The Rainbow Collection
...TILL I WAS BLUE IN THE FACE
Anonymous
14" x 11", acrylic on canvas
Acquired through barter with bARTerSauce.com
MOBA #322
And you thought you were having a bad day!
From - Museum of Bad Art: Masterworks by Michael Frank and Louise Reilly Sacco, Ten Speed Press.
14" x 11", acrylic on canvas
Acquired through barter with bARTerSauce.com
MOBA #322
And you thought you were having a bad day!
From - Museum of Bad Art: Masterworks by Michael Frank and Louise Reilly Sacco, Ten Speed Press.
BLUE LADY WITH IPOD
Anonymous
30" x 22", oil on canvas
MOBA #349
"All you need is love..."
30" x 22", oil on canvas
MOBA #349
"All you need is love..."
BLUE MUSHROOM MAN
Matthew Johnson
36" x 24", acrylic on canvas
Purchased by M. Frank at a Boston thrift store
MOBA #444
According to a mushroom-expert friend of MOBA, "Possible chantarelle in upper left corner. Likely boletus family 'shrooms in upper right corner and sprouting out of the top of his head. A flush of shaggy manes emerging from his mouth. Others are unknown, but appear to have little culinary interest."
36" x 24", acrylic on canvas
Purchased by M. Frank at a Boston thrift store
MOBA #444
According to a mushroom-expert friend of MOBA, "Possible chantarelle in upper left corner. Likely boletus family 'shrooms in upper right corner and sprouting out of the top of his head. A flush of shaggy manes emerging from his mouth. Others are unknown, but appear to have little culinary interest."
COULDABEEN MARILYN TODAY
Roger Hanson, 2003
20" x 16", acrylic on canvas
Donated by the artist
MOBA #196
A little too old to have hair so blonde and lips so red. The darkness rises and threatens to overwhelm. Are those fading dreams around her?
20" x 16", acrylic on canvas
Donated by the artist
MOBA #196
A little too old to have hair so blonde and lips so red. The darkness rises and threatens to overwhelm. Are those fading dreams around her?
DOG BITES MAN
Vlademar Cher, Sweden
8" x 12", tempura on cardboard
Donated by the artist
MOBA #360
The artist employs a no-holds-barred approach to graphically depict the archetypal news non-event. Painting on the inside cover of a Konstn�ren Magazine ("Artists"), the artist allows the underlying red graphic to bleed through his paint, helping express the psychic pain driving the animal to resort to such violent behavior.
From - Museum of Bad Art: Masterworks by Michael Frank and Louise Reilly Sacco, Ten Speed Press.
8" x 12", tempura on cardboard
Donated by the artist
MOBA #360
The artist employs a no-holds-barred approach to graphically depict the archetypal news non-event. Painting on the inside cover of a Konstn�ren Magazine ("Artists"), the artist allows the underlying red graphic to bleed through his paint, helping express the psychic pain driving the animal to resort to such violent behavior.
From - Museum of Bad Art: Masterworks by Michael Frank and Louise Reilly Sacco, Ten Speed Press.
FREEDOM BEACH
Anonymous
16" x 20", oil on canvas
Purchased by M. Frank at a Boston thrift store
MOBA #384
This hastily executed impressionist painting effectively reminds us that, even if only optional, clothing is advisable when practicing yoga on a tropical beach to avoid hatha sunburn.
16" x 20", oil on canvas
Purchased by M. Frank at a Boston thrift store
MOBA #384
This hastily executed impressionist painting effectively reminds us that, even if only optional, clothing is advisable when practicing yoga on a tropical beach to avoid hatha sunburn.
FROM THE MOUTHS OF BABES (CHICKS!)
Anonymous
20" diameter, paint on pressboard
(probably a tabletop)
MOBA #327
A fine example of twentieth century social commentary on furniture.
20" diameter, paint on pressboard
(probably a tabletop)
MOBA #327
A fine example of twentieth century social commentary on furniture.
GILDED NUDE
Anonymous
18" x 24", oil on canvas
Donated by Ian Michelson (New Zealand)
MOBA #344
The viewer is struck immediately by the youthful female subject's oversized arm.
From-Museum of Bad Art: Masterworks, by Michael Frank and Louise Reilly Sacco, Ten Speed Press.
This is a chicken
Curator Talk
LIFE ON A BARSTOOL
Anonymous
60" x 36", oil on canvas
Purchased by M. Frank at a Boston yaad sale
MOBA #222
A pretty face or skinny figure, which is more attractive? Are looks everything? The artist peels away layers to find what's inside is actually not more important. Through teeth clenched around a black rose, she spits her response, "Set 'em up Joe."
