by Reed V. Horth, for RRFA

By Reed V. Horth, for ROBIN RILE FINE ART


On the surface, the sculpture of American Richard MacDonald and those of French Master Edgar Degas (1834-1917) could not be more different. Degas’ works were stream of consciousness appeals to his failing eyesight which allowed him a measure of creativity in his later years. MacDonald’s are precise and detail-oriented feats of balance and grace. One common thread which bound the two was an undying devotion to dance, and in particular, ballet.

reed 01Degas’ dancers were primarily completed in his waning years, having dabbled with wax modeling early on, only to stick with painting as a primary vocation. He only exhibited one completed work during his career, “La Petite Danseuse de Quatorze Ans” (Little Dancer, aged Fourteen) in 1881. Despite its prominent place in the lexicon of major sculpture since its release, the vitriolic reception it had upon its initial showing cooled Degas on exposing his sculptural works to the public, preferring instead to keep them private.

One observer commented “The terrible realism of this statuette makes the public distinctly uneasy, all its ideas about sculpture, about cold lifeless whiteness, about those memorable formulas copied again and again for centuries are demolished.” [Czestochowski, pg. 11]



reed 02He was not thought of as merely bucking a trend in academic sculpture, but of destroying the very fabric of sculpture altogether. His flat-footed figures playfully lumber with heavy legs and feet bound thickly to the ground as if saddled by tar. Many display a deliberate and clumsy balance which, in his chosen media of modeling wax, required elaborate inner skeletons and external buttressing to keep upright. However, their doughy innocence belied a classical sentiment which struck young, impressionable sculptors causing a fresh viewing of their roots in Greek and Roman origins (often resembling Pompeiian lava victims). In the intervening years, we have come to see how Degas’ simplicity and deconstruction of human form led to advances by arguably the 19th century’s greatest sculptor Auguste Rodin, whose further strides led to the minimalists of the 20th Century, Archipenko, Arp, Brancusi and others. In other words, Degas shook the tree just enough for a few apples to fall out and fundamentally alter the course of sculptural history itself.

By contrast, Richard MacDonald is a contemporary sculptor whose works have not had the opportunity to be viewed critically through the eyeglass of history. What is known is that his major innovations in texture, style and patina have given voice to some of the major talent in the renaissance of modern figural sculpture, including Americans Paige Bradley, Martin Eichinger and Vietnamese sculptor Tuan. One will obviously note that Degas’ figures have relatively primitive facial features. This was due in part to his poor eyesight, but also painted works. Degas completed only approximately 150 wax sculptures which remained in his studio at his death. Only about 72 became bronzes. MacDonald, by contrast is a prodigious sculptor with over 250 editioned works, many on variable scales. This proliferation of compositions has allowed MacDonald to experiment and refine minute details which might escape the routine viewer but would drive a perfectionist to madness. reed 03Further, MacDonald’s career as an illustrator prepared him to imbue his figures with emotive features not only in facial expression but also in posture, movement and narrative. One of the many aspects which separate MacDonald from his contemporaries is precision modeling and sinewy exactitude in muscular composition. Where Degas’ textures were milky and soft, MacDonald’s evince an intense understanding of skeletal and muscular anatomy beneath the surface of the skin. Compositionally, his controlled spirals lift and twist the torso into positions which make figures seem to float lighter than air on toes which barely connect with their stage.


While it is unclear how MacDonald’s commercial success will translate in the lexicon of history, Degas’ sculptures have continued to enchant audiences and debate since they were first unveiled in the years following his death in 1917. MacDonald seems poised to be on a similar plateau due to recent displays of his massive “Nureyev” at the Royal Ballet in London and the growing popularity of his “Cirque du Soleil” series, which utilizes dancers, acrobats and athletes from the many Cirque shows around the globe as models.

reed 04What is known is that MacDonald’s avid following and broad-based appeal is based upon the same attributes as those which draw viewers to the ballet in the first place…. A striving for perfection in all things beautiful. Where Degas found his voice in innovating and releasing his creative spirit late in life, MacDonald’s contemporary voice is only now revealing itself. The crescendo is building and, knowing him… It will be a precise and graceful symphony unto itself.

One must have a high opinion of a work of art – not the work one is creating at the moment, but of that which one desires to achieve one day. Without this it is not worthwhile working.” – Edgar Degas

Reed V. Horth, is the president, curator and writer for ROBIN RILE FINE ART in Miami, FL. He has been a private dealer, gallerist and blogger since 1996, specializing in 20th century and contemporary masters.


