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| Haitian Artists |
Aladin, Agathe
Aladin, Theard
Alphonse, Fritzner
Auguste, Toussaint
Bottex, S.E.
Casimir, Laurent
Domond, Ezene
Domond, Wilmino
Dupoux, Raoul
Etienne, Gregoire
Francois, Roger
Guillaume, Jean-Jacques
Ismael, Saincilus
Jacques, Harry (dit Arijac)
Jean, Jean-Baptiste
Jean, Marie Carmel
Jean, Ulrick
Jean-Jacques, Carlo
Joseph, Reynald
Leopol, Lindor
Louissaint, Jacques
Louizor, Ernst
Maurice, A.M.
Obin, Fritzner
Obin, Othon
Pierre, André
Pierre, Eddy
Robuste, Jean Claude
St. Fleur, Michelle
Valcin, Pierre Joseph
Valery, Julien
Zephirin, Frantz
Collection Notes
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Fritzner Alphonse
Fritzner Alphonse was born in Port-au-Prince, Haiti on July 18, 1938. His
mother was a market vendor originally from Jacmel, and his father was a leather
tanner. After leaving school, Fritzner's father taught him his trade, and
Fritzner worked as a tanner until the age of 36. The artist Calixte Henry, a childhood friend, introduced Alphonse to
painting. Henry gave him some art books to study, and Alphonse was
particularly impressed with late 18th century western painting.
As is readily apparent from his work, Alphonse is fascinated by the female
figure; his paintings depict an endless variation on this theme. His
family are 3rd generation protestants and he attends the Baptist church every
Sunday. He has no regard for vodou; he thinks that it has ruined Haiti.
Alphonse's work has been shown throughout the Caribbean islands, in Mexico,
Europe, Japan, and the United States. In the United States, he is also
known for a mural that he painted for a large hotel in Miami. In the early 1990's,
Bon Appetit Magazine published a feature article on the artist, with a number
of full-color illustrations of his works.
Fritzner Alphonse died in September 2006.
Selected Fritzner Alphonse Links:
The Electric Gallery
Haitian Art Company
Haitian-Painting.com
Indigo Arts Gallery
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Fleurette (Blue Woman), c.
1993
24 x 20 inches, Acrylic on Canvas, Framed SOLD
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Green or blue skin in a Haitian painting symbolizes the influence of Erzulie,
the Goddess of Love. I find it interesting that--given his distain for vodou--the artist employs that symbolism in this painting
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