Germany - Nude Paintings

This intimate oil painting captures a moment of quiet rest and vulnerability. Painted alla prima, the artist works swiftly and expressively, allowing brushstrokes to remain visible a...

"Fragment" by Rudolf Kosow is a deeply introspective miniature painting on wood that subtly plays with shadow and light to evoke a sense of hidden depths within the human form. This ...

"Fragment 9" by Rudolf Kosow is a striking miniature painting that employs a minimalist yet impactful use of color and form to convey deep emotional and psychological states. The art...

Impressive Painting of the philosophy Euclid, painted in the Manner of Luca Giordano. Provenance: Amsterdam, Sotheby's, 21.11.1995, Lot 46

Remembering a Great Love, 2019 Acrylic on canvas 82 43/64 H x 94 31/64 W in. 210 H x 240 W cm "Remembering a Great Love" is a reinterpretation of the fundamental myth of Pygmalion. ...

Free Study - The Pond, 2021 acrylic on cardboard 119 H x 79 W cm 46 27/32 H x 31 7/64 W cm The series of painted cardboards by Alexandru Rădvan is about our moments of 'respiro' ab...

Red Dirt & Sea, 2022 acrylic on cardboard 119 H x 79 W cm 46 27/32 H x 31 7/64 W cm The series of painted cardboards by Alexandru Rădvan is about our moments of 'respiro' about the...

Le Chef d'oeuvre inconnu 2, 2022 acrylic on canvas 77 11/64 H x 53 5/32 W in. 196 H x 135 W cm The work "The Unknown Masterpiece 2" (a paraphrase of Balzac's novella – Le Chef d’oeu...

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...

Free Study - Wrestler, 2021 acrylic on cardboard 119 H x 79 W cm 46 27/32 H x 31 7/64 W cm The series of painted cardboards by Alexandru Rădvan is about our moments of 'respiro' ab...

Self-portrait as a Cautious Hero, 2019 Acrylic on canvas 226 H x 87.5 W cm 88 31/32 H x 34 29/64 inch Rădvan's multifaceted self-portraits are also a reference to Narcissus, a mirro...

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...

Hercules after Carracci (Triptych), 2014 Acrylic on canvas (Signed) 39.37 H x 82.67 W in. (39.37 H x 27.55 W in. each) 100 H x 210 W cm (100 H x 70 W cm each) Contemporary art uses...

Mythological V (Blem), 2016 Acrylic marker on canvas sheet (signed and dated front left corner) 23 5/8 H x 17 3/4 W in. 60 H x 45 W cm (reproduced at page 43, in the catalogue 'Mythi...

"Day Dream" is a world where fantasies and dreams shape reality. Within a flow of soft lines and translucent ornaments, a space of solitude emerges — a place where one can simply be....

Le Chef d'oeuvre inconnu, 2022 acrylic on canvas 73 1/32 H x 53 5/32 W in. 185.5 H x 135 W cm The work "The Unknown Masterpiece" (a paraphrase of Balzac's novella – Le Chef d'oeuvre...

Conrad Kiesel (1846-1921), The gift of flowers. Oil on wood, 43 x 35 cm, 69 x 61 cm (frame), signed at lower left "Conrad Kiesel pxt [pinxit]", about 1900. In a magnificent gilt stuc...

Exceptionally decorative painting by Professor Carl Leopold Voss. The painting shows the bitter truth of youth and life. Including various old docum...

Depiction of a male nude in diffuse architectural scenery. Signed lower right (Paul) Anton Kaulbach (1864 Hannover - 1930 Berlin). Oil on canvas, in gold-patinated frame. Image size:...

Painting, around 1910, oil on cardboard. Romantic love scene in the forest. Signed, Gaston Bussiere. With beautiful (original) Art Deco frame. Frame has minimal damage in places. Dimensions with frame 67cm x 86cm This painting is offered here for the first time exclusively on 1stdibs! From private, German estate. Gaston Bussière (April 24, 1862 in Cuisery – October 29, 1928 or 1929 in Saulieu) was a French Symbolist painter and illustrator. Bussière studied at l'Académie des Beaux-Arts in Lyon before entering the école des beaux-arts de Paris where he studied under Alexandre Cabanel and Pierre Puvis de Chavannes. In 1884, he won the Marie Bashkirtseff...

