1940s Nude Paintings

Atmospheric vintage nude portrait oil painting of a woman standing by Richard Durando Togo (b.1910). This is a gorgeous dark and moody nude by an...

This charming pastel painting on paper was designed by Pio Santini (1908-1986) and named "nude with lace". The signature, Santini, can be found in the bottom left corner of the artwo...

A beautiful 1940s painting of a seated female nude in a summer landscape by renowned Chicago artist, Francis Chapin (Am. 1899-1965). Painted at the Oxbow School in Saugatuck, Michig...

Antique American cubist nude woman dancing/erotic painting. Oil on canvas. Signed. In excellent original condition. Handsomely framed in a period modernist silver leaf rubbed mol...

A captivating, Modern painting of a female nude seated in a quiet studio interior by famed Chicago artist, Francis Chapin (Am. 1899-1965). A sensitive, skilled portrayal of a female...

Seated Nude Woman American Figurative School 1940s Mid-century American impressionist painting of a woman by American artist Frederick "Fred" Yost (American/Swiss, 1888-1968). He studied: at Mt. Union Col., Alliance, OH; American Students League, New York, and with Homer Boss, John Sloan, Robert Henri, R. Lahey. The painting gleans much form his studies with John Sloan and Robert Henri in the French post-impressionist style. Image 24"H x 18"W Frame, 30"H x 24"W x 1.5"D Signed "Yost" lower right Painter, lithographer, teacher, lecturer About Fred's life: by Hal Fry of the Herald “Fred Does Whatever He Likes” was a title given to a biography written about Fred Yost by Hal Fry of the Herald. The following is taken directly from this column: “Fred Yost’s living style is like his painting style. He has fun with it. Fred John Yost was born in Switzerland, he’ sure, on November 6, 1889, he thinks. His father John brought the family to his country when Fred was about a year old—first to New York and later to Canton, Sebring and finally Alliance, where Yost Sr. loaded freight for a railroad. Fred like drawing and painting so far back he can’t remember how or when it started—it was always that way. But through the public schools in Alliance he didn’t think of this as a career possibility. He wanted to be a newspaperman. He worked his way through Mt. Union College, finishing, he thinks, about 1912. Then he beat it for New York and after kicking around for a time got a job as a proofreader for the Wall Street Journal. He combined this and art school until World War I took him into the Army. In infantry, field artillery and ordnance duties he served with the 27th New York Division through St. Mihiel and the Argonne and the rest—in the process getting his hearing clobbered by blasts from his outfit’s own guns. Coming out a Sergeant in 1919, he went back to the Wall Street Journal briefly—then caught on as a staff artist for the (New York) Herald. For several years, when he felt like it, Yost would take a bus to the Mexican border and switch to a Mexican bus to carry him way down south, then make it any way he could to the places he wanted to see. On these trips he virtually becomes a peon, disappearing totally from those who know him—living with, like and clearly thoroughly liked by the people among whom he moves.” Yost was a graduate of the Art Students League and past president of the Ohio Watercolor Society. Fred Yost, a man who eminently loved the Mexican landscape, Exhibited: S. Indp. A., 1928, 1930-33; MMA, 1945; AIC; Butler AI, 1947-1951; Ohio WC Soc.; PAFA, 1948-1950; Akron AI, 1947-1951, 1958; Fla. Southern Col., 1952; Ohio Univ., 1950; Columbus Gal. FA, 1947-50; AWCS, 1958; Salons of Am.; 3 solo: Canton AI; Akron AI, Springfield Mus. A. Contributor to Ford Times, 1958-59. Awards: prizes, Massilon Museum, 1944; Ohio Watercolor Society, 1944, 1948; Indianapolis, Ind., 1944; Tri-State Pr. M., 1945, 1946; Butler AI, 1946; Youngstown Pub. Schools, 1946 (prize); Ohio Univ., 1950; Ethel Printz award, 1950; Fla. Southern Col., 1952; Akron AI, 1952, 1956-1958; Canton AI, 1961, 1963; medal, Phila. Pa., 1950 Member: Ohio Watercolor Society (president) Work: Massillon Mus.; Youngstown Pub. Sch. Coll.; Butler AI; Akron AI; Kennedy & Co., NY; Beaver Col., Beaver Falls, Pa.; Block Gal., Indianapolis; Prospect Park, NY; murals, Sioux City Steak House; Sioux City A. Center; City Hall, Sioux City; Akron AI; Evangelical Church, Akron; Rockefeller Center; Radio City, NY; Brooklyn Zoological Park. Affiliated with NYC Park Dept. Mural Projects. Comments: Came to U. S. in 1889. Position: teacher, Butler AI; Akron AI; instr., Akron AI, Akron, Ohio; cur. Historical House of Refuge...

