Frank Ashley (1920-2007)

Frank Ashley (1920-2007) Farhat Art Museum


Frank Ashley (1920-2007) American
Titled: Market Via Bocca di Leone.
Watercolor on paper, measures 30×22 inches
signed lower left.
Farhat Art Museum Collection.

Born in Nebraska in 1920, Frank Ashley was raised in St. Paul, Minnesota, and later attended the University of Minnesota. Enlisting in the Army Air Corps, he was stationed in England as B-17 pilot; he was discharged after four years as a Captain, with multiple decorations, including The Purple Heart.

After his military career, he studied at the Minneapolis Art Institute and later at the American Academy in Chicago. Mr. Ashley completed his education at The Art Students’ League in New York City, where he worked with Reginald Marsh.

During his stay in New York, Frank Ashley frequented the Metrapole Club where he met many later “jazz greats”. This early experience and his subsequent friendships with Louis Armstrong and Dave Brubeck in San Francisco provided him with one of his major artistic themes: the world of the jazz artist.

No less important, however, is his artistic expertise in the arena of the competitive equestrian events. He visited the majority of the renowned tracks around the world, which resulted in equestrian paintings being signature work. He has exhibited his paintings at many of the major race tracks in the United States.

Frank Ashley was the grand prize from the 1957 New York Art Show, Art USA, as well as other prestigious honors. He died in California on December 16, 2007.

Joe Allen ( 1955- )

Joe Allen ( 1955- )

Title:The Garden of Love, 1987
83.25″ x 68.75″
(211.46cm x 174.63cm)
Created: 1987
Oil and collage/Canvas
Signed and Dated
Farhat Art Museum Collection.

Allen was born in Airdrie, Scotland. When attending school he took private lessons from C. M. Cameron, a Scottish painter of landscapes and also attended art classes at the Glasgow School of Art. He started his vocational education at St. Martins School of Art in London and gained his degree as Bachelor of Arts with Honours in Fine Art at the Chamberwell School of Art. Subsequently he gained the Master of Art Degree at the Royal Academy School in London. In 1983 he started lecturing at Art Colleges in Newcastle and London, later he taught at the Centro de Arte Verrochio near Siena. From 1984 to 2007 he was a lecturer at the European Art Academy in Trier. He lives in London und Trier (Germany). Allen is a scholarly painter. References to works from virtually all periods in the history of art are to found in his paintings. They evoke reminiscences of Piero della Francesca, Velázquez, Titian or John Constable. Also an influence by impressionist painters like Édouard Manet, Claude Monet or Pissarro and masters like van Gogh and Cézanne can be detected, even though Allen must not be mistaken as an epigone but rather has to be accepted as an artist with a unique approach. Although he spent most of his adult life outside of Scotland Allen can also be seen as standing in the tradition of the Glasgow Boys. As many authors in modern philosophy and neurophysiology have pointed out every person has a unique approach to reality. In accordance with this view Allen demonstrates in his oeuvre that the painter’s job is not to depict the “real” world but to encourage the viewer to construct his or her own reality from the suggestions to be found in the work. Allen applied this idea to a number of large-sized paintings on wood each consisting of 9 panels. In 2007 Allen started a series of more than thirty small portraits of famous painters (and persons related to painters) among them Rembrandt, Delacroix, Toulouse-Lautrec, Picasso, Mark Rothko and David Hockney. Allen describes the process of painting by claiming that these portraits were not planned. “They came as a gift as it were. I put down two or three tones and there he was ‘Manet’; I just had to bring him out of the shadows a little more. Interested, exited, I took a fresh canvas and began in the same way, Mary Cassatt showed herself, and as I repeated the process Soutine arrived.” (A special selection, 2007, foreword). [edit]Exhibitions 1986 Galerie Ariadne, Wien 1988 Galerie Ariadne, Wien 1989 Galerie Elisabeth und Klaus Thoman, Innsbruck 1990 Galerie Ariadne, Wien; Galerie 86, Trier 1991 Galerie Claire Fontaine, Luxemburg 1992 Galerie Ariadne, Wien 1995 Cynthia Bourne Gallery, London 1997 Galerie Claire Fontaine, Luxemburg 2000 Galerie Claire Fontaine, Luxemburg; Künstlerhaus Metternich, Koblenz; Galerie Bernd Weise, Chemnitz; Galerie Ariadne, Wien 2001 Galerie Weise, Chemnitz 2002 Galerie Rothamel, Erfurt 2003 Biennale Sharjah – Special Show; 2003 Galerie Claire Fontaine, Luxemburg; Galerie Netusil, Wien 2006 Schloss Moyland, Bedburg-Hau; 2007 Galerie Claire Fontaine, Luxemburg 2008 Schloss Detmold, Ausstellung des Kunstvereins Detmold 2009 Galerie Claire Fontaine, Luxemburg 2009/2010 Kunsthalle Darmstadt: Gesichtslos. Die Malerei des Diffusen. [edit]Literature Joe Allen. Spuren und Fährten. Malerei 1996 – 2006. Ed. by Stiftung Museum Schloss Moyland, Sammlung van der Grinten, Joseph Beuys Archiv des Landes Nordrhein-Westfalen. Bedburg-Hau 2006. Allen, Joe: A special selection. Luxemburg (Galerie Clairefontaine) 2007. Kunsthalle Darmstadt: Gesichtslos. Die Malerei des Diffusen. Eugène Carrière, John Beard (artist), Jörg Madlener, Joe Allen, Rainer Lind. Catalogue of the exhibition “Gesichtslos”, September 2009

