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Eduardo Sola-Franco
Pencil on paper
Signed, 1948, Paris, France.
Eduardo Sola-Franco, born in Guayaquil, Ecuador,
in 1915, and died in Santiago, Chile, in 1996, was an
Ecuadorian artist, who due to his polemic personality
for the time he spent a larger part of his life
in Europe.
At the time his portrait was done by Alejo, they used to
share the same studio with Emma Reyes at rue
Antoine Chantin, in the XIV ème arrondissement, Paris.
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Eduardo Sola-Franco
By Alejo Vidal-Quadras
Oil on canvas
Unknown measures
Signed, 1950, Paris
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“Viejitos, en que planteas están, no hé vuelto a saber nada de
vosotros, un fuerte abrazo Emma”
Emma Reyes’ Invitation for Art Basel Munich 1982.
Comments
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The ship Alejo took from Buenos Aires to the port of
Le Havre in France, stopped in Dakar, Senegal, for one
day for fuel.
It was the opportunity Alejo and Emma Reyes ceased
to sketch to the market.
Sketches in Dakar I
By A.Vidal-Quadras 1947
Blue ink on paper A4
Private collection
Sketches in Dakar IV
By A.Vidal-Quadras 1947
Blue ink on paper A4
Private collection
“Llegada a Dakar” 1947
By A.Vidal-Quadras 1947
Blue ink on paper A4
Private collection
Drawing on board of the ship that took Alejo and Emma
from Buenos Aires to France, arriving in Dakar.
Sketches in Dakar II
By A.Vidal-Quadras 1947
Blue ink on paper A4
Private collection
Sketches in Dakar III
By A.Vidal-Quadras 1947
Blue ink on paper A4
Private collection
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Emma Reyes
By Alejo vidal-Quadras, 1948
Charcoal & pastel on paper
Unknown dimensions
Signed, 1948, Paris
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Emma Reyes, Colombian artist
By Alejo Vidal-Quadras
Pen & ink on paper
Signed, 1949, Paris, France.
Both artists met on the ship from Buenos Aires to Marseille.
Instantly they became good friends throughout their lives.
In 1947-48 they shared for some time a studio at
rue Antoine Chantin, XIVème arrondissement, Paris.
Emma Reyes
By Alejo vidal-Quadras, 1948
Pencil on paper
30 x 26 cm
11.81 x 10.23 inches
Collection A. Vidal-Quadras
Emma Reyes at work
By Alejo Vidal-Quadras
Pen & ink on paper
A4
Not signed, not dated, Paris.
Private Collection
Emma Reyes drawing
By Alejo vidal-Quadras, 1955
Charcoal on paper
Signed, 1955, Capri, Italy
Fundación Arte Vivo Ortero Herrera
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Alejo met Tilda Thamar (born Matilde Sofía Margarita Abrecht Niehörster, in December 7 1917 at Urdinarrain, Entre Rios, Argentina, and died in April 12, 1989, France) when apparently, she was at a controversial moment of her acting career, at the age of 29. In 1946, she took a part in Carlos-Hugo Christensen’s “Adam and Eve” movie, with Mirtha Legrand as leading actress. In this movie, Tilda Thamar dared to appear in a two pieces bathing suit as the first time an Argentinian woman did so. The movie was the first in Argentinian history to be qualified by official censorship as prohibited for minors under 18.
Tilda was then shortly married to Count Ilias Toptani, cousin of King Zog of Albania (before II World War), when Alejo met Tilda and they immediately fellfor each other.
It was when Alejo was defied for duel by the betrayed husband! Not only Alejo was naturally terribly shocked but his mother had to call for the interference of the Spanish Ambassador of the time, probably His Excellency José Muñoz Vargas who was from 1943 to 1947 in Buenos Aires. The duel was of course aborted as the Argentinian Department of State Minister plaid that medieval traditions were not tolerated in a democratic country such Argentina.
Alejo had been planning for a while of returning to Europe, that was the best time to break the news: it was reasonable and advisable to put some distance from the flamboyant actress.
