Impressionist Nude Paintings

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 ...

"" by Geneviève Zondervan (French 1922-2013) acrylic painting on artist paper paper: 12.5 x 19.75 inches Superb mid-century oil painting on board by the French artist, Geneviève Zo...

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

Wonderful Louis Berneker (1876-1936) American Impressionist painting of Nude Woman playing Hide and Seek. Great Light Pastel Colors of Greens and Blues. Louis Berneker was famous S...

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

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...

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

"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...

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...

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...

"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."

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...

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

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 ...

The Embrace French, 21st century gouache painting on artist paper, framed Glass covering framed: 13 x 10.5 inches board: 12 x 9 inches condition: very good provenance: private collec...

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...

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. ...

‘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. ...

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...

"Girl" is a nude figurative painting by the impressionist Ivan Roussev. About the artwork: TECHNIQUE: oil painting STYLE: Impressionist, Contemporary Edition : Unique, signed Weigh...

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

Impresionist woman nude figure

Study of a nude woman on a stool by American Impressionist artist Genevieve Rogers. Unsigned, but acquired with a collection of her work. Presented in a cre...

"Looking out the Window", a Bay Area figurative painting with two nude figures gazing out of a window at the San Francisco Bay by Patricia Gren-Hayes (A...

Superb Impressionist mid-20th century British Impressionist oil painting on board, depicting this seated nude lady. Painted with thick oil and wide, vibrant ...

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 ...

An oil painting of a nude female figure, sitting upon a bed; chest bent over knees, hand on head, seemingly bored. Hues of pink surround the figure due to decorative fabrics that are...

Very unique composition. The presence of an Architecture brings up a valuable interest to the overall scene. Painter: Sézille des Essarts Pays : France Style : French School Period ...

This Mid-Century illustration/painting is rendered in a Neo-Classical style and showcases young lovers in a morning embrace. The man is holding a small bouquet as the woman leans int...

Calvin Lai's (US based) "Outside the Box" is an original, handmade oil painting that depicts a woman in profile holding up her dark brown hair and revealing her heavily tattooed arms...

Julie Elise Hullgren, born July 29, 1879 in Aalborg, Denmark, died 1963, was a Danish-Swedish painter. She was the daughter of director J.G. Dinesen and Vilhelmine Marie Rodskier and...

"Blue Light Nude, Bea" is a contemporary impressionist oil painting of Fenske's muse, Bea. The first painting of the "Bea Nudes Series" is a loose presentation of brushstrokes that ...

Josine Vignon (French 1922-2022) ...

"Happy Summer" is a nude figurative painting by the impressionist Ivan Roussev. About the artwork: TECHNIQUE: oil painting STYLE: Impressionist, Contemporary Edition : Unique, sign...

"Smoke Break" by Clyde Steadman (United States) is a handmade nude female portrait painting that is unframed, but ready to hang.

The Art Class by Helen Greenfield (British 20th century) oil painting on board, framed framed: 19.5 x 26 inches board: 17 x 24 inches condition: overall very good, original frame is quite scruffy provenance: all the paintings we have by this artist have come from their studio sale in England Helen was a member of the Leicester Sketch Club, Treasurer of Leicester Society of Artists and a founder member of The Friday Group who were an all-female group...

Nude Female by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 8 high by 10 inches wide condition: o...

Title: Cinderella Series 1 Medium: Oil on canvas Size: 11.5 x 15.5 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This painting is unstretched Year: 2000 Circa Artist: YiTao Chen...

Blonde Nude Leaning on a Stool in Oil on Canvas Beautiful modern impressionist figure painting of a nude woman by bay area artist George Wishon (American, b.20th Century). A contras...

Mid century figure study of nude models and a painter in the studio by California artist Genevieve Rogers (American, 1904-1984). Unsigned, but a...

Expressive mid-century abstracted figurative of a reclining woman by an unknown artist (American, 20th Century). Impasto gives added depth and interest. Unsigned. Unframed. Image siz...

A female figure from the back, painted from life.

This artwork "Nude with Chair and Fruit" c. 1980 is a large oil painting on canvas by noted German/American artist Norbert Schlaus, 1927-2009. It is signed at the lower right corner ...

ABOUT THE ARTWORK "Sirena 13th" is an enchanting portrayal that blends human reflection with the grace of a bird. The palette is lush and vivid, with the bird's plumage displaying a ...

Josine Vignon (French 1922-2022) ...

French School watercolour/pen drawing on artist paper painting: 10.5 x 8 inches provenance: private collection, England condition: very good and sound condition

The Artists Model Nude Lady Model French School, circa 1970's signed oil painting on card, unframed size: 19 x 25.5 inches condition: overall very good, a very few light markings to...

The Artists Nude Model by Helen Greenfield (British 20th century) oil painting on board, unframed board: 26 x 16.5 inches condition: overall very goo...

Artist/ School: French School, circa 1970's Title: Reclining Nude Model on a Red Sofa within an interior setting Medium: oil painting on canvas, unframed Size: painting: 19.75 x ...

Josine Vignon (French 1922-2022) ...

Ryan Morse's "Looking Back" is an original, handmade oil painting that depicts the back of a nude female figure as she looks over her shoulder to the viewer and her long brown hair c...

The Artists Model (lady in stockings and suspenders) Portrait of a Nude Lady reclining French School, circa 1970's indistinctly signed double sided oil painting on card, unframed si...

Initialed lower left 'C.O.M.' for Carl Otto Müller i(German, 1901-1970), and dated '69'. Additionally dated, verso, '1969' and titled, 'Myriam, Das Rote Handtusch'. Displayed in a pe...