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. Information and links to sources will be provided unless unknown. Enjoy your visit.
Carlos Cancio, “Los Bañistas (The Bathers)”, 1989-1990, Acrylic on Paper Laid on Canvas, 230.9 x 175 cm, Private Collection
Carlos Cancio is a Cotemporary Puerto Rican artist; specialized in painting. After graduating from the University of Boston with a degree in fine arts, Cancio moved to Spain, where he set up his first studio. From 1991 to 2003, he lived in San Francisco, California; he currently lives and works in San Juan, Puerto Rico. Cancio has traveled extensively, including India where he became more familiar with that country’s art and culture.
Cancio began to show his work professionally in 1981, and has presented his work in several cities in the United States, the Dominican Republic, and Puerto Rico. He has had solo shows at the Institute of Puerto Rican Culture in 1987, the Museum of Art and History in San Juan in 1988, and the Museo de las Casas Reales Santo Domingo in the Dominican Republic in 2004. Cancio has also taken part in group shows in the United States and Puerto Rico. His work is characterized by his poetic style, the use of figuration and its inclusion of pan-Caribbean motifs.
Born in Louisville, Kentucky in March of 1892, Charles Dean Cornwell was an illustrator and muralist who was a dominant presence in American illustration during the first half of the twentieth- century. He began his professional career at the age of eighteen as a cartoonist for the Louisville Herald. In 1911, Cornwell found employment with the art department of the Chicago Tribune and began studies at the Chicago Art Institute where he studied under educator and painter Harvey Dunn, a prominent student of illustrator Howard Pyle and a member of the Brandywine School collective.
In 1915, Dean Cornwell traveled to New Rochelle, New York, well known for its established art colony, and studied under Dunn at the Art Students League in New York City where he eventually developed his own light-imbued style. In 1918 in Chicago, Cornwell married artist Mildred Montrose Kirkham, who also studied at the Chicago Art Institute. They had two children; however, due to Cornwell’s constant extramarital affairs, they separated after a few years but never divorced.
Possessing a strong work ethic, Cornwell often worked seventeen hours a day and through the entire week. His illustrations appeared in nearly every major publication in the United States including Redbook, Harper’s Bazaar, Cosmopolitan and Good Housekeeping. In 1926, Cornwell signed a long-term contract with Cosmopolitan for an annual salary of one-hundred thousand dollars, equivalent to over a million dollars today.
Dean Cornwell illustrated the novels of authors such as Ernest Hemingway, Pearl S. Buck, W. Somerset Maugham, andshort story writer Edna Ferber. He also illustrated posters to support the United States war efforts in three major conflicts, the Korean War effort and both the first and second World Wars. Through his career, Cornwelldid advertising for hundreds of companies including General Motors, the Pennsylvania Railroad, Goodyear, and New York Life; he also illustrated ads for such products as Coca-Cola, Seagram’s Gin, and Palmolive Soap.
Deciding to dedicate the rest of his career to mural painting, Cornwelltraveledto London in 1927, where he apprenticed to the painter Sir Frank William Brangwyn for a three-year study of mural painting. He assisted Brangwyn in a series of murals, including the British Empire Panels designed for the House of Lords. These panels, begun in 1925 and completed in 1932, were not hung in the Royal Gallery of the House of Lords as intended. Considered too lively and colorful, the panels were housed in a specially built hall in Swansea.
The most renowned of Dean Cornwell’s murals is the Los Angeles Public Library’stwelve-panel “History of California” which encircles the Grand Rotunda. Painted on linen canvases and finished in 1933,the forty-foot tall panels took five years to complete. Cornwell, having used all the funding after two years, took on illustrative work to finance the project to its completion. His other murals include, among others, those for the General Motors exhibition at the 1939 World’s Fair, New York’s Hotel Warwick’s Raleigh Room, the Easter Airlines building (now 10 Rockefeller Plaza), Boston’s New England Telephone headquarters building, and the William Rappard Center in Geneva, Switzerland.
Cornwell lectured and taught at New York’s Art Students League. From 1922 to 1926, he served as the president of the Society of Illustrators and was elected into its Hall of Fame in 1959. Cornwall was elected in `923 into the National Academy of Design as an Associate Academician and achieved full status in 1940. He served as President of the National Society of Mural Painters for four years beginning in 1953. Charles Dean Cornwell died at the age of sixty-eight in New York City on December 4th of 1960. A collection of his papers, correspondence, sketches, scrapbooks and photographs are housed in the Archives of American Art located in the Victor Building in Washington, DC.
Born in February of 1987 in the northern city of Nadym, Igor Sychev is a Russian artist known for his Magic-Realistic figurative paintings. At the age of five years having shown an inclination towards the arts, his parents enrolled him in the city’s art school where he studied until the age of sixteen. Sychev left Nadym upon graduation and relocated to Novosibirsk, the capital of Siberia, where he entered the Faculty of Industrial Design at the State Academy of Architecture, Design and Fine Arts.
After graduating from the Academy in 2010, Sychev moved to Moscow, which as Russia’s capital offered wider prospects for a career and self-expression. He soon obtained employment as an industrial designer and created designs for furniture and interior spaces. In 2011 while working in the design field , Sychev begana personal study of oil painting techniques. Over the next ten years, Igor Sychev gradually redirected his energies into pursuing a career as a painter.
In addition to the primary medium of oil paints, Igor Sychev also produces works in the mediums of watercolor, pencil, sepia and charcoal. His work is inspired by the works of the recognized Master artists , such as Michelangelo’s “David”, who viewed the nude male body as a source of beauty, Other influences on Sychev’s work include the paintings of Lucian Freud and Egon Schiele, the large-scale expressive paintings of Paolo Troilo, painter Gregory Little’s boldly colored figures in everyday scenes,and Portuguese painter Carlos Barahona Possollo’s male nude paintings.
As the present politics and attitudes in Russian are predominantly homophobic, Igor Sychev has not been able to exhibit in galleries or museums. He holds his private exhibitions in establishments offered by friends. Sychev’s work is held in many private collections throughout the world, including the United States, Canada, the United Kingdom, France, Germany, Denmark, and South Africa, among others.
Images of Igor Sychev’s paintings, watercolors and drawings, as well as contact information, can be found at the artist’s website located at: https://www.igorsychev.com
Bottom Insert Image: Igor Sychev, “Concrete Colours” Sketch, Date Unknnown, White/Black Pencil and Pen on Paper, Artist Collection (Available)
Born in New York City in 1968, Gabrielle Garland is an American painter whose work is centered on the elements of architecture, space, and design. She received her BFA from the School of the Art Institute of Chicago and earned her MFA from the University of Chicago. The daughter of artistic parents, Garland was influenced by her early participation in her mother’s profession of decorative painting. She currently resides in New York’s East Village and maintains a studio in Brooklyn.
For the last decade, Garland has been creating a series of images based on rural American architecture. These surreal portraits of houses and apartments, devoid of people, feature exterior views seen from the street and interior scenes arranged with personal domestic furnishings. Executed with a bold palette, the paintings show a fluid, elastic perspective, often containing oblique angles, which gives each home a unique personality. Lacking distinctive architectural features or indications of geographical locations, these anthropomorphic structures could stand anywhere.
Gabrielle Garland has exhibited her work in many group and solo exhibitions at both galleries and public spaces. These include multiple solo shows at the Hap Gallery in Portland, Oregon; the 2014 exhibition at Chicago’s Logan Center; the 2015 group show at MoMA’s Clemente Soto Vélex Cultural Center; multiple showings at Expo Chicago curated by Corbett vs Dempsey; the 2018 Campbell Project Space exhibition in Sydney, Australia; the 2017 Postcards from the Edge: Benefit for Visual Aids held in New York City; and “Chasing Phantoms”, a group show in 2022 at The Pit in Los Angeles, among others.
In addition to her paintings, Garland produced in 2014 the limited edition, black and white “Gabrielle Garland: Coloring Book”, created from a series of her drawings that became paintings of artists’ spaces.
