Oil Nude Paintings

The Artists Model Nude Lady Model French School, circa 1970's signed oil painting on card, unframed size: 17 x 24.5 inches condition: overall very good, a very few light markings t...

Robert Phillipp "Corner of My Studio" Original Painting c.1968 Original oil on canvas. Dimensions 12" x 16". The frame measures 16" x 20". Signed low...

Artist: Jan De Ruth, Czech (1922 - 1991) Title: Resting Year: circa 1965 Medium: Oil on Canvas, signed l.r. Size: 26 x 48 in. (66.04 x 121.92 cm) Frame Size: 33 x 55 inches

Ryan Morse's "Overlapping" is an original, handmade oil painting that depicts the back of a nude female figure eclipsing the body of another nude female fig...

"A woman becomes a goddess when she explores and accepts her femininity."

Seated. 1980. Oil on board, 56x45 cm Woman act Ludmila Meilerte (1908 – 2008) - Painter 1940 – The Art Academy of Latvia, the masterclass of V. Purvitis. 1944 – Emigration to Germany. 1948 – Emigration to Australia. L. Meilerte took part at Latvian and Australian art exhibitions. She painted landscapes, still life’s, portraits. Her paintings are expressive and colorful. The artist was awarded in regional exhibitions and competitions. Dunlop Prize 1952, the Gosford Art Prize (1st prize) judged by Sir Russel Drysdale 1971, and the Victorian Artists Society`s Pirstitz Prize and gold medal in 1982. Royal exhibition in Melburn – 1975, 1976. Ludmilla Meilerts is represented in the National Gallery of Victoria, Melbourne; Tasmanian Art...

A German painter from Baden, he was a student of J W Schirmer in Dusseldorf and Baden Court. Oil on Panel Signed and Dated 1865 Provenance: Private Collection, Austria

Artist: Julian Ritter, Polish-German/American (1909 - 2000) Title: Reclining Nude Year: circa 1955 Medium: Oil on Masonite Size: 14 x 18 in. (35.56 x 45.72 cm) Frame Size: 17.5 x...

Joy Carrington Nude Model with Art Students (1907 - 1999) San Antonio Artist Image Size: 35 x 18.5 Frame Size: Unframed Medium: Oil Circa 1940 Nud...

A large, original Scottish portrait by noted Scottish artist David Foggie. This oil on canvas depicts a woman bathing and is one of his best portraits. It dates to 1924 and is in fin...

Morning Swim Impressionist Nude Woman Portrait Artist signed, titled verso. Wallace Bassford was an American painter and illustrator, known particularly for his floral still-lifes an...

The Artists Model Portrait of a Nude Lady reclining French School, circa 1970's indistinctly signed oil painting on card, unframed size: 17 x 25.5 inches condition: overall very goo...

This artwork "Nude" is an oil painting on canvas by noted Czech/American artist Jan De Ruth, 1922-1991. It is signed at the lower right corner by the artist. The canvas size is 16 x 13 inches, framed size is 24 x 21 inches. Framed in the original wooden gold and black antique style frame, with fabric liner and gold bevel. It is in excellent condition. About the artist: Born Karlsbad, Czechoslovakia Studied: Rotter Art School, Prague; Ruskin Art School, Oxford University, England; ASL New York; New School, NY; also with Frederic Taubes. Exhibited: 38 National Juried Exhibitions, 14 Museum Solo Shows and 51 Gallery Solo Exhibitions. Author: Portrait Painting, 1964; Painting the Nude, 1968. De Ruth, a native of Czechoslovakia and an American citizen, spent the years of World War II being shunted through five different concentration camps, including the infamous Auschwitz. He made four escape attempts and finally made good on his fifth try. De Ruth constantly sought materials with which to draw, but "The only things we had were the few pieces of cloth we wore," he recalls. By chance, he was transferred to Germany as part of a labor detail and managed to sneak a pencil away from the camp supervisor. "I became a perfect thief during those years," he says. De Ruth drew a mother and child on a scrap of paper he scrounged from the factory where he worked and filled it in with shadings of coffee in various strengths-his finger was his brush. He exchanged the sketch for a piece of bread from a camp guard, and in effect, sold his first painting. In March of 1945, after being transferred to his native Czechoslovakia, he made his successful escape "knowing every step of the way." After the war, De Ruth became the commissar in a small Czech town and remained in the post for one year, just long enough to forge some documents that allowed him to flee to England. He took up residence in London and enrolled at the Ruskin Art School in Oxford University. He arrived in the USA in 1948. There are times in the life of a painter when his dedication to his art is overshadowed by the immediate requirements of self-preservation. This was one of those times! From '48 to 1955 he supported himself by working at night, earning his way painting designs on neckties and bathroom cups...

