Mid-19th Century Nude Paintings
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Period: Mid-19th Century
Venus with Putti Oil on Canvas with Gilt-wood Frame
Located in Rome, IT
French 19' century painting oil on canvas . Young Venus nude figure surrounded by delicious playing putti .
Finely carved and gilt-wood frame of the same period .
Measurements w...
Category
Romantic Mid-19th Century Nude Paintings
Materials
Oil
Reclining Nude Female Portrait - British 19th century Victorian art oil painting
Located in London, GB
This beautiful British mid 19th century oil on board painting is by Edward William Wyon. It was painted in 1843 when Wyon would have been in his early thirties. The composition is a ...
Category
Realist Mid-19th Century Nude Paintings
Materials
Oil
Venus with Putti Oil on Canvas with Gilt-wood Frame
Located in Rome, IT
French 19' century painting oil on canvas . Young Venus nude figure surrounded by delicious playing putti .
Finely carved and gilt-wood frame of the same period .
Measurements w...
Category
Romantic Mid-19th Century Nude Paintings
Materials
Oil
Nymphs by the River
Located in Genève, GE
Work on canvas
Category
Mid-19th Century Nude Paintings
Materials
Oil
Cherubs Musicians in pair
Located in Saint-Ouen, FR
Mathilde LEHAUT (1816- nc)
Cherubs Musicians in oval pair
Two Oils on wood signed low
Framed by Gault (Paris) - Gold leaves
Dim wood panel (each) : 27 ...
Category
Academic Mid-19th Century Nude Paintings
Materials
Oil
Model undressing
Located in BELEYMAS, FR
Julius EXNER
(Copenhagen, 1825 - Copenhagen, 1910)
Model stripping
Oil on canvas
H. 122 cm; L. 74 cm
Signed and dated 1842 lower right
Exhibition: most likely Charlottenborg Salon of 1845, under number 110, titled Modelfigur, awarded with a silver medal
Provenance: Emilio Fernando Bolt (c.1860 - 1944), acquired from the artist around 1900, then by descent
Our painting was produced as part of the summer sessions organized between 1839 and 1850 by Christoffer Wilhelm Eckersberg (1783-1853), the master of Danish painting of the first half of the 19th century, in his private studio-apartment on the ground floor. floor at the Royal Academy of Fine Arts in Copenhagen. The master brought together a few students there between June and September, rented one or two models for the season, which were painted from different angles, the artists (including Eckersberg himself) sitting side by side. Eckersberg used to paint a fairly small version, the pupils of the larger formats.
The work fits more generally into the legendary context of the research and reforms carried out by Eckersberg concerning the studies of nudes and in particular of female nudes, to make this exercise a genre of painting in its own right.
Following his two-year stint in Jacques-Louis David's studio in Paris in 1811, Eckersberg had been made aware of work on the nude and in particular on live models, in natural light, while in Denmark the drawings were then only made from casts of antique models or other mannequins. In 1822, when he had been a professor there since 1818, it was he who had the Royal Academy of Copenhagen authorize the study of nudes, no longer in the evening by candlelight, but in natural light; from 1833, it was still he who allowed students to work on nude female models, even if the official authorization of the Academy did not take place until 1839.
It was this same year that he instituted his summer sessions, on a private basis, to orient his painting and that of his students towards a new conception of the representation of models: even if the nude remains the real theme, it does not however, this is more than just an academic exercise. The subject is placed in a contemporary interior, with a rather sophisticated decor, and occupied with an intimate activity (it is this type of intimate vein that we will find later in Degas or Cassatt for example); thus in our painting, the young woman is supposed to take off her clothes to wash. The objective is that the viewer forgets that the master and his students are painting a model during a posing session, and that he instead has the impression of being alone with the model, but invisible, almost like a voyeur in spite of himself. Moreover, in these paintings, the model never looks towards the spectator, inducing a psychological distance with him, whereas model and artist are actually physically very close. On the other hand, it is not a question of idealized nudes either, even if Eckersberg, proof of his debt to the antique, chooses fairly classic models and poses. The sensuality is real and very present, with dreamy, even innocent, and timeless expressions (the models do not seem to have a defined age), suave and slow attitudes and movements, and especially with clothes that hide or reveal skillfully parts of the female body: upper buttocks, pronounced hips...