Gabrielle Garland’s website, which contains images of both paintings and drawings, as well as upcoming exhibitions and contact information, can be found at: http://www.gabriellegarland.org
Top Insert Image: Gabrielle Garland, “Untitled 160”, 2020, Acrylic on Canvas over Panel, 55.9 x 68.5 cm
Bottom Insert Image: Gabrielle Garland, Untitled 63 (Green Coffee Table), Oil on Panel, 40.6 x 50.8 cm,
Orla Muff, “Nana”, 1934, Oil on Canvas, 45.1 x 55.3 cm, Private Collection
Born in April of 1903 in Copenhagen, Orla Andreas Heinrik Jacobsen was a Danish painter and illustrator. From 1917 to 1921, he received his formal art education at the Copenhagen Technical School under Carl Lund, the leading theatrical artist of the time. In 1917, he adopted a change in name to Orla Muff.
In 1918, Muff was awarded a distinguished seat at the Day’s Drawing Concourse, an event held by Children’s Aid, and had his firstdrawing printed on a postcard. In the same year he drew one hundred different illustrations depicting gnomes for a series of postcards, which was released in large editions several times. Muff’s illustrationsfor the early postcards were signed with an intertwined O and J standing for Orla Jacobsen. He continued to design postcards until the late 1960s; these later works were signed with Orla Muff.
After his studies with Carl Lund, Orla Muff began a period of travel through Europe where he studied in Sweden, Holland, France and Germany. He achieved acclaim early in his career as a designer of elaborate Art Deco styled sets for prominent European revues and theatrical productions. Included among these designs were sets for performances at Copenhagen’s Folk Theater, Austrian-born theatrical producer Max Reinhardt’s Theater in Berlin, and Norway’s Mayol Theater in Oslo.
In addition to his set designs, Muff began easel painting in the early 1930s; he created portraits, figurative works, and abstract paintings. His work is characterized by a refined sophistication and a predominantly light-toned color scale. Muff’s abstract compositions, executed in the styles of the Art Deco and Cubist movements, often contain mythologically inspired figures set in largely monochromatic backgrounds.
Painted in his early thirties, Orla Muff’s 1934 “Nana” is an Art Deco derived, Expressionist oil portrait of a young, high-spirited woman, shown smoking a cigarette and set against a mottled turquoise background. Muff’s use of strong lighting effects produced a dramatic and psychologically penetrating portrait of this young woman.
During the course of his career, Orla Muff exhibited successfully in many European exhibitions and was the recipient of juried awards and prizes. Among his notable works are “Leda and the Swan” exhibited in 1940; the 1940 oil on canvas “Tropical Jungle Women”; a 1947 series of wooden sculptural figures based on Hans Christian Anderson’s fairy tales;a 1957 series of illustrations from the Bible for use in films; and posters, costume designs, and theater decorations executed in 1921 and 1922for performances of Anderson’s tales at the Mayol Theater in Oslo.
Orla Muff died in the city of Copenhagen in December of 1984. A small collection of personal correspondence from Orla Muff to Dr. Raymond Piper, as well as a photo of the artist and photos of Muff’s artwork, can be found in the Special Collections of the University of West Georgia.
Born in Paris in 1981, Adrien Pelletier is a French painter whose work focuses on the art of portraiture. He earned his Bachelor of FineArts inGraphic Design at Paris’s Central Saint Martins in 2004 and his Master of Fine Arts at London’s Royal College of Arts in 2006. Pelletier also studied graphic design history and semiotics at Ecole Estienne in Paris. He has held the position of art director for many years at fashion magazines based in Paris and London.
For his Bachelor of Arts graphic design dissertation at Central Saint Martins in 2004, Adrien Pelletier produced “SWAG: The Talent of the Others”.The home-printed book was a collection of fictional interviews around the theme of borrowing from others. The research investigated various dialectic oppositions, such as original versus copy, authentic versuss fake, author versus artist, legal versus legitimate, authority versss integrity, and the concept of you versus me.
Executed in the mediums of acrylic or gouache, Pelletier’s worksare intimate portraits of strangers, friends and lovers who are situated in outdoor or personal interior settings. These compositions, either innocent or sexual in nature, are painted using bold and complimentary colors in a straightforward, naive style. Pelletier uses personal photographs of people in his life as references for his work. His first exhibition in Paris was as part of Exposition Collective Libre N. 2 held at the 3537 Gallery in March of 2022.
At the invitation of Jean Pierre Blanc, the director of the arts centerLa Villa Noaillees, Pelletier began in 2017 an Art Residency on the Île du Levant off the coast of the French Riviera. While there, he painted a series of forty-five portraits of the residents of the island’s naturalist village, a society of independent individuals who shun cars and clothes.
In Pelletier’s Despina residency project, a more documentary approach was developed in which he often combined interviews with the portraiture. The project was to portray the cultural resistance to the political far-right movement and the possibilities of interactions among local communities. Portraits of activists, artists, intellectuals and people on the street were combined with dialogues on the environment, the rights of the individual, LBGTQ issues, and the protection of the indigenous Amazon communities.
Middle Insert Image: Adrien Pelletier, “Andreas à Athènes”, 2021, Paris, Gouache on Paper, 15 x 20 cm
Bottom Insert Image: Adrien Pelletier, “Mathias”, 2022, “To Paint is to Love Again” Series, Paris, Acrylic on Canvas, 75 x 50 cm
Born in Ottawa, Ontario in 1947, André Durandis a Canadian photographer and painter of Irish ancestry who works within the European Hermetic tradition. At the age of seventeen, he left Canada with his wife Ludmilla to emigrate to Europe. Through its history, Hermeticism was closely associated with the idea of a primeval, divine wisdom that was revealed to ancient sages. Hermeticism remains influential within esoteric Christianity, particularly in theChristian mystical tradition of Maartinism. The anonymously written 1967 French tome “Meditations on the Tarot”, later edited and published by Robert Powell in 1980, summarizes the theory and practices of Christian Hermeticism.
Best known for his allegorical portraits of such figures as Princess Diane, Durand’s mythologically inspired paintings are the foundation of his work. These pieces display his deep understanding of the rituals and myths of both Christian and Classical traditions. Influenced by Michelangelo, Rubens and Titian, Durand tries to unite his religion with his art; however, he approaches the subject with the objective and philosophical criteria of a Neo-modernist.
In 1970 André Durand painted a series of images inspired by the dancers of the British Royal Ballet. His 1972 portrait of Irish novelist Elizabeth Bowen, whose work often bears heavily on the psychology of its characters, is housed in London’s National Portrait Gallery. Durandhas also received international acclaim for his official portraits of Pope John Paul II and the fourteenth Dalai Lama.
In 2000, Durand became artist in residence at London’s Kingston Upon Thames University. A major exhibition in 2006, entitled “Durand Wholly Pictures” and whichcovered six years of work, was displayed in churches and cathedrals in the county of Sussex. These works depicted devotional Christian narratives set in traditionalSussex landscapes. In November of 2007, André Durand produced his oil on linen “Daniel in the Lions’ Den”; the sale of the painting and its limited edition prints benefited the Demelza Hospice Care for Children, a charity in Kent that provides support to life-limited children and their families.
After his return to Italy, André Durand visited the commune of Torre del Greco in Naples and the coastal town of Sperlonga, known for its sculptures and Roman sea grotto at the Villa of Tiberius. At the invitation of the Museo Archeologico Nazionale di Sperlonga, he opened a studio at the museum as artist in residence for two years. From 2010 to 2012, Durand began a series of round formal paintings on the subject of the Stations of the Resurrection, many of which contain the Grotto of Tiberius in the background.
Durand published several art photography volumes of his work in 2012. Most notable among them is the “Fotograf ando Statue per Anno”, an image collection of the statuary in Sperlonga’s National Archeological Museum. Containing text co-written by the museum’s director Marisa de’Spagnolls, this volume of sculptural work is the only comprehensive photographic archive of the museum’s collection.
