Early 1900s Nude Paintings

German School, Figure Study, c.1890, Oil on canvas, 64cm x 39cm, (74cm x 50cm framed). The painting has been recently cleaned and is in a new period style frame. This wonderfully t...

Signed Art Nouveau oil on canvas portrait of a figure in landscape circa 1905 by Romanian painter Michel Simonidy. The piece depicts a nude bather on the bank of the river in the eve...

Artist: Albert Cresswell (French, 1879-1936) Title: "Jeune Femme dans Le Jardin avec Sculpture de Bacchus (Young Woman in Garden with Bacchus Sculpture" *Signed and dated by Cresswel...

Signed and dated nudes in landscape oil on canvas by French symbolist painter Maurice Chabas. The piece depicts and autumnal river scene with three red-haired bathers - one standing ...

Spanish School, Seated Male Nude, c.1900, oil on canvas, 69cm x 55cm, (81cm x 66cm framed) This figure study is unusual in that it beautifully captures...

Antique nude interior oil painting. Oil on canvas, circa 1900. Signed illegibly. Housed in period giltwood frame. Image size 14L x 18H.

Antique American impressionist oil painting by Albert Hencke (1865 - 1936). Oil on canvas, circa 1900. Signed. Image size 34.5L x 48.5H.

This is a stunning full length portrait of a nude young woman is by British noted artist Sara Page Wells. It was painted circa 1900 by Page who worked and exhibited in Paris at the t...

A beautiful oil on original canvas circa 1903 by French academic painter Tony Robert-Fleury depicting a nude drying herself with a white towel beside a copper bath. The light from the window behind the painter illuminates the wall opposite. Signature: Signed lower left Dimensions: Framed: 28"x19" Unframed: 20"x11" Provenance: Exposición Internacional del Centenario - Buenos Aires, Argentina - 1910 (original labels verso) Tony Robert-Fleury was the son of Joseph-Nicolas Robert-Fleury, and a pupil of Paul Delaroche and Léon Cogniet. He first exhibited in Paris at the Salon in 1864, receiving medals in 1866 and 1867 and a medal of honour in 1870. He was made a Chevalier of the Légion d'Honneur in 1873 and received a medal of honour in 1878 for the Exposition Universelle. He continued to exhibit at the Salon, known by then as Salon des Artistes Français, of which he became a member in 1882. In 1884, he was made an Officier de la Légion d'Honneur. He won a gold medal at the Exposition Universelle in 1889 and in 1900 became a jury member and was declared hors-concours, able to show his work without jury approval, at the Exposition Universelle. In 1907 he was made Commandeur de la Légion d'Honneur. For many years he taught at the Académie Julian in Paris, where he had a great many pupils. His considerable official career brought him honours, purchases and commissions. He painted mural compositions in the Palais du Luxembourg, and the Hôtel de Ville in Paris. Museum and Gallery Holdings: Arras: Leda Bayonne (Mus. Bonnat): Young Roman Girl; Charlotte Corday...

Antique Italian oil painting of a young woman. Oil on board, circa 1930. Signed. Image size, 15L x 24H. Housed in a period giltwood frame.

Antique American impressionist painting of two nude bathers in a landscape. Oil on canvas, circa 1900. Signed lower right. ...

A beautiful oil on canvas by French Nabis painter Edouard Vuillard depicting a nude woman resting in a chair in an interior. An absolutely stunning piece. Signature: Signed lower right Dimensions: Framed: 20"x15" Unframed: 14"x19" Provenance: The atelier of the painter Galerie Girard, Paris Collection of Georges & Jacqueline Herbin Bibliography: Vuillard, The Inexhaustible Glance by Antoine Salomon & Guy Cogeval, Catalogue Raisonne - Skira/Seuil - Wildenstein Institute, 2003, described and reproduced in Volume II, page 664 with the number VII-248. Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute. At first, Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner. About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye. In 1891, Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël. All too often, Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...