Nude Oil on canvas, 1923 Signed and dated lower left: Wm. Wiessler, '23 (see photo) Condition: excellent Canvas size: 24 1/4 x 29 1/4" Frame size: 33 5/8 x 38 5/8" Provenance: Estate of the Artist Radecki Galleries, South Bend Thomas French Fine Art...

"The jug is so simple, any potter blinds it without difficulty, And everything in you inspires me with awe, Everything is full of subtle feminine charms."

Impressionist Nude, Voluptuous Model, Oil Painting By French artist Garnvault, 20th Century Signed by the artist verso Oil painting on canvas, unframed Canvas size: 15 x 18 inches S...

"Reclining Nude" by Gustave Durand is a beautiful, classical French nude in the tradition of Carolus-Duran and the Académie Julian.

Signed oil on canvas nudes in landscape circa 1910 by Belgian neo-impressionist painter Georges Lemmen. The work depicts nude bathers on a sunny beach beside the sea. Signature: Signed lower left with the cachet of painter Dimensions: Framed: 23.5"x24.5" Unframed: 14.5"x15.5" Provenance: Olivier Bertrand (expert on the painter) has confirmed the authenticity of this work Georges Lemmen was the son of an architect and studied under Amédée Bourson at the academy in St Joost-ten-Node. He was invited in 1889 to join the Group of Twenty ( Cercle des XX) which had been launched in 1884 by Oscar Maus and had in the interim emerged as an influential force in Belgian artistic circles, not least by bringing to public and critical attention the work of such artists as Georges Seurat and Paul Signac. The Cercle des XX would be reborn in 1894 as La Libre Esthétique. In the early days of the Cercle des XX, Lemmen espoused a pointilliste technique. His earlier painting was clearly influenced by the Neo-Impressionists; over time, however, his style became more subtle and nuanced - recalling, perhaps, that of his compatriot Van Rysselberghe, another Cercle des XX member. With the group's rebirth as the Libre Esthétique, Lemmen's work became more intimiste in character, most notably in his portraits, nudes and still-lifes, where the influence of Bonnard and Vuillard is unmistakable, as is that of Renoir, particularly after Lemmen's travels in the Midi in 1911. From this point onwards, he would go on to make a major contribution to the renewal of the graphic and decorative arts in terms of his input to the new 'free' aesthetic and to Art Nouveau. Although his draughtsmanship retained its essential purity and elegance of line, his painting became more fleshy, imprecise and sensual, his compositions governed less by technical considerations than by the urgent need to express his emotions. Between 1889 and 1893, Lemmen exhibited at the Salon des Indépendants in Paris, aligning himself with the Neo-Impressionists. In 1893, Henry van de Velde invited him to participate in the Pour l'Art association that had been created in Antwerp. He travelled to the south of France in 1911. By this juncture, he had already exhibited solo on two occasions (in 1906 and 1908) at the Galerie Druet in Paris. A further solo exhibition in 1913, his first in Brussels, cemented Lemmen's reputation. Museum and Gallery Holdings: Bremen (Kunsthalle): Standing Nude Combing her Hair Brussels (Mus. royaux des Beaux-Arts de Belgique): Children's Room (watercolour); Reading; Couture; Young Girl by the Sea...

Count Albert de BELLEROCHE 1864–1944 Painter of portraits and genre, and lithographer; influenced by Impressionism. Born 22 October 1864 in Swansea, of Huguenot descent. Brought up b...