Source:
Carlos Abrecht
https://www.miradorprovincial.com/?m=interior&id_um=210193-tilda-thamar-la-actriz-que-cautivo-al-pais-y-conquisto-francia-entrerrianos-en-la-historia
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During the painting pose
José Antonio Grau
Oil on canvas by Alejo Vidal-Quadras
José Antonio Grau
Pencil on paper
46 x 33 cm
18.11 x 12.99 inches
Not signed, not dated, Buenos Aires, Argentina.
Private Collection
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José Antonio Fernández-Muro,
Spain 1920-2014
Artist drawing himself
Ink on paper
A4 paper
Unknown
By Raul Mihanovitch,
Argentina 1899-1956
Portrait painter.
Sanguine comté on paper, 1943, Buenos Aires.
Alejo at his easel
Sainz de Lalhaga
Probably done at
Vicente Puig Academy of Fine Arts, between 1943 and 1947,
in Buenos Aires.
José Antonio Grau
By Alejo Vidal-Quadras
Pen & ink on paper
41 x 27 cm
16.14 x 10.62 inches
Signed, 1947, Buenos Aires, Argentina.
Private Collection
During the time José Antonio Grau and Alejo attended
Vicente Puig Academy of Fine Arts, they shared a studio.
Many drawings and sketeches were found among Alejo’s
early drawings and albums.
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Vicente Puig (1882-1965) was a born in Mataró, Province of
Barcelona, Spain, who very young emigrated to Uruguay.
In 1906 he traveled to Europe to study in Munich at the
Academy of Fine Arts with Professor Franz von Stuck and then
in Paris with Professor Fernand Cormon. After a period in Madrid
and Rome, he returned to Uruguay where he dedicated himself to
painting and teaching.
He moves to Buenos Aires where he lived for 45 years.
His work as teacher achieved a respectable reputation and is
recognized with prizes and honorary mentions. Puig died in 1965
in Buenos Aires.
At 1943, according to Alejo’s albums some of his students at the
time were:
José Antonio Fernandez-Muro, born in Spain 1920-2014
José Antonio Grau, Spanish
Sara Grilo, Argentinian 1919-2007
Miguel Ocampo, Argentinian 1922-2015
Raul Mihanovitch, Argentinian 1899-1956
Alejo Vidal-Quadras, Spanish 1919-1994
Photography of Vicente Puig (Spain 1882 – Buenos Aires 1965)
in his academy.
Alejo and colleagues
José Antonio Grau, Salcedo and Alejo V-Q at a friend’s studio
BUENOS AIRES – 1943-47
Alejo and colleague at his studio Calle Charcas 1671,
Buenos Aires.
Group photo:
Alejo V-Q., José Antonio Grau, Sarah Grilo
and José Antonio Fernandez-Muro
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Self-portrait 1944
Oil on canvas,
50 x 40 cm
19.68 inches x 15.74 inches
Signed, 1944, Buenos Aires, Argentina.
Private collection, Rio de Janeiro
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Madame Pilar Veiga de la Cuesta, Artist’s mother
Javier Vidal-Quadras Villavecchia’s widow
By Alejo Vidal-Quadras
Charcoal and pastel on cardboard,
114 x 85 cm
44.88 inches x 33.46 inches
Signed, 1946, Buenos Aires, Argentina.
Alejo portrayed his mother one year before he moved to Paris.
Once Alejo met Tilda in Buenos Aires, Pilar thought best to support
his son’s endeavor of returning to Europe.
This portrait was in Buenos Aires with his mother until Pilar
and her elder son, Javier, decided to move to Rio de Janeiro in 1948.
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Costumes designs for theatre “L’Ange Rouge”:
First: “Chanson Tropicale” and “L’Ange Rouge”
Bibliothèque Nationale de France
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Tilda Thamar, Mrs. Alejo Vidal-Quadras
By Alejo Vidal-Quadras
Oil on canvas,
100 x 80 cm
39.37 inches x 31.49 inches
Signed, 1951, Paris, France
Collection A. Vidal-Quadras
One year after their marriage, the couple went by car to Florence
and Venice, for the XII International Exhibition in Venice.
