artists. During his eight year stay in San Miguel Allende, he received a gold medal for artistic merit from the University of Guanajuato.
In 1962, Emilio Baz Vlaud entered the Monastery of Santa María de la Resurrecion for the purpose of studying psychoanalysis. After several years, he abandoned these studies to return to his vocation as a painter. Although Vlaud is mostly know for his portraiture and scenes done before 1955, he also went through an intense period of abstraction during the 1970s. In 1984, his work was presented at a collective exhibition entitled “Siete Pintores (Seven Painters)” at the Palacio de Bellas Artes in Mexico City. Emilio Baz Vlaud died in 1991.
Emilio Baz Viaud, “Self Portrait as a Teenager”, 1925, Watercolor, Pencil and Dry Brush on Board, 60 x 39.7 cm, Private Collection
Emilio Baz Vlaud, “El Coco”, circa 1955, Oil on Masonite, 50 x 40 cm, Blaisten Collection
Emilio Baz Vlaud, “Self Portrait in Blue Shirt”, 1941, Watercolor, Pencil and Dry Brush on Board, 100 x 65.5 cm, Blaisten Collection, Mexico City
Robert Rauschenberg, “Self Portrait, Black Mountain (1)”, 1952, Gelatin Silver Print, 14.3 x 8.3 cm, Robert Rauschenberg Foundation
While studying at Black Mountain College in North Carolina between 1948 and 1952, Robert Rauschenberg focused his attention on mid-century experimental and abstract photography. His exploration of this medium was influenced by the works of photographer Aaron Siskind, whose detailed images created an innovation in abstract photography; Harry Callahan, a prolific photographer who rigorously curated his work; and educator and photographer Hazel Larson Archer, whose work captured life at Black Mountain.
Rauschenberg used a bold mixture of abstraction, double exposures, experiments with light and shadow, and used blueprint paper to produce photographs with a camera. Many of his earliest photographic experiments were portraits of close companions and people he met in conversations; these include artists such as choreographer and dancer Merce Cunningham and painter Cy Twombly.
A recurring subject of his experimental work was the self portrait, of which the double-exposure image above, “Self Portrait, Black Mountain (1)”, is an example. Shot in 1952, it features Rauschenberg seated on a wooden chair with his hands folded. Ghostly images of weeds and chairs are superimposed over his body.This photograph is a singular work in a portfolio edition of seven related photographs taken during the summer of 1952 at Black Mountain College near Asheville, North Carolina.
Born in Angers, France in 1958, Denis Dailleux is a portraiture photographer who has been documenting life in Egypt for the past thirty years. His works, done in classical black and white as well as in subtle colors, equally capture Egypt’s famous residents and the anonymous subjects in the slums of Cairo with the same passion and the same distinctive sensitivity.
Dailleux has published a series of photographic books, all of whichportray the settings and people of Egypt, the city of Cairo, and his impressions of the 2011 January Revolution in Egypt. After the publishing of his 2008 “Fils de Roi: Portraits of Egypt”, Dailleux took an exploratory trip to Sub-Saharan Africa in search of new sources of inspiration. This expedition led to a portrait series on the village residents in the country of Ghana.
Denis Dailleux has been awarded several international prizes, including the 1997 Monographies Award, the 2000 World Press Photo Award in the portraits category, the 2000 City of Vevey Hasselblad Award in Switzerland, and the 2001 Fuji Film Award given at Biarritz’s Festival Terre d’Images. Dailleux’s series “Egypt, Mother and Son”, portraits of Egyptian bodybuilders with their mothers, won second prize at the 2014 World Press Photo Awards in the staged portraits category.
Peder Severin Krøyer, “Hunters of Skagen”, 1898, Oil on Canvas, 85 x 139 cm, Private Collection
Peder Severin Krøyer, “Italian Field Laborers, Abruzzo”, 1880, Oil on Canvas, 124.3 x 186 cm, Funen’s Art Museum, Odense, Denmark
Born in July of 1851 in Stavanger, Peder Severin Krøyer was one of the foremost Impressionist painters from Denmark. After moving to Copenhagen at a young age, he began studying painting at the Royal Danish Academy, under realist portrait painter Frederik Vermehren. Kreyer completed his studies in 1870.
Krøyer had his first exhibition in 1871 at the Charlottenborg Palace, where he presented a portrait of his friend, painter Frans Schwartz. In 1873, he was awarded a gold medal for his work and also received a scholarship. Establishing a long-standing patronage, Danish art collector Heinrich Hirschsprung bought in 1874 the first of many paintings by Krøyer.
From 1877 to 1881, Peder Krøyer traveled throughout Europe where he studied, met artists and developed his skills at painting. Staying in Paris under the patronage of Hirschsprung, he studied under portrait and religious painter Léon Bonnat and exhibited his work in Denmark. Krøyer, during his stay in Paris, became acquainted with the works of the impressionists such as Edouard Manet, Camille Pissarro, Paul Cezanne, and Georges Seurat. Impressed with their work, he kept his palette light in tones and loosened his brushstroke.
Returning to Denmark in 1882, Krøyer became associated with the Skagen artist colony, a group influenced by the French Impressionists. The colony’s artists placed an emphasis on the effects of light and open-air scenes of local life. Krøyer divided his time between Copenhagen, where he continued his portraiture work, and Skagan, where he painted the artist colony and local landscape.
Peder Krøyer encountered painter Marie Martha Triepcke on a trip to Paris in 1888. They married in July of 1889 at her parents’ residence in Germany. Settled with his wife in the Skagen colony, Krøyer executed his first major oil painting, the 1888 “Hip Hip Hurrah! Artists Party at Skagen”. Inspired by a gathering at painter Michael Ancher’s residence, the painting depicts men and women toasting with champagne amid lush trees; gentle sunlight is seen being cast upon the participants and their table.
A champion of plein air painting, Krøyer is best known for his carefree images of life in Skagen. He was fascinated with the depiction of light; his main study was the depiction of the “blue hour”, that point as the day becomes evening when the sky and sea merge in the same tone of blue. Examples of this light depiction are the 1892 “Summer Evening at Skagen” and the 1893 “Summer Evening on Skagen’s South Beach with Anna Ancher ad Marie Krøyer”.
Over the last ten years of his life, Krøyer’s eyesight gradually failed him until he was totally blind. He painted almost to the end, even executing masterpieces while half-blind. One of his last important large-scale works was the 1906 “Midsummer’s Eve Bonfire on Skagen Beach”, now in the Skagens Museum. After many visits to the hospital suffering from bouts of mental illness, Peder Severin Krøyer passed away in Skagen at the age of fifty-eight in November of 1909.
Peder Krøyer achieved many prestigious awards during his lifetime, including induction into the Legion of Honor in 1888. The largest collection of Krøyer’s work can be found in the Skagens Museum; other museum collections include the Danish National Gallery, the Frederiksborg Museum, the Musée d’Orsey in Paris, the Philadelphia Museum, and the Royal Danish Academy in Copenhagen.
Insert Images: Peder Severin Krøyer, “Self Portrait”, 1897, Oil on Panel, 40.9 x 31.6 cm, Hirschsprung Collection, Copenhagen, Denmark
Peder Severin Krøyer,, “The Artist’s House”, Date Unknown, Oil on Canvas
Photographer Unknown, “Peder Severin Krøyer:, Date Unknown
Imre Szobotka, “Fiatalkori Onarckép (Self Portrait as a Young Man)”, 1912-14, Oil on Canvas, 45.5 x 38.2 cm, Hungarian National Gallery, Budapest
Born in Zalaegerszeg, Hungary, in September of 1890, Imre Szobotka was a painter and engraver. Between 1905 and 1910, he studied at Budapest’s Schoolof Design under painter Ignác Újváry. Szobotkatraveled to Venice in 1908 for a study trip and traveled to Rome in 1909, this time accompanied by his friend Ervin Bossámyl. He relocated to Paris in 1911, where he lived at the residence of avant-garde sculptor and graphic artist József Csáky, one of the first Parisian sculptors to apply pictorial Cubism to his art.