André Durand’s work has been featured in many solo exhibitions in Italy and England. These include, among others, “Frammenti Classici” in 1995 at London’s Archeus Fine Art; the 2000 “Soggetti Italianizzati” at the Galleria Albemarle in London; and “Via Lucis e Lagrime di San Pietro” at Galleria Santa Maria Maggiore in Rome. Durand’s work is in many private collections and the permanent collections of the Scottish National Gallery and London’s National Portrait Gallery. He currently lives and works in Sperlonga, Italy.
Images of André Durand’s work, a manifesto on Neo-modernism, enquiries for commissions, and contact information can be found at the artist’s site: http://andredurandportraits.com
Second Insert Image: André Durand, “Saint Christopher Cynocephalus”, 2010, “Sacred” Series, Oil on Linen, 167.5 x 112 cm
Third Insert Image: André Durand, “Narcissus”, 2001, “Mythology” Series, Oil on Linen, 61 x 48 cm, Private Collection, Rome
Bottom Insert Image: André Durand, “Giordano Bruno Burning”, 2000, “Profane” Series, Oil on Linen, 203.2 x 167.6 cm
Born in Long Beach, California in August of 1923, Burgess (Jess) Franklin Collins was an American visual artist best known for his elaborate collages that addressed science, mysticism, sexuality, history and popular culture. In his early years, he read books which ranged from Proust to L. Frank Baum, listened to classical music, and constructed scrapbooks with a great aunt.
In 1942, Jess Collins entered the California Institute of Technology to study chemistry; however with the start of World War II, he was drafted in 1943 into the Army Corps of Engineers.Collins worked in a junior position at the Manhattan Project in Oak Ridge, Tennessee, on the production of plutonium for atomic bombs until 1946. Upon his release from military service, he continued his education at California Institute and graduated with honors in the field of radiochemistry. Collins was given a position at the Hanford Atomic Energy Project located on the Columbia River in the state of Washington.
During his employment at the Hanford site, Jess Collins began adult education classes to study painting. Due to his growing concerns about the nature of his work in the atomic energy sector and the future of the industry, he left his position and decided to pursue a full-time career in the arts. Collins moved to the San Francisco Bay Area and began to study art: first at the University of California at Berkeley and later at the California School of Fine Arts. Due to an estrangement with his family, Collins changed his name during this period of study to the singular Jess.
At the California School of Fine Arts, Jess studied with visual artist Elmer Bischoff, a forerunner of Abstract Expressionism in the Bay Area; abstractionist painter Edward Corbett, known for his use of the color black in his work; painter Hassel Smith, whose work went through a succession of art forms from plein air to figurative expressionism; and Clyfford Still, whose work encompassed a wide range of materials. Jess quickly became a member of the 1950s San Francisco art scene and was actively engaged in exhibitions, poetry readings and other creative activities in the area.
In 1951, Jess met poet Robert Duncan, a member of the Black Mountain College and one of the most influential post-war American poets. They began a lifelong romantic relationship that evolved into a domestic household and an artistic collaboration that became central to the development of their art and poetry. This relationship lasted until Duncan’s death in 1968, thirty-seven years later. Along with abstract expressionist Harry Jacobus, Jess and Duncan opened the King Ubu Gallery in 1952, a venue which became an important exhibition space for alternative art in San Francisco.
Inspired by a gift from Duncan of “ Une Semaine de Bonté”, Max Ernst’s surrealist collage book, Jess began making collages, or Paste-Ups, in the early 1950s. These works, which combined text and image fragments from engravings, photographs, jigsaw pieces, and comic strips, became increasingly more complex over time. Eventually the Paste-Ups would contain thousands of distinct pieces. In 1959, Jess began a series of thirty-two works, entitled “Translation”. Each of the works were painted, enlarged reproductions of found images, such as children’s book illustrations and scientific drawings from old Scientific American periodicals, After being copied on new canvases, the paintings were combined with literary texts from such authors as William Blake, Gertrude Stein, and Plato.
The “Scavenger” series was based on painted or repainted canvases found inthrift shops. Thick layers of paint were applied covering parts of the former works while leaving other image areas exposed for viewing. Built in layers, the thick new paint reinterpreted the existing work with its added texture and images. The 1959 “Narkossos” began as a pencil drawing for a painting that was based on the myth of Narcissus. This initial drawing became a large scale mixed-media work of graphite rendering and paste-up fragments featuring references from literary and popular culture. This large-scale work with original artist’s frame is currently housed in the collection of the San Francisco Museum of Modern Art.
For the remainder of his life, Jess lived and worked in San Francisco except for a period of travel with Duncan in the mid-1950s to Europe and the Black Mountain College. The couple entertained their extensive but intimate circle of friends at their large Victorian home in the Mission District. The household was filled with artworks by Jess and their many friends, Duncan’s vast library, the couple’s recorded music collection, and many beautiful domestic objects salvaged by Jess from thrift shops. Jess had a major retrospective of his work in 1993-1994 which toured museums in San Francisco, Buffalo, and Washington, DC.
Jess died of natural causes at his San Francisco home on the second of January in 2004 at the age of eighty. His work appears in major museum collections around the country including: the Museum of Modern Art, the Metropolitan Museum of Art, NY; the National Gallery of Art, Washington D.C. and the Museum of Modern Art and the Fine Arts Museums, San Francisco. His work is now represented by the Tibor de Nagy Gallery in New York City.
Note: The Jess Collins Trust established an archive for Jess’s papers and writings in The Bancroft Library at the University of California, Berkeley. The Trust, which contains images of Jess’s work, exhibition and event information, and information on Robert Duncan’s work, can be found at: https://jesscollins.org
Born in Maassluis, The Netherlands in 1970, Niels Smits Van Burgst is a figurative painter whose work reveals moments of his personal life experiences and those shared with close friends and acquaintances.He currently lives in Rotterdam where he works in a large studio near the Sparta Stadium.
Niels Smits Van Burgst attended the Royal Academy of Arts in The Hage where he earned his Bachelor of Fine Arts in 1993 and his Masters Degree in 1994. He committed himself in 1994 to depicting the experience of life awareness in his paintings. Initially he concentrated on painting private and personal experiences; over time, he gradually extended his work to include friends and people casually met through the course of life.
The main emphasis of Van Burgst’s work is to show an identity, an understanding of what it means to be alive in Western society. His paintings, with their broad brushstrokes and cool palettes, provide the memories for their subjects’ life experiences. In many of Van Brugst’s works, he presents images of men existing in a civilized world where their excesses, such as lust, aggression and euphoria, are personally suppressed. In society, however, excesses are still experienced by individuals through sylized media channels such as television, the internet, and film.
Niels Smits Van Burgst’spaintings have been exhibited in New York, Berlin, Amterdam, Brussels, and many more cities across Europe. A retrospective of his work was held in 2013 at the Museum ‘de Buitenplaats in Eelde, Netherlands. Van Burgst won the Van Ommeren de Voogd Foundation Prize for Fine Art in 2007 and the Aku in 2011. His paintings are in collections both private and public.
Niels Smits Van Burgst is represented by “De Twee Pauwen Gallery in The Hage.
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
Born on the19th of August in 1873 in Simmering, a district of Vienna, Ludvík Vacátko was an Austrian-Hungarian painter, sculptor and professor of drawing who later relocated to the Czech Republic. As a painter, his work contained genre landscape scenes, figurative works and battle scenes. Horses, however, their anatomy and role in human life and history became the central theme of Vacátko’s life and work. Although the role of the horse began to slowly and inevitably disappear in people’s lives, Vacátko still rode a horse around the city.