Inspired by the Great Masters of the Italian Renaissance, aware
of his time, Alejo poses Tilda frontally, which still represents a total
challenge for a painter.
Renoir was in fact the first painter to use frontal poses,
leaving behind the classical Renaissance profile or the ¾ pose
Jan Van Eyck introduced in painting around 1430’s.
Auguste Renoir had used the frontal pose before,
for the first time when he portrayed Victor Choquet,
the French art collector in 1876
Alejo presents Tilda without ornaments, a plunging neckline black dress.
The coif along with the acid green shawl in a very Bronzino
color, are a fine contrast against the dark blue background. For the
first time Alejo treats the background with childlike doodles, graffiti and
words, scratched from the blue grey dark background.
One may wonder if he was introducing a reference to the Art
Informel and to Jean Dubuffet, contemporary of Alejo.
Either it’s an allusive reference, (to convey the texture of an old
wall?) or could be a corrosive critical or biographical, inspired from TT’s life.
Yet, for now, no documents or writings have been found in the artist’s archives.
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Poster for the movie La Caraque Blonde
Oil on canvas
Unknown measurements
Paris, 1951
Sketch of Tilda Thamar
Pencil on paper
Signed, Paris, 1951
Sketch of Tilda Thamar during the shooting of La Caraque,
Pencil on paper A4
Signed by Alejo and dedicated with actress best wishes for 1953
by Tilda to probably one of the co-stars or colleagues during the
shooting of the movie La Caraque, France, 1952
Sketch of Tilda Thamar during the shooting of La Caraque
Pencil on paper A4
Signed, France, 1952
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Alejo starting Tilda’s portrait
B&W photo
Private collection
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Tilda Thamar
By Alejo Vidal Quadras
Charcoal on paper
Unknown measurements
Signed, 1951, Paris
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Tilda Thamar’s ultramarine blues ceramic vases made in
Vallauri over the balustrade in the terrace above their home in Roquebrune.
© Copyrights Fondation A. Vidal-Quadras, 2013.
Balustrade overlooking the Mediterranean Sea at
Roquebrune
View of Alejo’s and Tilda’s apartment Thalassita at Roquebrune,
Cote d’Azur, underneath a terrace
Tilda ultramarine blue vases decorating the balustrade over
their French Riviera pied à terre.
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Tilda Thamar
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3 rue des Anglais
Artist’s portofolio
Oil on canvas
Unknown measurements
Paris, 1949
Tête de femme
Artist’s portofolio
Oil on canvas
Unknown measurements
Paris, 1949.
Place Pigalle
Artist’s portofolio
Oil on canvas
Unknown measurements
Paris, 1949.
Place de la Concorde
Artist’s portofolio
Oil on canvas
Unknown measurements
Paris, 1952.
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Teresa Vidal-Quadras Rivière
Oil on canvas
80 x 60 cm
31.49 x 23.62 cm
Barcelona, 1950.
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Alejo and Tilda setting up exhibition
at Saint Paul de Vence 1951
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Le couple
Oil on canvas
Unknown measurements
Barcelona, 1955.
Tilda was definitely her husband best model.
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Young woman
Oil on canvas
Unknown measurements
1955
Alejo gives volume using thicker and rough brushstrokes, and throughout
the painting there’s texture and matter. In the background he paints his own
studies of the model’s head, in profile and ¾ back view.
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Tilda posing
Oil on canvas
Unknown measurements
Paris, 1952
Once more Alejo used Tilda as his model, as he did repeatedly in
life drawings with her posing laying down, standing up, etc.
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Selfportrait 1968
Oil on wood panel,
112 x 83 cm,
44.09 inches x 32.67 inches
Signed, 1968, Paris.
