Carlos Alfonzo

The Paintings of Carlos Alfonzo

Born in Havana in 1950, Carlos Alfonzo was a Cuban-American painter and ceramicist whose Neo-Impressionist style incorporated forms from Cuban Santeria, Catholic medieval mysticism, and tarot cards to form a symbolic vocabulary for his work.

Carlos Alfonzo began his artistic training at the Academia de Belle Artes San Alejandro in Havana where he studied painting, print making and sculpture. After receiving his degree in 1973, Alfonzo attended the University of Havana where he received a degree in Art History in 1977. As a student, he began to introduce Afro-Cuban religious symbols from various sects into his work. Alfonzo, although raised as a Catholic, often blended pagan and Christian imagery to reveal their overlapping symbolisms as well as their connections to the issues of passion, masculine power, and sin.

During the 1970s, Alfonzo was an active participant in Cuba’s artistic community. However, he grew increasingly dissatisfied with the country’s Revolution and discouraged by the travel restrictions and pervasive homophobia. In 1980, Alfonzo was deemed undesirable as a gay man by the Cuban government and, after several days of refuge with others at the Peruvian embassy, was able to leave Cuba during the Mariel Boat-Lift. An agreement arranged between Cuban-Americans in the United States and Fidel Castro allowed the release of many Cubans from the increasing restrictive conditions on the island. After a journey marred by violence, Alfonzo settled in Miami where he was able to explore both his art and his life.

Carlos Alfonzo’s wildly energetic work was quickly embraced among the artistic circles in the United States. Three years after arriving in the United States, he was awarded a Cintas Fellowship in the visual arts and, in the next year, a 1984 Fellowship in Painting from the National Endowment for the Arts in Washington D.C. In the 1980s and 1990s, Alfonzo began to exhibit his work internationally and participated in a number of traveling exhibitions that concentrated on LatinX artists.

Alfonzo’s earliest work was inspired by the visible symbols contained within the propaganda produced under the Castro regime. Later works embraced the impressionistic work of such artists as Henri Matisse and Pablo Picasso. Alonzo’s work was also influenced by that of Cuban painter Wilfredo Óscar Lam y Castilla, an artist who fused Surrealist and Cubist approaches to art with images and symbols from Santeria. Many of Alonzo’s paintings contain subtle hints of his sexuality or invoke the fear and anger generated by the deaths of the AIDS epidemic. During the last year of his life, Alfonzo radically reduced his color palette and began an intense use of pictorial markings on large, dull-colored paintings that expressed a range of emotions.

Carlos Alfonzo, in addition to his paintings, produced a great number of works in clay and painted ceramics over a span of ten years. Interested in public works, he personally made and glazed all the ceramic tiles for his two iconic public murals in South Florida. The 1986 ceramic “Ceremony of the Tropics” at the Santa Clara Metro-Rail Station was a project of Miami’s Art in Public Places program overseen by artist and curator Cesar Trasobares. Alfonzo’s second ceramic mural was the 1991 site-specific “Brainstorm” commissioned by the Florida International University.

Before he left Cuba, Alfonzo had two solo shows in Havana. The first was in 1976 at Galeria Amelia Pelaez and the second at Havana’s Museo Nacional in 1977. Alfonzo’s first solo exhibition in the United States, “Paradiso” which featured paintings, ceramics and works on paper, was held at New York City’s Hal Bromm Gallery on Madison Avenue in 1987. His other solo exhibitions were held at Houston’s McMurtey Gallery and the Osuna Gallery in Washington DC as well as the Bass Museum of Art and the Lannan Museum, both in Florida.

In 1987, Alfonzo entered his work in the group exhibition, “Hispanic Art in the United States”, held at Houston’s Museum of Fine Arts. His paintings were entered in the 1990 seminal multi-venue show “The Decade Show: Frameworks of Identity in the 1980s” at New York City’s Museum of Contemporary Hispanic Art. This exhibition later traveled to the city’s The New Museum of Contemporary Art and The Studio Museum in Harlem. In 1991, Alfonzo’s paintings were chosen to be included in that year’s Whitney Biennial held at the Whitney Museum of American Art in New York.

Carlos Alfonzo lived and worked in Miami, Florida until his death in 1991 from a cerebral hemorrhage with AIDS-related complications at the age of forty-one. His work is held in many private collections and such public collections as the Miami Art Museum, the Kendall Art Center, Washington D.C.’s Hirshhorn Museum and Sculpture Garden, the Smithsonian American Art Museum and the Sheldon Museum of Art in Lincoln, Nebraska, among others.

Notes: Art historian and curator Julia P. Herzberg has an extensive and informative article entitled “Carlos Alfonzo: Transformative Work from Cuba to Miami and the U.S.” on her site: https://www.juliaherzberg.net/carlos-alfonzo

The online site of Miami’s New Times has an article by Isabella Marie Garcia entitled “The Dark Poignancy of Carlos Alfonzo’s Life” which covers the 2020 retrospective at the Institute of Contemporary Art in Miami: https://www.miaminewtimes.com/arts/things-to-do-in-miami-carlos-alfonzo-late-paintings-at-institute-of-contemporary-art-miami-14372933

The Farber Foundation’s The Archive: Cuban Art News has an article written by Janet Batet on Carlos Alfonzo’s late-career art: https://cubanartnewsarchive.org/2018/07/11/screaming-heads-and-still-lifes-the-late-career-art-of-carlos-alfonzo/

Top Insert Image: Ramiro Fernandez, “Carlos Alfonzo”, Date Unknown, Color Print, Miami New Times, May 2022

Second Insert Image: Carlos Alfonzo, Untitled, 1987, Acrylic on Paper, 76.2 x 56.5 cm, Private Collection

Third Insert Image: Carlos Alfonzo, Untitled, 1980-1989, Linocut Print, Artist Proof, 68.6 x 106.7 cm, Private Collection

Fourth Insert Image: Carlos Alfonzo, Untitled (Nine Figures Inside a Maze), 1979, Mixed Media on Paper on Board, 64.8 x 50.2 cm, Private Collection

Bottom Insert Image: Carlos Alfonzo, “Still Life with AIDS Victim”, 1990, Oil on Canvas, 213.4 x 213.4 cm, Private Collection

Max Beckmann

The Artwork of Max Beckmann

Born in February of 1884 at Leipzig in the Province of Saxony, Max Carl Friedrich Beckmann was a German painter, printmaker, sculptor and writer who is often classified as an Expressionist artist, a term and movement he rejected during his lifetime. He pursued a very personal artistic path that examined the themes of redemption, terror, eternity and fate.

The youngest child born to Carl and Antonie Beckmann, Max Beckmann exhibited artistic talent at an early age. At the age of sixteen, he enrolled at the Weimar Grand Ducal Art Academy where he completed his studies in three years. Beckmann moved to Paris in 1903 and was deeply impressed by the works of Paul Cézanne. Returning to Germany in 1904, he settled in Berlin and, in 1910, began exhibiting work with the Berlin Secessionist artists. Beckmann also had a show at Galerie Paul Cassirer, which represented the Secessionists and French artists, notably Paul Cézanne and Vincent van Gogh.

At a time when abstractionist work was developing in Germany, Beckmann was exploring figuration and narrative works with fragments of myths, bible stories, and obscure allegories. He was recognized for his history paintings and portraits of muted palettes and impressionistic brushwork. At the outbreak of World War I, Beckmann volunteered as a medical orderly in Belgium; however, the traumatic experiences he suffered in the field led to a nervous breakdown in July of 1915. He was eventually discharged from military service in 1917.

Max Beckmann relocated to Frankfurt for his recovery, but his experiences in the war changed the scope of his work. The romantic compositions of his early work were replaced by more angular forms; his use of paint became more subdued and his palette darkened. Beckmann’s post-war subjects, often depicted more violently, centered around issues of political intolerance, social injustice and poverty. His cynical, crowded, and turbulently colored canvases were populated by characters caught in the chaos of post-World War I urban life. During this immediate post-war period, Beckmann also focused on etching and lithography. He created several black and white print portfolios, among which was the 1918-1919 “Hell” which featured scenes of a devastated Berlin.

Beckmann began teaching a master class in 1925 at Frankfurt’s Städel School and its School for Applied Arts. Having achieved widespread critical and commercial success, he was widely exhibited in Europe and America and his work was held in important museums and many private collections. Beckmann was among the leading artists who practiced the new realist style known as the Neue Sachlichkeit, or New Objectivity. His work was among those featured in art historian Gustav Hartlaub’s public survey on New Objectivity held at the Kunsthalle Mannheim in 1924.

