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Louis Fratino (born 1993) is an American visual artist. [1]
Fratino graduated from the Maryland Institute College of Art, Baltimore, MD in 2015. Fratino was a recipient of a Fulbright Research Fellowship in Painting, Berlin, 2015–2016 and a Yale Norfolk Painting Fellowship, Norfolk, CT in 2014. [2]
Fratino collects illustrated children's books. Some of his paintings are based on the photographs of Vince Aletti in Male. [3]
Art critic Holland Carter writes of Fratino's paintings, "Seemingly painted mostly in the same interior, they are also hot with the pleasure of lying-around-the-house domesticity, of shared privacy. And they are hot too with painterly attention and erudition — inviting a similar scrutiny from the viewer. Nearly every brush stroke and mark, every detail of furnishings and body hair, has a life of its own." [4] Similarly, Antwaun Sargent writes in The New York Times, "Fratino and these other contemporary gay figure artists share a philosophy, despite their different aesthetics: They’re all committed to reflecting the mostly unseen interior lives of the men they admire, and to celebrating a diverse set of subjects who, taken together, stand in opposition to a canonical history of art that has long ignored an openly gay view of the male body." [5]
![]() | The topic of this article may not meet Wikipedia's
notability guideline for biographies. (September 2023) |
Louis Fratino (born 1993) is an American visual artist. [1]
Fratino graduated from the Maryland Institute College of Art, Baltimore, MD in 2015. Fratino was a recipient of a Fulbright Research Fellowship in Painting, Berlin, 2015–2016 and a Yale Norfolk Painting Fellowship, Norfolk, CT in 2014. [2]
Fratino collects illustrated children's books. Some of his paintings are based on the photographs of Vince Aletti in Male. [3]
Art critic Holland Carter writes of Fratino's paintings, "Seemingly painted mostly in the same interior, they are also hot with the pleasure of lying-around-the-house domesticity, of shared privacy. And they are hot too with painterly attention and erudition — inviting a similar scrutiny from the viewer. Nearly every brush stroke and mark, every detail of furnishings and body hair, has a life of its own." [4] Similarly, Antwaun Sargent writes in The New York Times, "Fratino and these other contemporary gay figure artists share a philosophy, despite their different aesthetics: They’re all committed to reflecting the mostly unseen interior lives of the men they admire, and to celebrating a diverse set of subjects who, taken together, stand in opposition to a canonical history of art that has long ignored an openly gay view of the male body." [5]