1950s Nude Paintings

THE BLUE COUCH Size: 49.5 x 64 cm (including frame) Oil on Canvas An outstanding and emotive mid-century figurative composition, executed in oil onto canvas. The viewer is drawn in...

HANNAH Size: 57.5 x 76 cm (including frame) Oil on Canvas A brilliant mid-century modernist style composition, executed in oil onto canvas and dated 1951. The composition presents ...

NUDE BY LAVENDER Size: 40.5 x 33.5 cm Oil on board A gentle and emotive mid-century vintage oil portrait, executed in oil onto board and dated 1943-1946 on reverse. A standing nude...

Vintage American modernist male portrait oil painting. Oil on canvas. Signed lower right illegibly. Framed. Image size, 19L x 36H.

Noon. 1978, oil on canvas, 74x92 cm Woman act with drapery Fridrihs Milts (1906.21.XII – 1993.5.XI) Fridrihs Milts graduated studio of Figurative painting (under the guidance of G. ...

A strong yet simple modernist drawing on paper with a beautiful wood frame by Spanish Cubist artist Donato. We are reminded of the Master of Cubist art,...

From the estate of Jerry Opper & Ruth Friedman Opper Buried c. 1940-1950's Gouache on Paper 15" x 18", Unframed $1000 Stamped J. Opper estate stamp *Listed price reflects custom framing selected by seller. Please expect framing time between 4-6 weeks. From the estate of Ruth Friedmann Opper & Jerry Opper. Ruth was the daughter of Bauhaus artist, Gustav Friedmann. Done in the style of the Bay Area Figurative painters of that time and contemporaries would include, Elmer Bischoff, James Weeks and Richard Diebenkorn. Opper Bio Jerry Opper was born in Cleveland, Ohio, on September 5, 1924. He moved to Los Angeles in 1933. After graduating from Hollywood High School, he worked in movie studios and attended art classes at Chouinard Art Institute. In May 1942, Opper was drafted into the army and was then able to study at the Colorado Springs Fine Arts Center while his outfit was stationed in Colorado. Later he was sent to Guam and was discharged in December 1945. Opper returned to Chouinard and his work in movie studios until 1947, when he moved to San Francisco. He enrolled as a full-time student at the California School of Fine Arts (now SFAI) and graduated in 1950. In 1948, Opper met his wife Gertrud Ruth Friedmann, daughter of artist Gustav Friedmann whose works are well known. Shortly after he finished school, Opper worked briefly as a decorator’s assistant and then started his career as a commercial artist, working for several firms such as Fibreboard, Beatrix Food and Precision. One of his preferred mediums was stone lithography, although at times he had to put this aside because of the hard labor associated with the weight of the stones. He eventually needed several back surgeries during his lifetime because of this. Opper’s prints have been included in several major shows throughout the country: Oakland Art Gallery, Sacramento State Fair, San Francisco Museum of Art, International Color Lithography Exhibition at Cincinnati, Ohio, Pennell Print Show at the Library of Congress, Washington D.C., Brooklyn Museum Print Show, Los Angeles County Fair, Pomona, City of Paris Rotunda Gallery, San Francisco. Around 1950, Opper had a one-man show at the Lucien Labaudt Gallery in San Francisco and at the Montalvo Estate in Saratoga, California. At the California State Fair in Sacramento, Opper won the second prize for prints for his lithograph “Aquarium” and this print became part of the Fair’s permanent collection. The print Opper exhibited at the Brooklyn Print...

Vintage American modernist nude abstract painting. Oil on board, circa 1950. Signed. Displayed in a period modern frame. Image size, 17.5"L x ...

Oil on canvas by Fernande Horovitz-Edwards, France, 1950s. "The Girl and her Dog". with frame: 95x76.5 cm - 37.4x30.1 inches - without frame: 82,5x65,5 cm - 32.5x25.8 inches. Signed ...

'Reclining Nude with Parakeet' oil on canvas (circa 1950s). An impressionist portrait of a classically posed reclining nude with her beloved parakeet. Sumptuous muted colours which h...

