Figurative & Other Subjects

            Dolice's studies of people were often illustrative, as in The Ballerina; or pensive, such as in The Furnished Room. In his writing in the copperplate in La Miseria, created at the height of the Great Depression, he muses on the disparate fate of two street urchins:

              "Two souls are wondering what it is all about, not knowing perhaps that one or the other may be removed from this sphere of misery and spend the rest of their years in happiness; while the other will perhaps be even yet pushed further into the gutter of life and live off the refuse of despair and suffering."

              The artist was himself an avid collector of other artist's works, particularly prints. He spent many hours in the antiquarian book and print shops that lined lower Fourth Avenue and Broadway in the Village in the 1920's and '30's. Oxford I and its companion print Oxford II were but one of these many shops.


              Although he spent most of his life in New York, Dolice did travel outside of the city as a refuge from the hectic pace of Manhattan. Eternal Moon was created at Sycamore Island in the Delaware River; and other scenes of the Barn, and the etching of the House with Bridge were made on Long Island, where he spent many weekends in the 1940's and '50's.

              When he couldn't get away, he just visited Manhattan's own countryside, Central Park, where there was plenty of nature to sketch, as in Trees I and in its companion Trees II.


              Throughout his life, Dolice always had a keen appreciation of the fairer sex. Like many other artists, he often offered copies of his portraits to his subjects in exchange for sitting for him. Nude I is an example of his more serious work in this genre, Nude II is an example of one of his many portraits, and Bubbles is one of a number of studies he did in the Art Deco fashion.

              In the 1940's when he began experimenting with modernism, he created the Cubist Woman and a number of other abtract works, mainly in pastels and oils. To this day, no one has been able to identify the subject who may have posed for Cubist Woman!

 


             The etchings here are only a few of the dozens he created during his lifetime. With the exception of a few exhibition catalogs, no records were kept of his work. Some original prints are available through secondary market sources, some of which may be found on our links page; and replicas of most of the images seen here are available through the artist's estate. If you know of any of his work that is not here, you are invited to contact us with information, which will be appreciated.

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