A Gay-Oriented Collection of Art Works, Literary Quotes, Songs, Films, Cubs, Otters, and Other Guys. Please be aware thet there is mature content on this blog. Available worldwide to all above the age of eighteen. Information and links to sources will be provided unless unknown. Enjoy your visit.
Mexican painter Saturnino Herrán Guinchard began studying drawing and painting with José Ines Tovilla and Severo Amador. He later studied with teachers Julio Ruelas, Fabres Antonio Catalan, Leandro Izaguirre and Germán Gedovious.
Herrán’s work is mainly inspired by pre-Columbian Mexico, with its folk customs and the lifestyles of its people. His figures have been associated with the traditions of Spanish art, particularly Catalan Modernism, along with the work of Velazquez and Josa de Rivera, The works of Saturnino Herran include the paintings: “Labor and Work”, “Mill and Marketers”, and “Legend of the Volcanos”. Herrán also painted the “Creole” Series and the triptych “Our Ancient Gods”.
Ubaldo Gandolfi was born in San Matteo della Decima, near Bologna, on 14 October 1728. His father, a man of some standing in society, allowed him to move to Bologna when he was barely over the age of ten in order to begin studying drawing. He studied under Baroque painter Felice Torelli before moving in 1748 to the school of painter Ercole Graziani the Younger.
At the same time, Gandolfi began to frequent the Accademia Clementina and won the much-prized Fiori Award for attendance and for quality in the depiction of the nude in 1746. Gandolfi’s tireless practice of drawing from life, from posing models which became a constant feature of his mindset, was organized under the academic teaching of the anatomist Ercole Lelli.
Gandolfi’s first public success came in 1759 in the shape of an altarpiece with the “Assumption of the Virgin and Saints” for Castel San Pietro in Verona, preceded by a small rough clay model, now in the Uffizi Museum. The altarpiece owes a debt to the models of painter Guido Reni and to painters and teachers Ludovico and Annibale Carracci in the attitudes and gestures of its figures. Ubaldo’s renown grew to the point where he was made a full member of the Academy in 1760, and his work wassought even by the Empress Catherine II of Russia.
Gandolfi’s colleagues in the Clementina entrusted him in 1766 with painting a fresco in the Eleventh Chapel in the Portico of St. Luke, depicting the Resurrection of Christ. “The Resurrection” is a magnificent example of Ubaldo Gandolfi’s fervent style with its evocative, theatrical character. For the senatorial nobility Gandolfiproduced ancient and modern myths, such as the “Four Seasons’” on a wall and “Aurora” on the ceiling at the Palazzo Segni Facchini.
In 1769 Gandolfi painted figurative frescoes for nobleman Conte Bentivoglio, who commissioned the decoration of the rooms on the ground floor of his palazzo in order to mark his term as magistrate. But Ubaldo Gandolfi’s ability to convey the solidity of his figures’ bodies was to allow the artist to produce superb results in secular fables, for instance in his 1770 paintings “Perseus and Andromeda” and “Diana and Endymion”, commissioned bySenator Marchese Gregorio Casali; the “Mercury About to BeheadArgus” commissioned for the Marescalchi family palace; and the six mythological stories painted some time later for the Marescalchi family’s Palazzo Dall’Armi.
The painter’s renown grew in the field of religious painting thanks to his highly theatrical Baroque pieces, such as the Medicina Altarpiece in the church of San Mamante with its “Christ in Glory and Saints” or his “St. Francis Receiving the Stigmata”, a composition of passionate gesture. This highly productive decade ended with a large canvas for the church of Sant’ Agostino in Imola, depicting “St. Nicholas of Tolentino Preaching to the Crowds”.
Throughout his career, Ubaldo Gandolfi produced portraits of young girls, children, apprentices, men and women portrayed from life, and old men with intense features. These works, for instance the “Young Woman” now hanging in the Louvre, were extremely popular in the 1770s. In his graphic work, Gandolfi produced numerous very fine studies from life, displaying a certain inclination to portray the natural, an inclination that showed prominently in his pen and ink studies of heads.
Ubaldo Gandolfi died of malaria in Ravenna, where he had just recently moved, on July 24, 1781.
Walter Nobbe was born in 1941 in Malang, Indonesia, later moving with his family in 1950 to the Netherlands. He studied at the Royal Academy of Arts in The Hague, graduating as a professor of art in 1963. Nobbe began teaching but later decided to concentrate on his painting; he was a master in drawing and painting the male figure. His first exhibition was held in 1966 at Felix Valk’s Galerie 20, which concentrated on the New Realist artists.
