20th Century Nude Paintings

Jesús Villar (1930-2015) - Female nude with fruit - Oil on canvas Oil measures 46x38 cm. Frame measures 80x72 cm. The painter Jesús Villar was born in 19...

Joaquim Sabaté Casanova - Stained glass window with a nude woman - Oil on canvas Oil on canvas - Hand signed - c.1990 Oil measures 92x65 cm. Frameless. Quimet Sabaté will enter the...

Impressionist Nude, Atmospheric Colour, Oil Painting By French artist Garnvault, 20th Century Signed by the artist verso Oil painting on canvas, unframed Canvas size: 15 x 21.5 inche...

Gouache on paper, signed (lower left) and titled (lower right), 68cm x 88cm, (88cm x 108cm framed). The work is framed behind museum quality non-reflective UV glass. A realist pain...

Joan Palet (1911 - 1996) - Nude - Oil on canvas Oil measures 65x81 cm. Frameless. Joan Palet was born in Barcelona on March 28, 1911 in a family of sculptors and wood carvers. He b...

Untitled (Nude in front of light house, Lake Erie) Oil on board, 1970 Signed and dated lower right (see photo) Estate Stamp verso, No. 359 (see photo) Condition: Original untouched "...

‘Awakening’ by Herbert James Draper (1864-1920). This monumental oil painting – which depicts two wood nymphs rising to meet the morning sun – is signed by the artist and dated 1918...

This original painting is a beautifully depicted nude figure study in a cozy interior space with southwest elements by San Jose, California artist David D....

Plump or fleshy and voluptuous nude... you can describe it as you see it. Signed, titled and dated lower left: John Steuart Curry / 1934 "Hilda Nellis", John Steuart Curry is best ...

Baron Michael D`Aguilar was born on May 15, 1922 in London to Spanish parents. He was brother of the artist Paul D`Aguilar. He spent much of his early life in Spain. He studied at...

Zita Sudnika, Night. 1993. Oil on canvas, 70x105 cm The painting portrays a nude woman lying on her side, resting on a colorful, abstract-patterned surface. The woman has red hair, ...

*UK BUYERS WILL PAY AN ADDITIONAL 5% IMPORT DUTY ON TOP OF THE ABOVE PRICE Jeune Fille à l'Accordéon by ISMAEL DE LA SERNA (1898-1968) Oil on masonite 88.9 x 115.6 cm (35 x 45 ¹/₂ i...

Zita Sudnika, Sitting. 1995. Oil on canvas, 81x65 cm This painting exudes a sense of intimacy and quiet grace. The central figure is a naked woman, seated with her back to the viewe...

Bob Stanley (b. 1932 - d. 1997 New York, United States), an American painter renowned for his gritty depictions on canvas, which ingeniously incorporated photographs. His artistic jo...

Natalia Pashukova (Russian, born 1950) Graduated from the Moscow Surikov Art Inst. A member of the Russian Artists' Union Lives in Moscow Natalia graduated from the Moscow Art Scho...

Natalia Pashukova (Russian, born 1950) Graduated from the Moscow Surikov Art Inst. A member of the Russian Artists' Union Lives in Moscow Natalia graduated from the Moscow Art Scho...

Bob Stanley (b. 1932 - d. 1997 New York, United States), an American painter renowned for his gritty depictions on canvas, which ingeniously incorporated photographs. His artistic jo...

Bob Stanley (b. 1932 - d. 1997 New York, United States), an American painter renowned for his gritty depictions on canvas, which ingeniously incorporated photographs. His artistic jo...

Bob Stanley (b. 1932 - d. 1997 New York, United States), an American painter renowned for his gritty depictions on canvas, which ingeniously incorporated photographs. His artistic jo...

Oil on canvas sold with frame Total size with frame 88x98 cm Carmen Bilbao was born in Bolivia in 1954. Graduated in Fine Arts from the Faculty of Architecture and Fine Arts at the...