Edouard Verschaffelt (1874 – 1955)

Edouard Verschaffelt (1874 - 1955)

Edouard Verschaffelt (1874 – 1955) 
Oil on canvas measures 14×17 inches with an Arabasque style frame. 
Titled Market place in Algeria.
Farhat Art Museum Collection.

Edouard Verschaffelt is a Flemish orientalist painter born in Ghent, Belgium in 1874 and died in Algeria Bou Saada in 1955.
He was a man deeply rooted in Algeria. It will produce a painting of the root, passion and deepening of the Algerian reality, if abused by the exotic orientalist. Edward Verschaffelt took against the foot academic Orientalism, colonial.

Student at the Ecole des Beaux-Arts in Antwerp, it carries with it from the start, the indelible traces of Flemish painting and attraction by impressionism. Arrived in Algeria with his wife, he is the bearer of these two heritages fabulous. That is why it will not fall into the trap of Orientalism smug face of so much sun, splendor and misery of Algeria at the time. Especially since, unlike the other orientalists attracted to North Africa, so doubtful and confused, Edouard Verschaffelt comes in Algeria in 1919 to escape the German occupation of Belgium during the First World War. He settled in the country and immediately feel a fascination for Bou Saada to adopt immediately. Bou Saada was, at the time, the “stronghold” of Dinet which is a notable city even more he converted to Islam, which gives him an extraordinary aura to the Aboriginal population . Edouard Verschaffelt meeting immediately Etienne Dinet.

After the death of his wife, Verschaffelt married an Algerian woman of the tribe of Ouled Sidi Brahim, who appears in multiple tables he spends his life. Verschaffelt will have, so blood ties with Algeria that he will paint the inside until it dies.

Louis Michel Eilshemius (1864–1941)

Louis Michel Eilshemius (1864–1941)

12.38″ x 19.13″ (31.45cm x 48.59cm)
Created: 1920 Oil/Masonite
Signed and Dated
Farhat Art Museum Collection

Louis Michel Eilshemius (1864–1941)


He was a poet who painted like one, but his lyricism was not related to his time and expressed no definite period . . . One can hardly find words to define him. Eilshemius’ paintings speak for themselves.
Marcel Duchamp, artist

This phantasmagorical character was one of the best artists we have ever produced.

Clement Greenberg, art critic

About Eilshemius I want to go on record with you: He was the most poetic, lyrical, beautiful painter in America.

Joseph H. Hirshhorn, collector

In 1941, an anonymous writer for The New York Times reported that “Louis Eilshemius seems more like a character invented by Poe or Hawthorne than an actual person.” Indeed, Eilshemius’s eccentric behavior, self-professed genius, and, above all, visionary art created a persona interlaced with mystery like that of his contemporary Ralph Albert Blakelock. Although he would die in the Bellevue Psychiatric Ward in 1941, Eilshemius was borne into a sophisticated and wealthy family. His father’s fortune as a successful businessman provided the young Eilshemius with the opportunity to travel widely and attend prominent international schools such as the Handelsschule in Dresden. The burgeoning artist returned to the United States to enroll at Cornell University where he took courses in agriculture; however, this area of study did not afford him the expressive freedom found in art. Eventually, Eilshemius’s hesitant father gave way and allowed his son to devote his life to his chosen profession.

