Articoli simili a Standing Female Nude

Edith Glackens Dimock - "Nudo femminile", Edith Glackens Dimock, Pittura figurativa della Scuola Ashcan

Unknown - Paul Anton Kaulbach (1864 Hannover - 1930 Berlino) Nudo maschile

Giovan Battista Viola - Importante dipinto mitologico del 17° secolo Diana e Atteone Olio su tela

Unknown - Venere con Putti Olio su tela con cornice in legno dorato

Unknown - Quattro forme ovali Dipinti allegorici del 19° secolo

Unknown - Venere con Putti Olio su tela con cornice in legno dorato

Vuoi altre immagini o video?

Richiedi altre immagini o video al venditore

1 di 12

Arthur Bowen Davies
Standing Female Nude

Name: Standing Female Nude
Brand: Arthur Bowen Davies
Price: 8281.06 CHF
Availability: InStock
Rating: 5 (100 reviews)

Informazioni sull’articolo

Standing Female Nude Oil on canvas, c. 1910 Signed lower left corner (see photo) Condition: Excellent Housed in a 22K Gold Leaf Frame Canvas size: 24 x 18 1/8 inches Frame size: 30 x 24 inches Provenance: Estate of the artist James Graham & Sons, New York (agent for the artist and his estate) Most probably a finished study for a central figure in a large allegorical painting. Biography Arthur B. Davies’s mystical, mysterious paintings hearken back to 19th-century romanticism, even while Davies aligned himself with American artists advancing the most radical ideals of their day. Davies was born on September 26, 1862, in Utica, New York, the son of English and Welsh parents who had immigrated to the United States in 1856. He first took art lessons as a teenager from a local landscape painter, Dwight Williams. By 1879 Davies's family had moved to Chicago, where he attended the Chicago Academy of Design. He interrupted his studies in the early 1880s to work in New Mexico and Mexico as a draftsman for a railway expansion company. Davies later attended the School of the Art Institute of Chicago and then moved to New York City, where he enrolled in the Art Students League. During his first years in New York he supported himself as a magazine illustrator. Davies’s work was shown at the American Art Galleries, the National Academy of Design, and in an exhibition of the American Watercolor Society. After his marriage to the physician Lucy Virginia Meriwether in 1892, Davies moved to a farm in Congers, in upstate New York, and commuted to his studio in the city. Acting on the recommendation of the dealer William Macbeth, the department store magnate Benjamin Altman provided financial support that enabled the young artist to make two trips to Europe. Davies had his first solo exhibition at Macbeth Gallery in 1896. In the early 1900s, Davies began to lead a double personal life: though he remained married and continued to visit his wife and children on weekends, he moved in with Edna Potter, a model and dancer, in New York. They assumed the alias of Mr. and Mrs. David A. Owen and kept their relationship, and their daughter, a secret until Davies’s death. Davies's most distinctive works are the dreamlike, fantasy visions of female nudes standing in pastoral landscapes that he began to paint around 1900. These enigmatic subjects possess a distinctly classical flavor and have literary and mythological allusions. Such works have a strong affinity with symbolism and are often compared with those of the French artists Pierre Puvis de Chavannes (French, 1824 - 1898) and Odilon Redon (French, 1840 - 1916). Despite his style and subject matter—which had more of an affinity with the 19th century than the 20th—Davies joined the circle of young, progressive artists who gathered around Robert Henri (American, 1865 - 1929). Davies showed his work with theirs at the historic exhibition of The Eight at the Macbeth Gallery in 1908, and his paintings were included in the Exhibition of the Society of Independent Artists in 1910. He became president of the Society of Independent Artists in 1911 and played a pivotal role in organizing the Armory Show in 1913, which introduced Americans to the latest developments in European avant-garde art. Davies’s role as a fierce proponent of modernism in the work of others, rather than in his own artistic practice, was his greatest contribution to the field. After the Armory Show Davies briefly painted in a cubist-influenced style, but soon returned to the idyllic scenes for which he is best known. Davies also experimented with sculpture in a variety of styles and materials, including tapestry, and was an accomplished graphic artist. He served as advisor to the collector Lillie P. Bliss, helping her amass the collection that is now in the Museum of Modern Art, New York. Toward the end of his life he spent extended periods of time in Paris and Florence, Italy. He died of a heart attack in Florence on October 24, 1928. Robert Torchia, Catherine Southwick Courtesy National Gallery of Art, Washington

Creatore:

Arthur Bowen Davies (1862-1928, Americano)

Dimensioni:

Altezza: 60,96 cm (24 in)Larghezza: 46,06 cm (18,13 in)

Tecnica:

Olio

Movimento e stile:

Ashcan School

Periodo:

1910-1919

Condizioni:

Località della galleria:

Fairlawn, OH

Materiali

Acquaforte

John Sloan
Ragazzi in slitta, 1920

Venere con Putti Olio su tela con cornice in legno dorato

8.481 USD Prezzo promozionale

20% in meno

Importante dipinto mitologico del 17° secolo Diana e Atteone Olio su tela

Di Giovanni Battista Viola

L'affascinante storia mitologica di Diana e Atteone si trova nelle Metamorfosi di Ovidio. Provenienza molto importante da una collezione reale. Favoloso coevo in legno dorato finem...

Categoria

XVII secolo, Barocco, Dipinti (paesaggio)

Materiali

Olio

Giovanni Battista Viola
Importante dipinto mitologico del 17° secolo Diana e Atteone Olio su tela, circa 1610

64.792 USD

Visualizzati di recente

Mostra tutto

Arthur Bowen DaviesStanding Female Nude

Informazioni sull’articolo