Henri Fantin-Latour Nude Paintings

A beautiful painting I acquired when I was buying things from Russia and Ukraine maybe 7 or 8 years ago. It's painted on very heavy cardboard, as I'd say the majority from the Soviet...

Realist oil painting by Moses Soyer. The artist was often quoted as saying, "My message is people." He was always looking to find who the person within was. Soyer and his brothers Raphael and Isaac were all successful artists. Moses Soyer began his art studies at the Cooper Union and National Academy of Design, the Education Alliance, and eventually moved to the Ferrer Art School in Harlem to study with teachers who promoted the Ashcan style of painting. This style promoted unglamorized representations of everyday life and a focus on social realism. When many artists shifted to abstract expressionism Soyer...

Carle Vanloo (Nice 1705 – Paris 1765) Perseus and Andromeda Oil on canvas. H. 081; W. 065. Alongside François Boucher (1703-1770) and Charles-Joseph Natoire (1700-1777), Carle Vanlo...

Jean-Jules-Antoine Lecomte du Nouÿ (1842-1923) A shoulder and back study, oil study oil on canvas 34 x 19.5 cm In good condition, a few small inpaintings visible under UV lights Stamp of the Estate sale in Toulouse on the stretcher In a modern frame : 40 x 25 cm Provenance : Estate of the artist and family of the artist by descent Estate sale in Toulouse 22 June 1999 This very interesting oil study was part of a set kept by the artist. He had studied fragments of anatomy both to use them as models in large compositions but probably also because he represented so many fragments. It is clear that this fragment of anatomy has a power of suggestion and serves as a relay to the imagination of the viewer, who is led to imagine the rest of the body taken as a model. We can speak of metonymy in painting and it is clear that the artist had this in mind when he kept such studies with him. Jean-Jules-Antoine Lecomte du Nouÿ was born on 10 June 1842 in Paris. Originally of a Piedmontese origin, his family had been settled in France since the fourteenth century and by the time of his birth had reached the status of nobility He was an Orientalist French painter and sculptor. He was strongly influenced by the works and teachings of Charles Gleyre and Jean-Léon Gérôme. Lecomte du Nouÿ found inspiration for his art through extensive travels to Greece, Turkey, Egypt, Romania and Italy. The thematic content of Lecomte du Nouÿ's work was mainly figural, but also spanned over a vast range of imagery throughout his career, including classical, historical and religious. Lecomte du Nouÿ is known for remaining faithful to his detailed, realistic style throughout the extent of his career, despite the onset of the Impressionist, Fauvist and Constructivist artistic movements during his lifetime. His work is said to have contributed significantly to the establishment of an iconic repertoire representing the Orient in the nineteenth century.A Parisian street was named after him in 1932.  Lecomte du Nouÿ showed a strong attachment to visual art from a young age and was reported to have painted portraits of his father and uncle by the age of 6. In 1861, at 19 years of age, the artistic talents of young Jean-Jules-Antoine Lecomte du Nouÿ prompted him to become a pupil at the atelier of Swiss artist, Charles Gleyre. Under Gleyre's guidance Jean-Jules-Antoine learned the significance of individualistic style and gained the foundations of creative visual presentation. Later, Lecomte du Nouy further perfected his knowledge of the artistic form under the mentorship of Jean-Léon Gérôme, who was a renowned painter of the Academicism movement. It was at this time that Jean-Jules-Antoine learned the precision required to depict "la belle nature" —a style of illustration that aims to create the most beautiful representations of the natural form. This later became one of the main techniques employed in Lecomte du Nouÿ's signature artwork. In 1865, Du Nouÿ accompanied fellow artist, Félix Auguste Clément...

French 19' century painting oil on canvas . Young Venus nude figure surrounded by delicious playing putti . Finely carved and gilt-wood frame of the same period . Measurements w...

18th Century French Maestro Title: Bacchanal Medium: Oil on canvas Dimensions: without frame 24 x 30 cm - with frame 33.5 x 39 cm Antique shaped wooden frame lacquered in mustard col...