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Setting designed for a play
Tilda’s main actress
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Selportrait 1959
Gouache on paper
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Opening night at Alejo’s exhibition in Monaco at
SS.AA.SS. Prince Rainier and Princess Grace.
Princes Aschraf and Mrs. Raina Mansur in front of Tilda’s portrait
in a Spanish mantilla and peineta which was an oil on canvas from 1952.
Photo on the occasion of the Paris opening exhibit in 1964
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Alejo’s left hand mold turned into an ashtray
Blue ceramic, signed Tilda Thamar, France.
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Marie-Charlotte as Paris Match’s
reporter, in action.
Marie Charlotte Pedrazzini with friend
at Monte Carlo, Monaco.
Marie Charlotte Pedrazzini
Marie Charlotte Pedrazzini,
Hélène Bouillon-Lafont and
Hubert de Givenchy in Greece.
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The first portrait of her is a sketch on pencil
and its oil version dated 1954
Study for Marie-Charlotte’s portrait
Pencil, 70 x 50cm aprox. 1954
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Marie Charlotte Pedrazzini, 1954
First portrait of a series. She became the artist’s muse,
once they got married in 1970’s.
Oil on canvas, 65 x 54 cm, signed and dedicated
to Mrs. Alejo Vidal-Quadras, 1954
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Marie Charlotte’s 2nd portrait:
It marks the time when the couple started
to live together by 1971, while waiting for
Alejo’s divorce from Tilda Thamar.
MC Vidal-Quadras à la toque
Charcoal and pastel, 78 x 60 cm, signed, 1971
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Pilar Veiga de la Cuesta, Vda. de Vidal-Quadras,
Alejo’s mother
Oil Portrait, 116 x 80 cm, 1971
As Marie-Charlotte met Pilar they immediately
got along. Both women developed for each other
a sense of complicity along with mutual admiration
and respect.
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Monica as dancer
Marie-Charlotte arrived for the first time in Rio de Janeiro
to meet Alejo’s family in 1971.
They spent what seemed to be a stretched month of January
between Rio and the mountains of Nova Friburgo.
As Swiss citizen, Marie-Charlotte felt in love with the region,
an old Swiss colony dating from 1818 in the State of Rio de Janeiro.
The couple loved so much the region that they bought and built
a house at Parque dos Alpes and called it Ybitira, in Tupi-Guarani,
which means High Mountain.
Monica as a dancer was Marie-Charlotte’s idea.
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Openning night, the couple at Alejo’s exhibition at
Wally Findlay Galery in Palm Beach, beginning of the 70’s
Marie-Charlotte at Wally Findlay Gallery opening
in the New York Gallery, circa 1973
Marie-Charlotte
Photo taken in Palm Beach around 1972/73
Signed Mort Kaye, US photographer
Marie-Charlotte
Circa 1970
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“Marie Charlotte reading”
Pencil, 47 x 37 cm, signed, 1973
“Marie Charlotte, three-quarter pose”
Pencil, 47 x 37 cm, signed, 1973
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“Marie Charlotte à la mantille”
Oil on wood panel, 100 x 75 cm, signed, 1974
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Monica second visit to France
Marie-Charlotte often asked Alejo to do the portrait
of members of their family.
Monica’s small portrait during the one year stay
at her uncles’ in Paris.
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Marie Charlotte Vidal-Quadras with Julie
Charcoal, paper on wood panel, 64 x 80 cm,
signed, 1979
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Mrs. Pilar Veiga, Alejo’s mother
Sketch done by Alejo at his last visit to his mother in 1974.
She passed two weeks after he departed.
Pencil on paper, three views, not signed, 1974.
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Self-portrait from two angles
Oil on cardboard, 47 x 74 cm, 1976
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Triptych of Marie Charlotte Vidal-Quadras
Pencil, 29 x 22 cm, signed, 1979
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Marie Charlotte Vidal-Quadras
Charcoal and pastel on paper, signed,
36 x 28 cm, 1980
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Monica sketching
Uncle and niece spent time drawing together,
and this is one of the artist’s observation drawing.