As the National Socialist Party in Germany increased its dominance in the early 1930s, modern art became increasingly under attack. Beginning in 1933, exhibitions of modern art toured several German cities solely for the purpose of defaming the work of modern artists, which included Max Beckmann and his contemporaries. The director of Berlin’s National Gallery, Ludwig Justi, attempted to protect its modern art collection by establishing special exhibition rooms in its Museum of Contemporary Art. However, after Adolf Hitler assumed power, Beckmann’s paintings were among those collected and exhibited in the Degenerate Art Exhibition that toured Germany until 1939.

Although he attempted to keep a low profile, Beckmann lost his teaching position in April of 1933. On the day the Degenerate Art Exhibition opened in March of 1937, he and his second wife Quappi relocated to Amsterdam, never to return to Germany. Beckmann joined a large exiled community and remained in contact with his supporters. During this period, he held a teaching position and created over two hundred and fifty paintings, the majority of which were his self-portraits. In 1938, Beckmann traveled to London and gave a speech at the New Burlington Galleries as part of the Exhibition of Twentieth Century German Art.

In September of 1947, Max Beckmann relocated to the United States and was given a teaching position at Saint Louis’s Washington University Art School where he taught alongside German-American printmaker Werner Drewes. In 1948, Beckmann had his first retrospective in the United States at the City Art Museum in Saint Louis. Art collector Morton D. May became his patron and student; he later donated a large collection of Beckmann’s work to the City Art Museum.

In the autumn of 1949, Beckmann and his wife Quappi relocated to a 69th Street apartment in Manhattan, New York where he accepted a teaching professorship at the Brooklyn Museum Art School. In 1950, Beckmann had a solo exhibition at the Venice Biennale and also painted his “Falling Man”, an oil on canvas work similar to the falling men illustrations he created for a 1943-1944 edition of Goethe’s “Faust II”. On the twenty-seventh of December in 1950, Max Beckmann was struck down by a heart attack not far from his building while on his way to the Metropolitan Museum of Art to view one of his paintings.

After his death, Max Beckmann’s work was rarely seen in the United States, except for retrospectives held in 1964 and 1965 by New York’s Museum of Modern Art, the Boston Museum of Fine Art and the Art Institute of Chicago. However since the late twentieth century, retrospectives have been held in major cities throughout Europe and the United States. Many of his late paintings are displayed in American museums, with the Saint Louis Art Museum holding the largest public collection in the world. A new record for a German Expressionist work occurred with the 2017 sale of Max Beckmann’s 1938 “Hölle der Vögel (Birds’ Hell)” at Christie’s London for 45.8 million dollars (42.09 million Euros).

Notes: The Harvard Art Museums has a collection of eighty-five works by Max Beckmann, the majority of which consists of prints and drawings. Images of this collection can be found at: https://harvardartmuseums.org/collections/person/27201

A biography of Max Beckmann and short articles on six of his more important paintings can be found at the non-profit Art Story site located at: https://www.theartstory.org/artist/beckmann-max/

Top Insert Image: Photographer Unknown, “Max Beckmann in Armchair”, circa 1920-1930, Black and White Print, 8.5 x 5.9 cm, Tate Museum, London

Second Insert Image: Max Beckmann, “Frontal Self Portrait with House Gable in Background”, 1918, Drypoint Print, 49.8 x 37.5 cm, Harvard Museums/Fogg Museum

Third Insert Image: Max Beckmann, “Café Music”, 1918, Drypoint Print, Harvard Museums/Fogg Museum, Cambridge, Massachusetts

Fourth Insert Image: Max Beckmann, “Self Portrait (Still Life with Globe as the Cover of Portfolio)”, 1946, “Day and Dream” Portfolio Series, Lithograph, Harvard Art Museums/Fogg Art Museum

Bottom Insert Image: Mas Beckmann, “Der Vorhang hebt sich (The Curtain Rises)”, 1923, Drypoint Print, 29.7 x 21.7 cm, Harvard Museums/Busch-Reisinger Museum

Sir Francis Cyril Rose

The Artwork of Sir Francis Cyril Rose

Born at the grand English estate of Moor Park, Hertfordshire in September of 1909, Sir Francis Cyril Rose, 4th Baronet of the Montreal Roses, was an English painter who received strong support throughout the 1930s from his patron, American novelist and art collector Gertrude Stein. Although he created many works of art, Rose’s artistic output was as erratic as his lifestyle was audacious and extravagant. Despite Stein’s endeavors to generate a sustained interest in his work, Francis Rose remained one of the more obscure artists of his generation.

Descended from Spanish nobility, Francis Rose inherited his British baronetcy while still a child. He received his initial education from the Jesuits at Beaumont College in Old Windsor, Berkshire, as well as lessons from private tutors abroad. In 1926 at the age of seventeen, Rose relocated to Paris where he resided as an expatriate until 1936. He studied under avant-garde painter and typographic artist Francis Picabia, an early figure in the Dada Movement, and Spanish muralist and theater set designer Josep Maria Sert.

In 1930, Rose had his first exhibition, alongside Salvador Dali, at the Paris gallery of modern art patron Marie Cuttoli. By this time, he had already designed costumes and scenery for Sergei Diaghilev’s Ballet Russe, some of which were in collaboration with artist Christopher Wood. Rose would design theater sets and costumes again in 1939 for Lord Berners’s ballet production “Cupid and Psyche” at London’s Sadler’s Wells Theater. During the 1930s, he spent several years studying Chinese poetry and art in China; he later traveled extensively in Europe and North Africa with his future wife, Frederica Dorothy Carrington.

While traveling in France in his early twenties, Francis Rose became a close acquaintance of author Gertrude Stein who helped launch his painting career by commissioning several of his works, including a portrait of herself, for her own art collection. Stein had discovered Rose’s paintings in a Parisian gallery in the late 1920s and eventually bought one hundred-thirty of his works. Through Stein’s support, Rose was able to exhibit his work in Paris, London and New York. He also created illustrations for “The Alice B. Toklas Cookbook”, a publication by Stein’s lifetime partner, Alice Babette Toklas. Although the friendship between the three personalities wavered at times, Alice Toklas asked Rose to design Gertrude Stein’s grave site memorial.

In 1938, Rose completed what is considered one of his most successful paintings, “L’Ensemble”, an oil on canvas mural that depicted his circle of friends which included Jean Cocteau, Gloria Stein, Alice Toklas, Christian Bérard, Pavel Tchelitchev and Natalie Barney, among others. This mural was exhibited in the following year at the Petit Palais Musée des Beauz Arts in Paris. Called to military service at the beginning of World War II, Rose served as a disciplinary sergeant in the Royal Air Force. In 1942, Francis Rose exhibited his work at the “Imaginative Art Since the War” exhibition held in London’s Leicester Galleries; this exhibition was organized by Frederica Dorothy Carrington, one of two daughters to Sir Frederick Carrington.

Francis Rose and Dorothy Carrington were married in 1942; however, as Rose was a noted homosexual, the marriage eventually ended. By 1954, Carrington had permanently settled, without Rose, on the Corsican island of Ajaccio; their divorce was finalized in 1966. Carrington became one of the twentieth-century’s leading scholars on the island’s culture and history. In 1971, she was elected a Fellow of the Royal Historical Society and, in the next year, a member of the Royal Society of Literature. Carrington became a Member of the Most Excellent Order of the British Empire in 1995.

In 1938, Rose gave an American stockbroker the power of attorney to manage his fortune; however, this stockbroker was involved in, and later convicted of, an embezzlement scheme. Rose lost most of his fortune and was nearly destitute by the end of the second World War. He spent his final years in a state of poverty, helped financially by friends foremost among whom was photographer Cecil Beaton. In an attempt to achieve some financial success, Rose published a memoir in 1961 entitled “Saying Life: The Memoirs of Sir Francis Rose”. This memoir discussed both his exploits, many which had factual issues, and his associations with the famous and artistic personalities of the time. “Saying Life”, however. was not the financial success that he needed.

Sir Francis Cyril Rose died in London on the nineteenth of November in 1979 at the age of seventy. He had exhibited in London and Paris in the 1950s and 1960s with major retrospective in London and Brighton in 1966. Another third retrospective of Rose’s work was given at London’s England & Co in 1988. In addition to private collections, his work is included in London’s England & Co Gallery, the Stein-Tolkas Collection of the Yale University Art Gallery, and the Fine Arts Museums of San Francisco.