Artist/Designer; Manufacturer: Chaim Gross (American, 1902-1991) Marking(s); notes: signed; 1928 Materials: pencil and watercolor on paper Dimensions (H, W, D): 9"h, 6.5"w; 17"h, 13"...

This painting of a classic nude at a pool, "Hilda at the Pool," is both a portrait and a landscape. Leon Kroll rejected Modernism to triumph in the beauty of Classicism. During his l...

Artist/ School: French School, mid 20th century, indistinctly signed lower corner Title: Portrait of a Nude Lady Medium: signed oil painting on canvas, unframed canvas: 18 x 21.75...

An early work by the artist depicting a Nude posing atop a totem of pillows that cannot sustain her weight. The work is signed and dated bottom left hand corner

This artwork "Two Nude Couples" is an oil painting on masonite board by noted German/American artist Norbert Schlaus, 1927-2009. It is signed at the lower left center by the artist. ...

PABLO PICASSO Spanish, 1881 - 1973 La Répétition (B. 756; M. 252) signed in black ink "Picasso" (lower left) numbered in pencil "11/50" (lower right) lithograph on Arches S. 19-2/3 x...

PABLO PICASSO Spanish, 1881 - 1973 La famille du saltimbanque (B. 753; M. 249) signed in black ink "Picasso" (lower right) numbered in pencil "5/50" (lower left) lithograph on Arches...

Signed and dated oil on canvas nude by French post impressionist painter Jean Gabriel Domergue. The work depicts a brunette lady wearing only a gold silk skirt turned away from the a...

Jean-Gabriel DOMERGUE (1889-1962) Maria, Nude on blue Background, c. 1950 Original oil painting on panel Signed bottom left Titled on the back On panel 55 x 46 cm (c. 22 x 18 inch) ...

The Knight Errant English School, circa 1900 after the painting by John Everett Millais (1829-1896) oil painting on board, framed board: 13 x 10 i...

(Bo Arvid) Sten Burén (Swedish, ∗ 12th July 1909, Södra Munkarp; † 31st January 1993, Burlöv) Female Nude carrying an Amphora • Mosaic style painting in either gouache and/or oil paint on thick paper, ca. 50 x 35 cm • Image size ca. 43 x 31 cm • Signed bottom right • The backing of the paintings original frame has a Swedish newspaper article attached, reporting that the Sten Burén painting was won by farmer Arne Herlöfsen from Skegrie in a raffle during a political meeting in the 1960’s. I will include the old backing in the delivery Worldwide shipping for this object is complimentary - There are no additional charges for handling & delivery. Fantastic work of Art - The pointillist-cubist image is made up of thousands of little coloured, different shaded squares, imitating a mosaic tiles. The technique is very reminiscent of the famous painting ‘Ad Parnassum’ by Paul Klee created in 1932. The Swedish artist Burén studied art in Berlin and was trained by Jules Schyl. Burén undertook numerous study trips to Germany, Austria and Switzerland, befor returning to his native Sweden. His body of work includes figures in a semi-cubist style, mosaic panels, glas work...

Couple. Paper, charcoal, 99x98 cm Victor Karnaukh (1950, Dnepropetrovsk Oblast, Ukrainian SSR – 2012, Dnepropetrovsk Oblast, Ukraine) – a painter, a monument designer, graduate of L...

"Nudo in un interno rosso", grande dipinto a olio su tela firmato A. Bertalan. Albert Bertalan (Jászberény-Ungheria, 21 settembre 1899; Parigi, 28 dicembre 1957) è stato un pittore ...

The painting reveals a nude woman, her aura exuding self-assurance. She stands upright on the rugged terrain of a rocky mountain. Her curly hair freely frames her face. The work is e...

Redhead On A Yellow Blanket - Original Figurative Nude Study Original San Francisco figurative nude painting depicting a redhead model laying on a yellow blanket. Her hand lays over...

Vintage Figurative Nude Study Posed On Bed - Acrylic On Paper Original figurative nude study of a female model posed on a bed. Model is laying on a blue bedspread with contrast purp...

