Unknown

Pastel Nude On Paper

1980

5004 Vintage Impressionist female nuse oil pastel on artist paper under glass Signed Kery Vickers

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"Dandelion Wine" by Rebecca N. Johnson Watercolor and pastel on Arches paper Peach, yellow, pink, rust orange color palette Seated female figure with flowers Hand signed by artist F...

An exquisite nude by Kittie O'Meallie, an artist out of the famous Newcomb arts program at Newcomb College in New Orleans which beginning in the early 20th century led the Southern "...

This charming pastel painting on paper was designed by Pio Santini (1908-1986) and named: nude with lace. The artist's signature, Santini, can be found in the bottom left corner of the artwork. Lovely romantic composition with a nude young lady kneeling and holding a piece of white lace. Flamboyant magenta red drape background. The painting remains in its original frame, which features delicately carved wood, a gesso finish, an off-white wood liner, and glass protection. The piece is in good condition but has a dark stain and some small chips on the edges of the original wood frame. Measurements: With frame: 22.75 in. wide (58 cm) x 26 in. high (66 cm) Opening view: 14.50 in. wide (36.5 cm) x 17.75 in. (45 cm). Artist Biography: Pio Santini (1908-1986) Pio Santini was born on April 17, 1908, close to Rome, in Tivoli, Italy. He showed a precocious and pronounced artistic taste and gifts, to begin with, drawing and painting. From his childhood drawings, as early as 5 or 6 years old, he was gifted and had a technique above the average. As early as 1933, Pio Santini moved to Paris, in the Montparnasse district, also known as The Artists Area, where he settled in his first Parisian studio. He is recognized as a member of the Academy of Paris, a significant art movement in the first half of the 20th century, alongside Amedeo Modigliani and other Italian artists. While attending the classes of the Estienne School for further training in plastic art, Pio Santini started to attract attention in various Parisian Salons (particularly the Winter Salon, the Independents Salon, and the French Artists Salon) and to find a place in the Parisian universe of painting, as is shown in the press of the time. The Second World War, which pitted his country of birth against his adopted nation, created conflicting emotions in him. During this time, the concept of a united and reconciled Europe took root in his mind. In a way, he played a part in the resuming cultural exchanges between France and Italy by founding the association The Romans in Paris after the war, and especially by creating and animating the Villa D’Este Prize for about ten years, rewarding each year a French artist or writer by offering, a one month stay at the Villa, in Tivoli. Later, the Montparnasse Prize would reward Italian artists in Paris, in the same way. While devoting himself to painting, he worked as an art illustrator for edition and press and left us a rich but unrecognized work from this period. In the early 1960s, Pio Santini decided, imperiously and bravely, to live on his painting. A member of the Society of Independent Artists since 1934, he then actively participated in numerous collective exhibitions in France and abroad. He regularly exhibited in Parisian Salons, most of which he was a member: the Independents Salon, the Autumn Salon, the Winter Salon, the National Salon of the Fine Arts, and the Comparison Salon. A regular participant in the prestigious Salon des Artistes Français, he was often rewarded: Great Price of the Salon in 1970, then in 1974, a gold medal in 1971, and Prize-winner of the Ernest Marché Prize in 1974. Pio Santini lived his last years in his house in Garches, near Paris. He worked there until the last moment and died of illness at the age of 78. Keeping himself a part of the avant-garde of contemporary art, Pio Santini developed a personal work of formal coherence very steadily. He is a two-time artist, one of the beginnings of his career, the Thirties, and the other one, his rebirth, the Sixties, when the artist can again devote himself to painting. Between these two periods, the Second World War badly hit the pictorial growth of Pio Santini. However, everything had started under the best auspices for the young painter whose desire to devote himself to painting is evident in his self-portrait of 1928 as a manifesto. In the 1930s, following the revolutions of cubism, abstraction, and surrealism, figurative and sensual...

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...

This pastel painting by Catherine Bres-Rhocanges (1947 -) is titled "Group of Bathers" and signed on the bottom right corner "Bres-Rhocanges." Catherine Bres-Rhocanges paints women w...

Shyness Cardboard, author`s technique, 31x28 cm