Szobotka attended the 1911 Independent Salon in Paris, where he viewed the works of the Cubist painters. Inspired by their work and with the encouragement of his friend, the Cubist painter József Csáky, he enrolled at the La Palette School of Art in 1912, where he studied under Cubist painters Jean Metzinger and Henri Le Fauconnier. By the spring of 1913, Szobotka’s works, exhibited in the Independent Salon, were already noticed by the French critics, including writer and critic Guillaume Apollinaire.
During World War I, Imre Szobotka was interned as a prisoner of war, starting in 1914 in Bretagne and later, at Saint Brieuc, France, until his release in 1919. The landscapes, still lifes, and portraits made in the internment period were experiments in cubism, symbolism, and orphism, a cubist offshoot that focused on abstraction and bright colors. These works, rare examples of Hungarian Cubism,included his 1914 “Pipe Smoker”, the 1916 “Sailor”, and watercolor illustrations he produced for poet Paul Claude’s “Revelation”.
After his return to Paris in 1919, Szobotka’s paintings contained a more naturalistic expression. He exhibited this new work first in 1921 in Belvedere, a commune in the Vesubie Valley north of Nice, and, between 1929 and 1944, in shows at the Tamás Gallery, the Fränkel Salon, and the Mária Valéria Street gallery. The solid, defined construction of these landscape works by Szobotka insured him a place among the Nagybánya artists, whose work was focused on plain-air painting.
Imre Szobotka was a founding member of Képzőművészek Új Társasága, the New Society of Fine Artists, and presented his work in its exhibitions. For his 1929 “Mill in Nagybánya”, he won the landscapeaward presented by the Szinyei Society, an artistic association founded after painter and educator Pál Szinyei Merse’s death to promote new artists. Szobotka would later enter the “Mill in Nagybánya” at the 1938 Venice Biennial. In 1941, he won the Szinyei Society’s grand award for his exhibited work.
From 1945 onward, Szobotka produced some graphic work; however, his main concentration was on his landscapes. He spent his last summers in the countryside near the village of Zsemmye where he painted pastoral landscapes. Szobotka became president of the painting division of the Fine and Applied Arts Alliance in 1952. For the body of his work, he received the Munkácsy Award in 1954 and the Socialis Work Order of Merit in 1960. Imre Szobotka died in March of 1961, at the age of seventy, in the city of Budapest.
Imre Szobotka’s “Self Portrait as a Young Man” is one of the key creations of his Parisian years. It shows his embrace of the elements of cubism, particularly the coloring and abstraction of its orphism branch. The main emphasis of the work is not the formal structure with its conventionally postured figure, but rather the way the light breaks its components into prisms of color. Szobotka emphasized his sense of light value and his translucent colorization to form a refined play of reflections, which cut the painting’s solid forms into colored shards.
Imre Szobotka, “Sailor”, 1916, Oil on Canvas, 35 x 29 cm, Janus Pannonius Museum, Péca
Imre Szobotka, “Gathering Apples”, 1930, Oil on Canvas, 55 x 76 cm, Henman ottó Museum, Miskolc
Imre Sobotka, “Self Portrait”, 1912, Oil on Cardboard, 53 x 45 cm, Private Collection
Born in December of 1883 in Novara, Felice Casorati was an Italian artist known for his sculptures and paintings, which were rendered from unusual perspectives and often featured obscure symbols. He spent his formative years in the northeastern city of Padua where he developed an interest in literature and music. Casorati studied law at the University of Padua, graduating in 1906, and frequented the atelier ofpainter and sculptor Giovanni Viannello.
Casorati began painting in 1902; his earliest paintings were influenced by the symbolism of the Vienna Secession, a movement, closely related to Art Nouveau, which sought to unite all the disciplines of art into one movement. These early works of Casorati were exhibited at the 1907 Venice Biennale. Casorati’sadherence to symbolist ideals was reinforced after meeting and seeing the work of Austrian painter Gustav Klimt, one of the founders of the Vienna Secession, at the 1910 Vienna Biennale.
Felice Casorati spent the years between 1908 and 1911 in Naples, where he often visited the Museo di Capodimonte and viewed the work of Pieter Bruegel the Elder, the Dutch Renaissance painter whom he particularly admired. Casorati relocated to Verona in 1911, where, along with poet and engraver Umberto Zerbinati and painter and graphic artist Pino Tedeschi, he founded the periodical “La Via Lattea (The Milky Way)”, for which he executed several symbolist woodcuts. For a brief period between 1914 and 1915, he abandoned his secessionist style and made expressionist woodcuts in the manner of Tuscan artists, such as Lorenzo Viani and Moses Levy.
Casorati’s first solo exhibition of his symbolist-influenced work was at the 1915 Secession III show held in Rome. Before being drafted into the Italian Army in 1915, he also executed his first sculptures in varnished terra cotta, a medium also favored by his friend, the sculptor Arturo Martini. After the end of World War I, Casorati settled at Turin in 1918 and became a prominent figure in the intellectual and artistic circles, including the conservative Return to Order movement which called for the rejection of the avant-garde in favor of a more traditionalist approach.
In Turin, Felice Casorati established friendships with composer and pianist Alfredo Casella and with the anti-fascist, political activist Piero Gobetti, who founded in February of 1922 the weekly magazine “De Rivoluzione Liberale”. Casorati supported the magazine and Gobetti , in return, championed Casorati’s work in Marxist writer and journalist Antonio Gramsci’s weekly newspaper, the “Ordine Nuovo”. Due to his radical associations, Casorati was arrested with an anti-Fascist group by the authorities for a brief period in 1923 and, subsequently, avoided antagonizing the regime.
The work Casorati produced in the 1920s was radically different from his pre-war work, which he now considered to be immature. The figures in his new work were solidly constructed and set securely in spaces organized by linear perspective theories established in the Italian Renaissance period of the fifteenth-century. Casorati was alsoinfluenced by Italian painter Andrea Mantegna’s work with its dramatically foreshortened figures, and the work of painter Piero della Francesca, known for his mathematical treatises and geometrically-composed paintings.
In 1922, Felice Casorati painted what is considered his most famous work “Silvana Cenni”, a portrait inspired by the work of Piero della Francesca, which features a stern woman in a seated, symmetrical,frontal view positioned in front of an open window. This tempera work on canvas, composed of carefully rendered volumes, became an iconic portrait of the traditional and period art of Italy which is now known as Magical Realism.
Beginning in 1923, Casotati opened his atelier to young art students in Turin, many of who would form Torino’s Group of Six, and emerging artists such as self-taught artist and writer Quinto Martini. He was also the co-founder of the Antonio Fontanesi Fine Arts Society, which organized exhibitions of both nineteenth-century and contemporary Italian and foreign art. Casorati was appointed a Professor of Interior Design in 1928 at Turin’s Accademia Albertina, a post he held until appointed as its Chair of Painting in 1941.