Notes: The Nick Harvill Libraries has a biographical article with quotes entitled “Lord Chaos: The Life of Sir Francis Rose” at: https://www.nickharvilllibraries.com/blog/lord-chaos-the-life-of-sir-francis-rose

Time Magazine has an archive review of Sir Francis Roses’s July 1949 exhibition of new work at London’s Gimpel Fils Gallery. The review is located at; https://content.time.com/time/subscriber/article/0,33009,888553,00.html

Top Insert Image: Cecil Beaton, “Sir Francis Rose”, Date Unknown, Bromide Print, The Cecil Beaton Studio Archive

Second Insert Image: Cecil Beaton, “Cecil Beaton, Gertrude Stein, Sir Francis Rose”, 1939, Bromide Print, 24 x 23.8 cm, National Portrait Gallery, London, England

Third Insert Image: Cecil Beaton, “Sir Francis Rose and Gertrude Stein, Bilignin”, 1939, Gelatin Silver Print from Original Negative, The Cecil Beaton Studio Archive

Bottom Insert Image: Francis Goodman, “Emma Tollemache and Sir Francis Rose”, 9 December 1947, Gelatin Silver Print from Original Negative, National Portrait Gallery, London, England

Emma Tollemache (née Manasseh) wrote the poetry collection “In the Light”. A limited edition of 250 copies with illustrations by Sir Francis Rose was published by Marlowe Galleries.

Feliciano Centurión

The Textile Art of Feliciano Centurión

Born in the city of San Ignacio, Misiones in March of 1962, Feliciano Centurión was a Paraguayan artist known for his painting and textile work that incorporated painting, knitting, crocheting and embroidering. He was raised in a matriarchal household where he was taught the traditional crafts normally associated with women’s work.

Feliciano Centurión’s family fled to Formosa, Argentina to escape the military dictatorship of Paraguayan President Alfredo Stroessner. He received his initial art education in the visual arts at Formosa’s Oscar R. Albertozzi School of Fine Arts. Centurión permanently relocated to Buenos Aires where he studied painting at the Ernesto de la Cárcova Superior School of Fine Arts and the Prilidiano Pueyrredón School of Fine Arts. He earned the National Professor and Superior Professor of Painting degrees.

Centurión incorporated ordinary household items into his artwork, such as blankets (frazadas), handkerchiefs, and pillowcases which he purchased at local street markets. His textile work followed the weaving traditions held by the indigenous Guaraní people of the interior regions of South America, particularly those of Brazil, Argentina, Paraguay and Bolivia. Centurión also integrated the technique of ñandutí, an intricate method of lace weaving that was traditionally taught from mother to daughter. His design motifs included images of both flora and fauna as well as diaristic texts.

After surviving the dictatorships in both Paraguay and Argentina, Feliciano Centurión thrived in Argentina after the collapse of the country’s authoritarian regime in 1983. He became associated with the Centro Cultural Ricardo Rojas, a cultural center operated by the University of Buenos Aires, where he became acquainted with the work of other young artists. Centurión incorporated the kitsch references and queer aesthetics of these artists into his painting and embroidery work now being done on inexpensive, patterned blankets. Established as an artist, he participated in thirty-one solo exhibitions in Argentina and Paraguay between 1990 and 1996.

Diagnosed with HIV in 1992 at a time when no accessible treatments were available, Centurión began chronicling his declining health by weaving texts into increasingly smaller and more intricate fabrics. At a time when government policies and media reports stigmatized the virus and its victims, he expressed humanizing, sentimental notions of comfort and intimacy into his fabric work. Centurión’s works were composed of bright colors and animals, such as snails and crocodiles, remembered from his childhood. His blankets celebrated both his matriarchal upbringing and Paraguay heritage; he used his embroidered work to express his queer identity and elevate the status of textile art.

Feliciano Centurión had his first solo exhibition in 1982 at the Estimulo del Belles Artes in Asunción, Paraguay, and represented Paraguay at the fifth Havana Biennial in 1994. His final works, a series of embroidered pillows, were made while he was hospitalized. Centurión died on the seventh of November of 1996 at the age of thirty-four in Buenos Aires.

A retrospective of Centurión’s work was exhibited in 2018 at the 33rd São Paulo Biennial in Brazil. The Americas Society/Council of Americas (AS/COA) held the first solo exhibition of his work in the United States from February to November of 2020. Held at its Park Avenue gallery in New York City, this exhibition received the support of the WaldenGallery, Galeria Millan, and Cecilia Brunson Projects as well as the City of New York. Centurión’s work is included in the current 2024 exhibition, “The Power and Politics of Textiles in Art”, at London’s Barbican Art Gallery until the 26th of May.

Notes: The exhibition catalogue “Feliciano Centurión: Abrigo” from the Americas Society/Council of Americas’s 2020 exhibition, which contains the exhibited work and an extensive biography, can be located at: https://www.as-coa.org/sites/default/files/archive/FelicianoCenturionPocketBook.pdf

The Visual AIDS site has a tribute page to Centurión which contains a short biography and an online collection of over fifty images of his work: https://visualaids.org/artists/feliciano-centurion

Second Insert Image: Feliciano Centurión, “Flamencos”, circa 1990, Acrylic on Blanket, 42 x 53 cm, Private Collection

Bottom Insert Image: Feliciano Centurión, “Surubí”, 1992, Acrylic and Varnish on Blanket, 200 x 190 cm, Private Collection

Jacques de Lalaing

The Paintings of Jacques de Lalaing

Born in London on the fourth of November in 1858, Jacques de Lalaing was an English-Belgian painter and sculptor who worked in a realistic, naturalistic style both as a portrait artist and creator of historical scenes. As a sculptor, Lalaing produced both allegorical and animal bronzes as well as memorial monuments. Along with sculptors Léon Mignon and Antoine-Félix Bouré, he established a distinctively Belgian tradition of animal art.

Jacques de Lalaing was the younger son of Belgian diplomat Count Maximilien IV de Lalaing, a member of a noble southern Flanders family which played an important role in the history of the Netherlands. Jacques’s older brother, Charles Maximilien de Lalaing, became an important diplomat who served as Belgian Ambassador to four countries from 1899 to 1917.

Lalaing received his academic training in England until 1875 at which time he relocated to Brussels, Belgium. He studied at the city’s Académie Royale des Beaux-Arts under genre and portrait painter Jean-François Portaels, the founder of the Belgian Orientalist school; historical and portrait painter Louis Gallait; and portrait painter Alfred Cluysenaar, best known for his monumental decorative works.

As a sculptor, Jacques de Lalaing trained under sculptor and medalist Baron Thomas Jules Vinçotte, sculptor to the court of King Leopold II, and sculptor Josef Lambeaux, known for his large bronze statues and marble bas-reliefs. Lalaing created the British Waterloo Campaign Monument in Brussels, a large edifice of bronze figures on a plinth of rusticated stone blocks, below which lies the bodies of seventeen fallen soldiers from the battles at Quatre Bras and Waterloo. He also designed the bronze horseman battle group at the Bois de la Cambre in Brussels as well as the twenty-two meter bronze pylon in Schaerbeek, originally made for the 1913 Ghent Exposition.

To ensure the accuracy of his work, Lalaing extensively used the medium of photography; he also enlisted the services of renowned photographers in Brussels to compile a photographic record of his work. Lalaing accumulated a large collection of “Academies”, images produced for artists by Parisian photographers and publishers to serve as sources for inspiration. He also photographed thousands of reference images in his Brussels studio. These photos served as a simple work tools, the preparatory sketches from which to produce the initial plaster or charcoal study. In his vast Brussels studio, Lalaing staged his subjects facing the camera: celebrities whose portrait he had been commissioned to paint, as well as professional models, children and animals selected to inspire a future composition.

Jacques de Lalaing was commissioned for interior decorative scenes for the town hall of the Belgian commune of Saint-Gilles which bordered the city of Brussels. Other artists commissioned for this project included Fernand Khnopff, Albert Ciamberlani, and Emile Fabry, among others. Lalaing created six allegorical oil on canvas panels depicting the themes of commerce and industry; these panels were placed around the allegory “Truth, Goodness and Beauty”, a collaboration between painter Alfred Cluysenaar and himself.

In 1896, Lalaing was elected a member of the Académie Royale des Beaux-Arts in Brussels; between 1904 and 1913, he served as its director. Lalaing died on the tenth of October in 1917 at the age of fifty-eight. In addition to private collections, his works are represented in the museum collections of Antwerp, Brussels, Bruges, Ghent and Tournal. A collection of Lalaing’s photographic studies are housed in the Musée d’Orsay, France where an exhibition of these images was held from September of 2022 to March of 2023. .