After graduating from Prague’s military school, Ludvík Vacátko taught drawing classes to its cadets. He continued his art studies at Munich’s Academy of Fine Arts and later at Prague’s Academy of Fine Arts under Professor Nejedli. After fulfilling his military service, Vacátko devoted himself to his career as an artist and became an expert in the depiction of animal anatomy. His artistic influences came from the works of painters George Židlického and Franz Liebl.
In early 1898, Vacátko was asked by Czech painter Luděk Marold to collaborate on a gigantic panorama of the Battle of Lipany for an upcoming exhibition in Prague. Three other artists also worked on the battle scene: painter Karel Raška, landscape painter Václav Jansa, and colorist Theodor Hilšer. The panorama measured eleven meters high by ninety-five meters long.The stress of completing this huge work on schedule had a fatal effect on Marold’s already fragile health; he died shortly after it went on display in 1898.
At the turn of century, Ludvík Vacátko founded a private painting and drawingschool in Prague, among his students was the painter Jindřich Prucha who studied under Vacátko in the years 1907 and 1908. Mobilized at the start of World War I, Prucha was later killed at the Galician front in September of 1914 at the age of twenty-seven.
In 1928, Vacátko published the book “Painting Animals”. He participated in the art competitions at the 1932 Summer Olympics which were held in Los Angeles, California. With the assistance of his friend Auguste Rodin, he became a member of Paris’s Union des Beauz Arts et Lettres. In 1943, Vacátko relocated to the city of Kunvaldin the Czech Republic where he lived until his death on the 26th of November in 1956. His body is buried in the city of Pardubice.
McDermott & McGough, “If You Had Been the Moon”, April 2009, 10:16, Directed by Peter McGough, Starring MichaelKavalus, Bryan Deckhart, Claybourne Elder, Christopher Le Rude, Alex Michael Stoll, and Andrew Lord
The art collective McDermott & McGough consists of the contemporary artists David McDermott and Peter McGough who are known for their work in sculpture, painting, film and photography. Their work examines such issues as religion, popular culture and art, medicine, advertising, fashion, and sexual behavior. McDermott and McGough are best known for their gay-themed paintings and the use of historical processing techniques in their photographic work, which includes film development with palladium, gum bichromate, salt, platinum, and carbon black.
Born in Hollywood, California in 1952, David McDermott studied at Syracuse University in New York from 1970 to 1974. He moved to New York City where he became famous in the downtown area for his odd manners and outdated formalwear, such as detachable collars, cummerbunds, and top hats. Born in Syracuse in 1958, Peter McGough studied at Syracuse University in 1976. He relocated to New York City where he briefly studied at the Fashion Institute of Technology. After dropping out from the Institute, McGough was employed to sell tickets at Danceteria, a famous, albeit illegal, nightclub with several locations in the city.
Peter McGough met David McDermott in a Manhattan theater at the end of the 1970s. As David kept Peter company during the early club hours before sunrise, a strong relationship developed between themthat also included an artistic alliance which would last forty years. In the 1980s, the gay couple became known in New York’s East Village art scene for their immersion in the Victorian era. McDermott and McGough questioned the ideas of nostalgia; they pursued an art form and lifestyle narrative of reorienting the past for the future. Dressed and living as early 1900s dandies with an air of erudition and impertinence, their lives and art became an exploration of time and history, as well as, a challenge to the boundaries of art history and cultural identity.
McDermott and McGough’s collaborative output was expressed through a proliferation of drawings, paintings, film and photographs, and architectural interiors. Their photographs and films, which appropriated images and objects from the late 19th century to the style of the 1930s, explored contemporary cultural issues but produced them through vintage materials and techniques. McDermott and McGough’s obsession with the past is reflected in the styles and subjects they resurrect; many of their works are titled with fictional dates that reference the latter years of the 1800s.
The later work of McDermott and McGough was inspired by advertising motifs, Hollywood cinema, and the comic books of the 1950s and 1960s. They reinvented major works of twentieth-century photography, Pop Art icon images, and produced photo-realistic paintings of vintage film stars. During the 1980s when their work was selling well, McDermott and McGough were a major part of the downtown New York scene, where the attended clubs and mingled with Keith Haring, Jean-Michel Basquiat, and Andy Warhol. They bought three properties including a 1860s French Second Empire style bank, owned horses and vintage automobiles, hosted lavish baroque parties, and bestowed expensive gifts to friends.
In 1992, the art market began to feel the effects of the stock market crash of October 1987. Out of all the paintings McDermott and McGough had onexhibit at the Armory Show, only one small painting sold. Their debts, which included framing costs for their exhibitions, came due; many of these debts were paid through the transfer of their existing artwork to galleries and other debtors, among whom was the Internal Revenue Service. Eventually everything the couple had was auctioned off except for a few pieces they managed to save and later shipped to the docks of Dublin, Ireland. David McDermott relocated to a smallrental house near Ballsbridge, Ireland, and in 1995 McGough reunited with him.
McDermott and McGough started painting and soon were able to rent a small art studio in Temple Bar in downtown Dublin. Through Swiss art dealer and gallery owner Bruno Bischofberger, they received many silhouette commissions. With the assistance of the gallery’s director Andrea Caratsch, McDermott and McGough had an exhibition in 1998 entitled “The Lust That Comes from Nothing” at Paris’s Galerie Jérôme de Noirmont.
McDermott and McGough’s previous exhibitions include the Whitney Biennial, New York, in 1987, 1991 and 1995, and a mid-career retrospective at the Provincial Museum voor Moderne Kunst, Oostende, Belgium. In 2017, their work was the subject of the exhibition “I’ve Seen the Future and I’m Not Going’ held at the Dallas Contemporary Museum in Texas. Other solo and group exhibitions include such institutions as the Irish Museum of Modern Art in Dublin, Centre Pompidou in Paris, New York City’s Galleria Gian Enzo Sperone, and the Frankfurter Kunstverein in Germany.
McDermott and McGough’s work is represented in numerous collections including the International Center of Photography in New York; Los Angeles County Museum of Art; New York City’s Metropolitan Museum of Art; Spencer Museum of Art at the University of Kansas in Lawrence; Tampa Museum of Art in Florida; Minneapolis’s Walker Art Center; and Whitney Museum of American Art in New York, among others.
Notes: In 2017, David McDermott and Peter McGough opened the Oscar Wilde Temple, a non-secular sacred space for LGBTQ people in a chapel at the Church of the Village located in New York City’s Greenwich Village. It is both an art exhibition space and a place for marriages; donations go to homeless LBGTQ youth. A second location at the gallery Studio Voltaire in London was opened in October of 2018.
In 2019, Peter McGough published his memoir “I’ve Seen the Future and I’m Not Going There” through Penquin Random House. Set in New York’s Lower East Side, the memoir chronicles his life withDavid McDermott during the 1980s and mid-1990s.
Top Insert Image: David McDermott and Peter McGough, “Portrait of the Artists, 1928, 1990”, Palladium Print on Paper, 35 x 26.5 cm, Private Collection
Second Insert Image: David McDermott and Peter McGough, “Love is Gone- So What Can Matter? 1966, 2008”, Oil on Linen, 152.4 x 122.2 cm, Private Collection
Third Insert Image: McDermott and McGough, “Joel at Lower Baldonell House, Dublin, 1910, 2003”, Palladium Print on Paper, 50.8 x 40.6 cm, Private Collection
Fourth Insert Image: McDermott and McGough, “The Annointed”, 1991, Photographers and Friends Against AIDS Exhibition, Palladium Print on Paper, 16.5 x 11.8 cm, Private Collection
Fifth Insert Image: McDermott and McGough, Title Unknown (Reading Comics), Image from the “Detroit, 1958” Series, 2007, Carbro Print, Private Collection
Bottom Insert Image: McDermott and McGough, “Portrait of the Artist (With Top Hats) 1865”, 1991, Palladium Print on Paper, Collection of the Artists
Joseph Meehan is an American freelance illustrator and concept artist who currently lives and works in New York. He studied at New York City’s Fashion Institute of Technology where he earned his Bachelor of Arts in Toy Design.