Felice Casorati was commissioned by his patron, Turin industrialist Ricardo Gualino, to work with architect Alberto Sartoris on the Piccolo Teatro in Milan and other decorative works. Casorati also designed costumes and sets for Milan’s Teatro alla Scala and the Maggio Musicale, the annual arts festival in Florence. Once again working with Sartoris, hedesigned a building for part of the Piedmontese Pavilion at the 1927 International Biennale in the city of Monza. Casoratiexhibited his work widely throughout Italy and won the First Prize at the 1939 Venice Biennale.
The majority of Casorati’s later paintings were done in a softer palette witha more gentle perspective. He produced over one hundred-fifty prints in his lifetime, in which he experimented with a variety of techniques that incorporated slate, papyrus and terra cotta matrixes. The simplified mannequin-like figures, which featured in Casorati’s prints of the late 1920s, remained in his etchings, linocuts, and lithographs for the length of his career.
Felice Casorati passed away on March 1, 1963. Most of his important works are in Italian private and public collections, including Trieste’s Modern Art Revoltella Museum andRome’s National Gallery of Modern Art. Museums holding Casorati’s art in their collections include the British Museum, the Metropolitan Museum of Art in New York, and the Musrum of Fine Arts in Boston, among others.
Enrique Toribio, Red Series, Limited Edition Series, Model Unknown
Enrique Toribio is a Spanish photographer who currently lives and works in Madrid. He studied Design at Madrid’s School of Arts and Crafts and later earned a degree in Industrial Pattern Design. Since the mid-1980s, Toribio has been involved in couture costume design for theatrical productions of work byChekhov, Ibsen, and Tennessee Williams. He has also designed costumes for cabaret and dance productions, both Spanish and classical.
Beginning in 2003, Toribio has concentrated on his photography with an emphasis in figurative and portraiture work. Particularly interested in the aesthetic treatment of body and facial expressions and textures, he endeavors to recreate the appearance of mid-twentieth century photography with the use of digital technology.
Enrique Toribio has participated in several international photography exhibitions, including the Second Great LGBT Photo Show at Leslie & Lohman in New York City, and multiple exhibitions in Spain, including “ABRAZOS” at the Museum of Contemporary Art Conde Duque in Madrid. He has received recognition for his work at Argentina’s FotoRevista competitions in both 2017 and 2018, and received Third Prize at FotoRevista in February of 2018. Toribio’s work has also appeared in several digital photographic magazines and has been included in Joris Buiks’ 2011 phtotographic anthology “Turnon: Tattos”, published by Bruno Gmunder.
Born in Granada, Spain, in February of 1887, Gabriel Morcillo Raya was a painter and teacher. His oeuvre is composed mainly of figurative works and landscapes influenced by Orientalism, a movement which was particularly influential in Spain, due to Spain’s exceedingly dense and complexrelations with Islamic culture.
Gabriel Raya initially studied painting under the tutorage of his aunt Paquita Raya. He later attended Granada’s School of Fine Arts, where he studied under landscape and genre painters Miguel Vico Hernández and José de Larrocha González. In 1907, Raya relocated in Madrid to continue his studies under Valencian painter and illustrator Cecilio Plá y Gallardo: however, due to financial reasons, he was impelled to return to his hometown of Granada. In 1910, Raya received a grant from the Granada Provincial Council which enabled him to travel back to Madrid for further studies.
Raya exhibited his work during his years in Madrid and earned in 1912 an honorable mention for the work he presented at National Exhibition of Fine Arts. In the same year, he was appointed director of the Residence of Painters of the Alhambra. Two years later, Raya returned to Granada and, in 1918, was awarded a scholarship to the Academy of Painting in Rome, which he did not accept. His work began to challenge the pictorial content of the time with its more concrete detail and use of movement and color.
In 1925, Gabriel Raya became an academician of the Royal Academy of Fine Arts of San Fernando, Granada’s Royal Academy of Fine Arts, and the Royal Academy of Fine Arts at San Telmo. He accepted the position as Professor of Decorative Painting and Natural Figure in 1927 at Granada’s School of Arts and Crafts, where he influenced several generations of local artists, among whom was the painter José Guerrero whose later workbecame known for its chromatic masses of color, and Miguel Pérez Aguilera, whose development of his own pictorial language played an important role in contemporary Spanish art.
Raya had his first exhibition of his orientalist works in 1944 in Granada and achieved great success at exhibitions held in Buenos Aires, New York City, and Venice, Italy. During the period from1955 to 1960,he traveled to Madrid to paint portraits of Francisco Franco and his wife, and Admiral Carrero Blanco and other members of Madrid’s high bourgeoisie. Raya received the Silver Medal of the Red Cross, a decoration for those people whose voluntary actions supported the Spanish Red Cross, and, in 1951, the Grand Cross of the Order of Alfonso X the Wise for merit in the field of culture.
Gabriel Morcillo Raya passed away in Granada in December of 1973, at the age of eighty-five. Several of his works, including the 1916 “Dwarf El Puerto Real”, can be seen in the collection of Granada’s Museum of Fine Arts.
Herbert List was a classically educated artist who combined his fascination withSurrealism and Classicism with his love for photography. His austere, classically posed black and white compositions, particularly his Greek and Italian homoerotic nudes, became a prominent influence on both fashion and contemporary photography.
Born in Hamburg, Germany, in October of 1903 to a wealthy business family, Herbert Liststudied art and literature between 1921 and 1923 at the University of Heidelberg. In 1923, he began to travel for the family’s coffee business, Kaffee-Import Firma List & Heineken. List made contacts and visited plantations in Costa Rica, Guatemala, Brazil and El Salvador; during this four year period, he began to record his travels photographically.
Through his connections to the European avant-garde, List became associated withAmerican photographer Andreas Bernhard, known for his dynamic black and white city scenesand natural structures. Bernhardintroduced him to the Rolleiflex camera which allowed for more sophisticated compositions. Beginning in 1930, influenced by the Bauhaus artists andthe emerging surrealist movement, List began photographing still life and portraits of friends, often employing draped fabrics, masks, and double exposures.
Once the National Socialist Party was in control of Germany, the Gestapo began to pay attention to Herbert List’s openly gay lifestyle and Jewish heritage. In 1936, he left Germany for Paris and decided to begin a professional career as a photographer. During 1937 List maintained a studio in London and held his first solo show at Galerie du Chasseur d’Images, the first Paris gallery dedicated to photography.Starting in 1936 with a reference from fashion photographer George Hoyningen-Huene to Harper’s Bazaar magazine, List began a three year period working as a fashion photographer for various magazines, including Verve, Vogue, and Life.
Dissatisfiedwith fashion photography, List returned to his still life and portraiturework. He traveled throughout Greece from 1937 to 1939 where he took photographs of ancient temples, sculptures and landscapes; two hundred of these photographs would be published in his 1953 “Licht Über Hellas: Eine Symphonie in Bildern”. During this time, List supported himself with work for magazines and the press, and by doing portraiture work.
Working in Athens, Herbert List hoped to escape World War II; however, when troops invaded Greece, he was forced in 1941 to return to Germany, where, due to a grandparent’s Jewish heritage, he was denied the ability to work or publish professionally. Near the end of the war in 1944, despite his Jewish heritage, he was drafted into the German military and served in Norway as a map designer. A trip to Paris during his military service allowed him the opportunity to photograph images of Jean Cocteau, Pablo Picasso, Georges Braque, Jean Arp, Joan Miró, and other artists.
After the war, List continued to live in Munich until 1960, where he photographed its ruins and produced freelance photo essays for newspapers and magazines such as Look, Picture Post, Heute, and Harper’s Bazaar. List was made art editor in 1948 for the Swiss-German language, daily free newspaper Heute, which was published by the Allied Forces. In 1951 through an invitation by photojournalist Robert Capa, he started contributing photographs to Magnum, an international photographic cooperative.