Coreen Mary Spellman (1905 - 1978) Dallas Artist Image Size: 20 x 14 Frame Size: 25 x 19 Medium: Oil Bio: Exhibited in the Ninth Annual Student Art show at the State University of Iowa Coreen Spellman Biography Coreen Mary Spellman (1905 - 1978) Coreen Mary Spellman was a fine-art teacher as well as a painter, designer, illustrator, lithographer and muralist. Many of her paintings depicted human-made structures and industrial landscapes in a style combining realism, precisionism and abstraction. Often the central subject such as in "Railroad Signal" was the only suggestion of humanity against a backdrop of stark Texas landscape. Of her painting these isolated subjects she said: "I enjoy taking some rather obscure or unimportant subject or theme and making something fine and important out of it . . . It always gives me great pleasure to discover something which has been passed over as being inadequate material". (Trenton 199) Spellman was born in Forney, Texas in 1905. At an early age she moved to Dallas, Texas and studied under Vivian Aunspaugh before attending the College of Industrial Arts (Texas Woman's University). She received a Master of Arts degree from Columbia University and a Masters Degree from the University of Iowa, Iowa City in 1942. In addition, Spellman received a Carnegie Scholarship for study at Harvard University, followed by studies with Kenneth Hayes Miller, Vaclav Vytlacil, and Charles Wheeler...

The wind of change is rarely warm and gentle, it can rather knock you off your feet. But still refreshing, invigorating and internally feel you can not do without it. Sometimes it's ...

Signed and titled oil on board nude circa 1905 by Belgian neo-impressionist painter Georges Lemmen. The work titled 'Reverie' depicts a red-haired lady who is kneeling down and resting her head on her arm. Signature: Signed lower right and titled on original artist's label verso Dimensions: Framed: 16"x19" Unframed: 10"x13" Provenance: Original artists label verso for Georges Lemmen at 96 Avenue Coghen , Brussels Private collection - Brussels Georges Lemmen was the son of an architect and studied under Amédée Bourson at the academy in St Joost-ten-Node. He was invited in 1889 to join the Group of Twenty ( Cercle des XX) which had been launched in 1884 by Oscar Maus and had in the interim emerged as an influential force in Belgian artistic circles, not least by bringing to public and critical attention the work of such artists as Georges Seurat and Paul Signac. The Cercle des XX would be reborn in 1894 as La Libre Esthétique. In the early days of the Cercle des XX, Lemmen espoused a pointilliste technique. His earlier painting was clearly influenced by the Neo-Impressionists; over time, however, his style became more subtle and nuanced - recalling, perhaps, that of his compatriot Van Rysselberghe, another Cercle des XX member. With the group's rebirth as the Libre Esthétique, Lemmen's work became more intimiste in character, most notably in his portraits, nudes and still-lifes, where the influence of Bonnard and Vuillard is unmistakable, as is that of Renoir, particularly after Lemmen's travels in the Midi in 1911. From this point onwards, he would go on to make a major contribution to the renewal of the graphic and decorative arts in terms of his input to the new 'free' aesthetic and to Art Nouveau. Although his draughtsmanship retained its essential purity and elegance of line, his painting became more fleshy, imprecise and sensual, his compositions governed less by technical considerations than by the urgent need to express his emotions. Between 1889 and 1893, Lemmen exhibited at the Salon des Indépendants in Paris, aligning himself with the Neo-Impressionists. In 1893, Henry van de Velde invited him to participate in the Pour l'Art association that had been created in Antwerp. He travelled to the south of France in 1911. By this juncture, he had already exhibited solo on two occasions (in 1906 and 1908) at the Galerie Druet in Paris. A further solo exhibition in 1913, his first in Brussels, cemented Lemmen's reputation. Museum and Gallery Holdings: Bremen (Kunsthalle): Standing Nude Combing her Hair Brussels (Mus. royaux des Beaux-Arts de Belgique): Children's Room (watercolour); Reading; Couture; Young Girl by the Sea...

Nude Portrait of a Reclining Lady By J.B.Holmes, British artist, 20th Century Oil painting on board, unframed Board size: 16x12 inches Exquisite nude oil painting of a young lady, ...