While Eilshemius’s well-known landscapes and bather scenes suggest he was a “primitive” as touted by periodicals of the 1900s, he was in fact a well-trained and talented academic artist. He attended multiple schools including the Art Student’s League in New York and the Académie Julian in Paris, reportedly studying with Bouguereau. Early sketches such Standing Female Nude, Hand on Hip (c. 1887; Hirschhorn Museum and Sculpture Garden) showcase his ability to draw naturalistic figures following the conventions of mid to late nineteenth-century American art. Nevertheless, the individualistic artist forged his own path, creating mystical landscapes and figural scenes that bared comparison to those of Arthur B. Davies.

Eilshemius found middling success in his earlier years, exhibiting at the Pennsylvania Academy of the Fine Arts and the National Academy of Design. It was not until 1917 that he was truly recognized. “Discovered” and promoted by the equally provocative Marcel Duchamp who saw the American artist’s submission to the 1917 Independents Exhibition, Eilshemius was almost instantaneously heralded as “an artist of genuine poetic power.” Duchamp’s enthusiasm led to two solo exhibitions of Eilshemius’s work, one of which was held at the Société Anonyme in 1920.

Strangely, in 1921, Eilshemius gave up painting, perhaps annoyed by what he viewed as his late reception into the established art circles of New York. Nevertheless, he continued to be a vital force in the visual arts, penning innumerable editorials published in The New York Sun and The New York Times. By the 1930s he was a favorite of collectors including Louis Kaufman, Roy R. Neuberger, and Joseph H. Hirshhorn, whose collection of nearly 230 Eilshemius’s remain at the Hirshhorn Museum and Sculpture Garden to this day. Modernist Milton Avery was also taken with Eilshemius’s work for its “poetic quality,” as was Louise Nevelson and musician George Gershwin who were avid Eilshemius collectors.

Catastrophe struck in 1932 when Eilshemius was struck by a car, confined to his Park Avenue brownstone, and descended into abject poverty. All the while, his art took the New York scene by storm and was the subject of no fewer than twenty-five solo exhibitions between the time of his accident and his death in 1941. His legacy continued thereafter as the exemplar of a true American original. Eilshemius’s oeuvre continues to be the subject of exhibitions including a 2001 show at the National Academy of Design proposed by contemporary artist Paul Resika. The artist’s works are included in the collection of nearly every major museum including The Metropolitan Museum of Art, Museum of Modern Art, Brooklyn Museum of Art, Philadelphia Museum of Art, The Phillips Collection, Fine Arts Museums of San Francisco, Cleveland Museum of Art, and of course, the Hirshhorn Museum and Sculpture Garden.


Max Heimann

Max Heimann

Max Heimann was born in Berlin in 1909. He attended the State Academy of Fine Arts in Berlin where he studied under Professor Emil Orlik and Professor Kansch, also taking painting with Arthur Segal. Later, Heimann traveled extensively in Europe, visiting France, Italy, and the Low Countries.

After two one-man shows as a member of the New Naturalists, a painting by the artist was purchased by the Museum at Oranienburg, Germany. He was head of the Art Department of two high schools until he was forced to leave Germany in 1939. 

The next eight years were spent in Shanghai, China, where he soon gained a reputation as a portrait painter, receiving many commissions from American and English residents. He also painted numerous high officials, among them two mayors of Shanghai and the governor of Soochow province. The latter acquired a collection of 23 paintings by Heimann. At this time he also conducted an art school attended by pupils of many nationalities, including a number of well-known Chinese artists. 

In May 1947, Heimann arrived in the United States and made San Francisco his permanent residence. He has had one-man shows at the De Young Museum in that city in 1947, as well as at Gump Galleries in 1949.

The following information was from a catalogue published by Gump Galleries in 1949 on the occasion of a one-man show by the artist (October 12-November 5 1949).
Simhon-Schnell Gallery