Through the next decade Herbert List focused his interest on photographing life in Italy. where he shot photo essays, street scenes, architectural views, and portraits using a 35 mm camera and a telephoto lens. His work became more spontaneous and was influenced by the Italian neorealist film movement and the work of his Magnum colleague Henri Cartier-Bresson. List ’s travels for his photographic work was extensive, including trips to Spain, France, Mexico, and the Caribbean.
List’s publications include “Rom”, a collection of his work in Rome, published in Munich in 1950:“Caribia”, his Caribbean Island series published in 1958: “Nigeria”, published in 1963; and “Napoli”,a 1962collaboration with Italian director Vittorio de Sica. List is best known for his1988 book “Junge Männer”, a collection of seventy images of young men lounging in the sun, wrestling, or gazing at the camera. The introduction of the book was written by English novelist Stephen Spender, who fictionalized List as Joachim Lenz in his novel “The Temple”.
Herbert List passed away in Munich on the 4th of April in 1975. His archive of photographs, originally part of the Ratjen Collection, is now housed in the National Gallery in Washington DC. His work is held in many private and public collections, including New York’s Metropolitan Museum of Art, Boston’s Museum of Fine Art, Kunsthaus Zürich, Cologne’s Museum Ludwig, Munich;s Stadtmaueum, and the Musée Picasso in Paris.
Herbert List, “Self Portrait, Herrsching”, 1947, Silver Gelatin Print
Herbert List, “Man and Dog”, 1939, Gelatin Silver Print
Photographer Unknown, “Herbert List and Max Scheler, Venice”, 1952, Silver Gelatin Print, Mas Scheler Estate
Herbert List, “Young Man Under Reed Roof, Torremolinos”, 1951, Gelatin Silver Print
Born in 1953 in London, Chris Plytas is an established contemporary visual artist whose work covers the psychology of self-image and identity. His photographic portraiture works have been admired often for their way of unearthing the primal and sensual core of their subjects, and the way they sometimes straddle the borderline between beatific innocence and animal rage.
From 1974 to 1977, Plytas studied fine art, painting and sculpture at St. Martins School of Art in London and earned a BFA with honors. After graduation, he developed his darkroom skills on landscape and portraiture photography.Plytas alsodid reportage photography for publications, in which he coveredevents such as night clubs, concerts, fashion shows, the Royal Wedding, and the Cannes Film Festival.
During the period form 1977 to 1985, ChrisPlytas did photographic printing, layouts, and personal design realization in London for Vivienne Westwood, the English fashion designer largely responsible for bringing punk and new wave fashions into the mainstream.In 1982, he became Director of Berwick Universal Pictures, Limited, an award-winning documentary film company based in Soho, London.Starting in 1985, Plytas began concentrating on his own personal, black and white, fine art photography, shot with Hasselblad cameras, for exhibition and personal archives.
Chris Plytas’ first series, entitled “Australia”, was shot over a six month period mostly in the New South Wales and Victoria provinces of Australia. This large body of work, consisting of landscape and portraiture, was exhibited in 1987 at London’s Photographers Gallery and toured Europe for six years with support from Fonds National d’Art Contemporain, a public collection of France’s contemporary art.
Starting in 1987, Plytas engaged in a six-year shoot for his series “Hadrian: The Violence and Sexuality of Adolescence” series, a coming of age story shot in real time. His next series “Le Corps Enjeux (The Body)” was shown as part of the Mois de la Photo exhibition, sponsored by Audiovisuel and Kodak,held in Paris in 1988. Plytas spent a year from 1992 to 1993 in the Xi’an and the Yannan regions of China, where he shot his “China: Voyage to the East” portfolio, a series which he dedicated to Sun Wukong, the trickster Monkey King.
Known for his exhibited photographic series, Chris Plytas began to receive commissions for portraiture work. His “Family Portraits” series was commissioned by the De Ganay Archives and, at present, consists of forty-eight individual portraits of members of the French aristocratic family. He has also received portraiture commissions from variousother Europeanand American families
After shooting his “Miami Beach” series in1994.Plytashas continued working, throughout his career, on multiple personal portfolios, some of which have been exhibited and published. These include his “The Burden of Classicism”; “Nature and Nurture”; “Youth: A Retrospective” shot in Italy; “Beach-Scapes” shot inItaly and Sicily; a series entitled “Allegorical Portraits”; and “Blood Ties”, a portfolio documenting family member connections.
In addition to his participation in numerous group exhibitions, Plytashas shown his work in solo gallery exhibitions, includingParis’ Galerie PONS in 1995, Paris’ Galerie Serge Aboukrat in 2000, a 2002 exhibition in Italy entitled “Frascati Doc”, an exhibition project at the Chateau de Courances in France in 2004, and in 2015 a Paris exhibition entitled “What is Erotic?”.
Chris Plytas’ work is available in limited editions and custom portfolios. Private individual or family portraits can be commissioned. His website is located at: https://www.chrisplytas.com/index
Chris Plytas,, Title Unknown (Slogan on Wall), 1992-93, China, Voyage to the East Series, Silver Gelatin Print
Chris Plytas,, “Boy and Girl Entwined”, 1986-2003, The Body Series, Silver Gelatin Print
Born in East Berlin of the German Democratic Republic in 1964, Andreas Fux is a photographer whose body of work focuses on how the human individual evolves into his own artistic creation. He belongs to the Prenzlauerberg photo artist scene, which documented the last decade of the German Democratic Republic.
Andreas Fux initially trained from 1980 to 1982 as an electrician. In 1983, he began his own sstudy of the process and techniques of photographic work. During the years between 1983 and 1988, Fux exhibited his photographs in private gallery spaces. His first published works appeared in a 1988 issue of Das Magazin, a monthly East Berlin magazine that focused on culture and lifestyle. Working as a freelancer, Fux provided the publication with black and white photographs covering Berlin’s punk and youth culture.
In 1989, Fux worked on photo productions for Deutsche Film-Aldiengesellschaff, the state-owned film studio of East Germany. Since 1990, he has been working as a freelance photographer for various newspapers and magazines, as well as executing his own photographic projects. In 1992, Fux’s first solo photographic book was published entitled “The Russians”; it was a supplement to his solo exhibition, of the same name, at the Janssen Gallery in Berlin, a show which later traveled to Hamburg and Munich.
Andreas Fux gained a wider audience for his work with the 2005 series “The Sweet Skin”, which covered a decade of works between 1995 and 2005. For this series of portraits which focused on tattoos and skin scarification; he followed the lives of his models, with daily documentation and night shoots in his studio. Against a mostly white background and in the silence of the photo studio, nude photographs of his models were taken, in which the contrast between intimacy of the body and clinical sterility of the room was exaggerated. In another series entitled “At the End of the Night”, whose topic was body culture, the nude, and sexuality, Fux posed his subjects against a black background with a selective light source that modeled and fragmented the models sculpturally.
Fux’s 2001 series “The Horizonte” is reminiscent in its formality of the 1980s “Seascapes” series done by Japanese photographer and architect Hiroshi Sugimoto, in which Sugimoto bifurcated the landscape images exactly in half by the horizon line. At the beginning of September 2001, Fux travelled across the North Sea on board a Ukrainian training sailboat. For this series, he celebrated the beauty of the horizon as an interaction between sea, clouds and light. The images of “The Horizonte” series were seen by the critics as an expression of calm and innocence. For his 2010 series “Kerberos and Chimaira”, Fux staged his motifs in a wind tunnel at Berlin-Adlershot. Using the strict compositions of expressionism and the aesthetic codes of the latex and fetish scene, his series examined a dangerous and often not considered proximity between the erotic picture codes of fetishism and the aesthetics of National Socialism.