Meehan worked initially as an intern at Hasbro where he designed toys fo the GI Joe series, and also did preliminary work for “GI Joe: The Movie”. Beginning in September of 2011, he worked for three years at Mattel where he designed action figures, vehicles, and created new features and play patterns for its Batman action-figure line.
In September of 2014, Joseph Meehan began working freelance at Volta Studio in New York, a design studio dedicated to creating high-end 2D and 3D visuals for video games, films and toys.As a Senior Artist, he created illustrations and concept art for a wide range of products, such as mobil games, trading cards, and triple-A games. In October of 2020, Meehan became a full-time Senior Illustrator at Rockstar Games in New York City.
Meehan is skilled in a multitude of software graphic systems including Keyshot, Photoshop, Adobe Creative Suite, ZBrush, and Solidworks. Meehan has produced artwork for numerous leading names including Random House, Wizards of the Coast, Bioware, Bethesda, Ubisoft, NetherRealms, Hasbro, and Mattel. among others.
Born in Portland, Oregon in July of 1946, Martin Wong was an American painter of Chinese-Mexican ancestry whose work was a studious blend of visionary and social realism art styles. His work explored different ethnic and racial identities, and acknowledged his own queer sexuality.
Raised by a supportive family in the Chinatown district of San Francisco, Martin Wong began to express his artistic inclination at an early age. He entered California’s Humboldt State University and graduated with a Bachelor of Arts in Ceramics in 1968. Wong won a competitive ceramics exhibition held in 1970 at San Francisco’s de Young Museum.
Wong resided in San Francisco’s Haight-Ashbury district from 1964 to 1978. While at home, he studied art history and became interested in subjects such as modern painting and Asian decorative objects. During this period, Wong was active in the art scene of the Bay Area, often painting portraits under the pseudonym of Human Instamatic. He also served as the set designer for the art performance group The Angels of Light, a social trope that was part of the emerging gay consciousness of the period.
Encouraged by his friends’ response to his art, Wong made the decision in 1978 to settle in the Lower East Side of Manhattan for a career as an artist. Largely self-taught, his work was inspired by his immediate surroundings and ranged from uncompromising renderings of the Lower East Side’s decay to colorful paintings of the Chinatowns of New York and San Francisco. Wong also painted a series of work entitled “Traffic Signs for the Hearing Impaired”, artworks identical in color and shape to standard city traffic signs that utilized sign-language of the deaf to express their message.
In 1982 at the group exhibition “Crime Show” held at the collective gallery ABC No Rio in the Lower East Side, Martin Wong met poet Miguel Piñero, a leading member of the Nuyorican literary movement and author of the Pulitzer Prize winning play “Short Eyes”. Shortly after their meeting, Piñero moved into Wong’s apartment which began a relationship that would last until Piñero’s death in 1988. Through Piñero association, Wong became more integrated into the local Latino community; he began a series of collaborative work with Piñero that became entitled “Urban Landscapes”. This series of paintings combined Wong’s meticulous cityscapes and stylized sign-language with Piñero’s prose and poetry. Wong presented these paintings at a solo exhibition in 1984 at curator and recording artist Barry Blinderman’s Semaphore Gallery East.
In 1985 and 1986, Wong began a series of work entitled “The Last Picture Show”, a series of life-size images of shuttered storefronts. He amassed a large graffiti collection while living in New York and, in 1989, co-founded with friend Peter Broda the Museum of American Graffiti on the East Village’s Bond Street. By the 1990s, Wong’s work became quieter and more grim as gentrification took over the neighborhood and his peers were dying for drug addiction and AIDS.
In 1993, Matin Wong had a solo exhibition, “Chinatown Paintings”, at the San Francisco Art Institute. In these works based on his own memories and experiences, he presented an outsider’s view of Chinatown that lent itself more to myth than reality. Following complications in his health in 1994, Wong donated his graffiti collection to the Museum of the City of New York. In 1994, he was diagnosed with AIDS and, with declining health, moved back to San Francisco. He died under his parents’ care at the age of fifty-three from AIDS-related illness in August of 1999.
A retrospective of Martin Wong’s work was held at the Bronx Museum of Arts in 2015. His work can be found in many public collections, including the Metropolitan Museum of Art, the Syracuse University Collection, the Whitney Museum, the Museum of Modern Art, and the Art Institute of Chicago, among others.
Note: Martin Wong’s 1984 painting, “My Secret World”, included in the above images, is an image of his first residence in Manhattan, a cheap hotel bedroom on the Lower East Side with a view to the South Street Seaport. The bedroom pictured is tidy with three of his earlier works on the walls. One depicts a series of hands sprouting from white cuff=links, The hands spell out in American Sign Language the words “Physiatrist Testify: Demon dogs drive man to murder”, which references the serial killer Son of Sam who stalked New York in 1983. Included in the books presented on the dresser are fictional works by Raymond Chandler and John Cheever.
Second Insert Image: Martin Wong, “Starry Night”, 1982, Oil on Canvas, 55.9 x 76.2 cm, Bronx Museum of the Arts, New York
Third Insert Image: Martin Wong, “Crossing Sign”, Traffic Signs for the Hearing Impaired Series, 1990, DOT Aluminum Steel Signs
Fourth Insert Image: Martin Wong, “Angelito”, 1992, Acrylic on Canvas, 61 x 56.2 cm, Private Collection
Bottom Insert Image: Martin Wong, “Tell My Troubles to the Eight Ball”, 1978-1981, Acrylic on Canvas, 122 x 122 cm, Private Collection
Osvaldo Louis Guglielmi, “Subway Exit, 1946, Oil on Canvas, 76.2 x 66 cm, Jule Collins Smith Museum of Fine Art, Auburn University
Born in April of 1906 in Cairo, Osvaldo Louis Guglielmi was an American painter. He was the only son of Talmiro Guglielmi, a violinist and viola player with Arturo Toscanini’s orchestra, and Dometilla Secchi Guglielmi, who returned to her native Milan shortly after her son’s birth. Talmiro Guglielmi toured with Toscanini’s orchestra throughout Australia, Europe and the Americas. After a tour through Canada, Brazil and North America with Russian ballerina Anna Pavolova, he brought his family to New York City where the settled in the largely Italian immigrant community of East Harlem.
At a young age, Louis Guglielmi pursued an interest in sculpture and worked in a local bronze casting facility in the city. During his high school years,.he began in 1920 evening art classes at the National Academy of Design and studied sculpture at Manhattan’s Beaux Arts Institute. In 1923, Guglielmileft high school to concentrate full-time on courses at the National Academy. At his life drawing class, Guglielmi met fellow student Gregorio Prestopino, who is known for his social realist scenes of the urban working-class executed in the style of the Ashcan School . Through their college years, the two men shared a studio space in the city.
After his graduation in 1926, Guglielmi struggled financially for six years and took various inadequately-paid jobs to support his painting. In 1927 at the age of twenty-one, he was granted citizenship in the United States. Guglielmi relocated in 1932 to the New England area and, once again, began a serious period of intense painting. With the aid of a fellowship, he was able to spend eleven summers at the prestigious MacDowell Art Colony in Peterborough, New Hampshire. The solitude of the scenery surrounding the colony and Guglielmi’s interactions with his fellow artists inspired him and focused a newdirection to his work: the plight of humanity caught in the midst of the Great Depression.
During the early 1930s as the Depression settled on the country, Louis Guglielmi applied for relief from the government. In 1934, he managed to secure meager wages as a painter for the Works Project Administration, the federal New Deal program the employed jobseekers, mostly men and not formally educated, for public works projects. This program subsidized many artists and craftsmen in the 1930s. Guglielmi worked with the WPA for five years during which time he traveled and painted both easel work and murals.
