Cotton Nude Paintings

Judith Brenner Solfrid Dancing 2 Original Figurative Drawing Acrylic Paint, Pan Pastel, Ink and Watercolour Pencil on Paper Sheet Size: 84.1cm x W 59.4cm x D 0.1cm Sold Unframed Plea...

Fantastic original artwork

Gloria Dudfield Sitting with Green 1960's Gouach on paper 11"x17.5" unframed. Gloria (Fischer) Dudfield July 12, 1922 – May 27, 2015 Came from a portfolio of her work in the San Fr...

Original figurative painting, expressive nude artwork, contemporary nature-inspired wall art, “Woman Under an Apple Tree,” captures a powerful and poetic connection between the human...

This contemporary abstract expressionist woman's figure was created by the French artist Natalya Mougenot and is part of her ongoing series dedicated to Women, where she explores the...

Inspired by Miami’s iconic Art Deco breezeblocks, this painting transforms architectural pattern and ornamentation into a refined language of repetition, rhythm, and light. Geometric...

Ewart Johns (British, 1923 – 2013) Projections on a figure III Watercolour on paper Signed with initials and dated ‘EJ 92’ (lower left), further titled and dated (on the reverse) 9.5...

An original oil on canvas painting from the estate of George North Morris from the artist's "Lovers" series. This piece comes in its original wood frame presentation. George North Morris - painter, writer, teacher Born May 13, 1915 in East Liberty, PA Died Oct. 1, 1996 in Hudson, NY Studio locations over the years: varied from Hyannis (MA), Providence (RI), Oglethorp (GA), Montpelier (VT), Yonkers & Westchester Co. (NY) to the later years in Germantown (NY). Subject matter consisted mainly of seascapes and landscapes but in the 60's and 70's he experienced his abstract era. The later years, in fact most of his life was spent in New England and N.Y. state. Most of his more valuable paintings where along the Hudson River and Westchester County. His most frequent methods were oils and water colors, and in the 1940' his artistic expression was through the use of clay. Most of his pottery was made from local Cape Cod (Barnstable) clay which he and his family dug, washed and prepared. He wrote a part of the foreward, called "The Tradition", for a book "A Century and a Half of American Art 1825-1975". Published in 1975 by the "National Academy of Design". He was also an art critic and reporter for the Worcester Telegram and the Provincetown New Beacon. He was a person that felt time was by far better spent talking about and hearing ideas and thoughts. The following are some of his. George Morris's life was that of art and art critic as well as educator. "It was the two summers, 1938 and 1939" recalled Morris, "that I really learned how to paint". Though much of his work showed a strong Edward Hopper influence, at the same time it took many roads. It was, over the years, much too varied to categorize. He started with collage, moved to abstraction, and then to a period during the late 1960s and '70s when he completed what he called his "Lovers Series" - erotic paintings filled with large orchestrated flat color - that show him moving away from abstraction. Upon becoming bored with the concept of abstract painting, he looked for new challenges in pastels, acrylics and water colors, painting once again what he called "the world as it is recognizable by others". George firmly believed that all the best artists are good hucksters, too. Solo exhibitions as a painter were as follows: Columbia-Greene Community College - 1985 Barrett House - 1985 Smith Gallery - 1980, '81, '82 Swansborough Gallery, Wellfleet - 1983 Hopper House, Nyack, NY - 1981 Hudson River Museum, Yonkers Shepherd Gallery...

Jack Hooper "Green Nude 2" c. 1980s Acrylic paint on magazine page 9"x11.5", black wood gallery frame float mount 11"x14" Signed in pencil lower right Hooper's distinctive approach to artistry is exemplified by his ingenious use of acrylic paint on a magazine page, where elements of the original page subtly peek through the layers of vibrant color. This technique adds an intriguing depth to the composition, blurring the boundaries between reality and abstraction. Jack Meredith Hooper (August 26, 1928 - January 24, 2014) was an American painter, muralist, sculptor, printmaker and art educator. Hooper was a major figure on the Southern California art scene, belonging to that generation of Los Angeles painters...

Includes a Certificate of Authenticity

As is generally the case with my paintings, this work proceeded from a place of unknowing. The specificity of imagery and technique belie the non-specific character of the ideas and narratives presented. The imagery is not tied to any pre-existent source (textual or other). It is not preconceived by the artist, rather it is produced spontaneously in the process of painting. That said, it seems both easy and sensible to connect the imagery in this painting to common cultural material, especially that from very ancient sources. The central figure is very much like a totemic Neolithic goddess- the sort of which seem to be among the most ancient artistic works, examples are extant from eras stretching back tens of thousands of years. A lot has been written about figures of that kind but of course no one can reasonably claim to truly understand them. Here the great goddess appears with wings and entwined serpents. Crowned also with a glowing orb she has become an emblem of a matristic hermetica. The smaller figure may be less evidently archetypical. She is a younger goddess, a daughter like Persephone to Demeter. She lifts the breasts of her mother signifying perhaps how the presence of the child evokes the nurturing qualities of the mother or how Persephone’s seasonal ascent from the underworld awakens in her mother the impulse to again give life to the world. The cluster of gynomorphic figures contained by the crescent moon at the center of the painting refer to the balanced transformations of the lunar cycle and their mysteriously harmonic physical manifestation in the vital cycles of a woman’s body. At their axis is the cycloptical abdomen of the figure enthroned on the moon. The entire totem rises from a terrestrial gateway into an open landscape. In the background megaliths obscure the horizon. They represent a first boundary in time- the beginning of history. Below is the gateway, the opening to an inner earth...

This minimalist diptych by Ryan Rivadeneyra explores rhythm, balance, and repetition through softly undulating horizontal bands. Layered tones of blue, charcoal, and red evoke shifti...