03 Works , Pal Fried's Spanish Dancers, with footnotes

Pal Fried (Hungarian/American, 1893 - 1976)

Fandango

Oil on canvas

29 - 1/2" x 23 - 1/2"

Private collection

Sold for $1,845 in Jun 2013

Fandango is a lively partner dance originating in Portugal and Spain, usually in triple meter, traditionally accompanied by guitars, castanets, or hand-clapping. Fandango can both be sung and danced. 

Pal Fried (Hungarian/American, 1893 - 1976)

Spanish Dancers

Oil on canvas

28 3/4" x 22 3/4" 2"

Private collection

Sold for $300.00 in Feb 2024

Pal Fried (Hungarian/American, 1893 - 1976)

Spanish Dancers #2

Oil on canvas

28 3/4" x 22 3/4" 2"

Private collection

Sold for $800 USD in Jan 2022

Pál Fried (16 June 1893 in Hungary – 6 March 1976 in New York City) was a Hungarian artist best known for his eroticized paintings of female dancers and nudes.

Fried was born in Budapest in 1893. He received his art education at the Académie hongroise des arts (Hungarian Academy of Arts) where he was a pupil of Hugo Pohl who became one of his major influences. While under Pohl's direction, he executed many portraits of female nudes and Orientalist works. Later he studied in Paris at the Académie Julian, where he was the pupil of Claude Monet and Lucien Simone. In Paris, he was greatly influenced by the French Impressionists, especially Pierre-Auguste Renoir and Edgar Degas. This inspired him to prepare many paintings of ballerinas, dancers and circus performers.

Fried emigrated to the United States in 1946 after World War II, where he taught at the New York Academy of Art. He prepared portraits of American celebrities such as Marilyn Monroe. Through his work in portraiture, he gained considerable financial success.

He worked in oils and pastels and experimented with light and movement. His oil paintings were usually of dancers, nudes, and portraits, and while his subjects were primarily female, he also painted Paris, seascapes, cowboys and landscapes of the American West as well as Orientalist subject matter. He signed his paintings, as is usual in Hungarian, with his surname first as "Fried Pál". At times, this particular artist would make several, almost identical versions of the same oil painting, except he would use slightly different facial expressions and/or would try different colour schemes. More on Pál Fried 

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01 Work, The amorous game, Berthold Woltze's The annoying cavalier, with Footnotes, #96

Berthold Woltze  (1829–1896)

The troublesome cavalier/ The Irritating Gentleman, c. 1874

Oil on canvas

height: 75 cm (29.5 in); width: 57 cm (22.4 in)

Deutsches Historisches Museum in Berlin

The painting is set in a railway carriage, where there are two men and a young woman. She is dressed completely in black, and stares towards the viewer with tears in her eyes. 

The young woman is dressed in a black cloak over a black button-up shirt and a black skirt. She has a black hair circle, and wears a pair of mostly black gloves, while her black hat sits beside her; she is holding a maroon coin purse and a white handkerchief.

The young woman has suffered a recent bereavement, and may even be travelling back after a funeral. She looks likely that she has just lost her last parent, and is now living alone, and prey to the likes of this annoying and abusive man. More on this painting

Berthold Woltze (born 24 August 1829 in Havelberg; died 29 November 1896 in Weimar) was a German genre painter, portrait painter, and illustrator.

Berthold Woltze was a professor at Weimar Saxon Grand Ducal Art School. In the period from 1871 to 1878 he published numerous oworks in the Gartenlaube newspaper. One of his most famous works is Der lästige Kavalier, translated as "The Irritating Gentleman" or "The Annoying Cavalier."

He is the father of the architectural painter Peter Woltze (1860–1925). More on Berthold Woltze

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and my art stores at  deviantart and Aaroko

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01 Work, The amorous game, Henry Raleigh's Tea Time, with Footnotes, #92

Henry Raleigh (American, 1880-1944)

Tea Time, c. 1927

Watercolor on paper

16 x 21-1/2 inches (40.6 x 54.6 cm)

Private collection

Sold for $2,312.50 in Apr 25, 2023

Henry Raleigh was an American illustrator, active between 1910-1940. He created illustrations for many well-known authors, including F. Scott Fitzgerald and H.G. Wells.

Raleigh started as a newspaper artist but became widely respected and sought after for his unique and distinct style of illustration. In addition to producing work for prominent magazines such as The Saturday Evening Post and Harper’s Bazaar, he created several posters to promote the efforts of World War I.