“The Holy Hour” German School, circa 1930's signed lower corner oil painting on canvas, framed The painting is a copy after the earlier work: THE HOLY HOUR; DIE HEILIGE STUNDE. by LUDWIG FAHRENKROG (1867-1952). painting: 51cm x 81cm provenance: private collection, Germany Fine quality Symbolist oil painting from the 1930...

Vintage Figurative of a Nude Black Female Model posed under the sawhorse Wonderful example of a figurative of a nude black female model by Katherine Kallick (American, b. 1952). Me...

A Redheads Dream - Figurative Nude With Butterflies and Flowers Original figurative nude painting of a redhead woman surrounded by butterflies and magenta flowers, by possibly an u...

Ann Brockman (1895–1943) was an American artist who achieved success as a figurative painter following a successful career as an illustrator. Born in California, she spent her childhood in the American Far West and, upon marrying the artist William C. McNulty, relocated to Manhattan at the age of 18 in 1914. She took classes at the Art Students League where her teachers included two realist artists of the Ashcan School, George Luks and John Sloan. Her career as an illustrator began in 1919 with cover art for four issues of a fiction monthly called Live Stories. She continued providing cover art and illustrations for popular magazines and books until 1930 when she transitioned from illustrator to professional artist. From that year until her death in 1943, she took part regularly in group and solo exhibitions, receiving a growing amount of critical recognition and praise. In 1939 she told an interviewer that making money as an illustrator was so easy that it "almost spoiled [her] chances of ever being an artist."[1] In reviewing a solo exhibition of her work in 1939, the artist and critic A.Z Kruse wrote: "She paints and composes with a thorough understanding of form and without the slightest hesitancy about anatomical structure. Add to this a magnificent sense of proportion, and impeccable feeling for color and an unmistakable knowledge of what it takes to balance the elements of good pictorial composition and you have a typical Ann Brockman canvas."[2] Early life and training Brockman was born in Northern California in 1895 and spent much of her youth in nearby Oregon, Washington, and Utah.[1][3] She met the artist William C. McNulty in Seattle where he was employed as an editorial cartoonist. They married in March 1914 and promptly moved to Manhattan where he worked as a freelance illustrator.[4][5] At the time of their marriage, Brockman was 18 years old.[6] Over the next few years, her career generally followed that path that her husband had previously taken. His art training had been at the Art Students League beginning in 1908; she began her training there after moving to New York in 1914.[1] After an early career as an editorial cartoonist, he freelanced as a magazine and book illustrator beginning in 1914; she began her career as a magazine and book illustrator in 1919.[7] He embarked on a teaching career in the early 1930s and not long after, she began giving art instruction.[8][9] While they both adhered to the realist tradition in art, their usual subjects were different. His prominently depicted urban cityscapes in the social realist whereas hers generally focused on rural landscapes. He was best known for his etchings and she for her oils and watercolors.[8][10] Brockman returned to the Art Students League in 1926 to take individual instruction for a month at a time from George Luks and John Sloan.[1] Despite their help, one critic said McNulty's "sympathetic encouragement and guidance" was more important to her development as a professional artist.[11] Career in art In the course of her career as illustrator, Brockman would sometimes paint portraits of celebrities before drawing them, as for example in 1923 when she painted the French actress Andrée Lafayette who had traveled to New York to play title role in a film called Trilby.[12] She would also sometimes accept commissions to make portrait paintings and in 1929 painted two Scottish terriers on one such commission.[13] During this time, she also produced landscapes. In 1924 she displayed a New England village street scene painting in the Second Annual Exhibition of Paintings, Watercolors, and Drawings in the J. Wanamaker Gallery of Modern Decorative Art.[14] Available sources show no further exhibitions until in 1930 a critic for the Boston Globe described one of her portraits as "well done" in a review of a Rockport Art Association exhibition held that summer.[15] Between 1931 and her death in 1943, Brockman participated in over thirty group exhibitions and five solos.[note 1] Her paintings appeared in shows of the artists' associations to which she belonged, including the Rockport Art Association, Salons of America, Society of Independent Artists, and National Association of Women Painters and Sculptors.[17][19]Between 1932 and 1935, her paintings appeared frequently in New York's Macbeth Gallery.[20][23][25][27] She won an award for a painting she showed at the Art Institute of Chicago in 1940.[41] In 1942, the Whitney Museum bought one of the paintings she showed in its Biennial of that year.[10] Critical praise for her work steadily increased during the decade that ended with her untimely death in 1943. In 1932, her painting called "The Camera Man" was called "a clever piece of illustration."[21] Three years later, a painting called "Small Town" gave a critic "the impression of freshness, honesty, and skill".[29] In 1938, a critic described her "Folly Cove" as "masterful" and said "Pigeon Hill Picnic" was "sustained by excellence of execution".