Skip to main content
Video Loading
Want more images or videos?
Request additional images or videos from the seller
1 of 10

Giulio da Milano
"Odalisque yellow" Oil , cm. 40 x 50 1937 free shipping

1937

About the Item

Odalisque ,yellow,orange, orient Giulio DA MILANO (Nizza, 1895 - Torino, 1990) Giulio Da Milano was a Giacomo Grosso's disciple and he was very close to the artists that used to patronize La Coupole de Montparnasse (from Kisling to Pascin, from Derain to Vlaminck). He is considered one of most representative exponents of the Turin’s artistic scene in the ‘30s-‘40s, close to the Gruppo dei Sei. His works can be found in the following museums: Turin, Modern Art Gallery Milan, Modern Art Gallery Rome, National Modern Art Gallery Nice, Musée des Beaux-Arts Works by Giulio Da Milano are permanently dealt by the Pirra Art Gallery and are published in coloured monographs edited by the Gallery.
  • Creator:
    Giulio da Milano (Nice, 1895 - Turin, 1990, Italian)
  • Creation Year:
    1937
  • Dimensions:
    Height: 30.32 in (77 cm)Width: 18.12 in (46 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Torino, IT
  • Reference Number:
    1stDibs: LU537310890802
More From This SellerView All
  • " Orange Nude "Oil cm. 25 x 60 1952
    By Edgardo Corbelli
    Located in Torino, IT
    Italy,Italian Painter,Women,Nude,Orange,Red ,1952 Edgardo CORBELLI (Turin, 1918 - 1989) From the traditional composition of the 1930s, the painting of Corbelli leads to technical a...
    Category

    1950s Expressionist Nude Paintings

    Materials

    Oil

  • "Yellow odalisque" cm. 15 x 10 1925
    By Giulio da Milano
    Located in Torino, IT
    odalisque, yellow, orient Giulio DA MILANO (Nizza, 1895 - Torino, 1990) Giulio Da Milano was a Giacomo Grosso's disciple and he was very close to the artists that used to patronize...
    Category

    1920s Expressionist Figurative Paintings

    Materials

    Oil

  • "Donna con calze Rosse" Olio su cartone cm. 50 x 70 1984
    By Edgardo Corbelli
    Located in Torino, IT
    Figura femminile con calze rosse Edgardo CORBELLI (Turin, 1918 - 1989) From the traditional composition of the 1930s, the painting of Corbelli leads to technical and expressive resu...
    Category

    1980s Expressionist Figurative Paintings

    Materials

    Oil

  • "Red Odalisque" oil cm. 17 x 12 1947 Offer Free Shipping
    By Giulio da Milano
    Located in Torino, IT
    red, odalisque,orange,yellow Giulio DA MILANO (Nizza, 1895 - Torino, 1990) Giulio Da Milano was a Giacomo Grosso's disciple and he was very close to the artists that used to patronize La Coupole de Montparnasse (from Kisling to Pascin, from Derain to Vlaminck). He is considered one of most representative exponents of the Turin’s artistic scene in the ‘30s-‘40s, close to the Gruppo dei Sei. His works can be found in the following museums: Turin, Modern Art Gallery...
    Category

    1940s Expressionist Figurative Paintings

    Materials

    Wood Panel

  • "Angela" Oil cm. 100 x 70 1979
    By Edgardo Corbelli
    Located in Torino, IT
    Woman reclining, pink we send the work anywhere Edgardo CORBELLI (Turin, 1918 - 1989) From the traditional composition of the 1930s, the painting of Corbelli leads to technical and ...
    Category

    1970s Expressionist Figurative Paintings

    Materials

    Canvas, Oil

  • "Donna con vestito rosso" olio cm. 50 x 70 1979
    By Edgardo Corbelli
    Located in Torino, IT
    woman,red, Italian painter Edgardo CORBELLI (Turin, 1918 - 1989) From the traditional composition of the 1930s, the painting of Corbelli leads to technical and expressive results do...
    Category

    1970s Expressionist Figurative Paintings

    Materials

    Canvas, Oil

You May Also Like
  • Female Nude Sitting Figure - Expressive Oil Painting
    By Agata Czeremuszkin-Chrut
    Located in Salzburg, AT
    Agata Czeremuszkin-Chrut was born in 1983 in Czestochowa, Poland. She graduated from the Academy of the Fine Arts in Wroclaw (2008) with the Master degree in Painting. In 2007 she st...
    Category

    2010s Expressionist Nude Paintings

    Materials

    Oil, Canvas

  • Two ladies with glasses
    Located in Wien, 9
    Gurami Hagemann was born in Tiblissi in Georgia in 1945. At the age of 15 he received his diploma in painting. From 1965 to 1971 he attended the Art Academy in Tiblissi. In 1993 he r...
    Category

