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Louise NevelsonSeated Female Nude1930
1930
$8,750
£6,689.84
€7,705.35
CA$12,261.43
A$13,688.74
CHF 7,172.69
MX$167,563.57
NOK 91,093.26
SEK 85,889.38
DKK 57,505.78
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About the Item
Louise Nevelson (1899-1988) stands as one of the most important artists of the 20th century. She is renowned for her monochromatic sculptural wooden constructions.
However, it is important to emphasize that Nevelson toiled and experimented for nearly 30 years before arriving at her signature style in the late 1950s.
In recent years there has been an increase in scholarship, awareness, and collector interest in Nevelson's early work, as she was an early adopter of modernism in America. This drawing is a fine example from this era.
Increasing scholarly and market attention has been placed on Nevelson's early work. For example in 2018 the Whitney Museum presented "The Face and the Moon" which explored Nevelson's prints and drawings from the first three decades of her career.
The 1930's are a particularly interesting time for Nevelson. After she divorced in 1931, she was finally liberated to devote herself to art-making. She studied at the Art Students League in New York and made several influential trips to Europe where she began studying with Hans Hoffmann. Back in New York, she worked briefly for the Works Progress Administration, where she met Jackson Pollock, Willem de Kooning and befriended other "downtown" New York artists.
While Nevelson had a long exhibition history, it was only in the 1950s that she got a foothold in significant galleries. For most of Nevelson's adult life, selling art was a struggle.
This unique and elegant line drawing exemplifies a distinct expression of modernism. The influence of both Matisse and Modigliani is evident. The seated figure is rendered with lines that are bold and stylized, almost sculptural.
Click here to see another early figurative drawing by Louise Nevelson from the 1930's.
Caviar20 specializes in Louise Nevelson's works on paper. This is the largest drawing we have handled to date. It addition to its size it is also exceptionally beautiful.
Questions about this piece? Contact us or call.
Visit our Toronto gallery on Thursdays or by appointment.
Untitled "Seated Female Nude"
USA, circa 1930s
Pencil on paper
Signed by the artist, bottom center
20.75"H 13.5"W (work)
28.75"H 21.5"W (framed)
Framed with museum glass
Very good condition
- Creator:Louise Nevelson (1899 - 1988, American)
- Creation Year:1930
- Dimensions:Height: 20.75 in (52.71 cm)Width: 13.25 in (33.66 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Very good condition.
- Gallery Location:Toronto, CA
- Reference Number:Seller: 10-231stDibs: LU215213310672
Louise Nevelson
Louise Nevelson was one of the leading American female sculptors of the 20th century, and she did it on her own terms. She was a pioneer of installation art and created large-scale monochromatic sculptures that are today known for their provocative, compartmentalized forms. While her assemblages involved a range of materials, she is best known for her wooden sculptures. Working in a single color was her signature, and all-encompassing color demanded an all-encompassing focus for this artist — she even kept separate studios for work in black, white and gold.
Nevelson was born in what is now Ukraine in 1899 and emigrated to the United States with her family in 1905. She moved to New York City as a young woman in 1920 to study at the Art Students League. In the 1930s, Nevelson traveled around Europe, came into contact with the works of Picasso, studied with Hans Hofmann and assisted Diego Rivera in New York City.
Nevelson had her first solo show in 1941 at the Nierendorf Gallery in New York. In the late 1940s, she studied with Stanley William Hayter and worked as a ceramicist in the workshop of revered furniture designer Vladimir Kagan, who let her take scraps from the factory to use in her sculptures. (As a child, Nevelson had also worked with discarded wood from her father's lumber yard.)
By the early 1950s, Nevelson had traveled to Guatemala and Mexico. She was inspired by pre-Columbian art and the totemic works of ancient cultures. Nevelson began creating the first of her iconic wood sculptures and later participated in the legendary “Sixteen Americans” exhibition at the Museum of Modern Art. Her work was acquired by prominent institutions in the years that followed.
Nevelson made reliefs in shadow boxes and was for a time affiliated with New York City’s Sidney Janis Gallery as its first female Abstract Expressionist artist (her work was abstract but she also drew on the Cubist and Constructivist movements). In the early 1960s, Nevelson showed her art in Chicago, Manhattan, Paris and West Germany. It was around this time that she exhibited at Pace Gallery in Boston and New York. The gallery represented her for the duration of her career.
Nevelson died in 1988, but her legacy is immense. Her work is held in virtually every major American art museum, including the Museum of Modern Art, the Metropolitan Museum of Art, the Los Angeles County Museum of Art and the National Gallery of Art. Her permanent large-scale public sculptures are installed all over the country, including in Louise Nevelson Plaza in New York City's Financial District.
On 1stDibs, find original Louise Nevelson sculptures, prints and drawings.
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However, it is important to emphasize that Nevelson toiled and experimented for nearly 30 years before arriving at her signature style, and overdue success, in the late 1950s.
In recent years there has been an increase in scholarship, awareness, and collector interest in Nevelson's early work, as she was an early adopter of modernism in America. This drawing is a fine example from this era.
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Nevelson is renowned for her mysterious and complex artworks. She was an active printmaker, experimenting with different techniques and approaches while working with some of the best print-making studios in the United States.
Nevelson, whether working in sculpture or in two dimensions typically had a strict palette; almost exclusively black. While there are iconic works in white, gold, or raw wood, Nevelson almost entirely avoids color. However, during the last decade of her life, her palette expanded notably with her printmaking.
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Here it is used to maximum effect. This work features unexpected elements of fuchsia, crimson, and Prussian blue that punctuate her signature layered collage-like composition. Nevelson's late prints are truly some of her best.
Over the last few years, there has been tremendous momentum in both interest and appreciation of Nevelson's work. In May of 2021, a new auction record of $1.35 million was established for one of Nevelson's signature white construction sculptures...
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