Post-War Nude Paintings

Alkyd-oil on Masonite board, 102cm x 83cm, (124cm x 104cm framed). The painting comes directly from the artist. Michael Leonard is most probably most famous for his portrait of HM ...

Mary Bernstein (American, XX), Abstract Seated Female Nude, Oil on Canvas, signed lower right, unframed. 46" H x 42" W.

Alkyd-oil on Masonite, signed and dated (middle left), 61cm (diam.), (83cm diam. framed). (This work was kept by the artist for his personal collection. It remained in his collection...

Alkyd-oil on board, 81cm diam., (100cm diam framed). Although most famous for his portrait of HM Queen Elizabeth in the National Portrait Gallery, London, from the late 1970s up un...

Oil on board, signed (lower right), 24.5cm x 19cm (40cm x 35cm framed). Renowned as Australia’s foremost surrealist painter and poet, James Gleeson’s o...

Bay Area Abstract Expressionist Leaning Nude Standing nude woman by Honora Berg (American, 1897-1985). Bold depiction of a nude woman with dark hair. The model is rendered in light ...

Artwork sold with frame (66.5x51x5 cm) Roger Ferrero is a French artist known for his vibrant and expressive landscapes, cityscapes, and seascapes. His work often captures the light...

A painting by Nathan Oliveira. "Untitled" is a Bay Area Figurative Painting, oil on canvas in a brown and tan palette by American artist Nathan Oliveira. The artwork is signed in the lower right, "Oliveira 64”. A Californian whose work is of preeminent importance during the post war period, Oliveira is most often associated with Park, Diebenkorn and the other artists with whom he sketched early in his career. Yet it was not an oversight when Oakland Museum director Paul Mills chose not to include Oliveira in the 1957 exhibition “Contemporary Bay Area Figurative Painting.” All came to figuration by initiating a sophisticated dialogue with abstraction, yet it is Oliveira, the often characterized ambivalent loner among Bay Area artists whose work is most often compared to Alberto Giacometti, Francis Bacon, or Willem de Kooning with whom he shared walls and space at The Images of Man exhibition held in New York at the Museum of Modern Art in 1959. During the early years, Oliveira’s lone figures often suggested an existential angst similar to that of Giacometti, but there was also a weightlessness and a transcendent aura that envelopes these figures; they appear as elemental, universal and eternal projections of selfless consciousness better understood within the bodiless realm of metaphysics. These qualities would remain in his work throughout his long career, yet he would find other themes to explore — the natural world where the essential nature of birds and animals exist in equal profundity with their human counterparts, the transient world of evanescent perception when memory must reconstruct momentary experience, and later, the ‘site’ paintings and monoprints that suggest the abandoned remnants of a long-lost civilization or tribe uncovered at an archeological dig. Through and through, flesh to bones, and bones to dust Nathan Oliveira has left us with a legacy of art that will surely remain untarnished by time or changing trends. His work exists within a realm rarely achieved by artists striving in a similar mode of expression. Unclouded by ego or wayward sentiment, it is also in the warmth and humble nature...