    20th Century Expressionist Nude Paintings

    Materials

    Canvas, Oil

  • In The Room #4 by Katya Tsareva - Expressionist painting, oil on canvas, 2021
    Located in Basel, BS
    The Room #4 is the 4th work in "In The Room" series by contemporary artist Katya Tsareva. In this series the artist continues to analyze the difficult re...
    Category

    2010s Expressionist Nude Paintings

    Materials

    Canvas, Oil

  • Mother & Child, Nude Oil paint, Earth Colours by Indian Modern Artist "In Stock"
    By Anita Roy Chowdhury
    Located in Kolkata, West Bengal
    Anita Roy Chowdhury - Mother & Child - 36 x 48 inches ( unframed size) Oil on canvas Inclusive of shipped in roll form. Style : Her works manifest human figures, nude or draped in d...
    Category

    Early 2000s Expressionist Figurative Paintings

    Materials

    Oil, Canvas

  • Nudes
    Located in Missouri, MO
    Nudes By. Salcia Bahnc (Polish, American, 1898-1976) Signed Lower Middle Unframed: 14 x 18 inches Framed: 23 x 26 inches Painter, illustrator, printmaker, teacher. Born in Dukla, Poland. Though she was born in Dukla, a town in south-eastern Poland, she moved to Prsemysl, one of the largest and most ancient cities of southern Poland, at a young age. Her mother was reportedly descended from the "Van Ast" family, a Dutch dynasty that produced several artists, including Balthasar van der Ast (1593/4 - 1657). According to one art historian she came to New York at the age of five (c. 1903), and another, at the age of eight (c. 1906). Her family was Jewish and reportedly quite wealthy. Why they would have left imperial Austria, under whose sovereignty either of her proposed birth cities were under, is unknown. However, while these areas did not suffer the pogroms typical in neighboring imperial Russia, the Austro-Hungarian empire had become much more anti-Semetic, which may have hasten there departure. How, according to one source, they ended up living in the Jewish ghetto of New York is extremely puzzling. Did they loose their wealth to some business disaster? Where they forced to leave it behind? Was there some familial tragedy? We may never know. In her youth she lived first in New York City and then in Boston, Massachusetts, where her family had relatives. It is reported that when she was in fourth grade she was found to be so competent in drawing that for the next two years she taught a drawing class after school for the other children. In Boston, Bahnc's mother eventually remarried and moved the family to Chicago where the young artist was primarily raised. In Chicago she worked during the days as a sales clerk in a department store. At night she put herself through school at the School of the Art Institute of Chicago (SAIC) and taught at her former alma mater after her graduation during the years 1923-1929. She also studied at the Chicago Academy of Fine Art. She took up design work and began exhibiting painted silk creations at a private Chicago gallery (probably Thurber, see below). The first museum exhibitions she is known to have participated in were held at the Art Institute of Chicago. During this period she became known for her portraits. Originally a resident alien, she was naturalized at the district court of Chicago, Illinois in July of 1913. In 1920 she lived on East Ontario Street in Chicago in a neighborhood filled with art studios and artists, including James Allen Saint-John (1872-1957), Paul Bartlett (1881-1965), Pauline Palmer (1867-1938), and George Ames Aldrich (1872-1941). It is in Chicago that she saw her greatest success as an artist. In 1927, Chicago art dealer Chester H. Johnson said of her work: "The Art of Salcia Bahnc is a sincere manifestation of the spirit we know as 'Modernism' . . . . . . She is the spirit of the Age, not its Fashion." Local reviewers agreed, one going as far to say that her exhibition was " . . . the most interesting one man show by a young artist that has ever been presented to Chicago, and I keep telling myself that New York will get her if we don't watch out." She was apparently a favorite and friend of art critic Clarence Joseph Bulliet (1883-1952), who authored a number of books and articles that praised Bahnc's work. Bulliet was central in introducing and popularizing modern art in the mid-western United States. In his book Apples and Madonnas: Emotional Expression in Modern Art (1935) he called Bahnc a "A thorough Expressionist." A year later in his book The Significant Moderns and Their Pictures (1936) he noted that one of her paintings of a nude was ". . . powerful in its elemental brutality." During this period other critics reported positively on the work she was producing. Ida Ethelwyn Wing reported in a volume of the Delphian Text (1930) that Bahnc, was without doubt, ". . . the most vigorous and intensively original of the American Expressionists." Paul Masserman and Maxwell Baker said of her in their work The Jews come to America (1932) that she was part of a group of artists that were "Chief among modern Jewish painters. . . " Salcia Bahnc traveled back and forth to Europe during the late 1920s and into the 1930s, a period when she faced the rise of totalitarianism. She wrote about this fact to a fellow artist to whom she commented " . . . about the difficult art scene in Paris . . . . . . and the growing power of fascism." In 1930 she was maintaining a studio in New York City at 1218 East 53rd Street and a residence in Brooklyn, Long Island. She returned to France where she married a French citizen and writer named Eugene Petit (b. 1901) and bore a son there named Alain Petit (b. 1934). She again returned to the United States in November of 1937 and traveled back to France after a brief stay in America. During her stay she continued to exhibit in Chicago, where Quest Galleries gave her a solo show. Like so many ex-patriot authors and artists who were living in Paris, she found herself trapped in France (first in Paris, then in Mayenne) following the German invasion in 1940. Being of Jewish extraction the situation could prove to be quite dangerous if she were reported or discovered by German authorities. She and her husband were able to obtain passports and escape to Portugal where in August of 1941 they boarded the S. S. Escambion to return to America. In 1940, American Export Lines, owners of the Escambion, discontinued its normal Mediterranean routes and placed their ships into service sailing from Lisbon, Portugal to New York City. Over the next two years (1940 - 1941) their ships played an important role in transporting thousands of people who were trying to escape the Nazi regime before America's own entry into World War II. One survivor, Ludwig Lowenberg, who sailed on the Escambion on the same day that Bahnc did, reported the ordeal his family endured getting to Lisbon to his own descendants: "[The family] received their American visa on May 28, 1941, only three days before the U.S. consulate in Stuttgart closed for the duration of World War II. They left Berlin on June 23, 1941, traveling for 27 hours on a locked train to Paris. There they were forced to spend an additional night in the locked train until their coach was attached to a train headed for San Sebastian in Spain. After an overnight hotel stay in San Sebastian, the train (now no longer locked) continued to Lisbon. All in all it took six days from Berlin to Lisbon. They remained for four weeks in Lisbon until they embarked on the Excambion for New York." Bahnc had given up her citizenship during her time in France and was forced to reapply for naturalization once again upon her return. She was living in New York City at 101 West 85th Street when she was re-naturalized in April of 1947. Exactly how much of her artwork was lost in Europe is not known. Clearly, she would not have been able to bring much, if anything, with her during her escape. One writer had noted that between 1930 and 1934 she had worked hard to prepare a large group of new works for a show in Paris. Between those, and what she would have produced during the next six years, the actual amount of the loss might have been staggering. Bahnc's 1942 exhibition with Julio de Diego included works recalling the suffering going on in Europe. One work in the exhibition was a portrait of the painter Katherine Dudley, who, at the time, was reportedly interned near Paris. In the later years of her career she worked extensively as a teacher and illustrator of children's books. In 1950 she taught at the Evanston Art Center, where she lead a demonstration in portrait painting. She authored or illustrated a number of works during and after World War II, including: The House in the Tree and Other Stories of Places, People and Things (1941); Claude Of France: The Story Of Debussy For Young People (1948); Time for Poetry (1951); Hidden Silver (1952); From Many Lands - The Children's Hour, Volume 9 (1969); and That Boy (no date). She returned to teach at the School of the Art Institute of Chicago during 1943-44 and 1947-53; and taught later at the Garrison Forest School in Garrison, Maryland, from 1955-57. Bahnc was known to have exhibited widely, both in Europe and in America. Her known lifetime exhibitions include: The Art Institute of Chicago, Chicago, IL, 1919-29, 1942 (The 53rd Annual; and Room of Chicago Art: Exhibition of Paintings by Salcia Bahnc and Julio de Diego), 1943; Chicago Architectural...
    Category