Together with philosopher and politician Peter Blokhuis and painter-sculptor Pat Andrea, Nobbe formed the ABN group, a group of young painters who were considered the top echelon of the new Dutch Realist painters. His high level of craftsmanship makes his paintings stand out from the others, Nobbe’s work is represented in museums and galleries in the Netherlands, Belgium and France, as well as in private collections.
In 1972, Walter Nobbe started to design for the Netherland Dance Theater, designing ballets for dancers and choreographers Cliff Keuter, Jiří Kylián and Nacho Duato. His production designs include “Overgrown Path, the “Dream Dances”, “Bolero”, and “Arenal”. Nobbe has worked with dance companies throughout the world: the English National Ballet in London, The Culberg Ballet of Sweden, and the Houston Ballet in Texas. Nobbe’s ballet “Overgrown Path” is one of his three works in the repertoire of the American Ballet Theater.
Ángel Zárraga y Argūelies was born in 1886 in the Barrio de Analco of Durango, Mexico. He attended the Escuela Nacional Preparatoria in Mexico City and the Escuela Nacional de Bellas Artes. In 1904 with the help of his family, Zárraga made a study trip to Europe, where he visited and exhibited in Spain, France, and Italy. He also attended courses at the Royal Academies for Science and the Arts of Belgium.
In 1906 Zárraga exhibited some of his paintings in the Museo del Prado. Thirty of his paintings were exhibited in 1907 at Mexico City’s Escuela Nacional de Bellas Artes, two of which were purchased by the government. In 1909 Zárraga exhibited his work at the International Exhibition in Munich. During the same year, he exhibited in the Salon at the Piazzale Donatello in Florence and also participated at the Biennale di Venezia.
In 1910 Zárraga exhibited at the International in Rome and while in Rome, painted a portrait of the Baroness Lombroso. He sent a group of twenty-five finished canvases to Mexico in 1910, selling four to the Mexican government and four to private collectors.
Ángel Zárraga, upon his return to Europe in 1911, decided to call Paris his home. From 1914 to 1921, his work was in a Cubist style, but after 1921 his work became influenced by the painting styles of Paul Cézanne and Italian painter Giotto di Bondone.
In Paris, Zárraga painted a succession of murals at the Château de Vert-Cœur; in the Cité Internationale Universitaire de Paris: and at the Mexican Embassy. He also exhibited his paintings at the Salon d’Automne, an annual Parisian art exhibition at the Grand Palais.
In 1941 with the outbreak of World War II, Zárraga returned to his home country of Mexico, where he painted murals at the Club de Banqueros and in Monterrey Cathedral, the main Catholic church and the home of the Archdiocese of Monterrey.. Ángel Zárraga died of pneumonia on September 22, 1946.
Born in England near the Welsh border in 1994,William Brickel studied Fine Art Photography at Cumberwell College of Arts, graduating in 2017 and earned his Masters Degree the following year at the Royal Drawing School in London.
The human figure is a recurrent and central concern in Brickel’s work. Depicted with contorted bodies, the figures gaze away from the center and the viewer toward the edge of the picture plane, looking beyond the other figures and the cramped surroundings. If not alone, the brooding figures, when they appear in pairs or groups, playfully and wistfully wrap around and caress one another with enormous, unwieldy hands.
Backgrounds are often more suggestive than explicit; but mindful attention is given to the patterns of fabrics and, particularly, the gradations of light on the forms. A great deal of skill is exhibited in William Brickel’s watercolors. It is not a very tolerant medium; mistakes are hard, almost impossible, to correct and even oil from your skin can effect the paper’s absorption of the color.
William Brickel’s work has been featured in group and solo exhibitions in the United Kingdom and Europe. His work will be featured at the 2020 Marfa International Exhibition at the August 13th to 16th event held at George Hall in Marfa, Texas.
Yuri Annenkov, “Portrait of Daniel Geccen”, 1922, Watercolor with Pen and Ink, 44.5 x 37.7 cm,Private Collection
Born into an old family of noble descent in Petropavlovsk, Russia, near the Sea of Japan, Yuri Annenkov was formally trained as an artist at the St. Petersburg University. There he studied from 1908-1909 under the direction of Savelli Zaideberg, and from 1909-1911 under painter Yan Tsionglinsky of the Imperial Academy of Fine Arts. Annenkov left Russia in 1911 and traveled to Paris, enrolling at the Ecole des Beaux-Arts, where he met many of his compatriots, including Marc Chagall and sculptor Ossip Zadkine.
While in Paris, Annenkov entered the studio of painter Maurice Denis and printmaker Felix Vallotton, both members of the Les Nabis, a group of young artists transitioning to symbolism and abstract art. During the years 1913 to 1917, while illustrating for text publications, Annenkov confirmed his personal style, rooted in the Constructivist form of the time, but with a contemporary personal interpretation adapted to the genre and medium used.
