Look Ma, No Hands

30" x 22", oil on canvas
MOBA #349

"All you need is love..."


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 


28" x 20", oil on canvas
Donated by M. J. Maccardini & Erin Howe
(purchased at a flea market near Northampton, MA)
MOBA #262

Frightening non-kosher demons haunt this blonde, blue-eyed beauty in a see-through blouse. Her world is cracking apart at the edges, but her careful hairdo and makeup show us that she knows it's important to keep up appearances.

From-Museum of Bad Art: Masterworks, by Michael Frank and Louise Reilly Sacco, Ten Speed Press 


Roger Hanson (2003)
36" x 10", acrylic on canvas
Donated by the artist
MOBA #197

Her bright blond hair, the posy offered in clasped hands and her simple smile suggest sweetness and youth. But her brown body with round hips, broad shoulders, and forearms that seem ready to push the frame aside belong to a strong woman. She is a natural blond. 


20" x 16", oil on canvas
Purchased by M. Frank at a Boston thrift store
MOBA #423

Humiliated by being asked to pose wearing nothing but a Davy Crockett hat, James reflected upon the fact that his modeling career was dwindling and made a silent vow to stop eating sweets and to renew his membership at the gym


Sarah Irani, 1995
24" x 30", Acrylic on Canvas
Donated by the artist

The flesh tones bring to mind the top shelf liqueurs of a border bistro. With an astonishing emphasis on facial bone structure, the artist flirts with caricature and captures features of Mama's face which remind us of a Presidential candidate. 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. 


21.5" x 48", acrylic on canvas
Rescued from Boston trash by Scott Wilson
MOBA #78

The cares of the day slip away and the first flush of sleep brings color to Pauline's innocent cheek.

From-The Museum of Bad Art: Art Too Bad to be Ignored, by Tom Stankowicz and Marie Jackson, A MOBA Publication 


Vlademar Cher, Sweden (2005)
9" x 12", pastel crayon and acrylic pain
Donated by the artist
MOBA #438

A young woman is portrayed lying on her stomach with her hands on her chin and her legs kicking in the air in this portrait of "teenage ennui". She seems to have no joie de vivre. She also has no pants.

Working many years later with totally different media and probably on a different continent, Cher may have employed the same model as the anonomous artist who painted Sad Baby (MOBA #259) 


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 


20" x 16", oil on canvas
Acquired in a barter with bARTerSauce.com
MOBA #416
Attempting to combat the pervasive sense of isolation rampant in modern society, the artist presents a bold post-cubist image that compels the viewer to make direct eye contact. 
From - Museum of Bad Art: Masterworks, by Michael Frank and Louise Reilly Sacco, Ten Speed Press 


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