Already in the collection of Emperor Rudolf II in the first decade of the 17th century this composition was famous. The original is by Parmigianino and Rudolf's court painter Joseph Heintz...

Ganymede was a Trojan prince in Greek mythology, known for his compelling beauty. Because of his alluring good looks, Ganymede was abducted by Zeus to serve as cup-bearer in Olympus....

A Palatial and Opulent Belle epoque giltwood & oil on canvas three-panel screen, circa 1890. "Allegory of Youth" Comprising of three exquisite hand-painted triptych oil on canvas panels of cherubs and putti amongst a peacock, all by Ferdinand Wagner II (German, 1847-1927). Each panel depicting different playful and joyous scenes of putti and cherubs. All three-in-one panels within individually carved giltwood and upholstered frames. One panel signed at the lower left: Ferd.Wagner. A truly magnificent and one of a kind piece, perfect for any room in the home. Overall: 101" high 85" wide x 5" deep Very good condition. Ready to place. Ferdinand Wagner II (German, 1847-1927) was the son of Passau Ferdinand Wagner Senior, a teacher at a vocational art school who began training him professionally at a young age. After traveling to Italy in 1867-1868, he continued with his art studies at The Munich Academy of Arts led by Peter Von Cornelius and Julius Schnorr Von Carolsfeld. Wagner II was influenced by the Munich School of master painters and by his art teacher, Karl von Piloty, who had been teaching at the Munich Art Academy since 1856. Piloty’s approach to historical paintings was influenced by the French art academic Paul Delaroche and by the fine artworks by Rubens and the Venetians. After his return to Germany he was commissioned to decorate the former the Tenormayer Wine Tavern in Munich, subsequently he received numerous other commissions as a decorator. Ferdinand Wagner II wall paintings and ceiling frescos...

Hans Burkhardt The Artist's Wife (1930) Oil on canvas, 20" x 16" 24" x 20 ½" x 1 ½" framed Dated 1930 lower right recto. Annotated "To Elsa HB Louise Burkhardt 1930. HB" verso. ...

Attributed to Isaac ISRAELS (1865-1934) Nude woman, from behind. Circa 1900 Oil on canvas, 81 x 45 cm Provenance Private collection, France The attribut...

A voluptuous woman lies prone on a divan, bearing her backside and turning her head flirtatiously to the viewer, though averting her eyes slightly, as if to maintain a coy demeanor. Surrounded by lush fabrics of deep blues, the creamy tones of her skin and dressing gown are thrown in sharp contrast, making the figure glow luminously. The whole painting is ordered by folds - of flesh, of fabric, of cushions, of the rug - inviting the viewer's eye to look closely across the topography of the canvas. One of Boucher's cabinet paintings (that is, paintings made for private collectors rather than official exhibition at the Salon), the open eroticism of this work invites a voyeuristic gaze. Although it was created for a private audience, it was later displayed at the Salon of 1767, where the critic Denis Diderot found it shocking and lascivious. Nonetheless, Boucher would later paint another iteration of this reclining pose, this time using Marie-Louise O'Murphy, a favorite mistress of King Louis XV, as his model, suggesting that the provocative composition was a stock figure for Boucher's private commissions. "The Brunette Odalisque" (French: L'Odalisque or l'Odalisque brune) is a painting of c. 1745 by François Boucher, now in the Louvre in Paris. He later produced two other works in the odalisque genre, both known as "The Blonde Odalisque". The present painting is another version of Bouchers painting which differs in minor details. The quality of the paint is very fine and the whole technique and style allows a dating to c. 1750. As Boucher's Painting was very famous there were several copies and versions which were made by his studio. The present painting can be attributed to the close circle of Boucher. The Painting is framed in a golden frame which was built in the Rococo style in c. 1990. Both the title of Boucher's painting and the objects found in the interior fix the subject as an odalisque, a concubine within the harem of the Ottoman sultan. The sumptuous textiles and exotic, decorative objects suggest early traces of Orientalism, although the figure appears European. Odalisque paintings...