Annekov regularly contributed to the Russian illustrated weekly magazine“Tetr I Iskuustvo (Theater and Art)” and a variety of other publications. His first work as a book designer was social-realist writer Maxim Gorky’s 1917 fairy-tale book “Samovar” with illustrations by E Popkova. Annekov gained notoriety when he adapted his constructivist style to a series of illustrations for Russian poet Aleksandra Blok’s emotional revolutionary poem “Dvenadtsat”. This was one of the first poetic responses to the 1917 October Revolution in Russia, a poem later widely condemned by the Russian intelligentsia.
In 1920 Annenkov joined Mstislav Dohuzhinsky, known for his cityscapes, and architect Vladimir Shchuko in preparing theater sets in Saint Petersburg, under the commission of the Bolshevik government. The work included the massive 1920 production “The Storming of the Winter Palace”, performed on the Palace Square, an effort not only to commemorate the Revolution’s third anniversary but also, by design, an attempt to break the barrier between actors and audience. Annenkov’s 1920 production “Hymn to Liberated Labor”, a one-time, open air spectacle with a cast of four thousand, was staged in front of an emotionally charged audience at the old St. Petersburg stock exchange.
Annenkov, in the years from 1920, started to seriously work in the genre of portrait painting. While in Russia, he painted portraits of the renowned artists and politicians of the era, including Leon Trotsky, Vladimir Lenin, art critic and historian Alexander Benois, and poet and novelist Boris Pasternak. Annenkov’s book “Portraits”, published in 1922, contained eighty portraits, made between 1906 to 1921, of the main figures of Russian art at that time.
Immigrating to Paris in 1924, Annenkov worked as a book illustrator and as both cinema and theater set designer until his death in 1974. He was co-nominated for the Academy Award for Best Costume Design for work in the 1953 film “The Earrings of Madame de. . .”, a romantic French drama film by Max Ophüls.
Note: Annekov’s watercolor “Portrait of Daniel Geccen”is signed in cyrillic and dated 1922 in the upper right corner. The inscription on the obverse, written by the sitter Daniel Geccen states: ‘1924 9 October – 29 MarchTo my baby friend – my wife, memory about her I will carry through all of my life, let my love and her love never touched by course of time. Yours Dan…’
Born in Israel in 1975, painter Yisrael Dror Hemed currently lives and works in Netanya, a resort city in north central Israel. He received both his BA in Law and MA in Law from Tel Aviv University. Between 2007 and 2010, Hemed studied under painter and sculptor Maya Cohen Levy of the Kalisher Art School in Tel Aviv.
Hemed’s work, known for his portrait paintings, explores the image of the male figure, both in its cultural and social spheres. His figurative paintings, mainly in oil, are based both on personal relationships as well as people he has photographed in public spaces. The paintings are characterized by their soft tones and suppleness of form, created by his palette choices and the figure placement on the canvas.
Yisrael Hemed has exhibited in a variety of exhibitions: the Gross Gallery in Tel Aviv, the Egozi Gallery in Tel Aviv, a solo exhibition in 2013 at the Israel Museum of Art in Ramat Gan, which holds several of his paintings in their collection, and various group exhibitions in Israel and abroad. Hemed also had a solo exhibition in 2019, presented by IAILA, in collaboration with Los Angeles’s Department of Cultural Affairs, as part of LBGT Heritage Month.
George Inness, “Sunset at Etretat”, c 1875, Oil on Canvas, 51.4 x 76.8 cm, Private Collection.
Born in Newburgh, New York, in May of 1825, George Inness grew up on the family farm in Newark, New Jersey. His art training consisted of studying under itinerant artist John Jesse Barker, who had studied with portrait painter Thomas Sully, and a year’s apprenticeship with theengraving firm of Sherman & Smith and then with Currier & Ives.
In 1843 Inness was accepted into the National Academy of Design, where he rejected the fashion for sentimental scenes and painted quiet landscapes of the natural world. After taking additional lessons from French landscape painter Régis François Gignoux in 1843, Inness first began exhibiting in New York at the National Academy of Design in 1844. He officially joined the New York art world when he opened his own studio in the city two years later.
Inness’s first international trip in 1851 took him to Rome and Florence. In Florence, he met the portraitist William Page and almost certainly discussed the works of Titian, which Page often copied and which moved Inness’ style in a more painterly direction. Perhaps most important, through Page, Inness came to know the writings of the Swedish scientist, theologian and mystic Emanuel Swedenborg, which increasingly shaped his personal and aesthetic philosophy. During a Paris stop on his way back to the United States, Inness attended the Salon and for the first time saw paintings by the Barbizon school artists. While Inness was inspired by the idea of divine significance in nature, he was drawn to the fresh, loose brushwork and overt emotional significance of Barbizon paintings.