Brazil, 2010 Oil on canvas (Signed, front right middle) 14.96 H x 18.11 W in. 38 H x 46 W cm. The contemporary society is seen as an "extra-wrapped" society by the artist Mihai Flor...

Painting, 19th century, oil on canvas, "Young woman at the well" Signed, B. Kern. Dimensions with frame 61cm x 75cm

Untitled, 2012 acrylic on canvas 59 1/16 H x 39 3/8 W in. 150 H x 100 W cm The artwork "Untitled" was part of the solo show “Epic”. This exhibition, as the artist confessed, “is abo...

A solitary back, stripped of identity, rendered in layers of translucent scumbling and incised abrasion. The flesh becomes terrain—scratched, weathered, elusive. In this fragment, R...

Rapanas, Incoming Storm and Colossus, 2022 acrylic on canvas 78 47/64 H x 61 1/32 inches 200 H x 155 cm The artwork was part of the solo museum exhibition "Days of a Colossus" in 2...

Francisco Jose Jimenez paints abstracted nude paintings using a range of materials, such as fabric, concrete, pieces of plastic etc. His portraits tell stories of individual beauty,...

Lockdown, 2020 acrylic on canvas 27 9/16 H x 27 9/16 W in. 70 H x 70 W cm The new series of paintings signed by Alexandru Rădvan was born during the total isolation of 2020. It is t...

Strange women IV, 2015 Acrylic on canvas pad 23.62 H x 17.71 W in. 60 H x 45 W cm "Strange women" is a cycle of eight canvases that represents a female ...

Graphite Man on Red Beach, 2021 acrylic on canvas 78 47/64 H x 72 53/64 W cm 200 H x 185 W cm Signed middle front The artwork was part of the solo museum exhibition "Days of a Colo...

Strange women II, 2015 Acrylic on canvas pad 23.62 H x 17.71 W in. 60 H x 45 W cm "Strange women" is a cycle of eight canvases, each representing a fema...

Breakdown, 2020 acrylic on canvas 27 9/16 H x 27 9/16 W in. 70 H x 70 W cm The new series of paintings signed by Alexandru Rădvan was born during the total isolation of 2020. It is ...

Mythological IV (Two Blems), 2016 Acrylic marker on canvas sheet (signed and dated front right corner) 23 5/8 H x 17 3/4 W in. 60 H x 45 W cm (reproduced at page 43, in the catalogue...

Self-Portrait as a Super Ancient Goddess, 2019 Acrylic on canvas 98 27/64 H x 82 43/64 in. 250 H x 210 W cm The artist shapes his heroes and goddesses in over-sized auto-portraits,...

A moment of retreat, a whisper of flesh against shadow. The female form turns inward, her back becoming the quiet locus of emotion. In this fragment, Kosow softens the tactile abrasi...

China, 2010 Oil on canvas (Signed, front right middle) 14.96 H x 18.11 W in. 38 H x 46 W cm. The contemporary society is seen as an "extra-wrapped" society by the artist Mihai Flore...

The Rite of Spring, 2016 Acrylic on canvas 82 43/64 H x 133 55/64 W in. 210 H x 340 W cm The artist's reference on fundamental myths of humanity and their analysis from the perspect...

Figure Walking in a Dry Landscape, 2022 acrylic on canvas 27 9/16 H x 27 9/16 W in. 70 H x 70 W cm The torrid sun, the infinite blue of the sea, the warmth of summer days, and ordi...

Mythological VI (Panot and Blem), 2016 Acrylic marker on canvas sheet (signed and dated front left corner) 23 5/8 H x 17 3/4 W in. 60 H x 45 W cm (reproduced at page 43, in the catal...

Three Women, 2022 acrylic on canvas 19 11/16 H x 19 11/16 W in. 50 H x 50 W cm The torrid sun, the infinite blue of the sea, the warmth of summer days, and ordinary people caught i...