French Oil painting on Canvas, a reclining Nude 19Th Additional Info: Title: reclining nude Medium: original oil on canvas Signature: Signed lower right Provenance: private collect...

Hollis Dunlap's (US based) "(Waiting for) the Onset of Colors" is an original, handmade oil painting that depicts a woman in profile with long dark hair ...

Vintage and usual American school painting. Oil on board.

"Reverie" is a figurative nude Painting by the impressionist Maestro Dmitriev Alexey Olegovich. About the artwork: TECHNIQUE: oil painting...

"Floral Sheets" is a contemporary impressionist painting of a resting nude woman. A nude figure lies on her back on a bed. Colorful textiles surround her...

Seated Nude Woman Bay Area Figurative School Abstract Expressionist Seated wearing a hat by Santa Cruz and San Francisco artist Heather Speck (American,...

Artist: Jan De Ruth, Czech (1922 - 1991) Title: Another Question Year: circa 1960 Medium: Oil on Canvas, signed l.r. Size: 28 in. x 22 in. (71.12 cm x 55.88 cm) Frame Size: 35.5 x 29...

Allen Dean Cochran’s Nude Woman Sitting by Stream is a captivating exploration of serenity and nature, rendered in vibrant hues of green and blue. The painting features a nude woman ...

Nude study of the Three Graces attributed to André Favory unsigned, after Cezanne. Excellent condition, framed.

American Impressionist beach scene by George Renouard. Painting depicts a family of bathers at the shore. The figures are three dimensional. The colors are both bold and soft. Figural paintings by Renouard are rare. This is a master piece by the artist. Oil on canvas board. In a period frame. Circa 1950. Presented by Joseph Dasta Antiques George A. Renouard (American, 1884-1954) noted painter, printer and graphic artist. His career spanned more than forty years, between the years of 1914 until his death in 1954. Born in Rochester, NY and later moved to New York City. He studied at the Pratt Institute & Erasmus Hall in Brooklyn, also at the Art Students League, NYC under John Sloan and Mahonri Young. Renouard lived & maintained a studio on the Lower East Side of New York. Renouard’s father became well known for his invention of a type of embalming fluid and was moderately wealthy during this time period. As a result, it afforded George a life of leisure to pursue his passion of painting. Renouard often depicted life among the less fortunate peoples in society such as immigrants, beggars & drunkards, the unemployed, and the poor working class. Many of his works clearly show the love and empathy that he had for his fellow man. He actively painted along the south shore in Brooklyn, Long Island, Staten Island, Vermont, the Catskill Mountains, the Berkshires, as well as Rockport, Massachusetts and its environs. He is well known for his beautiful landscapes, seascapes, portrait...

Nude study of the Three Graces attributed to André Favory unsigned, after Cezanne. Excellent condition, framed.

Sisters of Rind Jan De Ruth, Czech (1922–1991) Date: circa 1965 Oil on Canvas, signed lower right Size: 48 in. x 30 in. (121.92 cm x 76.2 cm) Frame Size: 56 x 38 inches

"Nudity" is a figurative nude Painting by the impressionist Maestro Dmitriev Alexey Olegovich. About the artwork: TECHNIQUE: oil painting ...

Baron Michael D`Aguilar was born on May 15, 1922 in London to Spanish parents. He was brother of the artist Paul D`Aguilar. He spent much of his early life in Spain. He studied at...

".Summer Day" is an impressionist oil painting by Maestro Valeriy Zalishchuk About the artwork: TECHNIQUE: oil painting STYLE: Impressionist, Cont...

Nude 1960s. Oil on canvas. 60x73 cm "Nude" is a captivating and elegant artwork that celebrates the female form in a tasteful and artistic manner. Through skillful brushwork, the artist aims to convey the woman's beauty and allure, inviting viewers to appreciate the timeless fascination and artistic exploration of the nude human figure. Aleksandra Belcova...

Artist: Moses Soyer, American (1899 - 1974) Title: Seated Nude Posing Year: circa 1950 Medium: Oil on Canvas, signed u.r. Size: 21 x 17 inches Frame: 26 x ...