Made by an artist under 20, our sensual painting is probably one of the most beautiful and spectacular produced by the students of Eckersberg during these summer sessions. With a perfect balance between the firmness of an ancient statue (it recalls the Venus de Milo) and the softness of the feminine forms, highlighted by a harmonious palette, it captures the attention with many details: the almost photographic folds white clothing...
Category
French School Mid-19th Century Nude Paintings
Materials
Canvas, Oil
Mid 19th Century "Susanna And The Elders" After The Old Master by Martinelli
Located in San Francisco, CA
Outstanding Mid 19th century old master "Susanna and the Elders" after Martinelli
Brilliant old master painting of Susanna and the Elders.
Original oil on canvas. Dimensions 26.5" ...
Category
Old Masters Mid-19th Century Nude Paintings
Materials
Oil, Canvas
Michele Cammarano Old Male Nude Portrait Painting 1860s Oil canvas
By Michele Cammarano
Located in Florence, IT
Even if placed in one of the poses conventionally adopted in the Academy for exercises in copying nudes, the elderly model treated here is studied with the anatomic sensibility to ho...
Category
Realist Mid-19th Century Nude Paintings
Materials
Canvas, Oil
Qing-Dynasty Erotic Scroll Paintings
Located in Chicago, IL
A pillow book was meant to teach a young bride about the art of lovemaking. This rare museum-quality 19th century example is composed of 12 masterfully pai...
Category
Qing Mid-19th Century Nude Paintings
Materials
Paper, Watercolor
Classical 19th century French Nude of a lady in the Barbizon Forest landscape.
By Leon Richet
Located in Woodbury, CT
Classical 19th century French Nude of a lady in the Barbizon Forest landscape.
Richet spent much of his adult life in Paris. It was there that he met and became a student of Jules L...
Category
Victorian Mid-19th Century Nude Paintings
Materials
Oil
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Cherubs
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Located in Wilton Manors, FL
George Henry Hall (1825-1913). Cupids, 1875. Oil on canvas, 6 x 9.25 inches; 10 x 13.25 inches framed. Original frame with label verso. Excellent condition with no damage or restoration. Signed and dated lower right.
Price on request
Biography:
Birth place: Manchester, NH
Addresses: Primarily in NYC from 1852
Profession: Still-life, genre, portrait painter
Studied: between 1849-52 in Paris and Rome; and Düsseldorf Royal Acad. with Eastman Johnson
Exhibited: PAFA, 1853-68; Royal Acad., British Inst., Suffolk Street Gal., all in London, 1858-74; Brooklyn AA, 1861-81; NAD, 1862-1900; AIC, 1888; Boston AC, 1881, 1889
Member: ANA, 1853; NA, 1868; Century Assn.