60" x 36", oil on canvas
Purchased by M. Frank at a Boston yaad sale
MOBA #222
A pretty face or skinny figure, which is more attractive? Are looks everything? The artist peels away layers to find what's inside is actually not more important. Through teeth clenched around a black rose, she spits her response, "Set 'em up Joe."
MAMA AND BABE
Sarah Irani
24" x 18", acrylic on canvas
Donated by the artist
MOBA #59
The flesh tones bring to mind the top shelp liqueurs of a border bistro. With an astonishing emphasis on facial bone structure, the artist flirts with caricature and captures the features of Mama's face which reminds us of a former first lady. The upright marionettish pose of the babe hints that the early bond between mother and child is as formal as it is familiar. Good old-fashioned parental respect is at the center of this celebration of color and contour.
From - The Museum of Bad Art: Art Too Bad to be Ignored, by Tom Stankowicz and Marie Jackson, A MOBA Publication
24" x 18", acrylic on canvas
Donated by the artist
MOBA #59
The flesh tones bring to mind the top shelp liqueurs of a border bistro. With an astonishing emphasis on facial bone structure, the artist flirts with caricature and captures the features of Mama's face which reminds us of a former first lady. The upright marionettish pose of the babe hints that the early bond between mother and child is as formal as it is familiar. Good old-fashioned parental respect is at the center of this celebration of color and contour.
From - The Museum of Bad Art: Art Too Bad to be Ignored, by Tom Stankowicz and Marie Jackson, A MOBA Publication
MY LEFT FOOT
Sooz (1991)
30" x 36", oil on canvas
Left anonymously at MOBA
MOBA #271
The feet, unmatched in color and shape, are the well rendered work of a skilled artist. Sooz succeeds in getting us to think about the nature of feet and to face our discomfort with asymmetry in any human form. The floor tiles raise questions about our need for orderly surroundings. Accuracy and perspective are just too difficult and boring, and the tiles are in the background, anyway.
From - Museum of Bad Art: Masterworks by Michael Frank and Louise Reilly Sacco, Ten Speed Press.
30" x 36", oil on canvas
Left anonymously at MOBA
MOBA #271
The feet, unmatched in color and shape, are the well rendered work of a skilled artist. Sooz succeeds in getting us to think about the nature of feet and to face our discomfort with asymmetry in any human form. The floor tiles raise questions about our need for orderly surroundings. Accuracy and perspective are just too difficult and boring, and the tiles are in the background, anyway.
From - Museum of Bad Art: Masterworks by Michael Frank and Louise Reilly Sacco, Ten Speed Press.
NICE BLUEISH BOY
Anonymous
27" x 29", oil on canvas
Purchased by M. Frank at a Brookline, MA yard sale
MOBA #199
This painting is the depiction of the ancient parable in which a Blueish mother gave her son a green shirt and a yellow shirt for his birthday. When he next visited his mother, the nice Blueish boy wore the green shirt, only to hear his mother cry, "What's the matter, you didn't like the yellow one?"
From - Museum of Bad Art: Masterworks by Michael Frank and Louise Reilly Sacco, Ten Speed Press
27" x 29", oil on canvas
Purchased by M. Frank at a Brookline, MA yard sale
MOBA #199
This painting is the depiction of the ancient parable in which a Blueish mother gave her son a green shirt and a yellow shirt for his birthday. When he next visited his mother, the nice Blueish boy wore the green shirt, only to hear his mother cry, "What's the matter, you didn't like the yellow one?"
From - Museum of Bad Art: Masterworks by Michael Frank and Louise Reilly Sacco, Ten Speed Press
SILICONE CLOUDS
Anonymous
36" x 36", oil on canvas
Left anonymously at MOBA
MOBA #419
Perky Reubenesque clouds float in a cerulean sky.
From-Museum of Bad Art: Masterworks, by Michael Frank and Louise Reilly Sacco, Ten Speed Press
36" x 36", oil on canvas
Left anonymously at MOBA
MOBA #419
Perky Reubenesque clouds float in a cerulean sky.
From-Museum of Bad Art: Masterworks, by Michael Frank and Louise Reilly Sacco, Ten Speed Press
ARTIST AS A YOUNG MAN
Lloyd Graham (Australia)
20" x 16", oil on canvas
Donated by the artist
MOBA #425
"Emotive portrait of myself as a college student in the late '70s."
20" x 16", oil on canvas
Donated by the artist
MOBA #425
"Emotive portrait of myself as a college student in the late '70s."