Artist: Paul Sieffert, French (1874 - 1957) Title: Reclining Nude Year: circa 1940 Medium: Oil on Canvas, signed l.r. Size: 15 x 24 in. (38.1 x 60.96 cm) Frame Size: 18.5 x 27.5 inches

This interesting British 1940's oil painting is attributed to Harry Jefferson Barnes. Barnes trained at the Slade School of Art and later went on to become Director of the Glasgow Sc...

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...

Artist: George Grosz, German (1893 - 1959) Title: Aroused Year: 1940 Medium: Oil on Paper, signed l.r. Paper Size: 24 x 18 in. (60.96 x 45.72 cm) Frame Size: 36 x 30 inches Prove...

A beautiful Modern figure painting of two bathers in a boathouse by noted Chicago Modern artist, Francis Chapin (Am. 1899-1965). Painted at the Ox-Bow School of Saugatuck, Michigan ...

Work on cardboard Molding frame in plaster and gilded wood 68 x 60 x 8 cm

Striking abstract acrylic painting of a nude male figure in a reclining pose and surrounded by vivid flames by Beugnet, circa 1950. Original artwork on paper displayed on a white...

3901 Posing Nude a 1940's oil on canvas Signed Pascal La Rocca Unframed Some losses to paint.

A rare and breath taking work, with masterful bursh work and sublime execution of light. We are drawn to the subtle beauty and elegant pose. The tasteful compostion lends an intimate scene into the artists studio where Philip has captured her effortlessly. This piece comes displayed in a wonderful frame and hanging wire on verso. Art measures 24 x 20 inches Frame measures 30 x 26 inches Robert Philipp was born on February 2, 1895 in New York City. He was an American painter influenced by Impressionism and Post-Impressionism, and known for his nudes, still lifes, and portraits of attractive women and Hollywood stars. Moses Solomon Philipp showed early talent and grew up in a family atmosphere that fed and cultivated his creativity. At age of 15, he entered the Art Students League for four years and then continued his training at the National Academy of Design. His teachers at the League included George Bridgeman and Frank DuMond, and at the National Academy he studied with Douglas Volk...

Very nicely painted American school modernist painting. Oil on canvas. Signed. Nicely framed. Image size, 16L x 20H.

Marguerite Stuber Pearson Nude, circa 1940 Signed lower right Oil on artist board 20 x 16 inches Marguerite Stuber Pearson was an American painter best known for her elegant portra...

This superb Post Impressionist Slade School female full length seated nude portrait oil painting is by female artist E A Jay. Painted in the 1940'...

Klett was an in-demand illustrator in the post-war period of the late 1940's and 1950's. and . His work appeared in many of the newsstand magazines at the time. This work is a pers...

*UK BUYERS WILL PAY AN ADDITIONAL 5% IMPORT DUTY ON TOP OF THE ABOVE PRICE Jeune Fille à l'Accordéon by ISMAEL DE LA SERNA (1898-1968) Oil on masonite 88.9 x 115.6 cm (35 x 45 ¹/₂ i...

Just discovered within an exceptional private west coast collection, the signature and inscription on this incredible small oil on paper, is at the moment, undecypherable, we are res...

We are proud to present outstanding original oil on canvas by American artist William Gropper (1897-1977.) William Gropper was an artist and illustrator, known for his exceptional a...

Exhibited at the Pennsylvania Academy of Fine Arts (1947) and the University of Illinois Exhibition of Contemporary Painting (1948), this painting by Philip Evergood exemplifies the ...

This superb Post Impressionist Slade School female full length seated nude portrait oil painting is by female artist E A Jay. Painted in the 1940'...

Dorothy King was born and lived in London in 1907. She studied at the Hornsey School of Art under JC Moody, then briefly at the Slade School of Fine Art with Randolph Schwabe. She to...

Signed and dated nude figure in interior oil on canvas by French post impressionist painter Pierre De Belay. This work depicts a painting of Pierre De Belay's wife - Helene. Here she...