Notes: The website for L’Hôtel de Ville de Saint-Gilles, now a museum in the commune of Saint-Gilles, can be found at: https://hoteldeville.stgilles.brussels/fr/

Top Insert Image: Alexandre de Lalaing, “Jacques de Lalaing”, Date Unknown, Vintage Print

Second Insert Image: Jacques De Lalaing, “Shirtless Model Sitting”, 1980, Albumin Print, Musée d’Orsay

Third Insert Image: Philip de László, “Comte Jacques de Lalainig”, 1931 (Paris), Oil on Board, 90 x 72 cm, Private Collection

Bottom Insert Image: Jacques de Lalaing, “Model with Mannequin”, circa 1884, Albumin Photo, Rijksmuseum, Amsterdam

Jan Mankes

The Artwork of Jan Mankes

Born in August of 1889 in the city of Meppel, Jan Mankes was a Dutch painter whose restrained, detailed work included self-portraits, landscapes and detailed studies of animals and birds. Although he developed a reputation as an ascetic, Mankes was well acquainted with both events and artists in the Netherlands.

The son of tax inspector Beint Jans Mankes and Genty Hartsuyker, Jan Mankes began his initial education in 1902 at Meppel; however, after his father received a new assignment, the family moved in 1903 to Delft, a city in South Holland. Beginning in 1904, Mankes studied at the Delft workshop of painter and stained glass artist Jan Lourens Schouten. In his free time, he also trained in stained glass techniques at the workshop of Hermanus Veldhuis and often assisted Veldhuis in his work. There is evidence Mankes participated in the restoration of stained glass panels at Sint Janskerk, a Gothic-styled church in the city of Gouda.

Mankes often traveled to The Hague where he attended evening classes at its Academy of Fine Arts and studied the painting collections in the Mauritshuis Museum. He was particularly influenced by the work of sixteenth-century German artist and printmaker Hans Holbein the Younger as well as seventeenth-century Dutch painters Carel Fabritius and Johannes Vermeer. In 1908 at the age eighteen, Mankes showed his first paintings to his friend, Delft engraver Antoine van Derktsen Angers, who advised him to leave the glass works and devote himself to a career as a painter.

After the retirement of his father in 1909, Jans Mankes moved with his parents to the village of Bovenknipe in the northern province of Friesland. Inspired by its landscapes, he decided on the main themes for his work: portraiture and depictions of the natural world’s fauna and flora. From 1909 onwards, Mankes was supported financially by his patron from The Hague, tobacco merchant and major art collector A. A. M. Pauwels. His letters to Pauwels expressing gratitude for both money and materials were published in 2012 by the Netherlands Institute for Art History; Pauwels’s letters did not survive.

In 1911, Mankes created a portrait of Anne Zernike, a progressive Mennonite woman and Netherlands’ first female minister with a doctoral degree. This portrait is now housed in the collection of the Fries Museum in Leeuwarden. In the same year, Mankes painted one of his most famous self-portraits, “Self-Portrait with an Owl”. His exposure in 1912 to the work of Japanese ukiyo-e artist Katsushika Hokusai, best known for his woodblock prints, created a lasting impression on his work, especially in regard to simplicity of composition.

On the thirtieth of September in 1915, Mankes married Anne Sernike and the couple lived for several years in The Hague. After a diagnosis of tuberculosis, he and his wife relocated in 1916 to the city of Eerbeck in the central-eastern province of Gelderland. Two years later, the couple had their only child, a son named Beint after Mankes’s father. However by this time, Mankes’s health was steadily failing due to his tuberculosis. He died on the twenty-third of April in 1920 at the age of thirty.

In addition to private collections, Jan Mankes’s work is housed in the Netherland’s Museum of Modern Art in Arnhem, the Museum Belvedere Heerenveen, the Rijksmuseum, and the MORE Museum in Gorssel as well as other international museums.

Top Insert Image: Jan Mankes, “Self Portrait”, circa 1915, Pencil and Charcoal on Paper, 21 x 17.5 cm, Private Collection

Second Insert Image: Jan Mankes, “Zelfportret met Uil (Self Portrait with an Owl)“, 1911, Oil on Canvas, 20.5 x 17 cm, Museum Arnhem, The Netherlands

Bottom Insert Image: Jan Mankes, “Annie Zernike”, 1918, Oil on Canvas, 34 x 32.5 cm, Museum for Modern Realism (MORE), Gorssel, The Netherlands

Michiel Sweerts

Michiel Sweerts, “Wrestling Match”, 1649, Oil on Canvas, 86 x 128 cm, Staatliche Kunsthalle Karlsruhe, Germany

Born in Brussels, Michiel Sweerts was a Flemish painter and printmaker of the Baroque period. known for portraits as well as genre and historical paintings.. During his stay in Rome, he became linked to the Bamboccianti, an informal association of Dutch and Flemish artists known for their paintings and etchings of peasant subjects in Rome and its countryside.

Michiel Sweerts, the son of a Catholic linen merchant, David Sweerts, and Martina Ballu, was baptized at Brussel’s St. Nicholas Church on the twenty-ninth of September in 1618. Nothing is known of his training or any other aspect of his life before 1646 when Sweerts, at the age of twenty-eight, registered as a resident of the Rome’s Santa Maria del Popolo parish. In 1647, Sweerts became an associate of the Accademia di San Luca, a prestigious artist association approved by Papal brief in 1577.

In Rome, Sweerts painted genre paintings in the style of the Bamboccianti and a series of canvases depicting the training of painters in studios and classes. He also was the teacher of William Guglielmo Reuter, a painter from Brussels who was influenced by the Bamboccianti. Having gained a solid reputation for his work, Sweerts was invited to enter the service of Rome’s ruling papal family under the patronage of Prince Camillo Pamphilj, the nephew of Pope Innocent X. Through Prince Pamphilj’s influence, the pope bestowed upon Sweerts the papal title of Cavaliere di Cristo, a honorary title of knighthood.

During his time in Rome, Michiel Sweerts developed a lifelong relationship with the Deutz family, one of the most prominent Amsterdam trading families. In 1651, merchant and financier Jean Deutz gave Sweerts the power of attorney to act as his representative at the local customs house and as an agent on the Italian art market. Despite these patronages, Sweerts left Rome for unknown reasons between 1552 and 1654; he is recorded in Brussels in July of 1655 at a baptism. In 1659, Sweerts joined the local Guild of Saint Luke which represented the trades of local artists. He also opened an academy in Brussels where his students could work from live models.

During his time in Brussels, Sweerts became more devout and joined the Missions Étrangères, a Catholic missionary organization that was committed to proselytizing in the Far East. Between 1658 and 1661, he spent several periods in Amsterdam where he supervised the construction of a ship for the transport of the Missions Étrangères group to the Turkish city of Alexandretta and then to the Far East. By December of 1661, Sweerts had arrived in Marseilles, France; he departed by ship for Palestine in January of 1662.

Michiel Sweerts met the Étrangères delegation of Bishop François Pallu and seven priests in Palestine and sailed with them to Syria. In the Syrian city of Aleppo, he painted and proselytized; however, Sweerts was dismissed from the mission after only two years because of his unstable and undisciplined character. He traveled overland through Persia and eventually reached the Portuguese Jesuit community in the Indian city of Goa, According to missionary records, Sweerts died at Goa in June of 1664 at the age of forty-five.

Sweerts’s surviving works were mostly created during his residency in Rome. As he rarely signed his paintings, the total number varies from forty to one hundred. Due to Sweerts’s popularity at the time, many copies were made by his contemporaries, both pupils and followers. None of Sweerts’s Biblical compositions, mentioned in contemporary inventories, or the work he produced after his departure from Europe are known to have survived.

Among the genre scenes attributed to Michiel Sweerts are two that reprised the popular subject of game players, the 1652 “Damspelers (Draughts Players)” and the 1646-1652 “De Kaartspelers (Card Players)”, both of which are housed in Amsterdam’s Rijksmuseum. Between 1646 and 1649, Sweerts produced a series of seven Biblical scenes, “Seven Acts of Mercy”, which display his masterly use of chiaroscuro to create dramatic lighting effects. He also developed new themes such as that of Roman street wrestlers in his 1649 “Wrestling Match”, again a strong example of his use of chiaroscuro.

Michiel Sweerts painted the majority of his portraits in Brussels and Amsterdam between 1655 and 1661. He was interested in depicting ordinary people and explored their distinctive characters through their curious expressions and sideway glances. Among these portraits are the 1654 “Head of a Woman” with its downward gaze, the simply-dressed maidservant in the 1660 “Portrait of a Young Woman” and the 1656 pensive “Portrait of a Young Man”, now in the collection of the Hermitage. Sweerts’s most ambitious work in terms of composition and technical achievement was the 1652-1654 “Plague in an Ancient City”, a dramatic depiction in the classical style of the devastation caused by the bubonic plague. This epic work is now housed in the Los Angeles County Museum of Art.