Raleigh’s career spanned 25 years and during this time he completed over 20,000 illustrations. He even remained active through the Great Depression and was considered a heavy-hitter during the Golden Age of illustration. Raleigh’s career ended in the 1940s and it is believed that he found it difficult to adapt to the changing social norms of the late 1930s. More on Henry Raleigh

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and my art stores at  deviantart and Aaroko

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01 Work The Artist's Studio, Eduardo Sívori's In the workshop, with Footnotes #90

Eduardo Sívori (1847–1918

In the workshop, c. 1891

Oil on canvas

132 x 90 cm,

National Museum of Fine Arts

Eduardo Sívori (October 13, 1847 – June 5, 1918) was an Argentine artist widely regarded as his country's first realist painter.

Sívori ha arbored artistic leanings during childhood that, for family reasons, went unfulfilled. Asked by his father to join him on a business trip to Paris in 1874, Sívori took the opportunity to frequent Parisian ateliers. Returning to Buenos Aires, the experience drew him to other local painters, including his brother, Alejandro, José Aguyari and Eduardo Schiaffino, who would later become one of Argentina's best-known symbolist painters. Together, they founded the Society for the Promotion of Fine Arts in 1875, an important early milestone in the development of artisan guilds in Argentina.

He returned to Paris in 1882, eventually earning an apprenticeship in the prestigious Jean Paul Laurens atelier, following which he created El despertar de la criada ("Waking of the Servant"), perhaps his best remembered work. Increasingly renowned, his travels took him to the United States, where he was awarded a second gold medal at the St. Louis Exposition of 1884 for Dolce far niente.

Sívori thereafter focused his efforts on commercial art, creating portraits and landscapes for clients. His bucolic landscapes soon earned him renown as the "portraiteur of the pampas." These relationships helped result in the designation of his guild as an official entity within the National Academy of Fine Arts in 1905, of which he was named president in 1910. Eduardo Sívori died in Buenos Aires in 1918 at the age of seventy, and was honored posthumously with the naming of the new Eduardo Sívori Museum in his honor, in 1938. More on Eduardo Sívori

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and deviantart

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05 Works, Marine Art, Walter Langley's perils of fishing life in a Cornish Village, with Footnotes, #87

Walter Langley, R.I. (1852-1922)

Waiting for the Boats, c. 1885

Pencil and watercolour

16 x 47 in. (42 x 119.5 cm.)

Private collection

Sold for GBP 109,300 in June 1999

The quayside by the seawall in the last few moments of leisure when they are able to share news, knit and read letters from relatives as they await the arrival of the herring fleet that has been away at sea and is returning with the day's catch. All is still and peaceful before these women's strenuous daily work begins and the women have to unload and clean the fish. The youngest of the women appears to be concerned about the arrival of the boats, perhaps nervous that not all of them will return; many men were killed in ocean storms. The anxious expression on her young face is in contrast to the weather-beaten skin of the older women who are used to sitting and waiting for the boats. More on this painting

Walter Langley (1852–1922)

In a Cornish Fishing Village – Departure of the Fleet for the North, c. 1886

Watercolour over graphite, with scratching out, on paper

121.9x926 mm

Birmingham Museums and Art Gallery

This painting is the first in a series of three works, depicting the perils of fishing life. In this work, the fleet is watched by villagers as it heads off to the fishing grounds. 

Walter Langley (1852–1922)

Disaster! Scene in a Cornish fishing village, c 1889

Watercolour over graphite, with scratching out, on paper

121.9x76.5 cms

Birmingham Museums and Art Gallery

Walter Langley devoted his life as a painter to scenes in the lives of fishing people in Cornwall. This work, from 1889, is slightly more dramatic than some in its depiction of off-stage events at sea impacting on people at home. Like many of his paintings this watercolour is now in the possession of the City Museum and Art Gallery in Birmingham, Langley's home town, More on this painting

Walter Langley (1852–1922)

Among the Missing – Scene in a Cornish Fishing Village, c. 1884

Watercolour over graphite, with scratching out, on paper

H 118 x W 85 cm

Penlee House Gallery & Museum

This watercolour is the third in a series of three works showing the perils of fishing life. On the wall of the post office is a list of all the men who have been lost at sea. This scene is still one that is all too frequent amidst fishing communities today. More on this painting

Walter Langley (1852–1922)

Sketch for 'Among the Missing – Scene in a Cornish Fishing Village'

Watercolour over graphite, with scratching out, on paper

H 20.2 x W 11 cm

Penlee House Gallery & Museum

Walter Langley, RI (1852–1922), often described as a pioneer of the Newlyn artists in Cornwall, was born in Birmingham in 1852. His father was a tailor, and the typically large Victorian family lived in poor circumstances. The boy attended a mission school there, taking evening classes at Birmingham School of Design from the age of ten, and becoming an apprentice to a commercial lithographer in Birmingham while still attending classes. His life might have gone on like that, only a few steps further up the social ladder than his father's. But, on his own initiative, Langley picked up watercolour painting, and showed three of his watercolours at the Royal Birmingham Society of Artists in 1873. A scholarship to the National Art Training Schools of South Kensington followed, to study decorative design, and, after another spell as a lithographer, Langley set out on his independent career as an artist.