René-Paris Castaing, winner of the Grand Prix de Rome in 1924, left a large body of work, both sacred and secular. Many churches in the Pyrénées-Atlantiques, in South-West France still bear witness to the diversity of his talent. In 1942, he began a major decoration project for the Château de Diusse, in the north-east of the county, including an allegory of the four seasons. The vigorous pastel we are presenting here is a study for Spring, depicted as Flore undressing. This commission was a veritable swan song for the artist, who died a year later at the age of 47. 1. René-Marie Castaing, the great inter-war painter in Pau René-Marie Castaing was born in Pau on December 16th 1896. His father, Joseph Castaing, was also a painter: he was the official portraitist of Pau's high society, which was particularly cosmopolitan at the end of the century, when many rich foreigners spent the winter in Pau, taking advantage of the mild weather to enjoy an outdoor lifestyle punctuated by hunting, horse ridings and golf. René-Marie Castaing was admitted to the Ecole Nationale Supérieure des Beaux-Arts in Paris in April 1920 and entered the studio of Paul-Albert Laurens (1870-1934). In 1924, he was awarded the First Grand Prix de Rome for Painting, which earned him a stay at the Villa Médicis for more than three years. He then returned to Pau in 1928, where he lived until his death. Castaing's work is marked by the academic tradition, in which drawing plays as important a role as painting. Although his drawings are often sketches that help to set up large painted compositions, they stand as independent artworks in which the artist fully expresses the vivacity of his talent. Castaing was a fervent Christian and religious painting played an essential part in his work, as shown by the decorations he created for the churches of Bizanos, Borce, Bidache and Salies-de-Béarn. The painter also created several secular decorations, such as that for the dining room of the Villa Saint-Basil's in Pau in 1935, and the Hunting at the Albret’s time commissioned in 1940 by the Prefecture of Pau. The décor created in 1942-1943 for the Château de Diusse, a mansion located north-east of Pau, was his last large-scale décor, as the painter died shortly after its completion on December 8th 1943. 2. Description of the drawing Our pastel depicts an eminently secular theme: Spring is embodied by Flore, crouching on the ground with one knee touching the ground. She reveals her ample bosom by removing her shirt, her arms raised above her shoulders to undress. Given Castaing's classical training at the Beaux-Arts and the influence of ancient statuary...

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...

Presented in a good broad craved and antiqued giltwood frame in the Spanish Baroque style. Each corner boldly carved with a stylized anthemion mantled by foliate scrolls. The beauti...

Work on canvas Golden wooden frame 73 x 105.5 x 5 cm

Guillermo Meza (Mexican, 1917-1997) Sentada Desnuda, 1941 Oil on canvas Signed and dated lower right 23.5 in. h. x 19.5 in. w. 31 in. h. x 27 in. w., as framed He was born in México...

Heavy impasto pained in alla prima ( Wet-on-wet ) technique. Layer of damar varnish. Frame burn, On Masonite. Unframed Signature: Signed Max Weber upper left.

In some instances, a painting will look significantly much better in person than it does digitize. This is one instance. In-person, this painting will knock your socks off. It is...

'Nude Posing on the Sofa', oil on canvas, by Louis Latapie (circa 1940s). From a long line of renowned paintings whose subject is reclining nudes, this ext...

Medium: Oil on Canvas Signature: Signed Lower Right This painting was reproduced on page 151 of John La Gatta-An Artist's Life by Jill Bossert, Madison ...

This charming woman nude pencil study is by Russian-French painter Alexandre Pavlovitch Chemetoff (or Chemetov,) also known as Chem (1891 - 1981). It is a striking representation in ...

Wonderful reclining nude in modern style, circa 1940. Faint illegible signature lower right edge. Condition: Good: Professionally cleaned; two tears professionally repaired/inpainted...

Work on watercolor paper Black wooden frame with glass pane 40 x 48.5 x 3 cm

Arnold Beauvais (1886-1984) Arnold Victor Beauvais was born in Lewisham on 13 April 1886, son of a French father, the artist Charles Henri Beauvais, and an English mother, Anne, née Corfield. He trained in his father's commercial art studio during the day, working on lithographic printing and poster design, and took night classes at the Bolt Court Art School in Fleet Street. In 1903 his father returned to his home town of Marseille and set up a commercial art studio. Arnold studied in Paris for sixteen months before joining his father in Marseille. Charles died...

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...

his captivating work, painted in 1948 by E.Chambon, captures the eye with its intense expression and bold color palette. The portrait depicts a woman with dark, curly hair and a larg...