Work: MMA; BM; BMFA
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Nude. African American Woman exhibited piece 1942 University of Iowa exhibited
Located in San Antonio, TX
Coreen Mary Spellman (1905 - 1978) Dallas Artist Image Size: 20 x 14 Frame Size: 25 x 19 Medium: Oil
Bio:
Exhibited in the Ninth Annual Student Art show at the State University of Iowa
Coreen Spellman
Biography
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Allegory of Fortune
Located in New York, NY
Provenance:
S. Spinelli Collection, Florence; their sale, Galleria Pesaro, Milan, July 11-14, 1928, lot 112 (unsold); reoffered Galleria Luigi Bellini, Florence, April 23-26, 1934, lot 132, as manner of Baldassare Peruzzi
Dr. Giacomo Ancona, Florence, 1930s, and after 1939, San Francisco; thence by descent to his son:
Mario Ancona, San Francisco; thence by descent to his children:
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Literature:
Donato Sanminiatelli, Domenico Beccafumi. Milan 1967, p. 170 (under paintings attributed to Beccafumi)
Among the precious survivors of Renaissance secular paintings for domestic interiors are several unusual and particularly attractive panels painted in Siena at the end of the fifteenth and beginning of the sixteenth centuries. These paintings depict exemplary figures from antiquity—heroes or heroines, as well as allegorical, literary, and mythological figures. For the most part, these panels have survived in groups of three, although it is possible that some of these works were painted either as part of larger series or as individual projects. One such trio by Beccafumi consists of two paintings now at the National Gallery, London (Marcia and Tanaquil) and a third in the Galleria Doria-Pamphilj, Rome (Cornelia). These were commissioned around 1517–1519 for the bedroom of Francesco di Camillo Petrucci in Siena and were most likely placed together as elements in the wall decoration (spalliere) or installed above the back of a bench or cassapanca. Another, earlier (ca. 1495–1500), set of three—Guidoccio Cozzarelli’s Hippo, Camilla, and Lucretia (Private Collection, Siena) survives with its original wooden framework—a kind of secular triptych. Judith, Sophonisba, and Cleopatra in the collection of the Monte dei Paschi, Siena, are by an anonymous artist close to Beccafumi called the “Master of the Chigi-Saracini Heroines.” Girolamo di Benvenuto’s Cleopatra, Tuccia, and Portia are dispersed (homeless, Prague, Chambery), and Brescianino’s Faith, Hope, and Charity are in the Pinacoteca Nazionale in Siena.
The present painting first appeared in the Spinelli sale in Florence in 1934, at which time it was sold with two panels of identical size and format. Each was catalogued as being by the “manner of Baldassare Peruzzi” and of unidentified subject. Of these, the painting depicting a male figure turned to the right has recently reappeared in a private Italian collection, while the location of the third work, portraying a cloaked figure turned three-quarters left, remains unknown. Our panel depicts the allegorical figure of Fortune. Here she is represented in typical fashion as a nude female figure balanced on a wheel (sometimes called the Rota Fortunae), her billowing drapery indicating that she is as changeable as the wind. The appearance of the Virgin and Child in the cloud at the upper right is an unusual addition to the iconography. The subjects of the two pendant male...
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Salaudeen's keen attention to detail is evident in the nuanced expression on the young man's face. The furrowed brow and intense gaze suggest a struggle, not only with the fabric of his shirt but also with internal conflicts and emotions. The artist masterfully captures the raw, unfiltered moments of personal challenge, inviting viewers to empathize with the subject's journey.
The choice of title, "Challenging Conversation," adds depth to the narrative, suggesting that the act of removing the shirt symbolizes a dialogue within oneself—a confrontation with inner thoughts, doubts, or perhaps an attempt to shed societal expectations. The artist prompts viewers to contemplate the unseen narratives and untold stories that lie beneath the surface.
Salaudeen's use of color and composition further enhances the emotional impact of the artwork. Subtle tones and careful shades of grey create a realistic yet painterly atmosphere, adding a layer of intimacy to the scene. The dynamic composition captures the transient nature of the moment, freezing the young man's struggle in time and inviting viewers to engage with the narrative at their own pace.
"Challenging Conversation" resonates as a poignant exploration of the universal human experience, where moments of self-reflection and personal growth are often accompanied by internal dialogues that require courage and resilience. Abdullateef Salaudeen's work serves as a powerful reminder of the beauty found in vulnerability and the strength that emerges from confronting one's challenges.
Shipping Procedure
Ships in a well-protected tube from Nigeria
This work is unique, this is not a print or other type of copy.
Accompanied by a Certificate of Authenticity. (Issues by the Gallery)
About Artist
Abdulateef Salaudeen...
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