THE LAST DANCE
Unknown - possibly Henri de Toulouse-Lautrec
60" x 60", oil on canvas
Anonymous donation
MOBA catalog #449
This may be a late work by iconoclastic French painter Henri de Toulouse-Lautrec. The painting features his trademark subject of the Moulin Rouge dancer in her feathered head-piece and colorful dress. With a stylized Montmartre and the white domed Basilica of Sacre Coeur in the background surrounded by the lights of the rich music hall scene, the artist captures that agonizing moment when an aging cancan dancer removes her dance shoes for the last time. In her turned head and sorrowful expression the artist depicts the inner pain and deep sense of loss that the subject feels in this final act as a dancer. The green tint of her skin symbolizes the envy she feels for the young girl she imagines taking her place on stage.
"The Last Dance" is not only a candid glimpse into the sadness at the end of the dancer's time in the spotlight but a personal admission to the fast approaching end of this unique artist's own career. He paints not in his trademark poster style, but borrows heavily from his contemporary and yet unknown Vincent van Gogh with heavy unblended brush strokes and from the younger Wassily Kandinsky with swirling color that foreshadows the new modern abstract movement that will follow Lautrec's death. On his deathbed he is rumored to have spoken these immortal words, "La vie est trop courte" ("life is too short") as statement on his imminent death and a personal joke about his stature.
Interpretated by Bob Sepulveda
60" x 60", oil on canvas
Anonymous donation
MOBA catalog #449
This may be a late work by iconoclastic French painter Henri de Toulouse-Lautrec. The painting features his trademark subject of the Moulin Rouge dancer in her feathered head-piece and colorful dress. With a stylized Montmartre and the white domed Basilica of Sacre Coeur in the background surrounded by the lights of the rich music hall scene, the artist captures that agonizing moment when an aging cancan dancer removes her dance shoes for the last time. In her turned head and sorrowful expression the artist depicts the inner pain and deep sense of loss that the subject feels in this final act as a dancer. The green tint of her skin symbolizes the envy she feels for the young girl she imagines taking her place on stage.
"The Last Dance" is not only a candid glimpse into the sadness at the end of the dancer's time in the spotlight but a personal admission to the fast approaching end of this unique artist's own career. He paints not in his trademark poster style, but borrows heavily from his contemporary and yet unknown Vincent van Gogh with heavy unblended brush strokes and from the younger Wassily Kandinsky with swirling color that foreshadows the new modern abstract movement that will follow Lautrec's death. On his deathbed he is rumored to have spoken these immortal words, "La vie est trop courte" ("life is too short") as statement on his imminent death and a personal joke about his stature.
Interpretated by Bob Sepulveda
WORRIED GUY
Anonymous
48" x 37", oil on canvas with wire, staples, paper
Acquired through barter with bARTerSauce.com
MOBA #427
Rosalie Gale rescued this enormous painting from the trash in Seattle, Washington. She is the proprietrix of bARTerSauce.com, a website through which she trades unusual objects. In her account of finding Worried Guy, she writes, "We drove up to Capitol Hill where my friend Roberta Minor had seen the painting. It was huge . . . and scary. He has metal wire hair and fingernails and staple eyebrows. . . . I decided that since the guy looks so worried, I would write down all the stuff that I worry about all the time and stick them to his wire hair. Then I'd just let him worry about them."
Among the worries she let him assume were:
"Large bodies of water"
"Having too much stuff "
"$"
"Staying home from work"
"Spiders"
Everyone at MOBA hopes Ms. Gale is enjoying her carefree existence and has not found more things about which to worry.
From - Museum of Bad Art: Masterworks by Michael Frank and Louise Reilly Sacco, Ten Speed Press.
48" x 37", oil on canvas with wire, staples, paper
Acquired through barter with bARTerSauce.com
MOBA #427
Rosalie Gale rescued this enormous painting from the trash in Seattle, Washington. She is the proprietrix of bARTerSauce.com, a website through which she trades unusual objects. In her account of finding Worried Guy, she writes, "We drove up to Capitol Hill where my friend Roberta Minor had seen the painting. It was huge . . . and scary. He has metal wire hair and fingernails and staple eyebrows. . . . I decided that since the guy looks so worried, I would write down all the stuff that I worry about all the time and stick them to his wire hair. Then I'd just let him worry about them."
Among the worries she let him assume were:
"Large bodies of water"
"Having too much stuff "
"$"
"Staying home from work"
"Spiders"
Everyone at MOBA hopes Ms. Gale is enjoying her carefree existence and has not found more things about which to worry.
From - Museum of Bad Art: Masterworks by Michael Frank and Louise Reilly Sacco, Ten Speed Press.