In July of 2023, Michiel Sweerts’s long-lost painting, “The Artist’s Studio with a Seamstress”, sold at Christie’s London for a record of 21.6 million Pounds, four times the previous auction record for an artist little known outside the Old Master world. Thought to have been painted around 1646-1649 in Rome, this signed work was discovered in untouched condition at a house in France.

Notes: The Metropolitan Museum of Art in New York has an informative article entitled “Michiel Sweerts and Biblical Subjects in Dutch Art” written by Walter Liedtke for the Heilbrunn Timeline of Art History. This article can be found at: https://www.metmuseum.org/toah/hd/swee/hd_swee.htm

Top Insert Image: Michiel Sweerts, “Self Portrait with Skull”, circa 1660, Oil on Canvas, 78.7 x 60.9 cm, Agnes Etherington Art Center, Queens University, Canada

Second Insert Image: Michiel Sweerts, “Clothing the Naked”, 1646-1649, “Seven Acts of Mercy” Series, Oil on Canvas, 74 x 99 cm, Rijksmuseum, Amsterdam

Third Insert Image: Michiel Sweerts, “Mars Destroying the Arts”, 1650-1652, Oil on Canvas, 69 x 51 cm, Private Collection

Fourth Insert Image: Michiel Sweerts, “Hommes se Baignant (Bathers)”, 1655, Oil on Canvas, 109 x 164 cm, Musée des Beaux-Arts de Strasbourg, France

Bottom Insert Image: Michiel Sweerts, “Boy in a Turban Holding a Nosegay”, 1658-1661, Oil on Canvas, Museo Nacional Thyssen-Bornemisza, Madrid

Severin Falkman

Severin Falkman, “Antonio”, 1870, Oil on Canvas, 112 x 74 cm, Finnish National Gallery

Born in Stockholm in April of 1831, Severin Gabriel Falkman was a Swedish-born painter who was one of the pioneers of Karelianism, a late nineteenth-century art and literary movement in the Grand Duchy of Finland. In 1835, Finnish author Elias Lönnrot published his compilation of oral folklore and mythology from the Karelian and Finnish traditions. The cultural sections of Finland’s society became curious about the heritage of the historical, eastern province of Finnish Karelia. Gradually, this interest in Finland’s heritage developed into the Karelian movement, a Finnish version of European National Romanticism.

The youngest of four children born into the merchant family of Hans Johan and Sofia Falkman, Severin Falkman relocated with his family to Finland in the 1840s. He received his initial education at the private Helsinki Lyceum and, in 1848, became one of the first students of the Finnish Art Association’s school of drawing. From 1857 to 1861, Falkman studied in Paris under French history painter Thomas Couture who taught such artists as Édouard Manet and William Morris Hunt.

After beginning an extended art study tour of Europe, Falkman studied at the University of Helsinki and the city’s Academy of Fine Arts. For a period, he was also a student of painter and printmaker Christian Forssell, who held the position of Professor of Drawing at Stockholm’s Academy of Art. Between 1864 and 1870, Falkman worked and painted in Rome, Paris and Munich.

In 1870, Severin Falkman returned to Finland where he settled in Helsinki. He was given permission in 1872 by the Helsinki City Museum to build a studio for himself within its structure; it is now the oldest remaining artist studio in the museum and currently open for public viewing. After undertaking a photographic trip to the eastern area of Finland, Falkman published an account of its people and ethnographic objects in his 1885 “I Östra Finland (In Eastern Finland)”.

During his lifetime, Falkman painted in several genres including portraiture, still life, and scenes, both interior and exterior, that portrayed both local and medieval figures. His most important painting is the 1880-1886 historical painting “Karl Knutson Bonde Leaving Vyborg Castle for the Royal Election in Stockholm 1448”, now housed in the Finnish National Gallery. An example of the Finnish Karelianist movement, the painting conveyed the national romantic message of Finland’s important role in the political history of Sweden.

Severin Falkman was a recipient of the Imperial Order of Saint Anna, awarded for a distinguished career in civil service or for valor and service in the military. It entitled recipients to either hereditary nobility or personal nobility. Falkman died in the Finnish city of Helsingfors in July of 1889. His work is in both private and public collections including those of the Helsinki City Museum, the Pori Art Museum of Finland, and the Finnish National Gallery.

Second Insert Image: Severin Falkman, “Easter Procession in Rome”, 1866, Oil on Canvas, 112 x 87 cm, Finnish National Gallery

Bottom Insert Image: Severin Falkman, “Nature Morte (Eurasian Woodcock)”, Date Unknown, Oil on Canvas, 41 x 32.5 cm, Pori Art Museum, Finland

Dominic Finocchio

Paintings by Dominic Finocchio

Born in Detroit, Michigan in 1950, Dominic Finocchio is an American painter who creates narrative figurative works. The son of Sicilian parents who immigrated to the United States in the 1920s, he spent his childhood in St. Louis, Missouri, living with his parents and Italian-speaking grandparents. Interested in art from an early age, Finocchio began in his teens to study art more intensely with frequent visits to the Saint Louis Art Museum and the Central Library’s art department.

Finocchio, although interested in various genres and styles, became particularly influenced by the figurative works of Michelangelo and French neoclassical painter Jean-Auguste-Dominique Ingres. He also discovered the Mannerist style of the late sixteenth-century Italian High Renaissance, a movement which paid attention to lighting, clarity of line, and color. Finocchio was particularly interested in the works of Mannerist portrait painters Jacopo da Pontormo, Agnolo Bronzino, and Rosso Florentino, one of the founders of the Fontainebleau School.

Dominic Finocchio, encouraged by his supportive art instructor Father T. Brug, prepared a portfolio of work and submitted a grant request for attendance at Missouri’s Webster University. He studied at the university for two years before enrolling in the art curriculum at Meramec Community College where he studied drawing under department head David Durham. While attending classes, Finocchio began singing in several bands and also working as a display designer, an occupation that would support his life as an artist for the next forty-two years.

During most of the 1970s, Finocchio continued his drawing but did not produce any paintings. Eventually, he began to focus solely on painting during his time away from the display work. Although St. Louis at that time was not an art-centered city, it did have several non-profit support organizations, such as Art Saint Louis and the St. Louis Artists’Guild, which provided exhibition opportunities and association with other artists. With such oppurtunities available, Finocchio retired early from his display work and concentrated on painting. Having gained exposure in the art world through the non-profit organizations, he was contacted in 2021 by contemporary gallery owner and lecturer Duane Reed for a studio visit. In late 2022, Dominic Finocchio had his first solo exhibition at St. Louis’s Duane Reed Gallery, recognized for showcasing innovative established and emerging artists.

Dominic Finocchio’s paintings are tableaus, narratives depicting the modern male set in contemporary social situations that explore aspects of masculinity. The initial combinations of figure, fauna and landscape evolve through a lengthy process of editing before the composition is finalized. Finocchio’s figurative compositions, like many of the early mannerist works, show attention to color and lighting as well as off-center placement of figures. Although aware of each other’s presence, Finocchio’s protagonists present an ambiguous story line that is left for the viewer’s exploration and interpretation.

Finocchio has presented his work in curated, invitational, and juried exhibitions for over thirty years. In 2014, his work was included in edition #17 of the quarterly publication “The Art of Man”, a journal featuring articles on artists whose portfolios contain male figurative works in the classical tradition. Finocchio’s solo exhibitions include the 2017 “Lies Provide” at the Mildred Cox Gallery in Fulton, Missouri; the 2018 “Imaginaria” at the Schmidt Art Center at Southwestern Illinois College; and the 2022 “Desire and Indifference” at the Duane Reed Gallery in St. Louis, Missouri.

Dominic Finocchio’s work has been exhibited regularly at the annual Art St. Louis Exhibition and frequently at such venues as the Springfield Art Museum in Missouri; The Foundry Art Centre in St. Charles, Missouri; The Jones Gallery in Kansas City, Missouri; the Jacoby Arts Center in Alton, Illinois; and the Evansville Museum in Indiana, among others. Finocchio’s paintings are housed in many private collections as well as public institutions, among which are the Evansville Museum of Arts and Science in Indiana, the St. Louis Marriott Renaissance Hotel, Koetting Associates in St. Louis, and the Bristol-Meyers Squibb Corporation in Evansville.

For his work, Finocchio has won the 2021 Mary Jane Twomey Award for Best of Show at the Buchanan Center for the Arts, the 2020 Caroline Karges Merit Award from the Evansville Museum of Arts and Sciences, the 2006 Phil Desind Award from the Butler Institute of American Art, and both the Elise Strouse Merit Award and Mary McNamee Bower Purchase Award from the Evansville Museum of Arts and Sciences in 2002-2003.