"Marguerites" is a painting by the impressionist Maestro Ivan Roussev. About the artwork: TECHNIQUE: oil painting STYLE: Impressionist, Contemporary Edition : Unique, signed Weight...

“Often an act, in itself worthy of condemnation, becomes laudable due to the intention that inspires it”

Act in pink. 1970. Oil on plywood, 78x52 cm Composition with woman act in pink color

After studying anatomy and academic painting at the Florence Academy of Art, Ben Fenske took the skills he learned and stepped back, putting his own hand into an academically proport...

Exquisite oil on canvas painting by artist Arthur Bowen Davies (American 1862-1928). The work depicts a young nude man walking through a lush green, ethereal landscape. Thick earth-t...

"Beautiful And Large Oil On Canvas Impressionist Nude Signed V Regnart" Victor Regnart is a Belgian painter and engraver born January 26, 1886 in Élouge...

"Happy is he who can love his wife like a mistress, and unhappy is he who allows his mistress to love him like a husband."

Ann Brockman (1895–1943) was an American artist who achieved success as a figurative painter following a successful career as an illustrator. Born in California, she spent her childhood in the American Far West and, upon marrying the artist William C. McNulty, relocated to Manhattan at the age of 18 in 1914. She took classes at the Art Students League where her teachers included two realist artists of the Ashcan School, George Luks and John Sloan. Her career as an illustrator began in 1919 with cover art for four issues of a fiction monthly called Live Stories. She continued providing cover art and illustrations for popular magazines and books until 1930 when she transitioned from illustrator to professional artist. From that year until her death in 1943, she took part regularly in group and solo exhibitions, receiving a growing amount of critical recognition and praise. In 1939 she told an interviewer that making money as an illustrator was so easy that it "almost spoiled [her] chances of ever being an artist."[1] In reviewing a solo exhibition of her work in 1939, the artist and critic A.Z Kruse wrote: "She paints and composes with a thorough understanding of form and without the slightest hesitancy about anatomical structure. Add to this a magnificent sense of proportion, and impeccable feeling for color and an unmistakable knowledge of what it takes to balance the elements of good pictorial composition and you have a typical Ann Brockman canvas."[2] Early life and training Brockman was born in Northern California in 1895 and spent much of her youth in nearby Oregon, Washington, and Utah.[1][3] She met the artist William C. McNulty in Seattle where he was employed as an editorial cartoonist. They married in March 1914 and promptly moved to Manhattan where he worked as a freelance illustrator.[4][5] At the time of their marriage, Brockman was 18 years old.[6] Over the next few years, her career generally followed that path that her husband had previously taken. His art training had been at the Art Students League beginning in 1908; she began her training there after moving to New York in 1914.[1] After an early career as an editorial cartoonist, he freelanced as a magazine and book illustrator beginning in 1914; she began her career as a magazine and book illustrator in 1919.[7] He embarked on a teaching career in the early 1930s and not long after, she began giving art instruction.[8][9] While they both adhered to the realist tradition in art, their usual subjects were different. His prominently depicted urban cityscapes in the social realist whereas hers generally focused on rural landscapes. He was best known for his etchings and she for her oils and watercolors.[8][10] Brockman returned to the Art Students League in 1926 to take individual instruction for a month at a time from George Luks and John Sloan.[1] Despite their help, one critic said McNulty's "sympathetic encouragement and guidance" was more important to her development as a professional artist.[11] Career in art In the course of her career as illustrator, Brockman would sometimes paint portraits of celebrities before drawing them, as for example in 1923 when she painted the French actress Andrée Lafayette who had traveled to New York to play title role in a film called Trilby.[12] She would also sometimes accept commissions to make portrait paintings and in 1929 painted two Scottish terriers on one such commission.[13] During this time, she also produced landscapes. In 1924 she displayed a New England village street scene painting in the Second Annual Exhibition of Paintings, Watercolors, and Drawings in the J. Wanamaker Gallery of Modern Decorative Art.[14] Available sources show no further exhibitions until in 1930 a critic for the Boston Globe described one of her portraits as "well done" in a review of a Rockport Art Association exhibition held that summer.[15] Between 1931 and her death in 1943, Brockman participated in over thirty group exhibitions and five solos.[note 1] Her paintings appeared in shows of the artists' associations to which she belonged, including the Rockport Art Association, Salons of America, Society of Independent Artists, and National Association of Women Painters and Sculptors.[17][19]Between 1932 and 1935, her paintings appeared frequently in New York's Macbeth Gallery.[20][23][25][27] She won an award for a painting she showed at the Art Institute of Chicago in 1940.[41] In 1942, the Whitney Museum bought one of the paintings she showed in its Biennial of that year.[10] Critical praise for her work steadily increased during the decade that ended with her untimely death in 1943. In 1932, her painting called "The Camera Man" was called "a clever piece of illustration."[21] Three years later, a painting called "Small Town" gave a critic "the impression of freshness, honesty, and skill".[29] In 1938, a critic described her "Folly Cove" as "masterful" and said "Pigeon Hill Picnic" was "sustained by excellence of execution".