USA - Nude Paintings

5154 Antique Italian oil painting of a reclining nude woman Framed Image size 24x36"

"Untitled (Censor Painting Pink)" is a nude figurative acrylic on inkjet board painting by Richard Prince in 2009. The artwork is 35 1/2 x 30 inches and 37 1/2 x 32 x 1 1/2 inches wi...

Dave Seeley's "Audrey #1" is an original, handmade oil painting that depicts a nude female model reclining on blue velvet fabric as she turns her face away from the viewer. Dave S...

Anatomy Lesson, Segment 13 (modern figurative oil painting of two nude men from waist to knees) by Robert Goldstrom 2024 oil on linen 12 x 12 inches signed and in excellent condition...

Mark Bradley Schwartz's (US based) "Back View 11" is an original, handmade oil painting that depicts the nude back of a brunette woman sitting in a chair with white fabric delicately...

Dave Seeley's "Reverie" (2023) is a captivating original oil on canvas painting. The nude female figure floats gracefully, her elongated pose conveying weightlessness and freedom. Se...

Patrick Terenchin (b.1970). Paul, 2024 Gesso and charcola on paper, 16 x 20 inches. Measuring 17 x 21 inches in black frame behind glass. Signed and dated lower left.

Nude Woman in Bed with Mirror - Figurative Portrait in Oil on Canvas Modern portrait of a nude woman by American painter, Patricia Gren Hayes (b. 1932). The woman is laying in bed, ...

This is a wonderful example of Louis Bouché's charming Nude portraits. The artist was truly a master of capturing the energy of the times, and character o...

Provenance: S. Spinelli Collection, Florence; their sale, Galleria Pesaro, Milan, July 11-14, 1928, lot 112 (unsold); reoffered Galleria Luigi Bellini, Florence, April 23-26, 1934, lot 132, as manner of Baldassare Peruzzi Dr. Giacomo Ancona, Florence, 1930s, and after 1939, San Francisco; thence by descent to his son: Mario Ancona, San Francisco; thence by descent to his children: Mario Ancona III and Victoria Ancona, San Francisco, until 1995; thence to: Phyllis Ancona Green, widow of Mario Ancona, Los Angeles (1995-2012) Literature: Donato Sanminiatelli, Domenico Beccafumi. Milan 1967, p. 170 (under paintings attributed to Beccafumi) Among the precious survivors of Renaissance secular paintings for domestic interiors are several unusual and particularly attractive panels painted in Siena at the end of the fifteenth and beginning of the sixteenth centuries. These paintings depict exemplary figures from antiquity—heroes or heroines, as well as allegorical, literary, and mythological figures. For the most part, these panels have survived in groups of three, although it is possible that some of these works were painted either as part of larger series or as individual projects. One such trio by Beccafumi consists of two paintings now at the National Gallery, London (Marcia and Tanaquil) and a third in the Galleria Doria-Pamphilj, Rome (Cornelia). These were commissioned around 1517–1519 for the bedroom of Francesco di Camillo Petrucci in Siena and were most likely placed together as elements in the wall decoration (spalliere) or installed above the back of a bench or cassapanca. Another, earlier (ca. 1495–1500), set of three—Guidoccio Cozzarelli’s Hippo, Camilla, and Lucretia (Private Collection, Siena) survives with its original wooden framework—a kind of secular triptych. Judith, Sophonisba, and Cleopatra in the collection of the Monte dei Paschi, Siena, are by an anonymous artist close to Beccafumi called the “Master of the Chigi-Saracini Heroines.” Girolamo di Benvenuto’s Cleopatra, Tuccia, and Portia are dispersed (homeless, Prague, Chambery), and Brescianino’s Faith, Hope, and Charity are in the Pinacoteca Nazionale in Siena. The present painting first appeared in the Spinelli sale in Florence in 1934, at which time it was sold with two panels of identical size and format. Each was catalogued as being by the “manner of Baldassare Peruzzi” and of unidentified subject. Of these, the painting depicting a male figure turned to the right has recently reappeared in a private Italian collection, while the location of the third work, portraying a cloaked figure turned three-quarters left, remains unknown. Our panel depicts the allegorical figure of Fortune. Here she is represented in typical fashion as a nude female figure balanced on a wheel (sometimes called the Rota Fortunae), her billowing drapery indicating that she is as changeable as the wind. The appearance of the Virgin and Child in the cloud at the upper right is an unusual addition to the iconography. The subjects of the two pendant male...