Dominic Finocchio’s paintings will be on exhibit April 25-28 at the 2024 San Francisco Art Market/Art Fair in the Fort Mason Center, 2 Marina Boulevard, Building C, Suite 260, Booth A17

Notes: Dominic Finocchio’s website is located at: https://www.dominicfinocchio.com

Finochio is represented by the Duane Reed Gallery of Saint Louis, Missouri. Inquiries regarding his work and current exhibitions can be directed to: https://www.duanereedgallery.com or info@duanereedgallery.com

Top Insert Image: Dominic Finocchio, “Companionship”, 2022, Oil on Canvas, 61 x 45.7 cm, Courtesy of Duane Reed Gallery, St. Louis, Missouri

Second Insert Image: Dominic Finocchio, “Eight Eyes”, Oil on Canvas, 76.2 x 101.6 cm, Courtesy of Artist

Third Insert Image: Dominic Finocchio, “Worldly”, 2023. 76.2 x 101.6 cm, Courtesy of Artist

Bottom Insert Image: Dominic Finocchio, “Sit, Stand, Walk, Fly”, 2023, Watercolor and Gouache on Paper, 45.5 x 48.3 cm, Courtesy of Artist

Stephen O’Donnell

Paintings by Stephen O’Donnell

Born in the Puget Sound Basin city of Everett, Washington in 1958, Stephen O’Donnell is a self-taught artist who, in addition to other genres, often works in the style of portrait historié, the depiction of a subject in historic, biblical or mythological guise. This genre originated in the Netherlands in the latter part of the sixteenth century as a synthesis of portraiture and historical painting. The term itself, however, originated in France during the eighteenth-century.

The son of a military family whose father served in the Air Force, O’Donnell received his initial education at various schools where he established his identity as an artist. As a teenager, O’Donnell participated in art competitions and exhibitions and accepted commissions for portraits. When he was nineteen, his father retired and the family, except for O’Donnell, settled in Portland.

Instead of choosing a college-level art school, Stephen O’Donnell relocated in 1980 to San Francisco. During the next six years, he designed theatrical costumes for the city’s Shakespeare Festival, attended acting workshops and taught vocal performance workshops. O’Donnell’s primary focus at this time was on singing, most often done in San Francisco’s vibrant cabaret scene. It was not until his move to Los Angeles in 1986 that O’Donnell gradually started painting again, not to market his art but to fulfill his need to make art.

O’Donnell is not an artist who paints the world around him. He is instead an artist who paints the world of paintings. O‘Donnell doesn’t paint a tree that looks like a tree, but rather one that looks like a wonderful painting of a tree. His art training grew from his love of history and biography. O’Donnell was drawn to the art world through book illustrations and reproductions of both classical paintings and crafted artifacts; through these images, he learned the history of art and design. His interest in pre-1980 films, such as the classics shot by Vittorio De Sica and Luchino Visconti, both masters of lighting and design, also served as inspiration for his career as a painter.

Stephen O’Donnell’s greatest artistic appreciation and enjoyment in the art world lies within its history of portraiture. Although he paints a variety of portraits and other images, his oeuvre is the self-portrait in all its many forms. A play of gender is the most recognizable thematic device in O’Donnell’s work. Identifying clearly as non-binary, he has always felt a deep connection to the concept of berdache, meaning two-spirit, a person embodying a blending of both genders. Used by some Indigenous Native American cultures, it is a term for gender-nonconforming people and the roles they fill in their communities. In his self portraits, O’Donnell appears in many historical guises, either male or female, all artistically attired but presented with a bit of whimsy.

O’Donnell has been exhibiting his work since 1995 in both group and solo exhibitions throughout the United States, including the Oregon Biennial at the Portland Art Museum. His work is housed in private collections and such public institutions as the Portland Art Museum, Oregon’s Hallie Ford Museum of Art, the Long Beach Museum of Art in California, and the Leslie-Lohman Museum of Gay and Lesbian Art in New York City, among others. O’Donnell is represented by the Russo Lee Gallery in Portland, Oregon, and TEW Galleries in Atlanta, Georgia.

Stephen O’Donnell has been married since 2006 to writer and graphic designer Gigi Little. Their 2018 book, “The Untold Gaze”, is a collection of O’Donnell’s paintings paired with short fiction works by thirty-three authors, each piece inspired by a painting. In 2023, O’Donnell published “Half-Light”, a collection of ten stories that explore, in historical and contemporary settings, the issues of gender and sexuality, aging and youthful striving, resignation and resilience. Both volumes are available through O’Donnell’s website as well as major book distributors.

“I very frequently employ the self portrait as the basis for my work. I’ve long felt that, by beginning with myself as the model, I’m able to avoid the biggest limitation of the portrait as an art form: that it’s “about” someone specific. In my paintings, because the portrait is only of the artist, the viewer, while including whatever they might perceive of the artist, still has more of an opportunity to find their own narrative in whatever visual scenario I might present.” -Stephen O’Donnell

Stephen O’Donnell’s website is located at: https://stephenodonnellartist.com/home

O’Donnell’s blog, “Gods and Foolish Grandeur”, is located at: https://godsandfoolishgrandeur.blogspot.com

The Russo Lee Gallery in Portland, Oregon is located at: https://www.russoleegallery.com/artists/stephen-odonnell/featured-works?view=thumbnails

TEW Galleries in Atlanta, Georgia is located at: https://tewgalleries.com/artist/Stephen%20_O’Donnell/works/

Top Inser Image: K. B. Dixon, “Stephen O’Donnell”, Phto Shoot, Gelatin Silver Print

Second Insert Image: Stephen O’Donnell, “Le Pince-nez”, 2013, Acrylic on Panel, 30.5 x 30.5 cm (Available at Artist)

Third Insert Image: Stephen O’Donnell, “Silk”, 2023, Les Animaux Series, Acrylic on Panel, 30.5 x 30.5 cm, Private Collection

Bottom Insert Image: Stephen O’Donnell, “L’Innocence”, 2012, Acrylic on Panel, 30.5 x 30.5 cm, Private Collection

Valdemar Andersen

The Artwork of Valdemar Andersen

Born at Copenhagen in February of 1875, Valdemar Anderson was a Danish illustrator, painter, graphic and decorative artist. The son of a working-class family, he began an apprenticeship in painting under C. C. Møllmann. Andersen continued his education at the Copenhagen Technical School where he studied under naturalist illustrator Henrik Grønvold. In the autumn of 1894, he attended the Royal Danish Academy of Fine Arts for one semester.

As an illustrator, Andersen was influenced early in his career by Skønvirke, an aesthetic art movement that combined elements of the German Jugendstil, French Art Nouveau and English Arts and Crafts with the Nordic National Romanticism. He began his career by drawing portraits for a stereotype printing firm that produced work for provincial newspapers. In 1902, Andersen joined the graphic department of “Klokken”, a local magazine for which he created its daily poster.

Recognized for the quality of his work, Valdemar Andersen began to receive private commissions, the first of which was from Ernst Bojesen, the co-director of Gyldendalske Boghandel Nordisk Forlag, the oldest and largest publishing company in Denmark. Andersen illustrated numerous books and also created book covers. He created illustrations for the 1905 and 1906 editions of Danish author Carit Etlar’s novels and, between 1906 and 1908, illustrated an edition of Finnish author and historian Zacharias Topelius’s “Feltlgens Historier (Field Doctor’s Stories)”.

As a decorative artist, Andersen collaborated with Danish architect and Academy professor Anton Rosen on such projects as Copenhagen’s 1908 Metropol Building; the murals for the Danish National Exhibition of 1909 in Aahus; and the 1910 vestibule of the Palace Hotel at Copenhagen’s City Hall Square. Andersen created decorative works for many of architect Ejnar Pacness’s public buildings in Jutland, among which was the 1912 Administration Building for the Aalborg Municipality.

The murals Valdemar Andersen created for the 1909 international exhibition in Aahus led to his mural commissions for the 1914 Malmö-Baltic Exhibition and the 1915 Panama-Pacific International Exhibition in San Francisco. He designed murals for many private homes, restaurants, and business offices including the City Hall Square headquarters for “Politiken”, the leading Danish daily broadsheet newspaper.

