Mel Ramos Nude Paintings

Artist: Jack Graves III (American, 1988-) Title: "Broken Venus" Series: Icon *Signed by Graves lower right. It is also signed, dated, and titled on verso Year: 2026 Medium: Original ...

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

Philippe Couture was born in Drummondville, Canada in 1984 and currently resides in Kyoto, Japan. Phil’s art education was primarily self-taught. His training consisted of drawing an...

"10:45 am" is an acrylic painting on canvas created from life and inspired by David Hockney’s Californian aesthetic. The composition presents a female figure seen from behind, standi...

John Devoluy (1903-1982) Characters, 1950 c. Oil on canvas 28 3/4 x 24 inches l 73 x 61 cm With frame: 30 3/4 x 26 inches l 78 x 66 cm John Devoluy was born in 1903 and became a cen...

The Education of Love (Venus, Mercury, and Love) By Antonio Allegri, known as Correggio (Correggio, 1489 – Correggio, 1534) 17th/18th century Oil on canvas 157 x 93 cm. - Framed 175 x 112 cm. This antique painting, of excellent quality, is a valuable study of the work of Antonio Allegri (Correggio, c. 1489 - 1534), depicting ‘The Education of Love’, preserved in the National Gallery in London (oil on canvas, 155x92 cm.). Against a backdrop of dense vegetation, a winged female figure, traditionally recognized as Venus, leads the young Cupid to Mercury so that he may instruct him; the iconography of Mercury is essentially traditional, both in terms of his elaborate headdress, the petasos, and his winged sandals for flying. The history of this work is fascinating and noteworthy. Originally painted for the illustrious collection of the Mantuan nobleman Nicola Maffei, it passed in the early 17th century to the Gonzaga family, with whom the Maffeis had close ties, and then, in 1628, it left Italy to enter the collections of Charles I of England. Thanks to these transitions, among the most famous collections in Europe, it achieved immediate success and exceptional fame as early as the 16th century. Desired and praised over the centuries, the work fascinated many artists who wanted to pay explicit homage to it, often to satisfy the requests of the most illustrious art collectors of the time, who wanted to own their own copy. Other copies by Correggio are known besides the one in the National Gallery, including the one in the Château de Chenonceau in France (Ref. 1), which can be dated to between the 17th and 18th centuries and is very similar in style to the painting offered here. Another example, also dating from around the 17th century, is in the Stourhead Wiltshire Collection in England (Ref. 6). We can also mention the canvas on display at the Brukenthal National Museum in Sibiu, Romania, or those executed by other famous painters, either contemporaries or slightly later, demonstrating the early success of the painting: among these are Lambert Sustris (c. 1515-1584), Peter Oliver...

Veiled woman is an orignal modern artwork realized by Antonio Feltrinelli in 1930s. Mixed colored oil painting on canvas. Not signed. Antonio Feltrine...

CHRIS WATTS "Juliet" Acrylic on Canvas 60 x 60 inches _____________________________________ Chris Watts is an award-winning graphic designer, singer-songw...

Title: Garden of Earthly Delights Artist: TheDirtyFabulous Media: Oil on metal with polyurethane varnish Size: 60 x 40 inches / 153 x 102cm Year created: 2012-2014 Societies have long employed images that visualize their belief systems or attempt to encapsulate a narrative of our human destiny. This work follows in that tradition. The uppermost vignette is a silhouette from the nursery rhyme “Jack be nimble”, a children’s rhyme that refers to a 19th century game and a form of fortune telling. In Roman mythology Parcae (plural) were the personifications of fate. They are used in this painting as bookend figures on either side of a cosmic machine that answers questions of fate. Three vintage light bulbs labeled “yes”, “maybe” and “no” sit atop the clock – like machine and illuminate answers to humanity’s eternal questions. At the top of the composition are several re- configured tarot / divination cards belonging to an anonymous person circa 1930’s. The cards here are labeled; satisfaction dark woman, jealousy, dark man and betrayal. The grouping of these four cards refers to both positive and negative potentials concerning fate and offer clues to the viewer on a number of possible scenarios it could describe. The lower portion of the picture contains two silhouetted vignettes on either side of a central image of stars and planets against a dark void. The left image is of two children in a small wagon being pulled by a beetle. This is a reference to Egyptian mythology and the sun god Khepri. who personifies birth / rebirth. Khepri is portrayed as a beetle that pushes the sun across the sky. Here the young innocents...

Attr Frank Brangwyn (British, 1867 – 1956) An Allegory of Summer Oil on canvas 32.1/4 x 32 in. (82 x 81.5 cm.) This richly worked canvas, An Allegory of Summer, depicts elegant figur...

John Devoluy (1903-1982) Nude, 1950 c. Oil on canvas 21 1/3 x 18 1/8 inches l 55 x 46 cm With frame: 23 1/3 x 19 2/3 inches l 59 x 50 cm John Devoluy was born in 1903 and became a c...

Vadym Mykhalchuk "Odessa.Grekivka.Masha."