Our Haitian Art Collection
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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

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

Fleurette (Blue Woman), c. 1993
24 x 20 inches, Acrylic on Canvas, Framed
SOLD


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