WALTER PEREGOY "CROUCHING FIGURES" OIL ON CANVAS, SIGNED CALIFORNIA, DATE 1952 30 X 38 INCHES Walter Peregoy 1925-2015 Alwyn Walter Peregoy was born in Los Angeles in 1925. At age nine he began his formal art training at the California College of Arts and Crafts in Berkeley; at age 12 he returned to Los Angeles with his parents and enrolled in Chouinard Art Institute; at 17 he dropped out of high school and went to work for Disney Studios. After serving in the U.S. Coast Guard during World War II, he further studied in Mexico at University de Belles Artes and in Paris. Walt Peregoy “spent three years in Paris studying painting, mostly with Fernand Leger (1881 - 1955). His sketchbooks at the time reflect the strong influence of Fernand Léger, and in fact, Léger offered to sign one of Peregoy’s sketchbooks because he was so impressed with the young artist’s work.” (Amid Amidi in Cartoon Modern). There is not much known about Peregoy’s time studying under the French Modernist except that like Legér, Peregoy also limited himself to simple shapes, painted in strong colors. Moreover, technical objects and machines are featured prominently in the films he worked on. He got to France aboard the Queen Elizabeth in 1948/49 and met his future wife, Madeleine Arneau, shortly after he arrived in Paris. A few years before, (1940-45) Léger lived and worked in the United States, where he reportedly started painting free-form color areas influenced by the light of neon signs around Times Square. Back in France he joined the French Communist Party and began to paint clearer silhouettes and heroic figures. In 1951 he returned to the U.S. and continued working for Disney. Peregoy's unique style meshed well with that of Eyvind Earle (1916-2000) his contemporary and stylist. Peregoy and Earle's work on Paul Bunyan (1958) was nominated for an Academy Award in the short category. Their unique style of animation on Paul Bunyan was a departure for Disney. Peregoy continued to work at Disney for an additional 14 years. Peregoy was lead background painter on Sleeping Beauty (1959), color stylist and background artist on One Hundred and One Dalmatians (1961) and The Sword in the Stone...

CORNELIS KLOOS "DANCERS" OIL ON MASONITE, SIGNED DUTCH, DATED 1951 36 X 28 INCHES Cornelis Kloos 1895-1976 This is translated from the Dutch, in an article in 1996 in regards to a retrospective exhibition at the Museum De Wieger in Deurne, The Netherlands. Cornelis Kloos was born in Rotterdam and grew up in a well-off environment. He followed a training as a backup officer and, together with the poet Nijhoff and the botanist Becking, made plans for a trip through Tibet, but because of the outbreak of World War I, the journey did not go on and he went to The Hague Academy of Art, where he later studied Gave as model designer. In 1940 he was again called under the arms; In the days of his life, he fought as a commander of the Coast Guard. In 1942, like many artists at the time, he reportedly volunteered at the Dutch Culture Chamber, but he would also have played a role in the resistance according to the catalog. Kloos was seriously planning to paint about the entire art history on a fiber-optic plate and to show it in a new educational museum. The public would have a good and bad painting on their side on conveyor belts. As an example for a good canvas, a Titian could have served as an example of how not an abstract Mondrian. Kloos had a location at a holiday park on the spot; The building drawings were already ready, but - he was already in the seventy - his museum never came. For his manuscript Imagination of the visual arts? A rational aesthetic, incorporating ten laws about quality criteria, could not find a publisher. Earlier, in 1962 his studio went into flames. In the royal attic room at his Hague apartment, which should have looked like an oriental palace, much of his oeuvre was lost. His painting Jumping girls from 1934 has disappeared. Goebbels wanted to buy the painting, which was exhibited in Berlin in 1936, but because Kloos refused to shed the black hairs of the pictured women at the request of Goebbels, the sale broke down. The incident sounds unlikely, but it is mentioned in a booklet just published on the occasion of Kloos's first exhibition in Museum De Wieger in Deurne. In addition to over thirty paintings, about twenty drawings and watercolors and some statues, reconstruction drawings of his sculpture garden in Clingendael can be seen. After the war, boyish adventure and dreams returned to beautiful girls in watercolors. Summer tones, mountain-to-valley pulling naked or half-dressed girls and tree-to-wading Tarzan girls. Often we see them happily smiling at sailing ships, sometimes tied to poles near departing trucks full of soldiers. Also naked female figures appear crawling among the goats on mountain slopes. Occasionally Kloos knew about the same airiness as David Hockney, with scenes around tennis courts and swimming pools. The funniest of the exhibition are the dirty feet that he sometimes shows, very subtly, on the tread of his models with some black dirt paint. When Caravaggio did the same, it was shameful. Not so much because of the dirty feet, but because of its models, biblical figures depicted. Due to details like those dirty feet, the dreamy Kloos, who wanted to show the reality of nature, would like to show reality again with both legs on the ground. The Tarzan Girls of Cornelis Kloos Exhibition: Cornelis Kloos. June 16th in Museum De Wieger, Oude Liesselseweg 29, Deurne. From the exhibition and the book, a figurative Dutch figure that has been a very curious oeuvre has come to the fore. Since Kloos in 1959 in The Hague artist association Pulchri, 'Aqualuxen' has been presented - double-sided painted watercolors that were led by ropes and pulleys behind a lightbox - rarely has seen him publicly. When he terminated membership of Pulchri in protest against modern abstract art, his name became oblivious. In his preference for young female form Kloos calls associations with the painter Balthus in a single work. His style shows interfaces with the painters of the new business like Max Beckmann. He also meet Art Deco-like elements here and there, and there are similarities with German painters from the thirties. Especially works as ball passes and standing naked girl with spear do strongly think of the Nazi art...