All content ©2013 ROBIN RILE FINE ART. Any unauthorized reproduction of images, text or content is strictly prohibited.

Introducing Pop Artist DEMO

POP Artist dEmo’s “La Lola” Spanish Venus

Pop Artist dEmo (Spanish, b. 1960)

La Lola

Fiberglass, polyester and resin

105” x 21cm x 21cm

Available in various colors

PRICE: $14,500

See more of his creations and placements at

NEW VIDEO of his work from YOUTUBE:

dEmo Pop Art movie

RARE Frederick Hart Suite “Daughters of Odessa” (3/4 Life scale)

Frederick E. Hart (1943-1999)

Daughters of Odessa

¾ life-scale bronze

Matched set

Sold out edition of 60 on the three-quarter life scale.

Individual heights:

Daughter (49.5″)

Sisters (48″)

Youngest Daughter (43″)

“Daughters of Odessa” is Hart’s allegorical tribute to the four daughters of Czar Nicolas, martyred during the Bolshevik Revolution in 1917. He felt that the four daughters personified all that is beautiful and innocent in the world, which has been much forgotten by the end of the 20th Century. This was his call to remember, “The ability to have FAITH, sustain HOPE, feel the transforming power of BEAUTY and to revel in the INNOCENCE around us.” (-Frederick Hart). Faith, Hope, Innocence and Beauty… The four Daughters of Odessa.

Literature: Frederick Hart Changing Tides, by Michael Novak, pg. 53-68. [illustration of another cast]

LIST PRICE: $665,000.

PRICE: $295,000.

Only ONE Set available at this price!

Purchase inquiries to

SOLD OUT SNOWDEN Bronze becomes available

M. L. Snowden (American, b. 1952)



Edition of 25

44” x 27” x 15”


PRICE: $45,500.

For acquisition information, please contact

See more at


New Original paintings from ROYO and BOFILL

In response to our consistent and avid demand for the Spanish impressionist masters Jose ROYO and Joan Beltrán BOFILL, we have endeavored to locate new examples of their most popular themes. Since the passing of Master Bofill in 2009, this task has become increasingly difficult. However, we have just discovered a cache of well-priced original works from both master which we are now able to offer to our international clientele.

Please contact for pricing and purchase details.

Joan Beltrán Bofill (Spanish, 1939-2009) “Septiembre” 41x33cms
Joan Beltrán Bofill (Spanish, 1939-2009) “Luz y Movimiento” 61x42cms
ROYO (Spanish, b. 1945) “La Sombrilla Amarilla” Oil on canvas, 73cm x 60cm
ROYO (Spanish, b. 1945) “El Ramillete” Oil on canvas, 73cm x 60cm
Royo (Spanish, b. 1945) “La Buena Fortuna” Oil on canvas 65x67cm

See more from our 16 years of experience with Fine Art sales and curating at


Gil Bruvel’s Original Paintings now available

Gil Bruvel (Australian, b. 1959)

The Flight Inside (1997)

30.25” x 40.625.”

Oil on Canvas.

Provenance: Gil Bruvel to Private Collection, San Francisco, CA 2003

Literature: “Timeless Travelers: Portraiture of Gil Bruvel” (2002) Bruvel Editions, pg. 144 [ill]

Gil Bruvel (Australian, b. 1959)

“The Piano” (1993)

40” x 18.5”

Watercolor and gouache on paper mounted to board.

Provenance: Gil Bruvel to Private Collection, San Francisco, CA 2005

Gil Bruvel (Australian, b. 1959)

Remembrance (1997)

34.875” x 47.375”

Oil on canvas.

Provenance: Gil Bruvel to Private Collection, San Francisco, CA 2004

Literature: “Timeless Travelers: Portraiture of Gil Bruvel” (2002) Bruvel Editions, pg. 20, 23 [ill]


For acquisition information, or to see more available works from Master Gil Bruvel,

please contact

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Newde, Nude, Nood… The works of E. Jones

By Reed V. Horth, for Robin Rile Fine Art

While visiting a restaurant in Western Florida several years ago, we were enraptured by some of the art shown on the walls. Curious as we always are about original art, we inquired to the waitress about who the artist was and how to get in touch with him.  She said he was a raving drunk, and would never call us back even if we had cash to spend, which we did. Understanding that we may be barking up the wrong tree with this artist, she recommended a local gallery that carried something similar. Apparently her Ex had shown there, but stopped because in seemed like too much effort. (You would be surprised at how often we have heard this in the art world).