'Jungle Dreams', Paris, Hermès, California, Fashion, École Gogele, Hamburg, Lamb Signed lower left, 'Antoinette' for Antoinette von Grone (German-American, b.1954) and dated 2007. F...

This beautiful grouping of nude figures wandering into the abyss are seen from behind in various states of undress. Master painter Bruno Surdo creates compelling and mysterious narratives in his classically inspired artworks. Bruno Surdo The Abyss oil on canvas 24h x 48w in 60.96h x 121.92w cm Bruno A. Surdo b. Chicago, 1963 EXHIBITIONS 2018 Liberation, Gallery Victor Armendariz, Chicago, IL Blood Sport, Gallery Victor Armendariz, Chicago, IL Art on Paper 2018, Gallery Victor Armendariz, Pier 36, New York, NY SOFA Chicago 2018, Gallery Victor Armendariz, Navy Pier, Chicago, IL 2017 POP!ARAZZI, Gallery Victor Armendariz, Chicago, IL Coming Attractions, Gallery Victor Armendariz, Chicago, IL 2015 SOFA Chicago 2015, Ann Nathan Gallery, Navy Pier, Chicago, IL Bruno Surdo: Allegories, Ann Nathan Gallery, Chicago, IL 2014 Bruno Surdo: Respond, Ann Nathan Gallery, Chicago, IL Modern Metaphors, Rockford Art Museum, Rockford, IL 2013 Bruno Surdo: Revelations, Ann Nathan Gallery, Chicago, IL Vice + Virtue, Northern Illinois University Museum of Art 2012 Contemporary Realism Biennial, Fort Wayne Museum of Art, Fort Wayne, IN 2011 Bruno Surdo, University of St. Francis School of Creative Arts, Fort Wayne, IN Uncensored, Ann Nathan Gallery, Chicago, IL 2010 Art Chicago 2010, Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2009 Art Chicago 2009, Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2007 Bruno Surdo, Art Institute of Indianapolis, Indianapolis, IN 2006 Context/Content: Making Meaning with the Figure, University of Arkansas, Conway, AR Creative Imaginings, Mobile Museum of Art, Mobile, AL Bruno Surdo: Cycles, Ann Nathan Gallery, Chicago, IL 2005 Art Chicago 2005, Ann Nathan Gallery, Chicago, IL 2004 Tragedy, Memory, & Honor, Richard M. Daley Center, Chicago, IL Art Chicago 2004, Ann Nathan Gallery, Chicago, IL Group Show, Arcadia Gallery, New York, NY Drawings VII, Koplin Del Rio Gallery, West Hollywood, CA Armory Show, New York Armory, New York, NY 2003 Paintings & Drawings, College of Lake County, Grayslake, IL The Art Show, New York, NY Bruno Surdo: New Work, Ann Nathan Gallery, Chicago, IL Art Chicago 2003, Ann Nathan Gallery, Chicago, IL 2003-10 International Show of Contemporary Artists, Chicago Art Open, Chicago, IL 2002 Bruno Surdo: Perception of Appearance, Frye Museum, Seattle, WA Tragedy, Memory, & Honor, Richard M. Daley Center, Chicago, IL Bruno Surdo: Transcendence, Ann Nathan Gallery, Chicago, IL Art Chicago 2002, Ann Nathan Gallery, Chicago, IL Tragedy, Memory, & Honor, Ann Nathan Gallery, Chicago, IL 2001 Magic Vision, Arkansas Art Center, Little Rock, AR 1998 Evanston and Vicinity Artists, Evanston Art Center, Evanston, IL 1996 Bruno Surdo: A Personal View, University of Wisconsin, Kenosha, WI 1995 Bruno Surdo: Recent Works, College of Lake County, IL AIDS in Our Society, Loyola University, Chicago, IL Bruno Surdo: Life, Struggle, and Hope, Chicago Cultural Center, Chicago, IL 2001 Magic Vision, Arkansas Art Center, Little Rock, AR Bruno Surdo: Dualities of Life, Ann Nathan Gallery, Chicago, IL 1999 Group Show, Ann Nathan Gallery, Chicago, IL 1998 Group Exhibition, Fine Arts Building Gallery, Chicago, IL 1995 Spiritual Inquiries, Struve Gallery, Chicago, IL 1994 Recent Works, The 14th Annual Juried Exhibition for Lake County Artists, Grayslake, IL Go Figure, Figurative Works on Paper, Chicago Printmakers Collaborative, Chicago, IL SELECTED COLLECTIONS The Re-Birth of Venus, Temporary Loan, Fort Wayne Museum of Art Arkansas Art Center, Little Rock, AR College of Lake County, Greyslake, IL Flashpoint Academy, Chicago IL John Robert Wiltgen Design Shoemaker Ruud Collection Julie & Thomas Danilek Michael Vozzella and Mike Silver Benjamin Fernandez Tom Braake Betsy Colburn Michael Diemand & Lor LaRose Michael Staab & Kathy Brock Bruce Leep Frank Tzurect Mary Foley Rosalyn Carlson Mimmy Turney Janet Long Halstead Billy Hunt Carol Galli Myles Kerrigan Honorable & Mrs. Edwin Berman Theodore Gage Northrop Art Museum Past Present & Future Company Dr. James & Peggy Kemmler Salvatore Monastero Nix & Virginia Lauridsen Joel Miller David & Marlene Zerkel Ann & Andy Abel Claudia Rush Marc Miller Leonard Goldberg Lawrence Pucci Howard Tullman Collection Susan & Manny Kramer James Rinnert Richar Interiors Michael & Nancy Colt Khalid Altijir Dr. Joe Grodman Beryl & Jack Gore Larry Wolf & Eric Naegle Chuck Wolandi Jack Schwab & David Sandelin Thomas Kaczmarek Marti Dinerstein Craig & Michael Golden Mike & Jill Rose SELECTED PUBLICATIONS Bruno Surdo: The Method Artist Responds, by Lucia Mauro, June 26, 2014, anitathemovie blog An Exhibition of Exhibitionism: Bruno Surdo’s ‘Respond’, by Carrie McGath, July 1, 2014, The Chicagoist Website, Arts and Entertainment “Inspired Environs: A renowned designer decks out his Loop abode in art and texture” Modern Luxury, Men’s Book, Spring 2014 “Master Class” What’z Up Magazine, Fort Wayne, 2011 ”9/11 Painting will be on Display” Fort Wayne Journal Gazette, 2011 “Illuminated Images” Fort Wayne Reader, 2011 “Two Faces of Beauty” American Art Collector Magazine, Issue #3 and #59, 2006/2010 “Art and Calamity” Art Papers, 2009 “Versions of the Present, Techniques of the Past” American Artist Magazine, 2004 “Living Artists” Crow Book Publishing, Chicago, IL 2004 “The New Master” by Craig Keller, Chicago Social Magazine, 2004. “Tragedy, Memory, and Honor,” by William Hageman, Chicago Tribune, March 28, 2002 “Mural Depicts Tragedy of 9/11” Art Section...