For his 2016 exhibition “Shame and Beauty”,Andreas Fux opposed new portraits with a selection of older works, a combination which showed the development of his oeuvre over the years. His new work preserved the almost tender and respectful handling of his subjects found in his early works. The photographic sessions in which he bathed his models in soft light took an entire night, were meticulously planned, and took place in a highly sensitized atmosphere. This Berlin show contextualized the discussion on governmental and social repression and persecution; the works in this show had previously been exhibited by Fux in Moscow in September of 2015 under rather adverse conditions.
Andreas Fux has had solo exhibitions in Germany and abroad, including the Widmer and Theodoris Gallery in Zurich, the Photo Festival in New York, the Esther Woerdehoff Gallery in Paris and the Pasinger Fabrik Gallery in Munich.
A collection of Fux’s photo work from Berlin can be found at: https://andreas-fux.berlin
Raised in Reno, Nevada, Franz Szony is a writer and photographic artist whose main body of work, both in its fine art and commercial forms, embraces conceptual portraiture.
After finishing his primary education in 2014, which included art classes at an early age, Szony relocated to San Francisco where he attended the Academy of Art. At the academy, he initially studied fashion and illustration, and, later. focused on photography. After learning the technical aspects of photography, Szony returned to his hometown of Reno where, as a freelance artist, he photographed different advertisement campaigns for newspapers, theaters, and several casinos. He exhibited his own work in a small gallery he created and hosted monthly nude drawing workshops in that space.
Szony moved to Los Angeles in 2012 and settled in the Brewery Artist Loft complex, an industrially zoned area where artists rent living and working space. Inspired by the area’s creative energy, he photographed campaigns for perfume and fashion brands, created album covers, and did creative photographic work for companies, including Disney and Warner Brothers.
Influenced by illustrators such as Marc Davis and Erte, and, at an early age, by the extravagant stage shows of Reno’s casinos, Franz Szony’s conceptual portraiture work is lush both in its color and settings. His images are presented ambiguously in time and place, and androgynously in character. Szony’s photographs often contain symbolic or mythological elements and convey psychological, political, and sexual identity messages to the viewers.
Franz Szony is also a songwriter who has produced several music videos in which he has incorporated his poetry and visual art. Shot over a period of three days, his music video, “Petunia”, based on several of his photographic pieces, was released in 2018. Other music videos by Szony include “La Petite Mort”, “Antibeige”, and “Pansy”, also released in 2018; and “What You Seek” and “Surrender Dorothy”, both released in 2020.
Szony had solo exhibitions at Reno’s Sierra Arts Foundation in 2015 and at Hollywood’s World of Wonder Gallery in 2019. His work is included in many private collections. Franz Szony’s website is located at http://www.franzszony.com
William Orpen, “Self Portrait on Cliff Top in Howth”, cica 1910, Black Charcoal and Gouache, 50.5 x 36.5 cm, Private Collection
Born in County Dublin in November of 1878, William Newenham Montague Orpen was an Irish draftsman and portrait painter of London’s wealthy Edwardian society. A talented figure of British-Irish Post-Impressionism, he was the youngest son of wealthy, amateur painters and a gifted student who learned rapidly from a succession of celebrated tutors.
William Orpen was enrolled at the Dublin Metropolitan School of Art in 1891, where he studied from 1892 to 1896.He continued his studies at London’s Slade School of Art between 1897 and 1899, under figurative painter Henry Tonks, landscape painter Philip Wilson Steer, and genre and portrait painter Frederick Brown. Having mastered oil painting and different painting techniques, Orpen’s work, during his six years of study, received many prizes including the British Isles gold medal for life drawing.
Upon graduation from the Slade School, Orpen, along with his fellow graduate, Welsh painter Augustus John,opened in the autumn of 1903, the Chelsea Art School, a private teaching studio, near King’s Road in Chelsea. Although it was meant as a joint venture, most of the teaching and running of the school was undertaken by John, with Orpen’s chief contribution being a series of lectures on anatomy. Both male and female students were admitted to the school but, despite John’s own bohemian lifestyle, the sexes were segregated for the Life classes. The project was not a success, and, after the waning of both’s interest, the school closed in 1907.
From 1902 to 1915, William Orpen, in addition to his classes at the Chelsea School, taught at the Dublin Metropolitan School of At, where his pupils included portrait painter Margaret Clarke,romantic-realist painter John Keating, and cartoonist Grace Gifford. In the summer of 1904, he and his friend and mentor, the gallery director and art dealer Hugh Lane, traveled to Paris and Madrid. Orpen guided Lane on the purchase of Impressionist works, and Lane, several years later, commissioned Orpen for a portrait series of notable Irish figures to be displayed at Dublin’sMunicipal Gallery of Modern Art. In 1908, Orpen began exhibiting his work regularly at London’s Royal Academy;the work in this period was done in a distinctive open-air style that featured figures composed of touches of color.
Starting in 1912, Orpen began his successful career as a portrait painter with a series of portraits of his favorite model, Vera Brewster Hone, the wife of writer Joseph Hone. This series, of such quantity that Orpen numbered them instead of naming them, included the 1912 “The Angler” and the 1918 “The Roscommon Dragoon”, which portrayed Vera Brewster wearing a Dragoon uniform. With the support of painter John Singer Sargent, Orpen built a reputation, in both Dublin and London, as a fashionable portrait painter who presented his subjects in a traditional, polished style. He also painted several group portraits, a popular genre at the time, which include the 1912 “The Cafe Royal in London”, depicting Orpen and Augustus John,and the 1909 “Homage to Manet”, with the subjects, including Hugh Lane and Henry Tonks, assembled before Manet’s portrait of Eva Gonzales.
In December of 1915, as World War One commenced, William Orpen was commissioned into the Army Service Corps. In January of 1917, through connections with the senior ranks of the British Army, he was given the title of an official artist, which included a promotion to major and unrestricted access to the Front areas in France. Throughout the war years, Orpen painted battle locations, trench scenes, and many portraits of both enlisted men and officers. For his work in this period, he stopped using half-tones and half-shades and adopted a new palettes of colors, with weak purples,bright greens, and large white spaces of sunlight. Many of these war artist works are in the collection of the Imperial War Museum in London.
Both before and after the war, Orpen produced a number of realistic self-portraits. in which he used his skills as a draftsman to resolve the challenges of surface, lighting, and reflection that he set for himself. His 1910 “Myself and Cupid” was actually a painting within a painting; in this portrait, Orpen painted a table top beyond which was hung a portrait of himself sitting next to a statue of Cupid. Orpen’s 1910 self portrait, known as “Leading the Life in the West”, shows him reflected full-length in a mirror in his studio, wearing a bowler hat and holding gloves and a riding crop. An IOU note is tucked in the frame of the mirror, a testament to the pleasures and distractions of his early career. In Orpen’s 1917 self-portrait “Ready to Start”, painted shortly after his arrival in France, Orpen is inspecting himself in the mirror wearing his military uniform. The French postcards and papers on the desk in the foreground set the scene of wartime France, while the bottles of wine and spirits reference Orpen’s dependence on alcohol during the war.
William Orpen’s life after the war was never the same: he became an alcoholic, grew distant from his wife and family, and mostly painted only to support the lavish lifestyle he took up in Paris with his mistress. Despite his personal problems he was still successful and continued to exhibit widely. Orpen was made a member of the prestigious Royal Academy in 1921 and, in 1923, he received a commission to paint a portrait of Edward, Prince of Wales, for the Royal and Ancient Golf Club of St. Andrews. In 1927 he was commissioned for a portrait of Prime Minister David Lloyd George, which was posthumously entered into the National Portrait Gallery. Orpen’s work was also part of the painting event at the 1926 Summer Olympics in Amsterdam.