Inquisitive Interlude, 2018 Oil on canvas (Signed on reverse) 27.55 H x 19.68 W in. 70 H x 50 W cm In his paintings, Radu Rodideal speaks about the concept of loneliness. Everybody ...

Strange women VII, 2015 Acrylic on canvas pad 23.62 H x 17.71 W in. 60 H x 45 W cm "Strange women" is a cycle of eight canvases that represents a female...

A Peaceful Place, 2022 acrylic on canvas 19 11/16 H x 19 11/16 W in. 50 H x 50 W cm The torrid sun, the infinite blue of the sea, the warmth of summer days, and ordinary people caug...

The Rite of Spring 2, 2016 Acrylic on canvas 82 43/64 H x 139 3/8 W in. 210 H x 354 W cm The artist's reference on fundamental myths of humanity and their analysis from the perspect...

Strange women VI, 2015 Acrylic on canvas pad 23.62 H x 17.71 W in. 60 H x 45 W cm "Strange women" is a cycle of eight canvases that represents a female ...

Strange women V, 2015 Acrylic on canvas pad 23.62 H x 17.71 W in. 60 H x 45 W cm "Strange women" is a cycle of eight canvases that represents a female b...

Caritas Romana, 2003 Acrylic on canvas 118.11 H x 78.74 W in. 300 H x 200 W cm Alexandru Rădvan is known for his large works in which he examines ancient myths and mythologies throu...

Strange women I, 2015 Acrylic on canvas pad 23.62 H x 17.71 W in. 60 H x 45 W cm "Strange women" is a cycle of eight canvases that represents a female b...

Cerberus 4, 2021 Acrylic on canvas (Signed and dated lower right corner) 49 7/32 H x 82 43/64 W in. 125 H x 210 W cm (reproduced at page 139, in the catalogue 'Mythical Flesh' by Mark Gisbourne, Diana Dochia - Printed and published by Kerber Verlag, 2021, Germany) One of the twelve labours of Hercules...

Pandemic, 2020 acrylic on canvas 27 9/16 H x 27 9/16 W in. 70 H x 70 W cm The new series of paintings signed by Alexandru Rădvan was born during the total isolation of 2020. It is t...

Strange women III, 2015 Acrylic on canvas pad 23.62 H x 17.71 W in. 60 H x 45 W cm "Strange women" is a cycle of eight canvases, each representing a fem...

Descriptive 2, 2013 Acrylic on canvas, (Signed, Front left lower end) 27.55 H x 19.68 W in. 70 H x 50 W cm The artwork "Descriptive 2" was part of the solo show “Epic”. This exhibit...

Apollo touches Daphne, 2018 Acrylic on canvas 82.67 H × 47.24 W in. 210 H × 120 W cm Signed front right corner Alexandru RĂDVAN reinterprets the myths of Apollo and Daphne from the...

South, 2020-2022 acrylic on canvas 27 9/16 H x 27 9/16 W in. 70 H x 70 W cm The torrid sun, the infinite blue of the sea, the warmth of summer days, and ordinary people caught in mo...

Women & Water, 2022 acrylic on canvas 19 11/16 H x 19 11/16 W in. 50 H x 50 W cm The torrid sun, the infinite blue of the sea, the warmth of summer days, and ordinary people caught...