After a move to Medfield, Massachusetts in 1860, Inness spent four years painting pastoral scenes in the fresh air in an effort to improve his health. In 1866, he received a commission to paint a series on a central theme of Swedenborgian doctrine. Collectively entitled “The Triumph of the Cross,” the three paintings—only “The Valley of the Shadow of Death” survives intact—used the trope of the pilgrim’s journey to manifest the transition from the desolate, natural realm, illuminated only by a glowing cross in the sky, to the verdant spiritual realm. A profile on Inness in the July 1867 “Harper’s Weekly” defined him as a Swedenborgian and marked the first public affiliation of the two men.
In 1870, Inness began a four-year stay in Europe. In Rome, he rented the studio on the Via Sistina said to have been occupied by Claude Lorrain. During these years, he created landscape paintings primarily in two styles: one group with crisp, geometric spaces that resonate with Swedenborg’s description of the structured character of the spiritual realm, and a second group with generalized spaces and rich, gestural brushwork.
In the summer of 1875, Inness lived in the recently opened grand hotel Kearsarge House at the base of New Hampshire’s White Mountains. Inness painted several landscapes of the mountain, concentrating not on the majestic scenery but rather the atmospheric effects he observed. In June 1878, he rented the Dodge estate in Montclair, New Jersey; during the next sixteen years, he would perfect his signature style of painting.
In 1879 and 1883, Inness spent two summers painting on Nantucket Island, where his style continued to change, using softer tones that approached the colored atmosphere and tonal qualities of his late work. In December 1884, he purchased the estate in Montclair and, the following February, moved to the estate permanently, though he continued to retain his studio in New York. His membership in the Society of American Artists, founded in 1878, underscored his commitment to expressive painting. His progressive stance in politics continued with his involvement in Henry George’s single-tax movement and his profound concern for workers’ rights.
Inness’ body of work, which comprises more than 1,150 paintings, watercolors, and sketches, remains an extraordinary testament to his lifelong devotion to landscape painting and his ongoing search for fresh pictorial techniques. Often described as a Tonalist, Inness remains distinct from such artists as James Whistler and Dwight Tryon in his commitment to the Swedenborgian belief in the existence of a relationship between the natural and spiritual realms.
John La Farge, “Swimmer”, 1866, Watercolor, 32.5 × 28.2 cm, Yale University Art Gallery
John La Farge was an American painter, muralist, writer, and stained glass designer. Among his many notable commissions, his decoration of Boston’s Trinity Church placed him among the most prominent artists of the American Arts and Crafts movement. By birth, upbringing and life-style, John LaFarge was a cosmopolite and, judged by his contemporaries, one of considerable personal magnetism.
John La Farge, the son of wealthy French emigrants, was born in New York City in 1835. After graduating from Saint Mary’s College in Maryland, he went to Europe in 1856 to study art. La Farge studied briefly in Paris under the portrait and historical genre painter Thomas Couture, later traveling to England where he discovered the work of the Pre-Raphaelite painters. In 1857, he rented a studio, which he maintained for the rest of his career, in New York’s Tenth Street studio building, where he met the building’s architect Richard Morris Hunt. This was the likely impetus for La Farge’s decision in 1859 to travel to Newport, Rhode Island, and study painting with the architect’s brother, landscape painter and portraitist William Morris Hunt.
In the period of the late 1860s, La Farge cultivated an interest in Japanese art, admiring its patterning and formality, and explored a highly personal style of still-life and open-air landscape painting. By 1875, he was working in stained glass, and a year later, he directed the decorative program for Trinity Church, Boston, designed by architect H.H. Richardson. Through his invention of opalescent glass and his imaginative designing, La Farge contributed to a revival of the art of stained glass in America and gained an international reputation.
La Farge experimented with the problems of shifting and deteriorating color, especially in the medium of stained glass. His work rivaled the beauty of medieval windows and added new resources by his use of opalescent glass and by his original methods of layering and welding the glass. Opalescent glass had been used for centuries in tableware; but it had never before been formed into flat sheets for use in stained-glass windows and other decorative objects.
La Farge became a leader in the mural movement, and his commissions for churches, government buildings, and opulent private homes were a welcome source of income for supplies in later years. As an easel painter, John La Farge was associated with the Society of American Artists, the organization of younger, progressive painters opposed to the National Academy of Design. La Farge, though, was also a member of the Academy; and he was extremely concerned with exhibiting his work widely, not just in New York, but across the country.
