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Augustus Edwin JohnComposition of Nudes
$1,500
£1,138.53
€1,330.44
CA$2,090.63
A$2,356.85
CHF 1,249.20
MX$29,056.38
NOK 15,185.59
SEK 14,595.77
DKK 9,922.83
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About the Item
This watercolor on paper by Augustus Edwin John of 2 Nudes exemplifies Johns’ interest and study of the Post Impressionist style of Matisse and Gauguin. You can see the way Johns quickly
and confidently drew the nude figures with a power and grace. The work itself measures 16.5 x 11.75”. It is in excellent condition and was formerly owned by John Quinn, Esquire. Mr. Quinn was one of the leading proponents of French Modernism and was a major buyer at the Armory Show of 1913 in New York City.
- Creator:Augustus Edwin John (1878-1961, British)
- Dimensions:Height: 28 in (71.12 cm)Width: 20.5 in (52.07 cm)Depth: 1 in (2.54 cm)
- More Editions & Sizes:28 x 20.5Price: $1,500
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Exton, PA
- Reference Number:1stDibs: LU2663216505452
Augustus Edwin John
Augustus John, in full Augustus Edwin John, (born January 4, 1878, Tenby, Pembrokeshire, Wales—died October 31, 1961, Fordingbridge, Hampshire, England), Welsh painter who was an accomplished portraitist, muralist, and draughtsman. John studied at the Slade School of Fine Art in London from 1894 to 1898. By age 20 he had won a reputation as one of the most brilliant draughtsmen in England. His portraits and other paintings done around 1900 gained attention for their vigour and skillful technique. John was greatly influenced by the work of Old Master painters, especially Peter Paul Rubens, as can be seen in the strong and sensuous Smiling Woman (c. 1908), a portrait of John’s second wife, Dorelia. John was known as a colourful personality who adopted an individualistic and bohemian lifestyle. Intrigued by gypsy culture and the Romany language, he spent periods traveling with gypsy caravans over Wales, Ireland, and Dorset. He based much of his work on these experiences, such as the painting Encampment on Dartmoor (1906). John was more modern in his approach to landscape painting, as seen in the bright palette and loose brushwork of paintings such as Llyn Trewereyn (1911–12) and The Little Railway, Martigues (1928).
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