Having seen Guglielmi’s work for the WPA, prominent art dealer Edith Gregor Halpert invited him in 1936 to join the group of artists at her Downtown Gallery in New York’s Greenwich Village. In 1938, Guglielmi showcased his paintings in his first solo exhibition which was held at Halpert’s gallery to major critical acclaim. On May 22nd in 1939, he married Anne Di Maggio, who seven years later gave birth to a son.
Louis Guglielmi’s work just before the Second World War were often bleak images of suffering. He spent 1943 through 1945 in the United States Army Corps of Engineers, a time in which he did not produce any paintings. Guglielmi’s existing work, though, was in included in the 1943 “American Realists and Magic Realists” exhibition held at New York’s Museum of Modern Art. After his experiences in the war, Guglielmi’s work changed in style and content; he became more concerned with the formal issues of society: poverty, the living and working conditions of the poor, and the political issues of the time.
Guglielmi became influenced at this time by the work of Fauvist painters Joan Miró and Henri Matisse, and the bold, colorful paintings of his friend Stuart Davis. His paintings lightened in spirit and communicated to the viewer a sense of energy and optimism. Guglielmi’s body of work contains aspects of all the various movements of his time: surrealism, cubism, geometric abstraction, regionalism and social realism. His experiments with form, a major component of his work, set him apart from the prevailing American style of Abstract Expressionism, which in effect marginalized his status as a contemporary painter.
Louis Guglielmi was an instructor of art at Manhattan’s New School of Social Research from 1950 to 1951. Beginning in June of 1950, he taught at Louisiana State University, first as a visiting artist and later in the position of an associate professor which he held until 1953. In 1952, Guglielmi was presented a Temple Gold Medal from the Pennsylvania Academy in recognition of his work.
With the intention of remaining in Europe for the summer, Guglielmitraveled to Italy in the spring of 1956. However, after four days in Italy, he returned back to the United States. That summer, Guglielmi took his wife and ten-year old son to their new home in Amagansett, a small town located on the eastern tip of Long Island, New York. On September 3rd of 1956, Osvaldo Louis Guglielmi died of a sudden heart attack. A retrospective of his work, entitled “O. Louis Guglielmi” The Complete Precisionist”, was held in February of 1961 at New York’s distinguished Nordness Gallery.
Note: In January of 2014, Guglielmi’s works, including his 1946 “Subway Exit”, were presented as part of the Georgia Museum of Art’s exhibition “Art Interrupted: Advancing American Art and the Politics of Cultural Diplomacy”. This show was a historical reproduction of the 1946 traveling exhibition “Advancing American Art” that was sponsored by LeRoy Davidson of the U.S. State Department. The 2014 “Art Interrupted” show reunited all the paintings of the original exhibition and scrutinized the U.S. State Department’s use of fine art as a tool in the Cold War. Works in the exhibition included paintings by such artists as Georgia O’Keefe, Edward Hopper, Marsden Hartley, Ben Shahn, and Stuart Davis.
LeRoy Davidson’s intent for the 1946 traveling collection was to exhibit the diversity of American art, demonstrate the power of democracy, and promote good will among the United States, Europe and Latin America. The exhibition, however, received intense criticism from the press. Provoked by the press, members of the U.S. Congress and President Harry Truman deemed the art in the show un-American. By 1948, all seventy-nine works in the show were auctioned off. Davidson was forced to resign, his position in the State Department was abolished, and the entire project ridiculed in the press.
Second Insert Image: O. Louis Guglielmi, “The Amrican Dream”, 1935, Oil on Masonite, 54.6 x 76.2 cm, Private Collection
Third Insert Image: o. Louis Guglielmi, “One Third of a Nation”, 1939, Oil and Tempera on Wood, 76.2 x 61 cm, Metropolitan Museum of Art, New York
Fifth Insert Image: Osvaldo Louis Guglielmi, “View in Chambers Street”, 1936, Oil on Canvas, Private Collection
Bottom Insert Image: O. Louis Guglielmi, “Relief Blues”, circa 1938, Tempera on Fibreboard, 61.1 x 76.2 cm, Smithsonian American Art Museum, Washington DC
Victor Brauner, “Le Surréaliste”, January 1947, Oil on Canvas, 60 x 45 cm, Peggy Guggenheim Collection, Venice
Victor Brauner was a Romania painter and sculptor. He aided in the growth of Surrealist art by developing its vocabulary and drawing inspiration from new sources, including mythology, alchemy, Hinduism, Judaism, and both Aztec and Native Americanbelief systems. Brauner developed a private and very personal iconography and his pictorial presentations of the etheric body had a direct impact on other Surrealist painters.
Brauner was born in June of 1903 in the city of Piatra Neamț nestled in the Eastern Carpathian mountains, His family lived in Vienna for eleven years until they returned to Romania in 1914. Brauner’s father was involved in spiritualism and, in 1916, sent his son to an evangelical school in the city of Brăila, where Victor developed a strong interest in zoology. In 1921, Brauner briefly attended Bucharest’s National School of Fine Arts. He also studied at the private school of Romania director Horia Igiroşanu.
After his studies, Victor Brauner visited the Moldavian city ofFălticeni and the coastal Bulgarian resort town of Balchik, where he painted landscapes in the manner of Cézanne. In September of 1924, he had his first solo exhibition of expressionist paintings at the Mozart Galleries in Bucharest. Brauner also participated in a November 1924 exhibition sponsored by the avant-garde art and literary magazine, Contimporanul.
In 1925 Brauner travelled to Paris for the first time, where he stayed in the same building as Swiss sculptor and printmaker Alberto Giacometti and the French Surrealist painter Yves Tanguy, who introduced him to many of the Surrealists in Paris. Brauner also befriended Romanian sculptor and painter Constantin Brancusi, who taught him the methods of art photography. His circle of friends at that time included poet Benjamin Fondane and artists such as Marc Chagall, Marcel Duchamp, Man Ray, and Robert and Sonia Duchamp.
As Fascism began to take hold in 1930, Victor Brauner settled in Paris more permanently and married Margit Kosch, whom he would divorce nine years later. In 1931 he painted one his most famous images, “Self-Portrait with Plucked Eye”, a work that was eerily prophetic, as on August 28th in 1938 Brauner lost his left eye when he was hit by a glass during a violent argument between Spanish Surrealist painters Oscar Domínguez and Esteban Francés.
Brauner had his first solo exhibition in Paris at the Galerie Pierre in 1934; the enthusiastic catalogue introduction was written by author and poet André Breton. However, the show was not well received and Brauner, disheartened and low on funds, returnedto Bucharest in the following year. During this period in Bucharest, he stopped painting and instead produced illustrations and caricatures, including his 1935 “Anatomy of Desire”. Financially more secure, Brauner moved back to Paris in 1938.
The German army’s advance into France in the middle of 1940 forced Victor Brauner, a Romanian Jew and former Communist, to flee to southern France. He continually moved throughout France, living for a short time with writer Robert Ruis, before finally settling in Saint Feliu d’Amont, a commune in the very southern tip of France. While living there, Brauner unsuccessfully tried to obtain a visa to travel to the United States, however, he managed to get official permission in 1941 to settle in Marseilles, a haven for many Surrealists. In Marseilles, the surrealists continued their work and created a number of collective projects, that included a deck of Tarot cards to which Brauner contributed two images.
Near the end of the war, Victor Brauner moved to Switzerland to escape the increasing Nazi persecution of foreign Romanian nationals. There he discovered pioneer psychotherapist Marguerite Sèchehaye’s writings on schizophrenia, treatises which influenced his later paintings. In 1945, Brauner returned to Paris and placed his work at the Galerie Maeght for the 1947 International Exhibition of Surrealism. Not long after his return to Paris, Brauner was expelled in 1947 from the Surrealist group by André Breton for refusing to support the ouster of prominent member Roberto Matta. Brauner began to experiment in other genres and completely left Surrealism in 1948.