[48] At that time, Howard Devree of the New York Times saw "evidence of gathering powers" in her work and wrote "she imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Three years later, a Times critic reported Brockman had "set herself a new high" in the watercolors she presented,[52] and another critic said the gallery where she was showing had not "for some time" shown "so outstanding a solo exhibitor as Ann Brockman."[2] Shortly before her death, a critic for Art News maintained that she was "one of America's most talented women painters".[46] After she had died, a critic said Brockman's paintings "displayed real power", adding that she was "highly rated among the nation's professional artists" and was known to give "aid and encouragement, always with a smile," both artists and to her students.[10] in reviewing the memorial exhibition at the Kraushaar Galleries held in 1945, reviewers wrote about the strength and vibrancy of her personality, the quality of her painting ("every bit as good, possibly better than people had thought"),[53] called her "one of the best of our twentieth century women painters", and credited "her sense of the vividness of life" as a contributor to "the unusual breadth that is so characteristic of her work.[11] One noted that her work was "widely recognized throughout the country" and could be found in the collections of prominent museums, including the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Art Institute of Chicago.[54] Writing in the Times, Devree wrote, "even those who had followed the steady growth of this artist for more than a decade, each successive show being at once an evidence of new achievement and an augury of still better work to come, may well be surprised at the combined impact of the selected paintings in the present showing,"[55] and writing in the Brooklyn Daily Eagle, A.Z Kruse said she had made "extraorginary accomplishments", painted with "inordinate distinction" showing a "lyrical majesty," and possessed "a keen esthetic sense which did not deviate from truth."[54] Artistic style (1) Ann Brockman, undated drawing, black chalk on paper, 18 x 22 inches (2) Ann Brockman, High School Picnic, about 1935, oil on canvas, 34 1/4 x 44 1/4 inches (3) Ann Brockman, untitled landscape, about 1943, watercolor and pencil on paper, 15 1/4 x 22 1/2 inches (4) Ann Brockman, North Coast, undated watercolor, 21 1/2 x 30 inches (5) Ann Brockman, On the Beach, 1942, watercolor on paper, 16 1/2 x 20 inches (6) Ann Brockman, Lot's Wife, 1942, oil on canvas, 46 x 35 inches (7) Ann Brockman, New York Harbor, 1934, watercolor on paper, 13 1/2 x 19 1/4 inches (8) Ann Brockman, Youth, 1942, oil on board, 13 1/2 x 11 1/2 inches Brockman was a figurative painter whose main subjects were rural landscapes and small-town and coastal scenes. She worked in oils and watercolors, becoming better known for the latter late in her career. Most of her paintings were relatively small. Although she made figure pieces infrequently, the nudes and circus and Biblical scenes she painted were seen to be among her best works. In 1938, Howard Devree wrote: "Her gray-day marines and coast scenes are familiar to gallery goers and are favorites with her fellow artists. Her figure pieces have attained a sculptural quality without losing warmth or taking on stiffness. One spirited circus incident of equestriennes about to enter the big tent compares not unfavorably with many of the similar pictures by a long line of painters who have been fascinated by the theme. She imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Similarly, a critic for Art Digest wrote that year: "Fluently and virilely painted, [her] canvases suggest a close affinity between nature and humans. The artist takes her subjects out in the open where they may picnic or bathe with space and air about them. A fast tempo is felt in the compositions of restless horses and nimble entertainers busily alert for the coming performance. Miss Brockman is also interested in portraying frightened groups of people, hurrying to safety or standing half-clad in the lowering storm light."[56] Her palette ranged from vivid colors in bright sunlight to somber ones in the overcast skies of stormy weather. Of the former, one critic spoke of the rich colors and "sun-drenched rocks" of her coastal scenes and another of her "summery landscapes of coves and picnics."[11][50] Of the latter, Howard Devree said she "painted so many moody Maine coast vignettes of lowering skies and uneasy seas that artists have been heard to refer to an effect as 'an Ann Brockman day'".[57] Brockman's handling of Biblical subjects can be seen in the oil called "Lot's Wife", shown above, Image No. 6. Her watercolor called "On the Beach" and her oil portrait called "Youth" may both indicate the "sculptural quality" that Devree said was typical of her figure pieces (Image No. 8, above). An example of Brockman's bright palette in a typical summer theme is the oil painting called "High School Picnic" shown above, Image No. 2. Next to it is a painting, an untitled landscape of about 1943 whose medium, watercolor on paper, shows off the sunny palette she often used (Image No. 3). Among the darkest of her works was an untitled 1942 drawing she made in black chalk (shown above, Image No. 1). In a book called Drawings by American Artists (1947), the artist and art editor Norman Kent noted that this study influenced her painting through its use of "forms" that were "elastic" and suggested "color". He said its "massing of dark and light" created "a definite mood" that was "impressionistic" and had "the strength of a man's work".[58] Brockman's undated watercolor called "North Coast" (shown above, Image No. 4) is an example of the paintings to which Kent referred. Illustrator (9) Ann Brockman, cover, March 12, 1917, Every Week magazine (10) Illustration of an article, "The Taking of a Salient" by Henry Russell...

