Unknown

The Four Seasons: Summer

19th century

"Flora #5" is one in a series of surreal paintings of the female figure featuring intricate patterning and hues of bright yellow, lime green, pale pink, light blue and yellow ochre. ...

"Flora #13" is one in a series of surreal paintings of the female figure featuring intricate patterning and hues of purple, pink, orange, blue and white. Guy Robinson is inspired by ...

"Flora #10" is one in a series of surreal paintings of the female figure featuring intricate patterning and hues of purple, magenta, blue, and orange. Guy Robinson is inspired by the...

"Flora #14" is one in a series of surreal paintings of the female figure featuring intricate patterning and hues of blue, black, green, white and yellow. Guy Robinson is inspired by ...

The Allegorical Winged Nude Lady, adorned with the attributes of Spring French School, 18th century (Rococo period) oil painting on canvas, unframed canvas: 30 x 52 inches provenance...

A voluptuous woman lies prone on a divan, bearing her backside and turning her head flirtatiously to the viewer, though averting her eyes slightly, as if to maintain a coy demeanor. Surrounded by lush fabrics of deep blues, the creamy tones of her skin and dressing gown are thrown in sharp contrast, making the figure glow luminously. The whole painting is ordered by folds - of flesh, of fabric, of cushions, of the rug - inviting the viewer's eye to look closely across the topography of the canvas. One of Boucher's cabinet paintings (that is, paintings made for private collectors rather than official exhibition at the Salon), the open eroticism of this work invites a voyeuristic gaze. Although it was created for a private audience, it was later displayed at the Salon of 1767, where the critic Denis Diderot found it shocking and lascivious. Nonetheless, Boucher would later paint another iteration of this reclining pose, this time using Marie-Louise O'Murphy, a favorite mistress of King Louis XV, as his model, suggesting that the provocative composition was a stock figure for Boucher's private commissions. "The Brunette Odalisque" (French: L'Odalisque or l'Odalisque brune) is a painting of c. 1745 by François Boucher, now in the Louvre in Paris. He later produced two other works in the odalisque genre, both known as "The Blonde Odalisque". The present painting is another version of Bouchers painting which differs in minor details. The quality of the paint is very fine and the whole technique and style allows a dating to c. 1750. As Boucher's Painting was very famous there were several copies and versions which were made by his studio. The present painting can be attributed to the close circle of Boucher. The Painting is framed in a golden frame which was built in the Rococo style in c. 1990. Both the title of Boucher's painting and the objects found in the interior fix the subject as an odalisque, a concubine within the harem of the Ottoman sultan. The sumptuous textiles and exotic, decorative objects suggest early traces of Orientalism, although the figure appears European. Odalisque paintings...

French School, early 1800's circle of Jean-Honore Fragonard (1732-1806) sketch of a scantly clad woman in a natural wooded landscape setting oil painting on wood panel, framed in per...

"Belle Saison" The Beautiful Season - Figurative Nude Study Nude study of a standing woman encapsulated in a golden surrounding with stratified textures on either side by Andrzej Malinowski (Polish, 1947-). The woman has bright orange hair, pulled back, wearing nothing but an orange sarong. Her eyes are closed, with a graceful, poised appearance. The woman in encapsulated in a golden background with stratified leaf textures on each side. The texture depicts tones of orange, blue, yellow and greens. Signed "A. Malinowski" lower right. Presented in a giltwood frame. Image with frame: 48"H x 41"W Image: 38.5"H x 31.5"W Andrzej Malinowski was born in Warsaw, Poland in 1947. He worked as artist, painter, graphic designer, illustrator, and poster creator. He resides and works in France. In his youth, Andrzej Malinowski drew inspiration from the works of Vermeer and Rembrandt. In 1973, he graduated from the Warsaw Academy of Fine Arts in the Illustration Department. After obtaining his diploma, he moved to Paris, where he continues to live and create. In 1982, he was granted French citizenship. During the initial period of his stay in France, Malinowski was engaged in artistic direction, creating audiovisual presentations, television programs, graphics, illustrations, and posters. During this time, he won awards in the field of posters and illustrations. In 1977, he received the First Prize for the poster for the film The Exorcist at the Deauville Film Festival, as reported, among others, by French newspaper Le Parisien. Andrzej Malinowski collaborated with the most prominent film directors. Those include: Andrei Tarkovsky (Nostalghia, 1983), Jerzy Skolimowski (Success Is the Best Revenge, 1984), Andrzej Wajda (The Possessed...