Orpen became seriously ill in May of 1931, and , after a period of alcohol-induced illness and memory loss, died in London, at the age of fifty-two, in September of 1931. His contribution to the teaching of Irish art has always been recognized as he helped to nurture and influence Ireland’s most important painters of the twentieth-century.William Orpen is buried at Putney Vale Cemetery in southwestern London; a commemorative stone is located in the Island of Ireland Peace Park at Messines, Belgium.
Insert Images Top to Bottom:
William Orpen, Self Portrait, 1913, Oil on Canvas, 122.9 x 89.9 cm, Saint Louis Art Museum
Sir William Orpen, “Self Portrait”, circa 1901, Colored Chalk on Dark Gray Paper, 15.5 x 10.9 cm, Private Collection
William Orpen, “Self Portrait (Ready to Start)”, 1917, Oil on Panel, 60.8 x 49.4 cm, Imperial War Museum, London
The Black and White Photography of Leonardo Corredor
Born in Mérida, Venezuela, and based in New York City, Leonardo Corredor is a photographer and art film director. Before his photography career, he was professional model, named Best Venezuelan Model in 2007. Since his first appearance as an actor in 2010, Corredor has appearred in several acting roles on television series, including “Control Remoto”, “Dum Dum”, and “La Merienda”. He has also hosted Telemundo’s show “Invasion Casera”.
In 2012 Corredor became a creative director and fashion photographer for webzines, print magazines and fashion advertisers, including Essential Homme, Man About Town, Rollercoaster Magazine, Portrait, Fashionably Male, and Solar Magazine, among others. He is represented by The Industry MGMT, a artist and model management agency, focused on still and motion photography, with offices in New York and Los Angeles.
Glyn Warren Philpot, “A Young Breton”, 1917, Oil on Canvas, 127 z 101.6 cm, Tate Museum, London
Best known for his portraits of contemporary figures, Glyn Warren Philpot was a British painter and sculptor. Born in Chapham, London in 1884, he began studies at the Lambeth School of Art in 1900, under landscape painter Philip Connard. Philpot later studied at the studio of painter and sculptor Jean-Paul Laurens at the Académie Julian in Paris.
In 1904 one of Philpot’s paintings was included in the Royal Academy’s annual Summer Exhibition and this led to his first portrait commission. By 1911, he was living and working in a studio flat in London and had become successfully established as a society portrait painter. Painting up to dozen portrait commissions a year, Philpot was able travel in Europe and America, where he absorbed the modernist influences of portraits by Diego Velázquez, Edouard Manet, andFrancisco de Goya, among others.
Following his conversion to Catholicism in 1905, Glyn Philpot explored religious and spiritual subject matter throughout his career. After a visit to Florence and central Italy for the first time in the early 1920s, his production of religious-inspired paintings increased significantly. Philpot also produced narrative scenes that were less formal and done with looser brushwork. Some of these show the influence of the French Symbolist movement, which was disseminated throughout the European art forms at this time. These more personal works of Philpot were shown in 1910 at his first solo exhibition in London, however, these worksreceived far less critical acclaim than his portraits.
Despite his conversion to Catholicism, Philpot’s interests in the male nude and portraits of young men show a gradual expression of his own homosexuality. A trip to Berlin in the autumn of 1931, where Philpot confronted both the shocking rise of Nazism and the sexual openness of the city, encouraged him to be less secretive about his own homosexuality. This trip further contributed to his belief in the need for a change and a new openness in his art. At an exhibition in 1932, Philpot showed transparently homoerotic portraits of Julien Zaïre, a Parisian cabaret artist, and Karl Heinz Müller, a young German man who had been Philpot’s companion in Berlin.
After the start of World War I, Glyn Philpot joined the Royal Fussiliers and, in August of 1915, attended a training course at Aldershot, known as the home of the British Army. There he met Vivian Forbes, a fellow soldier and aspiring artist.. In 1917, as officers, they were independently invalided out of the army and, together, they shared a home and studio at Lanstown House in London between 1923 and 1935. Formerly a business man in Egypt, Forbes, with encouragement from Philpot, became an artist and later exhibited at the Royal Academy and elsewhere throughout the 1920s. Although he was talented, charming and devoted to Philpot, Forbes demonstrated increasing emotional instability, within which he became insanely jealous of Philpot’s other friends and liaisons. Despite the tumultuous nature of the relationship, Philpot never disowned him and found inspiration in their relationship.
Philpot lived in Parisfor a year in 1931, at a time when modernism was at its beginning. His exposure to modern art in Europe had an impact on Philpot’s work and influenced the change in style that characterized his early paintings in the 1930s. His “Acrobats Waiting to Rehearse”, painted in 1939 with monochromic light pink hues and contemplative mood, is similar in style to Picasso’s work of his Rose Period. Philpot was also acquainted with the art of Henri Matisse, whom he had met in 1930 when both were on the jury at the Carnegie International Competition, where Picasso was awarded first prize.
On visits to America and Paris, Glyn Philpot frequented jazz clubs and made sketches and painted portraits of black men. At a time when few portraits of black men were painted by white artists, Philpot’s paintings and drawings display empathy and sensitivity towards his sitters. In 1929,he met Henry Thomas, a Jamaican man who had missed his boat home, and became a steady companion and aide until Philpot’s death. Starting in 1932, Thomas would sit as the model for all of Philpot’s paintings of black men.
During the 1930s Philpot suffered from high blood-pressure and breathing difficulties. He passed the summer of 1937 in France where he spent time with Forbes. On December 18th,Philpot collapsed suddenly in London and died of a brain hemorrhage. Vivian Forbes returned from Paris in a highly distressed state to attend Philpot’s funeral at Westminster Cathedral on December 22. The following day he took his own life with an overdose of sleeping pills. Glyn Warren Philpot is buried in a pink granite tomb in St. Peter’s Churchyard, Petersham, in west London. The burial site of Vivian Forbes is unknown.
Note: In regards to Glyn Philbo’s 1917 painting “A Young Breton”, there is another picture of the same young man, full face, entitled ‘Guillaume Rolland, a Young Breton’, in the Art Gallery of Toronto, Canada. This painting most likely was painted about the same time as the Tate image, shown above.
Inser Images From Top to Bottom:
Glyn Warren Philpot, “Portrait of Henry Thomas”, Date Unknown, Private Collection
Glyn Warren Philpot, “Resurgam (Again)”, 1929, Oil on Canvas, 86 x 89 cm, Private Collection
:Glyn Warren Philpot, “The Man in Black”, 1913, Oil on Canvas, 76.8 x 69.2 cm, Tate Museum, London
Glyn Warren Philpot, “Portrait of Vivian Forbes”, Date Unknown, Oil on Canvas, 146 x 97 cm, Private Collection
George Washington Lambert, “The Half-Back (Maurice Lambert)”, 1920, Oil on Canvas, 76.2 x 61 cm, Art Gallery of South Australia, Adelaide
Although “The Half-Back (Maurice Lambert)” is a portrait of an individual, Australian painter George Lambert intended it to be seen as a general type of portrait, and thus gave it a generalized name. He originally exhibited it as “Young Man in a White Sweater” in 1920 atLondon and, in the following year, at the Pittsburgh International. He later gave this portrait of his son Maurice, then an eighteen-year old sculpture student, a more athletic title, “The Half-Back”.
