Elena Burykina Nude Paintings

Artist/ School: Italian School, 19th century Title: Classical nude draped in robes with dancing dog. The work looks as though it might have been a ceiling...

This superb British nude portrait oil painting is attributed to the circle of Harold Knight. Painted circa 1930, it is a seated study of a nude woman in soft focus, arms raised to on...

The Artists Model French Impressionist, circa 1900's oil on canvas, unframed indistinctly signed with initials to the corner canvas: 51.5 x 35.5 inches Provenance: private collection...

'Reclining Nude', oil on canvas, by Guillaume Dulac (circa 1920s). A sensuous portrayal by the artist of a young woman reclining on a divan draped with cloth. Inspired perhaps from Ingres' (1780-1867) classic, La Grande Odalisque...

Nude Portrait by Josine Vignon (French 1922-2022) signed on front and back oil painting on canvas, unframed canvas: 18 x 13 inches Colors: Beige colors, beige, brown, blue , green ...

Pierre-Albert BÉGAUD (Bordeaux 1901 – 1956) End of game Oil on canvas H. 27 cm; L. 46.5 cm Signed lower right Pierre-Albert Bégaud is a French portrait and landscape painter born in...

[Hippolyte-Alexandre Michallon (1849-1930)] Oil on canvas Signed in red, l.l. 48 x 60 inches, canvas size 54 x 66 inches in gold leaf frame 61 x 74 x 6 inches, framed This artwork is offered by ClampArt, located in New York City. “By his own account, the most ambitious work of Michallon’s career was a thirty-foot canvas depicting Noah’s Ark, which he exhibited in the Salon of 1875, where it went unmentioned by the critics. Preparatory work for this elaborate composition took him frequently to the Jardin des Plantes, where he made painstaking drawings and oil sketches of the animals on view. These studies were enthusiastically remarked upon by visitors to his studio, some of whom counseled him to give up history painting altogether and pursue the less dignified but presumably more lucrative career of animal painter. Following this advice, and profiting from the tremendous vogue in 1880s Europe for all things African...

A mysteriously rich oil painting of a semi nude Middle Eastern woman in a red headdress. Shaoul adopts a more abstract, cubist and expressionist style. In this piece we explore bold,...

"Astral" Hyperrealism Oil Painting 47" x 39" inch by Dmitriy Krestniy ATTENTION: Painting ships rolled in a tube. A look through Dmitriy’...

Gouache on paper Signed and dated, l.r. This artwork is offered by ClampArt, located in New York City Born in California, John Button (1929-1982) was educated at University of Calif...

Signed oil on original canvas nude circa 1914 by French post impressionist painter Georges D'espagnat. The work depict a nude woman standing beside a wash basin in a boudoir. Signature: Signed lower right Dimensions: Framed: 45"x34" Unframed: 37"x26" Provenance: Private collection - Netherlands From the beginning of his career, it was a constant concern of Georges d'Espagnet to assert his originality. His studies at the École des Arts Décoratifs, Paris, did not last very long, for he wanted immediate independence and decided to follow courses in the private academies of Montparnasse. In about 1900, he became acquainted with Maurice Denis, Bonnard and Vuillard, and his collaboration with Denis led to a renewal of religious art in France. In 1903, d'Espagnet was one of the founders of the Salon d'Automne, and was appointed professor in charge of studios at the École des Beaux-Arts, Paris, in 1934. He illustrated a number of books: Rémy de Gourmont's Evil Prayers ( Oraisons mauvaises) (1896), The Saints of Paradise ( Les Saintes du paradis) (1898), Simone (1907), Sistine ( Sixtine) (1922); Alphonse Daudet's The Immortal ( L'Immortel) (1930); André Gide's The Pastoral Symphony ( La Symphonie pastorale); Francis Jammes' Clearings in the Sky ( Chairières dans le ciel) (1948). D'Espagnet belongs to the group of artists who made the Courrier Français so successful. The drawings of his which are published in it are strongly expressive and some bear comparison with the designs of the great Renaissance masters. He also contributed to L'Image. He often placed cheerful nudes in a landscape, reminding us that, though he moved away from the Fauves, he retained their freedom of colour and arabesque. He painted many portraits, including those of Albert André, André Barbier, Victor Boucher, Déodat de Séverac, Albert Marque, André Marty and Albert Roussel. He also painted mural decorations, including a wall for the Palais de la Découverte (1937), the ceiling of the Victor Hugo Room in the Palais du Luxembourg (1939), a decorative panel for the Palais de Justice, Toulouse (1941) and interior decorations for private houses. His landscapes are Impressionist in inspiration, and work for a certain sobriety, an intimacy, both in their composition - one, two or three sketched figures and large open spaces - and in the choice of colours and treatment with the special hazy brushstroke that marks his style. D'Espagnet took part in a number of annual Parisian exhibitions, including the Salon des Indépendants, the Salon de la Société Nationale des Beaux-Arts, the Salon d'Automne (from 1903 to 1949, except in special circumstances), the Salon de la Libre Ésthétique, Brussels (1899, 1901), the Berlin Secessionists (1940). He also exhibited at the first Salon de la Société de la Gravure sur Bois. Among other exhibitions were 1912, A Century of French Art ( Centenaire de l'art français), St Petersburg; 1916, Kunstverein, Winterthur; 1918, 1926, Galerie M. Bertheim, Paris; 1930, Contemporary French Art...

'Nude Viewed from the Back', oil on canvas, by Charles Kvapil (1937). The world of art has for centuries depicted nudes in one form or another. Kvapil's wonderfully alluring versions may likely be inspired by Courbet and Cézanne. This nude appears on a chair with her back to the artist and viewer. There are plush reds, sensuous pinks and darker, patterned curtains...