An inveterate traveler, La Farge made several trips to Europe and two highly publicized Pacific voyages with his close friend Henry Adams:one to Japan in 1886 and one to the South Sea Islands in 1890-1891. He documented his trips with extensive series of watercolors and with a succession of articles and books. His impressions of the Japanese voyage was published in 1887 under the title “An Artist’s Letters from Japan”.
In addition to his design work and writings, John La Farge was also known as a lecturer on art matters; although this great variety of activities became increasingly taxing in his final years. He continued to take on large commissions, however, even as his fragile health became critical. For the Minnesota State Capital at St. Paul, La Farge executed at age 71 four great lunettes representing the history of law. He also created a similar series based on the theme of Justice for the State Supreme Court building located at Baltimore, Maryland.John La Farge died in 1910 at the age of 75 in Providence, Rhode Island.
Born in 1984, Michael Armitage grew up in Narobi, Kenya, and earned a BA in Fine Arts at the Slade School in London, later graduating from the Royal Academy with a Postgraduate Degree in 2010. He divides his time between Kenya and London where his studio is located.
Armitage’s large-scale, complex oil paintings are executed on pieces of lubugo, a bark cloth traditionally made by the Baganda people of Uganda and used for burial shrouds or worn on ceremonial occasions. He originally discovered the cloth sold as placemats in a market in Nairobi. Its transmutation from sacred textile to tourist tchotchke made him think of how, as support for his paintings, its texture would both disrupt the field of paint as well as mark the work socio-politically and geographically.
Armitage’s work is concerned with the contemporary dynamics of life in Kenya, both from the individual and the collective experience of its people. He merges memories of Kenya with media depictions of East Africa, entangling the personal and the everyday in a web of social and political tensions. Through these compositions, Armitage considers how African bodies, political reportage, and the body politic circulate within systems of global capital, highlighting the fraught relationship between Africa and the West.
His paintings contain many references in its compositional elements, motifs and color combinations to the works of artists such as Titian, Velazquesz, and Francisco Goya. Equally important is the influence upon Armitage’s use of symbolism and palette by the East African modernists, such as Meek Gichugu of Kenya and Jak Katarikawe of Uganda. Images of animals, especially monkeys, play a special role in Armitage’s paintings, becoming symbols of human qualities.
Michael Armitage debuted his 2014 painting “Kampala Suburb” (last image in series above) as part of the group exhibition “Imitation of Life: Melodrama and Race in the 21st Century” at HOME in Manchester, England. The painting, depicting two men in embrace, references the structure of a hieroglyph from ancient Egypt and, in the background, a frieze, taken from an image of an execution in Somalia.
“Although this was not LGBTQ related, I wanted the risk of violence to the couple to be in the painting, as members of the LGBTQ community have been repeatedly harassed, attacked, mutilated, or killed for who they are. It was important to have a sense of the risk of this private and basic intimacy within the painting, as the hostility towards the LGBTQ community extends into their private space. The current situation [in Kenya] is that neighbors who suspect men or women of being gay will attack them or accuse them of committing homosexual acts that are punishable by up to 15 years in prison.” – Michael Armitage
Feliu Elias, “The Gallery”, 1928, Oil on Wood, 520 x 630 cm, Museo Nacional d’Art de Catalunya, Barcelona
Born in Barcelona, Spain in 1878, Feliu Elias was a painter, art critic, caricaturist, and writer. Known not only as the foremost political caricaturist in Catalonia, Elias was also a precursor to the American and European Neo-Objectivists and, as a painter, aligned with its movement away from expressionism and towards political outrage and action.
Elias studied at the Hoyos Painting Academy and the Cercle Artistic de Sant Lluc in Barcelona. Gaining popularity as a political cartoonist under the pseudonum ‘Apa’, he founded in 1908 the satirical magazine “Papitu”. Elias also contributed political cartoons and comics to such magazines as “Mirador” and “L ‘Esquella de la Torraba”. After a series of his published drawings in “Papitu” offended the Spanish government in 1911, he fled to Paris.
In Paris, Feliu Elias became aware of the avant-garde movements and the artwork of Pablo Picasso. It was in Paris that he first began exhibiting his paintings at the Galeries Dalmau and the Faianç Catalá in 1915 with Les Arts i els Artistes, an artistic association promoting a strong cultural identity with Catalonia and a rejection of modernist symbolism. Elias devoted himself to painting in a Magic Realist style, portraying a realistic view of his world in landscapes and portraits while also adding mythical and allegorical elements.
