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reviews_and_ramblingsSince Anne (annecain) asked, I will post part 2 and 3 tonight, and 4, 5 and 6 next week!
1940 - 1951 (1 of 6)
1952 (2 of 6)
"Rancho Siesta," Quaintance's idealized Western abode, was neither a ranch nor did it allow much time for an artist's siesta. It was a busy center of the artist's new obsession, the classic male physique. Located in the Aztec Park residential subdivision of Phoenix, "Rancho Siesta" was where the artist created his now-prized paintings--some 60 oil-on-canvas works--in fewer than six years.
Idyll, 1952
Aztec Sacrifice, 1952
Egyptian Wrestlers, 1952
Golden Faun, 1952
Manolo, 1952
Morning in the Desert, 1952
Orpheus in Hades, 1952
Point Loma, 1952
Pyramid Builders, 1952
Shore Leave, 1952
Siesta, 1952
Slave Market, 1952
Trial by Combat, 1952
Quaintance taught Garcia the fine points of capturing discreet male nudes on film. At the same time, he began painting the series of large oil paintings depicting robust cowboys, well-muscled Indians, and male nudes from classical antiquity and myth. The paintings show naked and near-naked men, all exemplifying Quaintance's "ideal physique" in dramatic settings.
In all his western paintings, the blond cowboy strongly resembles the artist himself, an egotist who kept in excellent physical shape even after his dancing career ended. When his thinning hair failed to match his standard of grooming perfection, Quaintance took to wearing elaborate wigs, often with comic results for those who detected the ruse.
For example, a neighbor of the artist's mother wrote in a daily journal on September 13, 1938 when Quaintance was home for a visit: "I wonder whether he knows I study his wig so closely. It is a wig; the hair is reddish and getting thin. I can see the cloth base, like burlap or something; anyone would know those hairs didn't grow in flesh."
1953 (3 of 6)
1954-1956 (4 of 6)
1957 (5 of 6)
Afterword (6 of 6)
Source:
http://www.glbtq.com/arts/quaintance_g.h
http://www.homoerotimuseum.net/ame/ame02/3
1940 - 1951 (1 of 6)
1952 (2 of 6)
"Rancho Siesta," Quaintance's idealized Western abode, was neither a ranch nor did it allow much time for an artist's siesta. It was a busy center of the artist's new obsession, the classic male physique. Located in the Aztec Park residential subdivision of Phoenix, "Rancho Siesta" was where the artist created his now-prized paintings--some 60 oil-on-canvas works--in fewer than six years.
Idyll, 1952
Aztec Sacrifice, 1952
Egyptian Wrestlers, 1952
Golden Faun, 1952
Manolo, 1952
Morning in the Desert, 1952
Orpheus in Hades, 1952
Point Loma, 1952
Pyramid Builders, 1952
Shore Leave, 1952
Siesta, 1952
Slave Market, 1952
Trial by Combat, 1952
Quaintance taught Garcia the fine points of capturing discreet male nudes on film. At the same time, he began painting the series of large oil paintings depicting robust cowboys, well-muscled Indians, and male nudes from classical antiquity and myth. The paintings show naked and near-naked men, all exemplifying Quaintance's "ideal physique" in dramatic settings.
In all his western paintings, the blond cowboy strongly resembles the artist himself, an egotist who kept in excellent physical shape even after his dancing career ended. When his thinning hair failed to match his standard of grooming perfection, Quaintance took to wearing elaborate wigs, often with comic results for those who detected the ruse.
For example, a neighbor of the artist's mother wrote in a daily journal on September 13, 1938 when Quaintance was home for a visit: "I wonder whether he knows I study his wig so closely. It is a wig; the hair is reddish and getting thin. I can see the cloth base, like burlap or something; anyone would know those hairs didn't grow in flesh."
1953 (3 of 6)
1954-1956 (4 of 6)
1957 (5 of 6)
Afterword (6 of 6)
Source:
http://www.glbtq.com/arts/quaintance_g.h
http://www.homoerotimuseum.net/ame/ame02/3
