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I
won't pay what Laurent's paintings now
command; but I've been kicking myself for most of the past
quarter–century for not having bought others — or at least one more, a larger one — in the
1970s and early '80s,
when his work was still priced reasonably. I have never seen a Laurent I didn't like: he was a first–class naïf with a unique two–dimensional touch.
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During
his lifetime Lazard was among the most popular — and best–selling
— Haitian artists. He's become even more sought–after since his
death. Members of the Haitian elite, who often look down on naïfs,
are especially fond of Lazard's work. Lazard worked at the Centre d'Art from 1945 to 1950, then studied in Paris and Mexico City. In 1956 he moved to New York City, where he lived and worked — with frequent visits to his homeland — until the mid–1980s. He won many prizes; has been exhibited throughout the world; and is represented in most important collections of Haitian art. Since I am partial to 'primitives,' works that aren't must have something special that appeals to me. I particularly like Lazard's use of color, |
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Nothing known; just liked it. Well … not really. I'd just bought several paintings from a Port–au–Prince gallery. I saw this one and said 'It's cute.' The owner gave it to me. (I had probably not driven an especially good bargain on the others.)
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Another
of Philomé Obin's many students,
Leonidas follows the master in his attention to detail. Of late his colors,
have,
however, become more vivid, less 'northern.'
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