Elias’s political cartoons in favor of the allied cause in World War I were collected in the book “Kameraden” which earned him the Cross of the Legion of Honor. He wrote a treatise entitled “L ‘Art de la Caricatura (The Art of Caricature)” and published critiques of art under the pseudonym of Joan Sacs. Elias published his art theories and wrote numerous monographs on the work of his friends and other contemporary artists, including the work of Spanish painter and ceramicist Xavier Nogués.
Feliu Elias taught art history for many years at Escola Superior dels Bells Oficis, an arts and technical school founded in Barcelona. He died in August of 1948 in Barcelona, Spain. Feliu Elias’s 1928 painting “The Gallery” was acquired by the Museo Nacional d’Art de Catalunya after its exhibition at the Barcelona World’s Fair of 1929.
Cornelius McCarthy, “The Great Façade”, 2007, Oil on Canvas
Cornelius “Neal” James McCarthy was born in 1935 into a family of Irish Catholic and Eastern European immigrant stock.
McCarthy’s earliest artistic influence was probably through the artifacts and images used to promote Catholic devotion with which he grew up. Through these he became familiar with the compositions of the masters of the Italian Renaissance. Formal study was completed in the 1950s at Goldsmith’s School of Art, London, followed by a tour of Italy visiting all the principal art collections and monuments.
McCarthy was greatly influenced by the work of Pablo Picasso after seeing the first post-war exhibition in London in 1960. Later he was influenced b British artist Keith Vaughan. Always painting, McCarthy developed his own style, alternating between anear cubist approach to soft, almost two-dimensional handling of the paint strokes. He painted both individual portrait-like images as well as groups of men, clothed and unclothed.
McCarthy’s paintings are sensual yet not erotic as though his drive was to maintain a dignity in the genre of male figurative painting. Many of his works included somewhat brittle statements of addressing the manner in which the stigma of admiration of the male nude by ‘corporate types’ carried a message beyond the canvas. While McCarthy’s paintings are for the most part tender and sensitive interactions between men, he was unafraid to make some important ‘political’ statements. And his importance as a twentieth-century painter is heightened by this discovery.
In 2007, the book “Cornelius McCarthy” was published by Adonis Art in London, with introduction and commentaries written byAmerican actor Peter Dobson. Now widely regarded as a true master of paintings depicting the male form, Cornelius McCarthy is widely collected in England, the rest of Europe, and especially the United States.
Edward Clifford was associated with the Aesthetic Movement in England, an intellectual and artistic movement emphasizing nature and beauty more than social or political themes in the arts and literature. Clifford was also honorary Secretary of the Church Army, the evangelizing branch of the Church of England, which did missionary work among the slums of England.
Born in Bristol, England in 1844, Clifford studied at the Royal Academy Schools. He painted landscapes, portraits and historical subjects in oil and watercolor and had many aristocratic patrons. From 1877 to 1892, Clifford exhibited at the Royal Academy, Society of British Artists, and Institute of Painters in Watercolors, the Grosvenor Gallery, the New Gallery and elsewhere.
Clifford’s Royal Academy paintings are conventional Victorian portraits: but, at the Grosvenor Gallery and elsewhere, he showed Biblical and allegorical scenes. His Biblical paintings show the influence of symbolic painter Holman Hunt, one of the founders of the Pre-Raphaelite Brotherhood. Clifford was also influenced by Pre-Raphaelite painter Edward Burne-Jones and the group of artists who gathered and exhibited at the Dudley gallery in London.
Often visiting India and the Kashmir region to learn methods of controlling leprosy, Clifford later traveled to Hawaii in 1888. While visiting the leper colony located in Kalaupapa, he met Father Damien, the Belgium Roman Catholic priest whose name became recognized for his charity work and fight against leprosy. After returning to England, Clifford made watercolor paintings from his Hawaiian portrait sketches, later used for illustrations in the 1889 published account of his journey “Portrait of Joseph Damien de Veuster”.
Edward Clifford died in 1907 in England. His works are in many public collections including the Honolulu Museum of Art, the Harvard University Portrait Collection, London’s National Portrait Gallery, and the Nation Portrait Gallery in Washington DC.
Tina Schwarz, Untitled, 2014, Acrylic, Oil, Pastels, and Ink on Canvas
Born in 1977 in Friedberg, Germany, Tina Schwarz completed a residency at Hooper Projects, a private residency program for artists located in Los Angeles. She is inspired by the graphics and drawings of the Old Masters, whose basic designs she sketches on paper, using them as starting points for her paintings. Schwarz combines these motifs with the theme of linking historical and current events.
Allegorical in nature, Tina Schwarz’s creations establish reference points between current political developments and the philosophies of artists such as Francisco Goya. The human body in its vulnerability and physical presence, often broken up in form and transformed, is presented as the central focus of her work. Paintings by Tina Schwarz has been exhibited at both Slag Gallery in New York City and Galerie Korfeld in Berlin.