Andersen had the first showing of his paintings at the 1906 Spring Exhibition at Charlottenborg in which he presented his portrait of his life-long friend, Danish author and painter Johannes Vilhelm Jensen. This portrait, highlighted with gouache and pencil, was also exhibited in 1906 at the Royal Academy in Copenhagen. Other portraits done by Andersen include those of author and journalist Henrik Cavling, German missionary Ludvig Kraft, novelist Peter Nansen and stage director Henri Nathansen.

Valdemar Andersen presented his paintings at Charlottenborg’s spring exhibition in 1908 as well as its 1914 spring and autumn shows. In 1912, he and fellow artist Harald Moltke had a successful show in one of Copenhagen’s many exhibition halls. Andersen later received a commission from Hafnia, the first life insurance company in Denmark, for five paintings depicting accidents for which insurance might provide some relief.

Andersen is primarily known today for developing the modern Danish poster design. Between 1906 and 1907, he shifted his poster design to a lighter graphic style. Emphasis was placed on the white surface, a limited range of clear colors and a sparse typeface of the characteristic script that became his trademark. Over the years Andersen was a leading poster artist for many companies and organizations such as Carlsberg, Asta Lampen, Trivoli Gardens, Danish Airlines, Fisker & Nielsen and the Copenhagen Zoo. He was also responsible for many of the designs on Danish stamps and banknotes of the early twentieth-century.

Valdemar Andersen died stricken by leukemia in Copenhagen in July of 1928 at the age of fifty-three. His son, Ib Andersen, was trained as an architect. However, he established his career as a graphic designer who created aggressively-designed posters strongly influenced by Cubism and the Bauhaus School.

Top Insert Image: Photographer Unknown, “Valdemar Andersen”, Date Unknown, Vintage Photo, Det Kongelige Bibliotek

Second Insert Image: Valdemar Andersen, “Journalistforbundets Rundskuedag (Journalist Association Circular Ski Day”, 1911, Lithograph, 64.2 x 88.8 cm, Publisher Andreasen & Lochmann Ltd

Third Insert Image: Valdemar Andersen, Lithograph, Palle RosenKrantz’s crime novel “Judge Amtsdommer Sterner”, 1906, Publisher Gyldendalin Boghandel Nordisk

Bottom Insert Image: Valdemar Andersen, “The International Air Traffic Exhibition”, 1927, Lithograph, 84 x 62 cm, Publisher Christian Cato, Copenhagen

Philip Jones

The Artwork of Philip Jones

Born in London in 1933, Philip Jones was an English contemporary painter. An artist between the visionary and nostalgic works of the Neo-Romantics and the second generation of St. Ives Abstractionists, he created subtly-shaded paintings heightened with occasional bursts of color that resided on the periphery of abstraction.

Jones’s paintings were connected to the landscape surrounding his Norfolk home as well as the scenery he observed during his yearly travels. He spent most of his winters overseas at coastal destinations in Malta, India, Namibia, and the Republic of the Gambia. Jones, through a strong sense of connection with the natural world and its elements, became very adept at portraying a particular locale through the use of fluid lines and brushstrokes.

Philip Jones was educated at the historic Malvern College where he trained under post-impressionist painter and etcher Harry Fabian-Ware. In 1953, Jones enrolled at the Slade School of Fine Art where he became acquainted with fellow painters William Turnbull, Victor Willing and Michael Andrews. During his three years at the Slade School, Jones received private tutoring from mural and war artist Sir Walter Thomas Monnington and realist painter Sir William Coldstream, the Slade School’s acting principal.

Jones had his first exhibition in 1954 at the Royal Society of British Artist Galleries. During his career, his paintings were shown at many of London’s most prestigious galleries. In 1955, Jones had an exhibition at the Leicester Galleries, well-known for exhibiting the work and developing the careers of major artists. In 1964, there were two exhibitions: the London Group, one of the world’s oldest artist-led organizations, and the Artists‘ International Association in Soho. Jones’s work was shown at Mansard Gallery at Tottenham Court Road in 1967 and, in the next year, at the Contemporary Arts Society exhibition in the Whitechapel Gallery.

Philip Jones left London in 1979 and relocated to Clermont Hall in Norfolk, a county known for its small chapels, plowed fields, outbuildings and green spaces. The works he painted in Norfolk are known for their palettes of predominately muted browns, soft blues and strong greens that conjure up the countryside’s lush foliage.

Following this period of withdrawal from London’s art scene, Jones resumed presenting his work for exhibitions. For the remaining fifteen years of his life, he entered his work into the annual Royal Academy exhibitions. In 2008, Jones had a solo exhibitions in March-April at London’s Oliver Contemporary and September-October at Madrid’s La Galería Espacio Minimo. Philip Jones passed away on the last day of December in 2008.

The work of Philip Jones is housed in both private and public collections in the United Kingdom and Europe. The Estate of Philip Jones is represented by Jenna Burlingham Fine Art on George Street, Kingsclere, Hampshire, England. For information on work by Philip Jones, the gallery’s website is located at: https://www.jennaburlingham.com

Second Insert Image: Philip Jones, “Reflections, Calangute”, 2000, Oil on Paper, 58.4 x 76.2 cm, Jenna Burlingham Gallery, Kingsclere, England (Available)

Bottom Insert Image: Philip Jones, “Rocks at Mġarr”, 1999, Oil on Board, 37 x 49 cm, Jenna Burlingham Gallery, Kingsclere, England (Available)

Thomas Blackshear II

The Artwork of Thomas Blackshear II

Born in Waco, Texas in November of 1955, Thomas Blackshear II is an African-American illustrator, painter and sculptor. His work as an illustrator and painter is known for its dramatic use of light and inspirational mood. Blackshear’s oeuvre contains work that draws on Black Heritage, Christian, Native American, and Western themes.

Born to U.S. Air Force pilot Thomas Richman Blackshear and his wife, Thomas Blackshear II spent his early years primarily in Atlanta, Georgia. An artist from his childhood, he was awarded a scholarship from the Art Institute of Chicago. After one year of study at the Chicago Institute, Blackshear transferred to Chicago’s American Academy of Art from which he graduated with a B.F.A. in 1977.

Blackshear found employment with the Hallmark Card Company in Kansas City, Missouri where he apprenticed under illustrator Mark English, one of the country’s leading illustrators for publications. Blackshear worked briefly as head illustrator for Kansas City’s Godbold/Richter Studio before launching a freelance artist career in 1982. His early work included more than one hundred-forty illustrations for LucasFilms, Anheuser-Busch, Paramount Pictures, Universal Studios, The Walt Disney Company, The National Geographic, and the Milton Bradley Company, among others.

Through a connection with writer and illustrator Jerry Pinkney in the early 1900s, Thomas Blackshear began work for the United States Postal Service on a series of stamp portraits for its Black Heritage series His work for this series included five stamps honoring such notables as Chicago-area’s first non-native settler Jean Baptiste Point du Sable (1987), union and civil rights activist Asa Philip Randolph (1989), and journalist and educator Ida Bell Wells-Barnett (1990). Blackshear also completed ten illustrations for the Postal Service’s 1995 Jazz Music series that included, among others, stamps honoring Jelly Roll Morton, Coleman Hawkins, and John Coltrane.

Blackshear illustrated the Postal Service’s 1990 Golden Era Movie series and its 1997 Classic Movie Monster series. The stamps for the Golden Era series were illustrated as miniature movie posters for such features as “The Wizard of Oz” and “Stagecoach”. For the Classic Movie Monster series, Blackshear created five portrait illustration of the actors in their makeup: Bela Lugosi as Dracula, Lon Chaney as Phantom of the Opera, Lon Chaney Jr. as the Wolf Man, and Boris Karloff as the Mummy and Frankenstein’s monster. He also illustrated a 1999 stamp for James Cagney, a 2004 stamp for James Baldwin, and a 2010 stamp honoring Mother Teresa.

Well known and highly respected in the religious art world, Thomas Blackshear’s colorful paintings of Christ and other Biblical figures are located in numerous churches throughout the country. In the mid-1990s, he founded the “Ebony Visions” project, a large and varied collection of images and sculptural figurines, both religious and historic, of African American culture. “Ebony Visions” has been rated the number one black-figurine collectible group in the United States for twenty years.

Blackshear has lectured and conducted workshops in Germany and Sweden and also taught at the San Francisco Academy of Art College. Among his many recognitions are the 1988 Gold Medal of the National Society of Illustrators, two Silver Awards in the 1989 San Francisco Society of Illustrators Show, and two Gold Awards in the 1990 Illustrators West Show. In 2006, Blackshear had a solo exhibition through the Vatican in Rome; his painting of Pope John Paul II was unveiled for the twenty-fifth anniversary of the Pope John Paul II Foundation.