Lambert presented his son with a sensuous and powerful presence, typical of a matinee idol. This resulted from Lambert’s depiction of the sultry eyes, the dark brushed-back hair, the pouting expression of the mouth, and the subject’s white sweater, with the raised collar’s emphasis on the nape of the neck. Silhouetted against a plain blue background, the subject’s head and torso, composed of thin layers of paint to create a flat, matte surface,are the focus of the painting.
Born in Paris in 1901, Maurice Lambert was the eldest of two children of George Lambert and Amelia Absell; the other child was a daughter Constant, born in 1905, who became a composer and conductor. Maurice Lambert studied sculpture under Derwent Wood at London’sRoyal Academy and also attended Chelsea Polytechnic. He is known mostly for his public sculptures.
Considered one of the new group of British sculptors, Maurice Lambert’swork in the late 1920s and 1930s was radical in his experimental use of materials. The wide range of his materials was evident in his 1929 “New Sculpture” exhibition, where he showed work made from African hardwood, alabaster, Portland stone, marble and metal. At the time his father painted this portrait, Maurice Lambert was still studying sculpture at the Royal College and was, also. working with his father at his studio as a model and painting assistant.
Originally “The Half-Back” was in the collection of Australian painter Hans Heysen, known for his watercolors of monumental Australian gum trees, and images of men and animals in the Australian bush. It was purchased in 1958 by Adelaide’s Art Gallery of South Australia through a South Australian Government Grant.
Born in 1900 in Malnate, a small town near Milan, Italy, Luigi Lucioni was an accomplished etcher and artist who painted precisely described landscapes, still-lifes, and portraits over his sixty year career. Working with a strong feeling for his subjects and with great technical skill. Lucioni was a classical realist with a modern perspective, who drew inspiration from the Italian Renaissance artists, as well as the work of Paul Cezanne and landscape artist Claude Lorrain.
Lucioni’s body of work, both landscape and portraiture, was a result of close observation, meticulous delineation, and the careful positioning of compositional elements. He was paid close attention to the textures, patterns, colors, and the arrangement of shapes that would effect his compositions.
In August of 1911, Luigi Lucioni came to the United States with his family, where they landed in New York Harbor with three hundred-fifty other third-class passengers. After being processed, the family initially moved into an apartment on Christopher Street in Manhattan before finally eventually settling, in 1929, at Union City, New Jersey. At age fifteen, Lucioni entered a competition for admission to Cooper Union, a private college with full scholarships to admitted students, and was accepted.
In 1915, Lucioni began studying drawing and painting at the Cooper Union, where he received sound criticism from painting instructor and muralist William de Leftwich Dodge. Through Dodge’s influence, Lucioni developed a determination not to adapt to current trends in art but to pursue his own artistic vision. At age nineteen, he entered New York City’s National Academy of Design, where he studied etching under William Aueerbach-Levy. As a student, Lucioni met and was acquainted with many in the city’s circle of gay artists, including painter Jared French, photographer George Platt Lynes, writer Lincoln Kirstein, and artist Paul Cadmus, with whom he became romantically involved.
In 1924, Lucioni was awarded a Tiffany Foundation Scholarship, which enabled him to spend part of every year for the next decade painting at Tiffany’s Oyster Bay, Long Island, estate. In 1925 he traveled to Italy for the first time since he had left the country as a boy. Lucioni’s encounter with Italy’s Renaissance art, which included the works of Botticelli, Raphael, and Piranesi, had a profound affect on his developing painting style. Upon his return to the United States from Italy, Luigi Lucioni lived and worked in a townhouse at 33 West 10th Street in New York City.
In 1928, Lucioni painted his “Portrait of Paul Cadmus” which memorialized the passion of both artists for the works of painter Piero della Francesca. Using a modern, close-up format, Lucioni modeled Cadmus against the geometric backdrop of a creased white cloth, capturing a piercing gaze that is at once mysterious and mesmerizing. In 1931, Lucioniwas commissioned to paint a Vermont landscape and, struck by the beauty of the mountains, eventually purchased a farmhouse in 1939 near Manchester, where he spent hissummers.
In 1938, Lucioni met actress and singer Ethel Waters through a mutual friend, writer and photographer Carl Van Vechten, who was a patron of the Harlem Renaissance. The result of this meeting was the 1939 “Portrait of Ethel Waters”, which last seen publicly in 1942 and presumed lost, is now in the collection of the Huntsville Museum of Art. In 1939, Lucioni also painted the “Portrait of Jared French” in which he used aclose-up format to capture the textures of French’shair and skin with fine details; Lucioni also highlighted French’s face by placing it against an off-white cloth background.
During the course of his successful career, Luigi Lucioniexhibited in New York with the Ferargil Gallery, the Associated American Artists, and the Milch Gallery. In 1932, he became the youngest person to have a painting purchased by the Metropolitan Museum of Art. Lucioni passed away on July 22nd of 1988 in New York City..
Lucioni’s work is in the collections of many leading American museums, including the Metropolitan Museum of Art, Whitney Museum of American Art, Brooklyn Museum, Pennsylvania Academy of the Fine Arts, Dallas Museum of Art, Carnegie Museum of Art, Denver Art Museum, and Nelson-Atkins Museum of Art.
Top Insert Image: Luigi Lucioni, “Rose Hobart”, 1934, Oil on Canvas, 76.7 x 61 cm, Private Collection
Middle Insert Image: Photographer Unknown, “Luigi Lucioni”. 1930, Photographic Print, 13 x 18 cm, Archives of American Art, Smithsonian Museum
Bottom Insert Image: Luigi Lucioni, “Resting Athlete”, 1938, Oil on Canvas, 110.5 x 122 cm, Private Collection
Henry Marvell Carr, “Maurice Alan Easton”, 1944, Oil on Canvas, 76.2 x 63.5 cm, National Maritime Museum, Greenwich, London
Born in August of 1894 in Leeds, England, Henry Marvell Carr was a British portrait and landscape painter. He studied at Leeds College of Art and did his postgraduate work at the Royal College of Art under painter and printmaker William Rothenstein, best known for his work as a war artist in both World Wars.
Henry Carr served in the Royal Field Artillery in France during World War I. The work he produced as a war artist was exhibited at London’s Royal Academy in 1921, and in other British and Parisian galleries. Among the works Carr painted during the 1920s were landscapes depicting England’s south coast and portraits of Olivia Davis, his daughter, and writer Aldous Huxley.
At the outbreak of war in 1939, Carr received an appointment by the War Artists’ Advisory Committee to serve as an official war artist. The first exhibition of his war paintings was held in July of 1940 at the National Gallery in London, which included his 1940 “Dismantling Emergency Water Tank”, a tableaux depicting the removal of one of the National Fire Services’s storage tanks installed during the Nazi bombardment of London. Other wartime works of Carr includes the 1941 “Incendiaries in a Suburb”, “Merchant Seaman Fireman” in 1942, and views of London’s gothic Saint Pancras Station and Saint Danes Church on the Strand.
Between 1942 and 1945, Henry Carr was later attached to the British First Army in North Africa and Italy, where he painted the battles, infantrymen, and casualties of these campaigns. Among his works in this period were portraits of General Dwight Eisenhower and naval telegraph operator Maurice Easton, and a 1945 depiction of a gun crew stationed at the entrance to the port of Algiers, entitled “A Bofors Gun, Algiers”. While stationed in Italy in 1944, Carr witnessed and painted a major eruption of Mount Vesuvius which occurred in late March and destroyed several towns.