Although he was very active in Birmingham, where he and others founded the Birmingham Art Circle, Langley was attracted by the trend established in France, to paint villagers among scenes of daily life in rural or coastal communities. In 1880, he and Henry Martin Pope (1843-1908), a fellow-founder member of the Art Circle, visited Newlyn in Cornwall, which was then beginning to have something of a reputation as an artist's colony. When Langley decided to move there with his young family in 1882, he became the first artist of any note to do so. He retained his ties with Birmingham, but eventually settled there permanently. His connection was confirmed when, after the death of his first wife, he married a Cornish woman in 1897. He died in Penzance in 1922, a well-known artist  — Jacqueline Banerjee

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and my art stores at  deviantart and Aaroko

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1 Painting, Camille Hilaire's The clown Auguste on the track, with footnotes

Camille Hilaire

The clown Auguste on the track, c. 1974

Watercolor and gouache

53 x 36.5cm

Private collection

For sale for 1850 € in Nov 2024

The Auguste clown character-type is often an anarchist, a joker, or a fool. He is clever and has much lower status than the whiteface. Classically the whiteface character instructs the Auguste character to perform his bidding. The Auguste has a hard time performing a given task, which leads to funny situations. Sometimes the Auguste plays the role of an anarchist and purposefully has trouble following the whiteface's directions. Sometimes the Auguste is confused or is foolish and makes errors less deliberately. More on The Auguste clown

Camille Hilaire was born on August 2, 1916 in France. Hillaire began painting from a young age. At fifteen he discovered the works of Albrecht Dürer in his city's library and started making copies. His drawings, because they were hung up in a bookshop, drew the attention of the director of the École des Beaux-Arts in Paris. It was due to this Hilaire enrolled at Beaux-Arts. With the help of a scholarship Hilaire travelled around Spain and Italy and was greatly influenced by the art he found there. In 1942 he came under the tutelage of André L'hote, a renowned Cubist artist. Hilaire's paintings do reveal a certain influence from Cubism, but they lack the rigidity of the early years of the movement. His first exhibition was held in Paris, 1951; after this he exhibited at international art faire in Geneva, Cannes and Deauville. Hilaire's compositions can be described as subtle and his paintings display a sense of calm in their transition of patterns and elements. His nudes were remarkable as well and contain a provocative grace. Nowadays a great number of monographs can be found to be devoted to him, along with films and documentaries. Hilaire left a large body of work and a strong influence on French painters of the mid-twentieth century behind, when he passed away in 2004. More on Camille Hilaire

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and my art stores at  deviantart and Aaroko

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01 painting, The amorous game, William Oxer's Unfolding Her Wings, with Footnotes #102

William Oxer

Unfolding Her Wings, c. 2023

Oil on Canvas

16 W x 12 H x 1 D in

Private collection

For Sale at C$2,864 in April 2024

"William Oxer is not merely a painter; he is a distinctive sensibility, with a poetic vision he explores in many media. His art is affirmative, evocative and forgiving..." Professor Sir Roger Scruton

"William Oxer's paintings represent a strikingly fresh current in contemporary art. His work is experimental, and he is also willing to take on larger themes as well as demonstrating a delight in detail and minutiae. Very few contemporary artists paint so consistently well." Dr David Morley, University of Warwick

In 2017 William was invited by the Royal Society of Arts to become one of their Fellows, which he is honoured to become. More on William Oxer

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and my art stores at  deviantart and Aaroko

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05 Works, The Art of War, Marilyn Monroe Goes to Gaza, with footnotes

Unknown artist

Marilyn Monroe Goes to Gaza 1

AI Generated

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While it’s an interesting premise to imagine a figure like Marilyn Monroe stepping into a contemporary political crisis, it’s essential to acknowledge the complexities of such situations. Monroe, known for her glamorous Hollywood persona, could be portrayed as a symbol of compassion and advocacy for peace.

Unknown artist

Marilyn Monroe Goes to Gaza 2

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In this scenario, she might use her fame to raise awareness, organize humanitarian efforts, or provide support for those in need. With her charisma and influence, Monroe could draw attention to the struggles faced by people in Gaza, emphasizing the importance of empathy, dialogue, and peaceful resolutions.