Thomas Blackstone II was inducted into the Society of Illustrators Hall of Fame in 2020. He is represented by Broadmoor Galleries in Colorado Springs, Colorado and Trailside Galleries located in Jackson, Wyoming and Scottsdale ,Arizona.

Second Insert Image: Thomas Blackshear, “Background Cactus”, Date Unknown, Oil on Canvas, 58.4 x 50.8 cm, Inquire

Third Insert Image: Thomas Blackshear II, “Old MacDonald”, Date Unknown, Oil on Canvas, Private Collection

Bottom Insert Image: Thomas Blackshear, “Last Drop Out of His Stetson”, Date Unknown, Oil on Canvas, Inquire

Tomas Clayton

The Artwork of Tomas Clayton

Born in 1957 in Birmingham, Tomas Clayton is an English portrait painter who specializes in oils on masonite works. After his parents’ divorce early in his life, the absence of a father figure had an impact on his life that still to some extent permeates the subject and mood of his work. In the late 1960s, Clayton’s mother remarried and the family moved to Hereford where Clayton was awarded a three year Art Foundation Course at the Hereford Art College.

Clayton returned to Birmingham where he studied graphic design and illustration at the Ruskin Hall College of Art. After leaving college, he worked as a graphic designer and animator for the British Broadcasting Company and Central Independent Television, now known as ITV Central. Several years later, Clayton became a successful freelance graphic designer and illustrator for several corporations.

In the late 1970s, Tomas Clayton discovered a cache of vintage photographs that included formal portraits and images of family gatherings taken in the late 1800s to the early 1900s. The presence of all the lost personalities, dressed in their stiff collars and corsets, made a strong impression on the style of Clayton’s later work. Other influences were the many painters and illustrators who had captured his imagination in the early 1970s. Among these were Scottish illustrator and painter Wilson McLean, American illustrator Brad Holland, French illustrator Jean Giraud also known as Moebius, and American graphic artist Paul Davis, a Hall of Fame member of the Society of Illustrators.

Clayton’s portraits have a very distinctive style that is carefully created with great attention to detail. Inspired by the nostalgic portraits and artifacts of the First World War era, he creates highly stylized images of actors and soldiers, as well as average men and women, that blend elements of that period with contemporary imagery. The surface areas of Clayton’s portraits are textural and display a surrealistic effect through his use of monochromatic tones. While the face is central to any portrait, the eyes of Clayton’s subjects become, in many of his works, the major focus. Dates written in Roman numerals occasionally are included in his images..

From 2007 to 2023, Tomas Clayton has shown his work in many group exhibitions including regular presentations at the Royal Portrait Society, New English Art Club and Mall Galleries at Saint James, London. In 2016, Clayton won the Columbia Threadneedle Prize for both his “Après la Guerre (After the War)” and “Chère Capucine (Dear Capucine)”, a portrait of a young man playing his resonator at a Parisian night club.

Tomas Clayton is represented by The Contemporary Fine Art Gallery Eton located upstairs at The Piper Art Bar building in Windsor, Berkshire, United Kingdom. Clayton’s work can be found at: https://www.cfag.co.uk/exhibition_thumbs.php?exhibition_id=319&show_rand=0&show_biog=1

Tomas Clayton’s website, which contains contact information for commissioned work, is located at: https://www.tomasclayton.co.uk

Top Insert Image: Tomas Clayton, “Her Name Was Magill”, Oil on Masonite, 67 x 85.1 cm, Private Collection

Second Insert Image: Tomas Clayton, “Blue-eyed Boy”, 2012, Oil on Masonite, 81 x 90.1 cm, Private Collection

Bottom Insert Image: Tomas Clayton, “The Serpent”, Oil on Masonite, 65 x 65 cm, Private Collection

William Theophilus Brown

The Artwork of William Theophilus Brown

Born at Moline, Illinois in April of 1919, William Theophilus Brown was an American artist who became prominent as a member of the Bay Area Figurative Movement, a group of 1950s and 1960s artists in San Francisco who abandoned Abstract Expressionism and favored a return to figuration in painting.

Theophilus Brown was a member of a family descended from early-American intellectuals. His great-grandfather was friends with writers Henry David Thoreau and Ralph Waldo Emerson; Brown’s father was an inventor and chief designer with the John Deere Company in Illinois. At the age of eleven, Brown painted a portrait which his father submitted to a regional art contest juried by the iconic midwestern artist Grant Wood. Brown received a third place award which was presented personally by Wood.

In 1941, Brown received his Bachelor of Arts in music from Yale University where he became lifetime friends with composer and violist Paul Hindemith as well as novelist and poet Eleanore Marie Sarton. Brown was called after his graduation for military service in World War II. After the completion of his military service, Brown took advantage of the G.I. Bill and relocated to Paris where he worked under cubist painters Fernand Leger and Amedeo Ozenfant. In his travels, he met many artists among whom were Pablo Picasso, Alberto Giacometti, Georges Braque, and Willem de Kooning who had a major influence on Brown’s early work. Brown was also acquainted with several composers including John Cage, Samuel Barber and Igor Stravinsky.

In 1950, Theophilus Brown initially relocated to New York where he became deeply immersed in the evolving school of Abstract Expressionism. Over the course of his studies at the University of California, Berkeley, Brown began to develop his own unique voice. He eventually realized that the genre of abstract expressionism was not an ideology he wanted to pursue. Brown graduated with his Master of Fine Arts in 1952. It was in his University of California classes that he met fellow student and painter Paul John Wonner who became his lifelong partner. Wonner earned both his Bachelor and Master of Fine Arts as well as his Master of Library and Information Science at UC Berkeley.

Brown and Wonner shared a studio space in Berkeley at the same building where painters Richard Diebenkorn and Elmer Bischoff had workspaces. These artists got together for drawing sessions and began to incorporate painter David Park’s reintroduction of the human figure into their own works. Collectively, the group became part of the Bay Area Figurative Movement. This movement was a diverse range of artistic practices that united the figurative form with both the formality and vigorous painting techniques of Abstract Expressionism. The exploration of these two movements together created new works in the fields of landscape, portraiture, still life and nude paintings.

In 1956, Theophilus Brown’s paintings of football players, presented as abstracted bodies in motion, appeared in an issue of Life magazine. The paintings caught the attention of Los Angeles gallery owner Felix Landau who began to exhibit Brown’s work. In the following year, Brown’s work was included in the Oakland Museum’s Bay Area Figurative Painting Exhibition. He and Wonner moved to Malibu in the early 1960s and became part of the Southern California art scene. The years in Santa Monica and Malibu were very productive for Brown with works on both canvas and paper of beach scenes that featured mostly male nudes set in carefully crafted abstract landscapes. In these works, he stripped away the detail and focused on shape, form, and light.

Brown taught at the University of California, Davis between 1975 and 1976. His relationship with Wonner endured until the death of Wonner in 2008. A daily painter into his ninth decade, Theophilus Brown died in San Francisco on the eighth of February in 2012 at the age of ninety-two. His papers are housed in the Archives of American Art, a research center of the Smithsonian Institution in Washington DC. Brown’s work is housed in both private and public collections including Sacramento’s Crocker Museum of Art which has a collection of eighteen-hundred works by Theophilus Brown and Paul Wonner.

Notes: In May of 2020, writer Erin Clark wrote a carefully researched article on Theophilus Brown entitled “The Charmed Life of Theophilus Brown” for the online Artworks magazine. This article is located at: https://artworksmag.com/theophilus-brown/

Matt Gonzalez, a close friend and fellow artist with Theophilus Brown and Paul Wonner, wrote an article in 2011 for The New Fillmore entitled “A Friendship with Theophilus Brown”. This article is available on Art & Politics: The Matt Gonzales Reader located at: https://themattgonzalezreader.com/2011/09/05/theophilus-brown/

The WordPress site Art Matters has an extensive collection of short articles written over a period of years about Paul Wonner and Theophilus Brown. This collection can be found at: https://trgtalk.wordpress.com/category/artists/brown-wm-theophilus/

The Theophilus Movie website contains several video clips of Theophilus Brown and a section to fundraise the production of biographical documentary on Brown’s life and work. The Theophilus site is located at: https:/www.theophilusmovie.com

Second Insert Image: William Theophilus Brown, “Portrait”, 2001, Ink Wash and Gouache on Paper, 35.6 x 27.9 cm, Private Collection

Third Insert Image: William Theophilus Brown, United (Football), 1956, Oil on Paper, 106.7 x 139.7 cm, Kim Eagles-Smith Gallery, Mill Valley, California

Bottom Insert Image: William Theophilus Brown, “Self Portrait”, 1994, Acrylic on Canvas, 30.5 x 30.5 cm, Private Collection