Martin Saldana

1960s Mexican-American Folk Art Oil Painting, Girl on Swing, Birds, Bright Color

1953 - 1965

Bring charm, color, and heartfelt nostalgia into your space with “Pinky,” an enchanting original oil painting on board attributed to acclaimed Naïve folk artist Martin Saldaña. This ...

Step into a world of color, memory, and rural charm with “Girl with Sheep and Car,” a joyful and visually rich original oil painting on board by renowned Mexican-American folk artist...

“Ethel, The Blue Spotted Cow” is a bold and joyful original folk art oil painting by Mexican-American artist Martin Saldaña. Bursting with color and charm, this large-scale work feat...

“Lovely Gal” is a delightful oil on board painting by Martin Saldaña (1874–1965), a self-taught Mexican-American outsider artist celebrated for his vivid, whimsical depictions of childhood, rural life, and nature. This semi-abstract figurative work bursts with bold colors, featuring lively flowers and birds that reflect Saldaña’s deep connection to his Mexican heritage and love for the natural world. The painting is presented in a custom frame, measuring 30 ¾ x 25 ⅜ x 1 ⅝ inches, with an image size of 24 ½ x 19 ⅛ inches. Its charming composition and vibrant palette exemplify Saldaña’s signature folk art style, offering a joyful, nostalgic glimpse into his personal memories and cultural roots. About the Artist: Born in Rancho Nuevo, Mexico, Martin Saldaña led a modest life and worked as a cook at Denver’s iconic Brown Palace Hotel. Remarkably, he began his artistic career at age 76, attending children’s art classes at the Denver Art Museum, which sparked a prolific creative period lasting 15 years. Saldaña’s paintings are noted for their bold geometric forms, vivid colors, and naïve, folk art aesthetic, often reminiscent of traditional Mexican tapestries. Producing a new work nearly every three days, he captured landscapes, ranch life, animals, and childhood memories with heartfelt simplicity. Today, Saldaña’s enchanting artworks continue to captivate collectors, celebrating the rich visual culture and charm of Mexican-American folk art. ©David Cook Galleries...

This is a rare ceramic plaque painted with enamel glaze by famed Israeli German artist Irene Awret (these are generally hand signed Awret Safed on the verso. I just have not opened the frame to check) the actual glazed ceramic is 10.25 X 14.75 inches. It depicts a girl or woman with potted plants, birds, pomegranates and other fruits and flowers in a naif, folk art style. Irène Awret was born to a Jewish family in Berlin called Spicker, the youngest of three children. Her mother died in 1927, when Irène was six years old. In 1937 she was forced to stop high school, due to the Nazi race laws. Because she could not continue her regular studies, her father sent her to study drawing, painting and art restoration with a Jewish painter. Among his students were a large number of German Jews who knew they would have to leave Germany within a short time and would require a profession to enable them to support themselves. When the situation grew worse, following the Kristallnacht (the first major attack on German and Austrian Jews in November 1938), her uncle decided to move to Belgium. In 1939 the situation became even worse - her father was fired from his job and the family were forced to leave their home. As a result, Awret's father tried to send her and her sister to Belgium, with the help of smugglers. The first smuggler proved to be a double agent and they were sent back from Aachen to Berlin. Two weeks later they made a second, successful, attempt to sneak across the border. Awret worked for a Dutch Jewish family as a maid. As she had her room and board there, she was able to save enough money to study art part-time at Brussels' Académie Royal des Beaux-Arts. A few months later Awret's father joined her and her financial situation became easier. She left her job and studied full-time, helping support herself with restoration work when it was available and by painting portraits to order. Later, Awret found a hiding place on a farm in Waterloo with a Jewish family who were connected with the underground. In January 1943 she had to return to Brussels, living with a false identity card which stated she was a married woman with two children. Awret succeeded in renting an attic without informing the police where she was - she told her landlady that she had been forced to flee her husband because he beat her. While there, she supported herself by restoring wooden sculptures. A Jewish informer gave her up to the Gestapo, accompanying the two Gestapo men who arrested her. Awret was able to take a bag containing food and drawing materials. She was detained in the Gestapo cellars in Brussels where she drew. Because there was nothing there to draw, she sketched her own hand (view this work). Awret was interrogated in order to reveal the hiding place of her father who was still in Brussels. The National Socialist regime was determined to persecute him, even though he had fought for Germany in World War I and been permanently disabled. They stepped up their torture and brought Awret before Hartmann, the head of the Gestapo in Brussels. When Hartmann saw her block of drawings, he asked her where she had studied art and halted the interrogation. Awret was placed in a narrow cell and then transferred to Malines camp, which the Belgian's called Mechelen. Malines was a transit camp to Auschwitz, regularly sending 2000 people at a time. Although she arrived just before Transport No. 20, Irène Awret avoided being included. Instead she was put to work in the leather workshop, decorating broaches. While she was there, Hartmann visited the camp and spotted her: "I could have discovered where your father is hiding," he told her. When her artistic talents became known, she was transferred to the Mahlerstube (artist's workshop) where she worked producing graphics for the Germans until the end of the war. When Carol (Karel) Deutsch (whose works are now on view at Yad Vashem) was sent from Mechelen to his death with his wife, he left young Irene his paintbox. Irene also recalls seeing the great painter Felix Nussbaum and his wife being pushed into a boxcar bound for the gas, and tells of the aftermath of the famous 20th Train incident, when a young Jewish doctor armed only with a pistol and helped by two unarmed friends with a lantern ambushed one of Mechelen's Auschwitz-bound trains carrying 1,618 Jews, most of whom had fled Eastern Europe for Belgium. Awret's job enabled her to paint and draw - mainly in pencil, but also in watercolors and oils. In the artists' workshop she met a Jewish refugee from Poland - Azriel Awret - who would later become her husband. Among the other artists in the workshop were Herbert von Ledermann-Vütemberg, a sculptor from an aristocratic family with Jewish roots, Léon Landau, and Smilowitz, who perished in the camps in the East. Irène and Azriel tried to bribe a German officer to prevent Smilowitz's deportation. Not only were they unsuccessful, but they were almost put onto the same train. Jacques Ochs was another artist with whom they became friends in the camp. Ochs, a French-born Protestant who lived in Belgium, was interned as a political prisoner. He remained in Belgium after liberation. After the war the Awrets immigrated to Israel and made their home in Safed. They continued to work, and were instrumental in founding Safed's artists' quarter. The Beit Lohamei Haghetaot (Ghetto Fighters' House Museum) art collection holds works donated by Awret. These date from her time in Malines camp and from her stay in Brussels after the war, when she was in the company of orphans who had hidden while their parents were sent to Auschwitz. Her highly expressive works have made their way to exhibitions at theTel Aviv Museum, the Haifa Museum of Modern Art and the Modern Art Gallery in Washington, D.C., as well as into the private collections of such individuals as Dr. Jonas Salk...

"Descanso" (Rest). Symbolic paint. Folk Art Landscape by spanish artist Raquel Fariñas. Acrylic mixed media/ wood panel, 69 x 60 x 4 cm. In inches: 27.17" x 23.62" x 1.57" The paint...

"Un soplo de aire fresco" (A Breath of Fresh Air. Symbolic acrylic paint. Colorful Folk Art Landscape with figure. Dimension art cm.: (H) 43 x (W) 53 x (D) 6 cm. In inches: 16.93"...

"Es Posible sin Alas". Symbolic paint. Folk Art Landscape with figures by spanish artist Raquel Fariñas. Acrylic mixed media/ wood panel, 48 x 55 x 4 cm. In inches: 18.9" x 21.65" x...