Ever hopeful, we tracked down the gallery the very next day. She was right, we were quite impressed and made off with a few originals that day. Among the artists we discovered was E. Jones. His works were a graphic mixture  of the odd eroticism of Olivia DeBerardinis and D. Bilodeau. He had a pin-up style that smacked of the modern graphic novel. As a comic fan myself (See my blog post on the subject HERE), this obviously appealed to me.

Our first meeting came after I placed several of his works with one of my collectors/investors. He and I, along with one of his other friends, proceeded to polish off 7 pitchers of Guinness in the name of Art. This typifies his almost wild-man stature. While exceedingly sensitive in his portrayal of his subjects, he is also an out-of-the-box thinker that often lets his risk-taking side show, in both his art and in his life. He has since become a valued friend and collaborator.

Flash forward nearly four years, and we have placed Jones’ works in collections as far as New York, Los Angeles, Ireland and London. His style has evolved and matured, while still keeping the sensual innocence which drew us in at the first glance.

To this end, Jones has unveiled his newest collection, which I feel may be his best works to date. Geometrical and linear but still organic and soft, his works are suited for nearly every collector of contemporary figurative art. Whether a new collector or a seasoned one, Jones’ works will convey the simple emotive responses hidden deep within you as well as your linear prospective side of an artist on the ascendancy of his career.

See more at

E. Jones (American, b. 1983) Perspective 24"x36" Watercolor / acrylic / color pencil / Nue Pastel / Water-soluble oils /on Revis bfk paper White lines created with acid free artist tape. Price on request to

E. Jones (American, b. 1983) I AM 7 21"x30"x3" box framed Watercolor / acrylic / color pencil / Nue Pastel / Water-soluble oils /on Revis bfk paper White lines created with acid free artist tape. Price on request to

. Jones (American, b. 1983) Paper Razor 31"x36" Watercolor / acrylic / color pencil / Nue Pastel / Water-soluble oils /on Revis bfk paper White lines created with acid free artist tape. Price on request to

E. Jones (American, b. 1983) Marksman 27"x39" Framed Watercolor / acrylic / color pencil / Nue Pastel / Water-soluble oils /on Revis bfk paper White lines created with acid free artist tape. Price on request to

E. Jones (American, b. 1983) Air Candy 22"33" Watercolor / color pencil / acrylic / on Revis bfk paper. Price on request to


Pop Artist in Miami Cries (Well, that’s part of the story)

It is usually not good when you see your friends cry. However, there are exceptions in all things. This past weekend, I happened to have seen a wonderful example of this fact illustrated in living color.

In summer 2011, my wife Kat and I had the pleasure of getting to know a Pop artist in Madrid (Spain) named dEmo (Eladio de Mora). While walking from our neighborhood in Retiro to our favorite restaurant in Chueca, Kat noticed a shiny object in a window and I noticed the sculpture which it hung on. This story is more fully illustrated in my blog post Pop Artist dEmo and the Serendipidy of Shiny Things. Noticing immediately that many of the same collectors in Miami who fancied the works of Romero Britto, Steven Gamson and Leonardo Hidalgo would be drawn to these enigmatic, quirky pop art images from dEmo, I knew we had to meet. Through several meetings and many late-night conversations we developed a wonderful rapport with him, his family and his friends. We were then more convinced than ever that his rapid-fire energy and mile-per-minute thinking were just the right type of energy for us to bring to Miami with us. Within a short while, we began placing his works with our collectors around the world.

Then something miraculous happened. Several months ago, an administrator at Miami Dade College, Dr. José Vicente, President of MDC North Campus saw dEmo’s works in one of our ads. He too felt it was a perfect and enigmatic statement for the Miami community. In conjunction with the heads of The International Solidarity for Human Rights (, Ms. Elizabeth Sanchez-Vega and Ms. Devorah Sasha they set to work on a plaza at MDC North commemorating “The Route to Human Rights”. dEmo was, of course, enlisted to create the sculptures for the plaza. In his typical altruistic style, he embraced this project the same way he approaches all things… con ganas (with conviction). The result is “Niños”, a collection of 10 multi-colored Pop Art children perched upon colored pedestals. dEmo felt that the children, each looking in a different direction, represent the children of the world seeking out new inroads to learning and a brighter future without the shackles of racism, sexism, homophobia, and intolerance that we adopt as adults. You see, children do not see their differences with other children. It is adults who teach them to place boundaries between “Us” and “Them”. This cycle can, and must stop with the next generations of us. dEmo’s colorful and energetic work exemplifies this entirely. “This project is taking human rights and the arts, bringing it to the people and making it part of everyday life,” said Elizabeth Sanchez Vegas, president of International Solidarity for Human Rights (ISHR). This project is also the first and largest permanent public installation of dEmo’s sculpture within the United States.