Pencil on paper, 1981, Palm Beach, Florida, US.
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Mr. and Mrs Javier Vidal-Quadras
25th anniversary gift that Marie-Charlotte suggested
Alejo to do his brother and sister-in-law portrait.
Format A4, sanguine on cream paper, signed 1982
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Arthur Rubinstein commission
When returning from this commission the painter
was very inspired and clearly touched by the virtuoso pianist.
Rubinstein died in December the same year Alejo did his portrait.
“Arthur Rubinstein – right”
Sanguine, 40 x 30 cm, 1982, Genève
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“Arthur Rubinstein – left”
Sanguine, 40 x 30 cm, 1982, Genève
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“MC Vidal-Quadras”
Oil, signed, circa 1984
36 x 28 cm aprox.
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Monica Vidal-Quadras
Charcoal, sepia and sanguine pastels, 70 x 50 cm, 1983,
Palm Beach (Fla, US), this was a portrait done during
holidays when the family would meet at Alejo’s and
Marie-Charlotte’s bahamian style cottage.
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Monica plein air painting, 1989.
A quick sketch Alejo did in Normandie
while the commemorations of the
200th French Revolution anniversary were
going on all over France.
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Monica back view
Back pose, charcoal and pastel, 60 x 80 cm, 1990,
It was done in Palm Beach, FLA, USA, after a chat
between painter and his niece, about life drawing
and its challenges.
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Alexis Vidal-Quadras, 1992.
When Alejo and Marie-Charlotte were visiting
friends next to Girona, Catalogne, Alejo had
a moment to sketch his grandnephew at age of
five months old.
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Mr. Hubert de Givenchy
Charcoal, 80 x 64 cm, 1993
Marie-Charlotte’s good friend since he was 19 years old,
Hubert was very discreet and never wanted a portrait of his.
This was again one of Cha-cha deeds. Givenchy organized
Cha-cha’s 80th birthday diner at his Parisian home as well
as the mass for her memory in 2011, after her passing.
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Last photo taken of the couple, at Soissons, France,
at their dearest friend Zozo de Ravenel at 1993
Christmas Eve.
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Love for animals
Both Marie-Charlotte and Alejo, both shared a
deep love for animals, especially dogs.
One could almost go as far as to say the
Marie-Charlotte was a dog whisperer.
Ostrogoth 1978
As the couple Alejo and Cha-cha always had dogs,
during Monica’s visit July, their wire-haired dachshund
July had puppies. Ostrogoth was the biggest and the prettier.
They all came from Jean Reveillac’s breeding in Normandie,
at the Petit Mesnil. Monica adored the little puppy, but
couldn’t keep him, as she was still too young.
“Lévrier Afgan, Yasmina”
Pencil, 25 x 31 cm, signed, 1971
Yasmina was Marie-Charlotte’s dog, a gift from her dear
friend Hubert de Givenchy. Although the dog was named
Yasmina, for months she never responded to it.
One day, in a park Marie-Charlotte saw a cat that was at a
certain distance and called it “Pussy, pussy, pussy-cat”.
Who arrived galloping straight aways was Yasmina and
since then she was knicknamed “Pussycat”.
“Julie, wire-haired dachshund”
Oil, 22 x 35 cm, signed, 1975
In their home, July was the first wire-haired dachshund
out of a total of three.
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Four poses wire-haired dachshund Robina
Charcoal and pastel on colored paper, 42 x 62 cm,
signed, 1985
Their second dachshund, Robina also came from
the Jean Reveillac breed in Normandie.
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“Pamina, wire-haired dachshund
at 6 months old”
Charcoal and pastel, 25 x 20 cm, signed, 1991
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Photo taken by the curator in the occasion
Alejo and Cha-cha were at the Petit Mesnil,
Normandie, with their dearest friends,
the Réveillac and all their beloved
dachshunds’ family. Circa 1980