Unknown artist

Marilyn Monroe Goes to Gaza 3

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As if stepping onto the stage of a modern tragedy, she would encounter the harsh realities of conflict, but also the resilience of the human spirit. Her efforts could involve collaborating with local organizations, engaging in cultural exchanges, and promoting messages of hope and solidarity.

Unknown artist

Marilyn Monroe Goes to Gaza 4

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Ultimately, Monroe's journey would highlight the power of compassion in the face of adversity, advocating for a world where voices are heard, and humanity prevails over discord.

Unknown artist

Marilyn Monroe Goes to Gaza 5

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Marilyn Monroe (June 1, 1926 – August 4, 1962) was an American actress and model. Known for playing "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2023) by the time of her death in 1962. More on Marilyn Monroe

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01 Painting, Arno Rink's Men II, with footnotes

Ákos Birkás

Men II., c. 2006

Oil on canvas

100 x 210 cm

Ludwig Museum Museum of Contemporary Art

Ákos Birkás is known for his Heads series, his abstract ovals painted as a programme from the mid-eighties up till the late nineties, comprising nearly two hundred pieces in all. 

Ákos Birkás was born in Budapest in 1941. Between 1959 and 1964, he studied painting at the Hungarian College of Fine Arts, and after obtaining his diploma, he was a teacher at the Vocational College of Fine and Applied Arts in Budapest until 1984. In 1989, he received the Herder Prize. In the early 1990s, he taught at the Summer Academy in Salzburg and at the State College of Fine Arts in Dijon (École Nationale des Beaux-Arts). He created as a scholarship holder in Dijon, Berlin, Bamberg, among others. In 1993, he received the Munkácsy Award, and in 1998, he was recognized as an Outstanding Artist. Between 2003 and 2005, he was a lecturer at the Hungarian Academy of Fine Arts. In 1986, he participated in the XLII. at the Venice Biennale. In 2006, the Ludwig Museum in Budapest organized an exhibition of his 30 years of work. More on Ákos Birkás

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and deviantart

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02 Works, The Art of War, Moretto da Brescia's Entombment with footnotes

After Moretto da Brescia

A Proper Burial

AI Generated

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The Greeks believed that it was incredibly important that the dead were treated with respect and that everyone, no matter their social status or wealth, received a proper burial. Once the person had died, their eyes and mouth were closed. The body would be washed, perfumed and wrapped in a long shroud.

After Moretto da Brescia

A Proper Burial

AI Generated

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Alessandro Bonvicino(c. 1498 – possibly 22 December 1554), more commonly known as Moretto da Brescia (the Moor of Brescia), was an Italian Renaissance painter from Brescia, where he also mostly worked. His dated works span the period from 1524 to 1554, but he was already described as a master in 1516. He was mainly a painter of altarpieces that tend towards sedateness, mostly for churches in and around Brescia, but also in Bergamo, Milan, Verona, and Asola; many remain in the churches they were painted for. The majority of these are on canvas.

He also painted a few portraits, but these are more influential. A full-length Portrait of a Man in the National Gallery, London, dated 1526, seems to be the earliest Italian independent portrait at full length, all the more unexpected as the subject, though clearly a wealthy nobleman, shows no sign of being from a princely ruling family. More on Moretto da Brescia

10 Works, The Art of War, Franz Ritter von Stuck, Eugène Delacroix and Titian's The Abduction of Alma, with footnotes

After Eugène Delacroix

The Abduction of Alma 1

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As Alma walks through the market she senses that she is being followed by group of people. She decides to get away but the faster she moved they faster they came. She finally decides to make a run for it.

Pushing through the crowd and forcing her way through, Alma is in panic. Her heart races as adrenaline surges through her veins. Her mind races, trying to come up with a plan to escape her pursuers. She darts between market stalls, knocking over crates and causing chaos in her wake.

After Eugène Delacroix

The Abduction of Alma 2

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The people in the market look on in confusion, creating a diversion that Alma hopes will hinder her pursuers. She weaves through the crowded streets, desperately searching for a way out. The bustling noise of the market fades to a distant hum as her focus narrows solely on evading her followers.

After Titian

The Abduction of Alma 3

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Sweat drips down her forehead as she turns a corner into a narrow alleyway. She can hear the echoing footsteps growing closer behind her. Fear grips her chest, but she refuses to give in. With every ounce of strength left in her, she propels herself forward, her breath coming in ragged gasps.

