Jan Frans Deboever Nude Paintings

Sfinx Oil and Pencil on Panel Swan Angel Teddy Bear Mixed Media In Stock Michael Parkes (1944) studied graphic art and painting at the University of Ka...

This is an original oil painting on panel by Lauren Rinaldi. The piece ships in the pictured black frame and measures 6in x 5in. Lauren Rinaldi's work inhabits the space where obje...

Shyness Cardboard, author`s technique, 31x28 cm

ALEXANDER FRENZ "BACCANALE IN THE FOREST" OIL ON CANVAS, SIGNED GERMAN, C.1900 39 X 33 INCHES Alexander Frenz 1861-1941 He was born in 1861 in ...

Using pornography as a vehicle for understanding, Rick Sindt's work explores the discovery and development of queer attraction. Sindt transforms pornographi...

Matteo Di Ventra's "Golden Light" is an original, handmade oil painting that depicts a nude female model adorned with gold jewelry and wearing a veil ...

Signed oil on panel nude circa 1920 by French post impressionist painter Georges D'Espagnat. The work depicts a nude woman laying a patch of green grass on top of a hill with a view of the valley in the distance. Signature: Signed lower right Dimensions: Framed: 16"x20" Unframed: 9"x13" Provenance: A certificate of authenticity for this work is available from Mr. Jean Dominique Jacquemond upon request Private French collection 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...

In "Nude Woman Seated," a 40" x 30" oil on wood panel by Shana Wilson, there is an intimate portrayal of vulnerability and quiet strength. The artist employs a soft, earth-toned palette, with shades of warm beige, muted greens, and accents of coral, to craft the figure’s delicate form. Wilson's loose, confident brushstrokes lend a raw, textured quality, while the interplay of light and shadow captures the natural curves of the human body. The solitary figure, caught in a moment of repose, exudes a contemplative air, inviting viewers to reflect on the complexities of the human form and the subtle narratives contained within stillness. About the Artist: Over seven billion souls exist on this planet, each with a unique face and story. Shana transfers her visceral love for the human landscape to canvas, tenderly cradling its peaks and valleys, darkness and light, colors and neutrals, empty and full, hard edges and soft curves. Each brush stroke creates a controlled cacophony as it assembles the intricate jigsaw of the human face. An entire life’s journey is written on this human landscape; a journey that begs to be documented and treasured. Shana’s legacy project is to paint inspirational women from all walks of life, inclusive of all cultures and orientations. The subjects all have one thing in common; the ability to inspire and create social change. She pays tribute to them on canvas, painting a long overdue celebration of trail-blazing women. Visit any major gallery or museum in the world and it is teeming with paintings of nude women...

Fixing Her Hair, 2019

Jean Sanglar was born in France in 1926. He draws with taste and talent from an early age, however, his family will only consider this a mere hobby. After studying law, he later took...

Mystical and mysterious, a mythological Ondine rests beside an ethereal forest pond in this majestic, original oil on canvas by French Symbolist Pierre-Amédée Marcel-Béronneau. A stu...

Nude, female figure. Mixed media on paper, Plexiglas frame (137x77cm), ready to hang. Certificate of authenticity will be provided by the gallery.