Gustl Stark (1917 Mainz - 2009 ibid.), Small Nude, 1946. Oil on canvas, marouflaged, 54 x 25 cm (picture), 30 x 60 cm (frame), signed "Stark" top left, verso twice signed "Gustav Stark", inscribed by hand as "Small Nude" and dated by hand "1946". With label of the exhibition of the Bundeshaus Bonn from 1956. - Rubbed area in the lower third of the body, at the same level a retouch in the ochre background. I provisional frame. - Abstract Figurativity - About the artwork During the war, Gustl Stark suffered a particularly severe blow for an artist: he lost his right arm. Nevertheless, he continued to devote himself to art, and the painting, created in 1946, immediately after the end of the Nazi reign of terror, testifies to the dawn of a new era. At the same time, the work is a rare example of the artist's early figurative work, as Stark turned entirely to abstract painting as early as 1950. And even this painting is by no means purely figurative; rather, it already illustrates Stark's turn toward abstraction. We see a female nude, but one that remains faceless. This can be read symbolically and in relation to the immediate past epoch, which, in the face of horrors, silences and blinds - literally renders faceless. In this sense, the figure is positioned to 'look back'. But she does not look. While this meaning may resonate and make the painting an important work of the immediate postwar period, Gustl Stark is primarily concerned with something else here, namely art itself. The absence of the face leads to the body becoming something flat. Due to the de-individualization, we do not see a concrete person with his individual features, but a body surface. And indeed, the body is constructed through an extremely planar design. Even the contour lines that form the corporeality have a planar rather than a linear character, especially where they merge into shadow zones of almost the same color. And the surfaces themselves are not modeled. The incarnate parts do not show any plastic gradations; the corporeality is completely withdrawn into the plane, which is also true for the hair. In addition, there is no uniform background against which the figure could appear; rather, the area next to the hair is kept bluish, creating a succession of earth-toned colored areas, which again binds the figure to the surface. Last but not least, the flatness is also forced by the painting technique. Gustl Stark paints directly, a la prima, onto the coarse canvas, whereby the structure of the painting support remains visible in the picture, and in places - around the hair, for example - the canvas itself can be seen. This structural all-over lends the picture a certain flatness. Gustl Stark thus uses the very motif that stands for the corporeality of art par excellence - the female nude - to transform the spatiality of the traditional picture into a flatness characteristic of modern art. And yet, a strong impression of corporeality is created, without being produced by a painterly modeling of the body. The oscillation between flatness and corporeality creates the intense tension of this groundbreaking painting. In Gustl Stark's oeuvre, as a consequence of the abstraction we see here, the figurative is completely stripped away in a further step, which is also a loss when looking at this early key work. About the artist Gustl Stark was the son of a woodcarver and, after an apprenticeship as a decorative painter, attended the State School of Arts and Crafts in Mainz from 1936 to 1937. Although he was severely wounded in the war and lost his right arm, he studied at the Würzburg School of Painting and Drawing from 1943-1944 and then at the Academy of Fine Arts in Nuremberg from 1944-1948. He won a state scholarship at the state art competition in Bad Ischl. Numerous study trips to Sylt, Paris, Switzerland, Austria, Italy, Holland and Belgium followed. Gustl Stark worked in Mainz and was the first artist there to focus on abstract painting. His work quickly gained international recognition, including the Salon Réaliés Nouvelles in Paris. From 1963-1970 he taught at the State University Institute for Art and Work Education in Mainz and from 1970-1975 at the Johannes Gutenberg University. Gustl Stark became particularly famous for his color embossed prints, for which he invented his own technique. Gustl Stark received numerous awards for his work. He received the Art Prize for Painting of the City of Mainz in 1962, the State Prize of Rhineland-Palatinate in 1984, and the Gutenberg Bust of the City of Mainz in 1987. Selected Bibliography Hans Vollmer (Hrsg.): Allgemeines Lexikon der bildenden Künstler des XX. Jahrhunderts, Vierter Band, Leipzig 1958, S. 344. Hans H...

Mythological I (Faun), 2016 Acrylic marker on canvas sheet (signed and dated front left corner) 23 5/8 H x 17 3/4 W in. 60 H x 45 W cm (reproduced at page 23, in the catalogue 'Mythi...

Self-portrait at the Beginning of History, 2019 Acrylic on canvas 88 31/32 H x 34 29/64 in. 226 H x 87.5 W cm Rădvan's multifaceted self-portraits are also a reference to Narcissus...

Self-portrait at the Beginning of Time, 2019 Acrylic on canvas 88 31/32 H x 34 29/64 in. 226 H x 87.5 W cm Rădvan's multifaceted self-portraits are also a reference to Narcissus, a ...

"Look Up" (Schau Aufwärts) is a two-piece work (diptych) of German artist Klaus Heuermann. The artist depicts a female in one work (140 x 100 cm) and a male in the other work (140 x...

RYSZARD GRODNICKI, Abstract painting, original painting, acrylic colors. Dimensions with frame. We offer another painting by this artist. Born in Gdańsk in 1947. In 1971-76 stud...