The Universal Declaration of Human Rights: Article 2:
  • Everyone is entitled to all the rights and freedoms set forth in this Declaration, without distinction of any kind, such as race, colour, sex, language, religion, political or other opinion, national or social origin, property, birth or other status. Furthermore, no distinction shall be made on the basis of the political, jurisdictional or international status of the country or territory to which a person belongs, whether it be independent, trust, non-self-governing or under any other limitation of sovereignty.


With the assistance of architect Frank Costoya Jr. ( and Willy Fernandez at Link Construction Group ( as well as a host of others, this project was approved and scheduled for unveiling on December 10th, 2011, the 63rd Anniversary of the signing of the Universal Declaration of Human Rights. The ground was broken and the project completed in less than 30 days.

It was on this day, that I proudly watched my dear friend cry. Publically. Honestly. Generously. As he was introduced by his dear friend The Honorable Maria Cristina Barrios Almazor, Consul General of Spain, (of whom Kat and I have also had the pleasure of sharing company recently) I saw my friend’s eyes grow red around the edges. Her impassioned introduction, in his native Castilian tongue, was eloquent and extemporaneous. She spoke of his legendary prominence in humanitarian causes and philanthropic pursuits in Spain, and how he is always the first to volunteer to help a friend in need or a cause that is dear to him. As I stood listening, I watched dEmo’s eyes and knew he was humbled and honored by the gesture. When it came time for him to deliver his own speech I knew it would be almost too much to bear. As he began, I texted Kat (who was unable to join us) that dEmo was overcome with emotion at this placement and the ceremony… “Waterworks” I wrote. Her response? “Ahhhh….How cute is he?

This is the effect dEmo has on those who know him. His emotions are as pure as the primary colors he adorns his works with. He wears them proudly. As he walked over to the podium to finally unveil the works themselves with a plethora of children on hand the honor guard played their horns in a regal pronouncement. He turned to me as he walked and threw a strong arm around my neck (which is significantly higher than he can reach comfortably). He looked at me with rosy eyes and smiled. I returned the smile as my own eyes went red.

Felicidades” (Congratulations), I said to him.

Gracias, mi amigo. Gracias por todo” (Thank you, my friend. Thank you for everything) was his reply.

(Sniff sniff)

dEmo sculpture can be exclusively purchased from ROBIN RILE FINE ART at

dEmo’s newest creation placed at Miami Dade College

My friend dEmo and I with his newest installation “Niños” at Miami Dade College, commemorating the “Route to Human Rights” project for the International Solidarity for Human Rights. December 10, 2011.

See more dEmo


Longer post will follow in a few days! Be sure to check back!

Route to Human Rights Leaves another Mark on Miami Dade College

~MDC’s North Campus will unveil the project’s second sculpture on Saturday, Dec. 10, the 63rd anniversary of the signing of the Universal Declaration of Human Rights.


Miami, November 30, 2011 – The Route to Human Rights, a multi-media project created and designed by International Solidarity for Human Rights (ISHR), continues its mission with the unveiling of Niños, a sculpture by one of the greatest known Spanish artist dEmo (Eladio de Mora), at 9:30 a.m. on Saturday, Dec. 10, at Miami Dade College’s (MDC) North Campus.

The Route to Human Rights project is placing art created by local and international artists at 30 locations throughout the State of Florida, including the MDC campuses. Each of the pieces represents a different article of the Universal Declaration of Human Rights. The North Campus sculpture is the second installation in the project and represents Article 2: “The right to freedom from discrimination.”


Miami Dade College will have the commitment to keep the sculpture “alive” by having periodic educational activities and events relating to the sculpture and what it represents inside the Human Rights Values and their meaning.


“This latest, unique piece will be part of the Miami International Sculpture Park located at MDC’s North Campus,” said North Campus President Dr. José A. Vicente.