    20th Century Expressionist Nude Paintings

    Materials

    Oil, Canvas

  • After Icarus, ghostly floating figure, black w orange, blue nude
    By Audrey Anastasi
    Located in Brooklyn, NY
    Oil on canvas ABOUT the artist: Audrey Frank Anastasi is a prolific feminist artist, working in painting, drawing, collage, mixed media, & printmaking. She is also curator, gallerist, educator and arts advocate. Most of Ms. Anastasi's figurative works are painted with her non-dominant left hand. She has created large bodies of works of birds, animals and birch trees. She has had 20 solo & 200 group shows. Her "ref-u-gee" series will be shown in 2020 at Medgar Evers College in collaboration with the Valentine Museum of Art, Brooklyn. Accompanying the show will be a limited-edition monograph w/ over 180 images and a foreword by Phyllis Braff. Ms. Anastasi's collage series was exhibited at Welancora Gallery, Brooklyn, in May, 2019. In 2018, ten paintings were exhibited in "Painting to Survive," curated by Yale critic Jonathan Weinberg. Book and catalog publications include "Stations of the Cross", SPQR press, BREUCKELEN magazine, “Audrey Frank Anastasi”, catalog essay Cindy Nemser, and "Collage," essay by Giancarlo T. Roma. Public art includes a portrait of Jo Davidson...
    Category

    2010s Expressionist Figurative Paintings

    Materials

    Oil, Canvas

Recently Viewed

View All