Be it Arthur Duray tearing up the dusty Long Island track in his mighty Lorraine-Dietrich during the 1906 Vanderbilt Cup, or a tense Phil Hill in the pits at Le Mans at the twilight hour, the magnificent paintings of Alfredo de la Maria have a truly captivating sense of theatre.
Throughout his involving compositions, the South American master enhances the atmosphere with some imaginative spectator groups, authentic car park details and spectacular architecture.
Combined with dramatic light, the pieces have a cinematic quality that draws in the viewer.
Dramatic study of Roy Eccles and Bugatti Type 59 chassis 59122 tackling Shelsley Walsh Hill Climb in 1935
From his studio in Buenos Aires, Alfredo’s extensive library provides key references for detail and location, but none of his artworks copy a particular historic image.
No photographer could capture Stirling Moss drifting a Jaguar D-type in the wet at Le Mans, hounded by the Scuderia’s brutish Ferrari 375 Plus pair, as Alfredo has so vividly celebrated in Should Have Won.
As a former owner of a Delahaye 135 Spécial, Alfredo’s experiences behind the wheel have no doubt inspired ideas, but his subjects, be it car or driver, always look authentic.
Ferrari vs Maserati: artist Alfredo de la Maria captures dramatic moments from motorsport history