Gustl Stark (1917 Mainz - 2009 ibid.), Small Nude, 1946. Oil on canvas, marouflaged, 54 x 25 cm (picture), 30 x 60 cm (frame), signed "Stark" top left, verso twice signed "Gustav Stark", inscribed by hand as "Small Nude" and dated by hand "1946". With label of the exhibition of the Bundeshaus Bonn from 1956. - Rubbed area in the lower third of the body, at the same level a retouch in the ochre background. I provisional frame. - Abstract Figurativity - About the artwork During the war, Gustl Stark suffered a particularly severe blow for an artist: he lost his right arm. Nevertheless, he continued to devote himself to art, and the painting, created in 1946, immediately after the end of the Nazi reign of terror, testifies to the dawn of a new era. At the same time, the work is a rare example of the artist's early figurative work, as Stark turned entirely to abstract painting as early as 1950. And even this painting is by no means purely figurative; rather, it already illustrates Stark's turn toward abstraction. We see a female nude, but one that remains faceless. This can be read symbolically and in relation to the immediate past epoch, which, in the face of horrors, silences and blinds - literally renders faceless. In this sense, the figure is positioned to 'look back'. But she does not look. While this meaning may resonate and make the painting an important work of the immediate postwar period, Gustl Stark is primarily concerned with something else here, namely art itself. The absence of the face leads to the body becoming something flat. Due to the de-individualization, we do not see a concrete person with his individual features, but a body surface. And indeed, the body is constructed through an extremely planar design. Even the contour lines that form the corporeality have a planar rather than a linear character, especially where they merge into shadow zones of almost the same color. And the surfaces themselves are not modeled. The incarnate parts do not show any plastic gradations; the corporeality is completely withdrawn into the plane, which is also true for the hair. In addition, there is no uniform background against which the figure could appear; rather, the area next to the hair is kept bluish, creating a succession of earth-toned colored areas, which again binds the figure to the surface. Last but not least, the flatness is also forced by the painting technique. Gustl Stark paints directly, a la prima, onto the coarse canvas, whereby the structure of the painting support remains visible in the picture, and in places - around the hair, for example - the canvas itself can be seen. This structural all-over lends the picture a certain flatness. Gustl Stark thus uses the very motif that stands for the corporeality of art par excellence - the female nude - to transform the spatiality of the traditional picture into a flatness characteristic of modern art. And yet, a strong impression of corporeality is created, without being produced by a painterly modeling of the body. The oscillation between flatness and corporeality creates the intense tension of this groundbreaking painting. In Gustl Stark's oeuvre, as a consequence of the abstraction we see here, the figurative is completely stripped away in a further step, which is also a loss when looking at this early key work. About the artist Gustl Stark was the son of a woodcarver and, after an apprenticeship as a decorative painter, attended the State School of Arts and Crafts in Mainz from 1936 to 1937. Although he was severely wounded in the war and lost his right arm, he studied at the Würzburg School of Painting and Drawing from 1943-1944 and then at the Academy of Fine Arts in Nuremberg from 1944-1948. He won a state scholarship at the state art competition in Bad Ischl. Numerous study trips to Sylt, Paris, Switzerland, Austria, Italy, Holland and Belgium followed. Gustl Stark worked in Mainz and was the first artist there to focus on abstract painting. His work quickly gained international recognition, including the Salon Réaliés Nouvelles in Paris. From 1963-1970 he taught at the State University Institute for Art and Work Education in Mainz and from 1970-1975 at the Johannes Gutenberg University. Gustl Stark became particularly famous for his color embossed prints, for which he invented his own technique. Gustl Stark received numerous awards for his work. He received the Art Prize for Painting of the City of Mainz in 1962, the State Prize of Rhineland-Palatinate in 1984, and the Gutenberg Bust of the City of Mainz in 1987. Selected Bibliography Hans Vollmer (Hrsg.): Allgemeines Lexikon der bildenden Künstler des XX. Jahrhunderts, Vierter Band, Leipzig 1958, S. 344. Hans H...

The present mid-century work features two taboos in one painting. In 1949, it was verboten to glamorize gay life and even more prohibited to show interracial love. This work by Dan A...

A nude white woman gazes out and over a Giorgio de Chirico like surrealist landscape to an overly dramatic sunset with stylized orange rays. In the center of the composition is a cut-out of a mountain with a moat. In the extreme foreground is a silhouetted orange plane with a spiral of leaves. Along with the empty landscapes of de Chirico, it's possible that Frederick Haucke was influenced by Salvador Dalí " The Persistence of Memory" in 1931, and Dali's painting was shown at the Museum of Modern Art in 1934. In that painting, Dali, paints a vacant landscape doted with symbols from the unconscious. This painting by Frederick Haucke owes a debt to giants of the Surrealist movement but still, Haucke carves out his style. The shape of the nude's hair echoes the shape of the sunset. What the symbolism to the mountain is and the flower in the foreground we will leave to the viewer to speculate. It was shown at the very prestigious Pearls Gallery in New York City. Artists in the famous Perls' stable included Derain, Dufy, Rouault, Matisse, Picasso, Modigliani, Pascin, Soutine, Chagall and Vlaminck. With a 1971 retrospective of Alexander Calder's work. This Haucke from the Perls Gallery...

Fabry's captures the hight of elegance in his loose style. Conte crayon, watercolor on watercolor paper Signed lower right Private collection Other works by this artist: ca. 1940 - ...

Orpheus and Eurydice Erle Loran, American (1905–1999) Date: 1949 Oil on Masonite, signed and dated lower left Size: 24 x 36 inches

A magnificent painting by American artist Ron Blumberg, from one of his rarest periods, the, "Psychological Period", which lasted only from 1948 - 1952 and was never replicated. This...