Born in 1954 in Delmenhorst, Hartmut Neumann is a German surrealist painter, sculptor and photographer. He studied painting and graphics at the University of Arts in Bremen under painter and sculptor Rolf Thiele from 1976 to 1980. In 1983 Neumann received a Scholarship Cité des Arts in Paris. Since 1992 he has been a professor at the University of Fine Arts Braunschweig.
Hartmut Neumann’s works, with their bright colors and dark backgrounds, construct a world of their own. They take the viewer into micro- and macrocosms, which initially seem untouched and harmonious, but on closer inspection reveal sinister abysses. In his pictorial language, elements of the real, the unconscious, mythology, and chance collide to create an unsettling symbiosis.
Neumann’s view of nature is at turns abstract, sculptural, utopian, or staged. The inexhaustible abundance of his formal repertoire is based on the idea of the “wunderkammer”, where artificial and natural are closely entwined. His enigmatic pictorial sealed places are characterised by opulence and richness of detail. What makes Hartmut Neumann unique in his contemporary landscapes is the way his work reveals the artificiality of nature, as contrived by the artist.
Hartmut Neumann is a member of the Deutscher Künstlerbund, the German Association of Artists, and was a member of the board from 2000 to 2002. He lives in Cologne and Brunswick.
Born in 1900 in Rome, Giuseppe Capogrossi, a new lawyer in his early twenties, devoted himself entirely to painting, joining painter Felice Carena’s atelier in Rome. He traveled frequently to Paris between 1927 and 1931, eventually joining with painters Corrado Cagli and Emanuele Cavalli, both of whom worked in a figurative style with pale and ethereal tones. These three were among the loose association of painters known as the Scuola Romana, which later published the “Manifesto of Plastic Primordialism” in 1933, a discussion on the presence of the archaic in the modern world.
In the mid-1930s, Giuseppe Capogrossi’s palette developed from pale into much darker tones. His figurative tonal paintings gradually, between 1945 and 1948, changed into an increasingly geometric abstract style. A decisive shift in his art took place in 1949 when Capogrossi developed a collection of irregular comb or fork shaped signs. Having no symbolic or allegorical meanings, these elements could be assembled and connected in numerous variations, determining the construction of the painting’s surface.
Immediate in their appeal but yet hard to decode, the paintings had a quality shared with the Art Informel movement of abstract expressionism. Capogrossi’s abstract comb paintings, known as “Superficies”, or Surfaces, were first exhibited in 1950 at the Galleria del Secolo in Rome. These “Superficies” soon became the style hallmark of Capogrossi’s work, dominating until the end of his career.
In 1951, Capogrossi joined abstract artists Mario Ballocco, Alberto Burri and Ettore Colla in showing work at gallery Aurora 41 in Rome, an occasion that marked the debut of the 1950-1951 group ‘Origine’. Primarily concerned with the promotion of abstract art, the group reacted against mainstream realist practices and advocated a simplified language meant to return art to its origins.
Capogrossi joined in 1952 the ‘Movimento Spaziale’, initiated by sculptor and theorist Lucio Fontana in Milan. The Spatial Movement, which lasted from 1947 to 1960, embraced the many changes affecting the country in the postwar era, especially scientific progress. The group advocated for a new spatial art that acknowledged recent inventions such as television and neon lighting.
Capogrossi took part in group exhibitions at the Guggenheim Museum in 1953; the Venice Biennale in both 1954 and 1962; and the 1964 exhibition at Tate Gallery, London, as well as many solo exhibitions world wide. Capogrossi died in Rome on October 9, 1972. Two years later, the Galleria Nazionale d’Arte Moderna inRome organized his first major posthumous retrospective.
Peter Samuelson, “Self Portrait in the Bird Room”, 1952, Oil on Board, 81.3 x 63.5 cm, Private Collection
British artist Peter Samuelson, born in Salisbury in 1912, studied at Eton College where his artistic aptitude was first noticed. He studied at the New York School of Fine and Applied Arts in Paris before moving to Holland to work as an illustrator. Following his service in the Second World War, Samuelson returned in 1947 to England again working as an illustrator and later as a set designer in the London theater.
In the early 1950s Peter Samuelson helped his mother run a boarding house in Torquay, Cornwall, on the English Channel. It was here that the majority of his work from the 1950s and 1960s was produced, consisting of brightly colored portraitures and life studies of the boardinghouse’s lodgers. A zen-like calm prevadesthe romantically colored canvases and drawings, with a line quality that suggests the decorative sensitivity of Jean Cocteau and Christian Bérard.