Brauner returned to more personal and primitive themes in his work, in a more stylized and abstracted form, done in the mediums of paper, encaustic painting, and thin oils on board. He established a studio in 1959 at 72 Rue Lepic in the Montmartre district of Paris. After a trip to Italy in 1961, Brauner settled in Varengeville, a commune on the sea in Normandy. In the same year, his work was presented in a solo exhibition at New York City’s Bodley Gallery, a prominent art gallery that became the venue of choice for the Pop Art movement. In 1966, Brauner was selected to represent France and given an entire hall at the Venice Biennale for his work.
After a period of prolonged illness, Victor Brauner died in Paris on March 12th of 1966. He is buried at the Montmartre Cemetery; the epitaph on his tomb reads: “Painting is Life, the Real Life, My Life”.
Note: In ” The Surréaliste”, Victor Brauner borrows motifs from the tarot to create a portrait of himself as a young man. The tarot was a subject of widespread interest to Brauner and other Surrealists. One tarot card, the Juggler (the first card in the Marseille tarot deck), provided Brauner with a key prototype for his self-portrait. The Surrealist’s large hat, medieval costume, and the position of his arms all derive from this figure who, like Brauner’s subject, stands behind a table displaying a knife, a goblet, and coins. In the Waite tarot deck, the first card is the Magician. A sign of infinity (the symbol of life) that appears above the Magician’s head is also depicted on the hat of Brauner’s Surrealist.
Second Insert Image: Victor Brauner, “Le Codex du Poète, Mythologie du Poète, Première Naissance”, 1947, Oil on Canvas, 91.7 x 72.9 cm, Private Collection
Third Insert Image: Victor brauner, “Prelude to a Civilization”, 1956, encaustic and Ink on Masonite, 129.5 x 202.6 cm, The Metropolitan Museum of Art, New York
Fourth Insert Image: Victor Brauner, “La Couronnée”, May 1945, Oil and Wax with Black Ink on Board, 27 x 22 cm, Private Collection
Bottom Insert Image: Victor Brauner, Title Unknown, circa 1945, Encaustic on Board, Private Collection
Born in September of 1829 in Speyer, one of Germany’s oldest cities, Anselm Feuerbach was a painter and a leading member of the nineteenth-century German classical school. He was the son of archaeologist Joseph Anselm Feuerbach and the grandson of legal scholar Paul Johann Anselm Ritter von Feuerbach, whose reformation of the Bavarian penal code led to the abolition of torture.
Anselm Feuerbach studied between 1845 and 1848 at the Düsseldorf Academy under the tutelage of romantic painter Wilhelm von Schadow, landscape painter Johann Wilhelm Schirmer, and Carl Sohn, whose poetic and mythical subjects were executed in the idealistic manner of the Düsseldorf school of painting. Feuerbach studied for a year at the Munich Academy of Art; he however left Munich in 1850 to attend the Academy at Antwerp. There he studied under Belgian painter Gustaaf Wappers, an early exponent of the Romanic movement in Belgium.
Anselm Feuerbach relocated to Paris in 1851 and became a student at the atelier of history and genre painter Thomas Couture. Conture is best known for his 1847 masterpiece “Romans During the Decadence” which wasexhibited at Paris’s Salon a year before the revolution toppled the monarchy. In 1854, Feuerbach received funding from Grand Duke Friedrich of Baden which enabled him to visit Venice, accompanied by his friend, the writer Victor Scheffel. There he was influenced by the technique of layering and blending colors to achieve a glowing richness, a method deemed fundamental to the Venetian Colorist school.
Feuerbach traveled to Florence and then onto Rome where he would remain until 1873, with only brief trips back to Germany. In 1861, he met Anna Risi who became his mistress and sat as his model for four years, a period during which he painted twenty portraits of her. She was succeeded as a model in 1866 by Lucia Brunacci, an innkeeper’s wife who posed for Feuerbach’s depictions of the Greek sorceress Medea. In 1862, literary and art historian Count Adolf Freidrich von Schack commissioned Feuerbach for several copies of Old Master paintings and introduced him to artists Hans von Marées and Arnold Böcklin.
Interested in the Persian poet Hafia since his youth, Anselm Feuervach in 1866 painted his “Hafia at the Fountain” which was acquired two years later by art collector Joseph Benzino, Upon Benzino’s death, the painting was bequeathed tothe Kaiserslautern Art Museum. In 1873,Feuerbach relocated to Vienna and took the position of professor of history painting at the Academy of Fine Arts.Four years later, he resigned his post and moved back to Venice. where he passed away, at the age of fifty, in January of 1880.
In remembrance of Feuerbach, his friend Johannes Brahms composed “Nänie (A Funeral Song)”,a composition for full chorus and orchestra, of which the first sentence states “Even the beautiful must die”. Feuerbach was close to his step-mother Henriette Feuerbach. Throughout his lifetime of travels, he wrote roughly six-hundred letters to his step-mother describing his everyday life and problems, as well as his thoughts on art and his methods of painting. Following Feuerbach’sdeath, his step-mother wrote a book entitled “Ein Vermächtnis (A Testament)” which included his autobiographical notes and many of his personal letters. Anselm Feuerbach’s works are housed in collections of the leading public German galleries.
Born in Los Angeles, California, Patrick Mizumoto is a figurative painter whose work features male figures and landscapes. Self-taught, he also studied painting at the Los Angeles Academy of Figurative Art under the mentorship of Mexican painter, muralist and printmaker Sergio Sanchez. Mizumoto currently resides and maintains a studio in California.
Mizumoto executes his work in oil paints or charcoal with a primary focus on themes of human nature and queer identity. His work, heightened by an understanding of light and shadow, portray figures in energetic and often suggestive poses which are set in backgrounds of swirling colors. In his work, he attempts to capture those moments of discord and harmony we experience in our daily lives.
Patrick Mizumoto has shown his work in multiple exhibitions in California and Hawaii, including the prestigious annual group exhibition, “Commitment to Excellence”, which is presented by the Japanese Chamber of Commerce through the Honolulu Museum of Art. He also presented several works at the Tom of Finland Foundation’s 2014 Emerging Artist Competition. Among these works were the oil on linen “Acceptance and Renewal” and the acrylic on canvas portrait “Sean”, both painted in 2014.
Mizumoto’s work was presented in a 2011 exhibition at Los Angeles’s The Hive Gallery & Studios and, in 2019, at the “My Youth” exhibition held at the Tag Gallery. In 2021, he exhibited work at the “Pow! Wow!” The First Decade: Hawaii to the World” exhibition held by the Thinkspace Gallery in Culver City, California.
Images of Patrick Mizumoto’s work, purchasable prints, and contact information for inquiries can be found at his site: https://patrickmizumoto.com
Bottom Insert Image: Patrick Mizumoto, Title Unknown, 2020, Oil on Panel, 22.9 x 30.5 cm-3
Born in 1859 to German parents in Zurich, Ottilie WilhelmineRoederstein was a painter who gained attention mostly in herhomeland of Switzerland, but also in France and Germany. Her interest in painting began with the visit to her family home by Swiss painter Eduard Pfyffer who had been commissioned to do the family’s portraits. Beginning in 1876, Roederstein was allowed by her father, against her mother’s wishes and the prevailing social customs, to study painting under the tutelage of Eduard Pfyffer, so she would remain close to home
Three years later, Roederstein moved to the Berlin residence of her married sister Johanna and found a positionin a special women’s class at the Grand-Ducal Saxon Art School under the tutelage of portrait painter Carl Gussow. Her first exhibition of paintings at a Zurich gallery in 1882 was well received. That same year, Roederstein followed her colleagues to Paris where she joined the women’s studio of portrait painters Charles Auguste Émile Durand and Jean-Jacques Henner. In addition to these classes, Roederstein also worked with academic painter Luc-Olivier Merson and painted nudes in special private evening classes.
In order to sustain herself as an artist, Ottilie Roederstein had chosen the genres of portraiture and still life, for which she used a dark-toned color palette. She soon departed from that traditional canon and began to paint religious imagery and nudes. By the very end of the 1890s, Roederstein had embraced the tempera medium which was in vogue among both traditional and avant-garde artists. She experimented with Symbolism and Impressionism in the latter part of her career before returning to her signature style in the 1920s.