[48] At that time, Howard Devree of the New York Times saw "evidence of gathering powers" in her work and wrote "she imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Three years later, a Times critic reported Brockman had "set herself a new high" in the watercolors she presented,[52] and another critic said the gallery where she was showing had not "for some time" shown "so outstanding a solo exhibitor as Ann Brockman."[2] Shortly before her death, a critic for Art News maintained that she was "one of America's most talented women painters".[46] After she had died, a critic said Brockman's paintings "displayed real power", adding that she was "highly rated among the nation's professional artists" and was known to give "aid and encouragement, always with a smile," both artists and to her students.[10] in reviewing the memorial exhibition at the Kraushaar Galleries held in 1945, reviewers wrote about the strength and vibrancy of her personality, the quality of her painting ("every bit as good, possibly better than people had thought"),[53] called her "one of the best of our twentieth century women painters", and credited "her sense of the vividness of life" as a contributor to "the unusual breadth that is so characteristic of her work.[11] One noted that her work was "widely recognized throughout the country" and could be found in the collections of prominent museums, including the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Art Institute of Chicago.[54] Writing in the Times, Devree wrote, "even those who had followed the steady growth of this artist for more than a decade, each successive show being at once an evidence of new achievement and an augury of still better work to come, may well be surprised at the combined impact of the selected paintings in the present showing,"[55] and writing in the Brooklyn Daily Eagle, A.Z Kruse said she had made "extraorginary accomplishments", painted with "inordinate distinction" showing a "lyrical majesty," and possessed "a keen esthetic sense which did not deviate from truth."[54] Artistic style (1) Ann Brockman, undated drawing, black chalk on paper, 18 x 22 inches (2) Ann Brockman, High School Picnic, about 1935, oil on canvas, 34 1/4 x 44 1/4 inches (3) Ann Brockman, untitled landscape, about 1943, watercolor and pencil on paper, 15 1/4 x 22 1/2 inches (4) Ann Brockman, North Coast, undated watercolor, 21 1/2 x 30 inches (5) Ann Brockman, On the Beach, 1942, watercolor on paper, 16 1/2 x 20 inches (6) Ann Brockman, Lot's Wife, 1942, oil on canvas, 46 x 35 inches (7) Ann Brockman, New York Harbor, 1934, watercolor on paper, 13 1/2 x 19 1/4 inches (8) Ann Brockman, Youth, 1942, oil on board, 13 1/2 x 11 1/2 inches Brockman was a figurative painter whose main subjects were rural landscapes and small-town and coastal scenes. She worked in oils and watercolors, becoming better known for the latter late in her career. Most of her paintings were relatively small. Although she made figure pieces infrequently, the nudes and circus and Biblical scenes she painted were seen to be among her best works. In 1938, Howard Devree wrote: "Her gray-day marines and coast scenes are familiar to gallery goers and are favorites with her fellow artists. Her figure pieces have attained a sculptural quality without losing warmth or taking on stiffness. One spirited circus incident of equestriennes about to enter the big tent compares not unfavorably with many of the similar pictures by a long line of painters who have been fascinated by the theme. She imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Similarly, a critic for Art Digest wrote that year: "Fluently and virilely painted, [her] canvases suggest a close affinity between nature and humans. The artist takes her subjects out in the open where they may picnic or bathe with space and air about them. A fast tempo is felt in the compositions of restless horses and nimble entertainers busily alert for the coming performance. Miss Brockman is also interested in portraying frightened groups of people, hurrying to safety or standing half-clad in the lowering storm light."[56] Her palette ranged from vivid colors in bright sunlight to somber ones in the overcast skies of stormy weather. Of the former, one critic spoke of the rich colors and "sun-drenched rocks" of her coastal scenes and another of her "summery landscapes of coves and picnics."[11][50] Of the latter, Howard Devree said she "painted so many moody Maine coast vignettes of lowering skies and uneasy seas that artists have been heard to refer to an effect as 'an Ann Brockman day'".[57] Brockman's handling of Biblical subjects can be seen in the oil called "Lot's Wife", shown above, Image No. 6. Her watercolor called "On the Beach" and her oil portrait called "Youth" may both indicate the "sculptural quality" that Devree said was typical of her figure pieces (Image No. 8, above). An example of Brockman's bright palette in a typical summer theme is the oil painting called "High School Picnic" shown above, Image No. 2. Next to it is a painting, an untitled landscape of about 1943 whose medium, watercolor on paper, shows off the sunny palette she often used (Image No. 3). Among the darkest of her works was an untitled 1942 drawing she made in black chalk (shown above, Image No. 1). In a book called Drawings by American Artists (1947), the artist and art editor Norman Kent noted that this study influenced her painting through its use of "forms" that were "elastic" and suggested "color". He said its "massing of dark and light" created "a definite mood" that was "impressionistic" and had "the strength of a man's work".[58] Brockman's undated watercolor called "North Coast" (shown above, Image No. 4) is an example of the paintings to which Kent referred. Illustrator (9) Ann Brockman, cover, March 12, 1917, Every Week magazine (10) Illustration of an article, "The Taking of a Salient" by Henry Russell...