After the war, Carr resumed his career as a portrait painter. He was elected a Fellow of the Royal Society of Portrait Painters in 1948, and, in 1956, was awarded the Paris Salon’s Gold Medal. In 1966, Carr was elected Royal Academician at London’s Royal Academy. He published two academic works, the1952 “Portrait Painting” and “Portrait Drawing” in 1961. Henry Marvel Carr died in South Kensington, London, in March of 1971 at the age of seventy-five.
Henry Carr’s 1944 head and shoulders portrait “Maurice Alan Easton” depicts Easton, who had a hostilities-only rating, in his seaman’s uniform and naval cap. As he was a telegraphist, Eason bears the radio communicator’s badge on his right arm. Originally a civilian railway clerk from Oxfordshire, Easton was selected from his naval barracks at Naples by Captain Carr who was working there as a wartime artist. In order to impart a symbolic significance to the portrait of the young man, Carr used fluid brushstrokes and portrayed Easton in a heroic stance.
Carr’s finished work was exhibited simply as ‘The Sailor’ in the Navy League’s post-war ‘Naval Art Exhibition’, which was held at the Suffolk Street Galleries and opened by the First Lord of the Admiralty on the 29th of January in 1946. The image of Easton was also used as a poster for the show, which greatly astonished Easton when he was sent back to London at that time and saw his face on the advertising billboards. Greenwich’s Maritime Museum only learnt the identity of the sitter, and the circumstances surrounding the portrait, from a 1946 clipping of the Sunday Dispatch newspaper, that it received in 1975 from an acquaintance of Maurice Easton.
Insert Image: Henry Marvell Carr, “ Staff Sergeant major E. A. Billett”, 1943, Oil on Canvas, 60.9 x 51.4 cm, Imperial War Museum, London
Je vois les effroyables espaces de l’Univers qui m’enferment, et je me trouve attaché à un coin de cette vaste étendue, sans savoir pourquoi je suis plutôt en ce lieu qu’en un autre, ni pourquoi ce peu de temps qui m’est donné à vivre m’est assigné à ce point plutôt qu’à un autre de toute l’éternité qui m’a précédé, et de toute qui me suit.
I see the dreadful spaces of the Universe that lock me up, and I find myself attached to a corner of this vast expanse, without knowing why I am more in this place than in another, nor why this little time given to me to live is assigned to me at this point rather than to another in all the eternity that preceded me, and all that follows me.
Photographers Unknown, A Collection: Ten Portraits of the Self
“They decided now, talking it over in their tight little two-and-quarter room flat, that most people who call themselves ‘truth seekers’ – persons who scurry about chattering of Truth as though it were a tangible separable thing, like houses or salt or bread – did not so much desire to find Truth as to cure their mental itch. In novels, these truth-seekers quested the ‘secret of life’ in laboratories which did not seem to be provided with Bunsen flames or reagents; or they went, at great expense and much discomfort from hot trains and undesirable snakes, to Himalayan monasteries, to learn from antiseptic sages that the Mind can do all sorts of edifying things if one will but spend thirty or forty years in eating rice and gazing on one’s navel.
To these high matters Martin responded, ‘Rot!’ He insisted that there is no Truth but only many truths; that Truth is not a colored bird to be chased among the rocks and captured by its tail, but a skeptical attitude toward life.”
—Sinclair Lewis, Arrowsmith
Born in February of 1885 in the village of Sauk Centre, Minnesota, Sinclair Lewis was a writer and playwright, the first writer from the United States to receive the Nobel Prize in Literature. In late 1902, he studied for a year at Oberlin Academy, a preparatory school, to qualify for acceptance at Yale University. Lewis entered Yale in 1903, but received his Bachelor’s Degree in 1908; he had taken personal time to work at Upton Sinclair’s Helicon Home Colony, a cooperative-living colony in New Jersey, and to spend time in Panama.
Lewis’s earliest published work, short sketches and poetry, appeared in the two Yale publications, the Yale Courant and the Yale Literary Magazine, of which he was editor. After graduation, he took employment at various newspapers and publishing houses, where he wrote short popular stories for the public. Lewis’s first published book was a 1912 juvenile adventure story, written under the name Tom Graham, entitled “Hike and the Aeroplane”.
Sinclair Lewis’s first serious novel, “Our Mr Wrenn: The Romantic Adventures of a Gentile Man”, a whimsical story that sold nine thousand copies, was published in 1914. This novel was followed by the 1915 “The Trail of the Hawk” and, in 1917, “The Job”, a novel whose story discussed the rights of working women. Lewis published in 1917 and 1919 two redeveloped serial stories for the public, “The Innocents: A Story for Lovers” and “Free Air”, which was adapted as a silent film in 1922.
As early as 1916, Lewis had begun making notes for a novel about small town life. After moving to Washington DC, he completed writing the novel in the middle of 1920. His “Main Street”, published in October of 1920, achieved phenomenal success, eventually selling two million copies in a few years. Lewis followed this success with the 1922 “Babbit”, a satirical novel about commercial culture and civic promotion in the United States.
Sinclair Lewis’s 1925 “Arrowsmith”, a novel written with preparatory assistance by science writer Paul de Kruif, contained social commentary on the state and prospects of medicine in 1920s United States. Lewis describes many aspects of medical training, medical practice, scientific research, scientific fraud, medical ethics, public health, and the personal and professional conflicts that are still relevant today. Professional jealousy, institutional pressures, greed, stupidity, and negligence are all satirically depicted. But, throughout the story, Lewis also discusses tireless dedication, intellectual honesty, and respect for the scientific method. Read by generations of pre-medical and medical students, the novel won the 1926 Pulitzer Prize for Literature.
Lewis published “Elmer Gantry” in 1927, a novel denounced by many religious leaders for depicting a hypocritical evangelical minister, and “Dodsworth”, a satirical novel depicting the differences between US and European intellect, manners and morals, in 1929. “Dodsworth” was adapted for stage in 1934 and became a film in 1936, one highly regarded by the critics and now preserved in the National Film Registry. “Elmer Gantry” was adapted as a drama film in 1960 by director Richard Brooks and, in the following year, won three Academy Awards.
In 1930, Sinclair Lewis won the Nobel Prize in Literature, the first writer from the United States to receive the award. After winning the Nobel Prize, he wrote eleven more novels, ten of which were published in his lifetime. Of these, the most known is his 1935 “It Can’t Happen Here”, a novel about the election of a fascist to the American presidency. In 1937, Lewis, a long-time drinker, was checked in for treatment at the Austen Riggs Center, a psychiatric hospital in Massachusetts. After ten days, he checked himself out with no understanding of his drinking problem.
During the 1940s, Sinclair Lewis appeared frequently with author Lewis Browne, discussing a wide range of topics, on popular lecture tours throughout the United States. He also worked on his novel “Kingsblood Royal”, an early contribution to the civil rights movement completed and published in 1947, which dealt with the denial of oppurtunity for Afro-Americans to purchase homes in white communities.
By 1948, after first renting and later purchasing rural property in Massachusetts, Sinclair Lewis had created a 720 acre gentleman’s farm of agricultural and forest land. His intention to make this homestead a permanent residence, however, was denied to him by his declining health due to serious medical issues.. Three years later, Sinclair Lewis died in Rome from advanced alcoholism on January 10, 1951, at the age of sixty-five. His body was cremated and the ashes buried at Greenwood Cemetery in his hometown of Sauk Centre.
Top Insert Image: Artist Unknown, “Sinclari Lewis”, 1925, Halftone Photo Print
Bottom Insert Image: Jack Coughlin, “Sinclair Lewis”, Date Unknown, Etching, 15.9 x 13.3 cm,