Initially dependent on financial support from her family, Roederstein was able by 1887 to support herself with sales and commissions for her work. She returned to Zurich but continued to maintain her Paris studio on the Seine where she would work and exhibit several months of the year. Roederstein moved to Frankfurt, Germany, in 1891 to be with her partner, Elizabeth Winterhalter, a physician and one of the first female surgeons in Germany.
In 1891, Elisabeth Winterhalter had justtaken over a practice in Frankfurt am Main’s newly founded hospital, the Vaterländischer Frauenverein. She also set up the first gynecological polyclinic through a branch of the Red Cross organization. Although unable to obtain a German medical license despite her internships and Doctorate, she established a reputation as an obstetrician and gynecologist. In 1895, Winterhalter became the first female surgeon in Germany to perform a surgical procedure involving an incision through the abdominal wall. She also conducted research that led to the discovery of the ganglion cell of the ovary and published a major paper on the subject in 1896.
Soon after her 1891 move to Berlin, Ottilie Roederstein quickly gained a wide circle of clients and, in 1892, began givingwomen artists painting lessons at herstudio in the Städel Art School. She exhibited her paintings in Paris’s Salon and won a Silver Medal at the city’s 1889 Exposition Universelle.Her work was also shown at the Woman’s Building of the 1893 World’s Columbian Exposition held in Chicago, Illinois. In 1902, Ottilie Roederstein’s application for Swiss citizenship was granted; however, Frankfurt remained at the center of her life. Five years later, she and Elisabeth settled in Hofheim am Taurus, a western Frankfurt suburb surrounded by forest.
Roederstein was a member of the Frankfurt-Cronberg Artists’ Association, a group which was attempting to establish the Impressionist technique of open air painting in Germany. She was also the only female artist to exhibit at Cologne’s 1912 International Art Exhibition. In 1913,Roederstein became a member of Frankfurt’s Women’s Art Association which campaigned for women artists’ rights to equal training and admission to art academies. During the first World War as exhibition opportunities shrank, she gave up her Paris studio and withdrew into the privacy of her Hofheim estate. Beginning in 1920, Roederstein bequeathed her own collection of important French and Swiss paintings to Kunsthaus Zürich, one of the most important art collections in Switzerland.
In 1929 on the occasion of Ottilie Roederstein’s seventieth birthday, a large anniversary exhibition of her work was held at Frankfurt’s Art Museum and the city declared both Roederstein and Winte halter as honorary citizens. The rise of the National Socialist Party to power in Germany and the persecution of her Jewish friends and colleagues deeply affected Roederstein. She herself, as an artist, became subject to the state and had to contend with the government’s increasing control over the arts. After the war, Roederstein continued her painting and dida number of portraits of women widowed by the war.
Ottilie Roederstein continued to exhibit regularly until 1931. She produced a large body of work, of which more than eighty were self-portraits. She usually staged herself in a self-confident pose with a stern gaze, a posture that signified her emancipation. On the 26th of November in 1937, Ottilie W. Roederstein died of a heart condition in Hofheim am Taunus. The first posthumous exhibitions of Roederstein’s work were presented in 1938 in Frankfurt, Zurich and Bern in recognition of her artistic legacy and tireless work as a mediator between Switzerland and Germany. After a long period of obscurity, a retrospective of seventy works by Roederstein was held at Kunsthaus Zürich in December of 2020.
After her partner’sdeath, Elisabeth Winterhalter created a joint legacy, the Roederstein-Winterhalter-Stiftung. She died in February of 1952 in Hofheim am Taunus. Winterhalter was buried alongside Roederstein in an honorary grave cared for by the community. For her efforts in opening the medical profession to women, a street in the Niederursel district of Frankfurt is named after her.
Top Insert Image: Photographer Unknown, Ottilie Roederstein in Her Atelier, Date Unknown
Second Insert Image: Ottilie Foederstein, “Self Portrait with Keys”, 1936, 105.3 x 74.6 cm, Städel Museum
Third Insert Image: Photographer Unknown, ” Ottilie roederstein and Elisabeth Winterhalter, Date Unknown
Fourth Insert Image: Ottilie W. Roederstein, “Self Portrait with Hat”, 1904, Oil on Canvas, 55.3 x 46.1 cm, Stäadel Museum
Bottom Insert Image: Photogapher Unknown, Ottilie Roederstein and Elisabeth Winterhalter, Date Unknown, Studio Portrait Print
Andreas Martin Andersen, “Hendrik Andersen and John Briggs Potter in Florence”, 1894, Oil on Canvas, Dimensions Unknown, Hendrik Andersen Museum, Rome
Born in August of 1869 in Bergen, the historic site of Norway’s first coronation, painter Andreas Martin Andersen was the first son of parents Anders Andersen and Helene Monsine Monsen. His younger brother, the sculptor Hendrik Christian Andersen, was born in April of 1872, also in Bergen. In 1873, the family emigrated to the United States and settled in Newport, Rhode Island.
Beginning in 1889, Andreas Andersen studied at Cowles Art School in Boston. Three years later after receiving a scholarship, he studied painting at the Académie Julian in Paris under painter and sculptor Jean-Paul Laurens, a major exponent of the French Academic style, andJean-Joseph Benjamin-Constant, painter and etcher known for his Oriental subjects and portraits. During his stay in Paris, Andersen shared the studio with his American friend Howard G. Cushing, the son of an illustrious and wealthy family with residences in Newport and Boston.
Andersen also became good friends with the painter John Briggs Potter, another student at the Académie Julian. In 1894, Hendrik Andersen joined his brother in Paris. The three Americans traveled together through Europe and explored the many Italian cities, including Florence. “Hendrik Andersen and John Briggs Potter in Florence”, was painted in 1894 by Andreas Andersen during the last year of their grand European tour as a final proof to be sent back to Boston. He portrayed his brother and friend Potter as they woke up in the bohemian interior of the Florentine house in Via San Zanobi near Piazza Indipendenza where the three companions had taken up residence.
Early in his academic stay in Paris, Andreas Andersen began dating Olivia Cushing who was Howard’s sister and, at that time, residing in Paris. By 1892, they had developed a strong loving bond. Upon his return to the United States at the end of 1894, Andersen settled in the Boston area and began painting. A talented painter, his exceptional early success was partlyinfluenced by Olivia Cushing’s friendships with many wealthy citizens of the area. One of Andersen’s most important patrons was Isabella Stewart Gardner. Born to a wealthy family and a collector of rare books. Gardner supported many artists, including John Singer Sargent and dancer Ruth St, Denis. Over his career, Andersen painted over thirty portraits and a dozen landscapes, as well as a series of drawings with academic studies of nudes.
Andreas Andersen married Olivia Cushing in January of 1902. Stricken with tuberculosis, he was ill at the time of their marriage and died a year later in February of 1902. Many of Andersen’s works are housed in private collections and in the Hendrik Andersen Museum in Rome.
In 1903, Olivia Cushing Andersen left Boston to join her brother-in-law Hendrik Andersen in Rome. A cultural woman of great sensitivity and author of allegorical dramas with historical and biblical themes, she was Hendrik’s muse and also in part the financier of his grandiose sculptural and urban projects. Until her death in Rome in December of 1917, she was the passionate expounder of Andreas and Hendrik’s work in her unpublished diaries. These diaries are now preserved in the historical archive of the Hendrik Andersen Museum in Rome.
Top Insert Image: Andreas Martin Andersen, “Dionysus Torso at Fenway Court”, 1902, Oil on Canvas, 57 x 36 cm, Isabella Stewart Gardner Museum
Bottom Insert Image: Andreas Martin Andersen, “Portrait of Olivia Cushing Andersen”, Circa 1895, Oil on Canvas, Dimensions Unknown