A Life Between New York and Spain
Maurice Fromkes arrived in the United States as a child of eight, leaving behind his birthplace of Vilnius. His early years in New York were spent within the walls of the Cooper Union and the National Academy of Design. He sat in the antique and life classes from 1889 through 1894, learning the weight of form and the structure of the human figure. During these formative years, he was known to some as Moses Frumkes.
His eyes eventually turned toward Europe. In 1899, he traveled to Holland, where he spent time in the museums of Amsterdam and Haarlem, tracing the brushwork of Rembrandt and Hals. A few years later, a trip to Italy allowed him to study the Italian masters directly. These travels brought back more than just technique; they brought a specific way of seeing that would define his later work.
By 1920, Fromkes had moved to Spain. He settled in Madrid and later found himself drawn to the light of Segovia. It was here, alongside his wife Eva Maryan Halle, that he established a workshop. While many artists of his time sought out the more common Spanish subjects like bullfighters, he looked toward the people themselves.
The Subjects of the Canvas
His work often focused on the quiet presence of native types, particularly women and children. He captured the stillness of peasant life and the details of urban street scenes. His paintings frequently featured:
- Portraits of prominent figures, including Cardinal Merry Del Val and Sir Edward Elgar.
- Still lifes that incorporated gothic carvings.
- Landscapes shaped by the Spanish light.
- Figures set against oriental backgrounds, a preference developed during his time in New York.
The texture of his oil paintings had a specific quality. Observers noted a technique that felt hard, dry, and possessed an enamel-like brilliance. This precision was evident even when he moved away from portraiture to explore more fanciful subjects or the simple geometry of a still life.
Legacy and Recognition
Fromkes's career saw his work move through various galleries, from the Reinhardt Gallery in New York to the Milch Galleries. His paintings found homes in permanent collections across different continents, including the Vatican, the National Museum of Modern Art in Madrid, and the Pennsylvania Academy of the Fine Arts. One notable piece, A Madonna of the Road, was acquired by the Madrid museum during an exhibition in 1924.
He remained a regular participant in Academy exhibitions until 1930. His death occurred in Paris in 1931. After his passing, his widow, Eva, ensured that several of his paintings were donated to the Spanish State, leaving behind a body of work that connects the traditions of the Old Masters with the light of the Iberian Peninsula.