Joan Palet (1911 - 1996) - Nude - Oil on canvas Oil measures 81x65 cm. Frameless. Joan Palet was born in Barcelona on March 28, 1911 in a family of sculptors and wood carvers. He b...

Nude Female by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 10 high by 8 inches wide condition: o...

Joseph Kardonne (1911-1985). Nude Woman, 1967. Watercolor on paper, sheet measures 11.25 x 17.25 inches. Signed, dated and titled lower right. Excellent condition. Born in Newark, ...

Joseph Kardonne (1911-1985). Nude Woman, 1949. Gouache on paper, sheet measures 13.5 x 13.5 inches. Image measures 12 x 12 inches. Signed, dated and titled lower right. Unframed....

Joseph Kardonne (1911-1985). Nude Woman, 1967. Watercolor on paper, sheet measures 12 x 17.5 inches. Signed, dated and titled lower right. Excellent condition. Born in Newark, New ...

Unsigned. On canvas.

Joseph Kardonne (1911-1985). Nude Woman, 1967. Watercolor on paper, sheet measures 11 x 14 inches. Signed, dated and titled lower right. Excellent condition. Born in Newark, New Je...

Unsigned. Presented in a gilt frame. On board.

Joseph Kardonne (1911-1985). Nude Woman, 1945. Gouache on paper, sheet measures 12.5 x 16 inches. Image measures 11.5 x 15 inches. Signed, dated and titled lower left. Unframed. ...

Female nude study. Unsigned. Well presented in a large textured frame. On canvas laid to board.

Nude Figure by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 10 high by 8 inches wide condition: o...

Nude Lady by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 10 high by 8 inches wide condition: ov...

Nude Female by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 8 high by 10 inches wide condition: o...

Female Nude Figure by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 10 high by 8 inches wide condi...

Emile Wegelin: Capturing the Essence of Nature.  Painting on Hardboard   Size-Width Size-Height: 32'' x 25'' Signed in Ink Emile Wegelin (1875-1962) devoted his life to paintin...

Female Figures by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 10 high by 8 inches wide condition...

Nude Model by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 8 high by 10 inches wide condition: ov...

Female Figures by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 8 high by 10 inches wide condition...