Clyde Steadman's "Bathsheba" is an original, handmade oil painting that depicts an impasto painting of a nude female model in an interior setting.

If something about this painting seems familiar, it is for good reason! Dating from circa 1905-10, it is a work by Lucien Boulier (1882-1963), who was effectively Renoir's last stude...

Philippe Couture was born in Drummondville, Canada in 1984 and currently resides in Kyoto, Japan. Phil’s art education was primarily self-taught. His training consisted of drawing an...

"Woman's Thought" is a figurative Painting by the impressionist Maestro Dmitriev Alexey Olegovich. About the artwork: TECHNIQUE: oil paint...

This artwork "Two Nude Couples" is an oil painting on masonite board by noted German/American artist Norbert Schlaus, 1927-2009. It is signed at the lower left center by the artist. ...

Floating is an impressionist oil on panel painting. It depicts two people floating naked in water holding each other. This painting can be hung horizontally, or vertically. Frame ...

Impresionist woman nude figure

‘The Bathers’ Nude Boys Sitting on the Rocks beside the Sea Oil on Canvas. 12 x 20 in. (frame.18 x 26 in.) Signed, and Inscribed in Cyrillic on the reverse. Inscribed. Circa 2019. ...

Painter and teacher, Thomas Fogarty, Jr., taught at the Art Students League in Manhattan for many years and exhibited his oil and pastel landscapes and still lifes at the Whitney Museum of American Art and many New York galleries. Fogarty began his teaching career at the Pratt Institute and Rutgers University, before joining the faculty at the Art Students League, where he taught painting, composition and life drawing. Fogarty was a member of the Society of Independent Artists. Both the artist and his father, Thomas Fogarty, Sr., were beloved teachers at the Art Students League and influenced generations of American painters, including Norman Rockwell. In “Draped Nude,” Fogarty’s vibrant use of color and soft, sensitive brushwork reminds the viewer of Pierre Bonnard’s interiors or early Picasso...

"Pink Skirt" is an impressionist oil painting of woman sitting holding a book. Painted from life in his home in Chianti, Italy, his muse, Beatrice, sits on ...