Alma's lungs burn as she pushes herself beyond her limits, her muscles protesting with every stride. She doesn't know who these people are or what they want from her, but she knows she can't afford to find out. Her life depends on escaping their clutches.

Tiziano Vecelli or Vecellio (c. 1488/90 – 27 August 1576), known in English as Titian), was an Italian (Venetian) painter of the Renaissance, considered the most important member of the 16th-century Venetian school. 

Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of colour, exercised a profound influence not only on painters of the late Italian Renaissance, but on future generations of Western artists.

His career was successful from the start, and he became sought after by patrons, initially from Venice and its possessions, then joined by the north Italian princes, and finally the Habsburgs and papacy. Along with Giorgione, he is considered a founder of the Venetian School of Italian Renaissance painting.

During the course of his long life, Titian's artistic manner changed drastically, but he retained a lifelong interest in colour. More on Titian

After Eugène Delacroix

The Abduction of Alma 4

AI Generated

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Finally, she spots an alley leading to a maze of narrow streets. Without hesitation, she veers off the main path and dives into the labyrinthine network of alleys. She loses track of time as she desperately tries to throw off her pursuers, taking sharp turns and doubling back whenever possible.

Ferdinand Victor Eugène Delacroix (26 April 1798 – 13 August 1863) was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic school.

As a painter and muralist, Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish author Walter Scott and the German author Johann Wolfgang von Goethe.

Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on colour and movement rather than clarity of outline and carefully modelled form. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic. Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Lord Byron, with whom he shared a strong identification with the "forces of the sublime", of nature in often violent action.

However, Delacroix was given to neither sentimentality nor bombast, and his Romanticism was that of an individualist. In the words of Baudelaire, "Delacroix was passionately in love with passion, but coldly determined to express passion as clearly as possible." More on Ferdinand Victor Eugène Delacroix

After Franz Ritter von Stuck

The Abduction of Alma 5

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After Franz Ritter von Stuck

The Abduction of Alma 6

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As Alma desperately tries to free herself from their grip, she thrashes and kicks, but it's no use. The group of people overpower her, their grips tight and unyielding. She is dragged away, her screams are muffled.

After Franz Ritter von Stuck

The Abduction of Alma 7

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As Alma desperately tries to free herself from their grip, she thrashes and kicks, but it's no use. The group of people overpower her, their grips tight and unyielding. She is dragged away, her screams muffled.

After Franz Ritter von Stuck

The Abduction of Alma 8

AI Generated

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Alma's mind races, trying to come up with a plan to escape once again. She analyzes her captors, searching for any weaknesses, any opportunity to break free. But they are too strong, too organized, and she is trapped.

After Franz Ritter von Stuck

The Abduction of Alma 9

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Fear courses through her veins as she wonders what fate awaits her. She doesn't know who these people are or why they are after her, but she knows it can't be anything good. Her thoughts dart to her loved ones, wondering if they will ever know what happened to her.

After Franz Ritter von Stuck

The Abduction of Alma 10

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As Alma is pulled deeper into the unknown, her determination to escape burns brighter. She refuses to give up, to let them win. She clings to a sliver of hope, praying for a chance to break free and find her way back to safety.

In the darkness of her captivity, Alma vows to herself that she will continue to fight, to resist until her last breath. She refuses to let fear consume her, instead channeling it into a fierce determination to survive. With each passing second, she strengthens her resolve, ready to face whatever challenges lay ahead.

Franz Ritter von Stuck (February 23, 1863 – August 30, 1928), born Franz Stuck, was a German painter, sculptor, printmaker, and architect. Stuck was best known for his paintings of ancient mythology, receiving substantial critical acclaim with The Sin in 1892. In 1906, Stuck was awarded the Order of Merit of the Bavarian Crown and was henceforth known as Ritter von Stuck. More on Franz Ritter von Stuck

Alma was by far the most distinguished of women because of her many superior qualities, especially because of the bravery she demonstrated in defense of her people.

Islam elevated the status of women, treating them on an equal footing with a man. Women had a newfound independent identity, in the physical and spiritual spheres.

Islamic history is full of warrior women who fiercely fought for what they believed in, defended what they cherished, and defied all expectations and became legends.

The Warrior Woman is an ancient archetype that is not well known because the stories have been both forgotten and suppressed. Mythology is full of warrior goddesses.

Traditionally, the Bedouin were among the most dangerous of desert tribes, fighting among themselves when outsiders weren’t available. Constantly on the move to find new pastures for their livestock, they learned to live with the minimum of possessions and little external support in the harshest of lands. Loyalty to tribe and family was all that helped a warrior survive. More on Desert Warriors

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