Samuelson returned to London in 1952, where he opened his own boarding houses, continuing his practice of using lodgers and guests as subjects. The artist, though shy in nature, was able to capture life and movement fluidly in his work, distilling the essence of his subjects, often merely observed in the public spaces of the boarding houses, with great skill. Not a social person, Samuelson never actively sought representation or a gallery exhibition; but he did sell pieces to friends and gave some as gifts to friends and models.
Samuelson abandoned painting almost entirely in 1965, spending the latter years of his life in restoring Oriental rugs. In the 1980s, as his health began to decline, his friends placed work in galleries, including an exhibition at Leighton House Museum in London, resulting in some critical acclaim. A book of his work entitled “Post War Friends”, containing paintings and drawings, was published in 1987 by GMP Publishers, London. Peter Samuelson died in 1996.
Carlos Estévez, “Cludad Reloj (Clock City)”, 2019, Oil and Watercolor Pencil on Canvas, 96 x 96 Inches
Born in Havana in 1969, Miami-based painter and ceramicist Carlos Estévez is known for creating captivating, thought-provoking works in a wide range of media that poetically evoke and express the complexities of the human condition as well as the universal truths that shape our lives. He has done residencies in the Academia de San Carlos, Mexico, the Massachusetts College of Art in Boston, and the Citê Internationale des Arts in Paris.
Estévez’s most recent series is his collection entitled “Cities of the Mind” which features nine large-format paintings, all created between 2017 and 2019, that reference the artist’s fascination with city plans. Inspired by the Havana of his youth, the Medieval European cities to which he has traveled extensively as an adult, and his abiding interest in symbolic cosmology and origin stories. Estévez has created in this new body of work personal maps of the human mind influenced by ancient cartography. These works equally address the complicated inner lives that mark the human condition as well as our proclivity for interpreting the world through a self-referential lens.
Carlos Estévez’s work is held in a number of notable public collections, including the National Museum of Fine Arts, Havana; the Museum of Fine Art, Boston; the Pérez Art Museum, Miami; the Denver Art Museum; and the Ludwig Forum for International Art, among others. Estévez’s honors include a 2019 Oscar B. Cintas Fellowship; a Joan Mitchell Foundation Painters & Sculptors Grant in 2015; and the Grand Prize in the First Salon of Contemporary Cuban Art in Havana awarded in 1995.
Miguel Ángel Battegazzore, “Series en Tríadas”, 1976, Oil on Canvas, 88 x 64 cm
Painter and set designer, Miguel Ángel Battegazzore was born in Montevideo, Uruguay, on January 22, 1931. Growing up during the 1950s, he was inspired by Abstract Expressionism, the art culture at the time. Battegazzore graduated from the National School of Fine Arts in 1958 where he studied with muralist Miguel A. Pareja. During the years from 1961 to 1967, Battegazzore made study tours to Europe, Africa, and various countries in North and South America.
Battegazzaro taught for many years at the National School of Fine Arts, the Film School of Uruguay (ECU), and at the Faculty of Humanities and Sciences of the University of the Republic. He was awarded the Carlos Maria Herrera Municipal Scholarship, named in honor of the Uruguayan portraitist, and the Calouste Gulbenkian Foundation Scholarship.
In the evolution of his work, Miguel Battegazzora went from abstraction to figurative work, producing a very personal and updated interpretation of the symbolic world that had been established by Joaquín Torres García, considered the father of Latin American Constructivism. Battegazzaro took the organization which was basic to Torres’ symbolic work and deconstructed it, inserting disorder and randomness into his own paintings.
Battegazzaro had exhibited worldwide with shows in Lisbon, London, Venice, and the United States. He is also the author of “Joaquín Torres García:
The Plot and the Sign”, published in 1999 by the Municipal Government of Maldonado. His work is on exhibition in the Juan Manuel Blanes Municipal Museum in Montevideo, the National Museum of Visual Arts of Uruguay, and the Maldonado Museum of American Art.
Eliran Kantor, “Creation of Stars”, 2019, Oil on Canvas
Born in 1984 at Bat-Yam, Israel, Eliran Kantor grew up in Gan-Yavne, a town founded in 1991 located in central Israel adjacent to the city of Ashdod. . He is currently living and working in Berlin.
A self-taught painter and illustrator, Kantor was hired at the age of twenty-one to direct and design national advertising campaigns for major companies, such as Visa and the French multi-national automobile manufacturer Renault. In 2006, he left the advertising buisiness to concentrate on his art, focusing on works for album covers. Kantor has painted illustrations for over 175 album covers and is currently issuing editions of his images.