This piece titled "Lizard Barbie" is an original artwork by PJ Linden and is made from acrylic, dimensional paint on a wood panel. This piece measures 38”h x 25.25”w framed. In the ...

"Nude in Interior - Woman on Top" - original large art by Paula Craioveanu Original, large, unique painting, oil on canvas, 39x27in / 100x70cm . Shipped as it is stretched ready for ...

Artist: Hilo Chen, American (1942 - ) Title: MB 3 Year: 1987 Medium: Oil on Canvas, signed and dated verso Size: 24 x 36 in. (60.96 x 91.44 cm) Frame Size: 30 x 42 inches

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

Calvin Lai's (US based) "Upon Waking" is an original, handmade oil painting that depicts a nude female figure in a Contrapposto posture leaning back against a lavender hued wall whil...

In "You Are Not Alone Anymore," Andreas Claussen's oil on canvas from 2023, measuring 35.43 x 47.24 x 1.18 inches, the artist masterfully intertwines surrealism with realism, challen...

"Nude in Venice" - original large art by Paula Craioveanu Original, large, unique painting, oil on canvas, 55x40in / 140x102cm. Shipped rolled in a tube. Check 1stDibs code FREESHIP...

Ann Brockman (1895–1943) was an American artist who achieved success as a figurative painter following a successful career as an illustrator. Born in California, she spent her childhood in the American Far West and, upon marrying the artist William C. McNulty, relocated to Manhattan at the age of 18 in 1914. She took classes at the Art Students League where her teachers included two realist artists of the Ashcan School, George Luks and John Sloan. Her career as an illustrator began in 1919 with cover art for four issues of a fiction monthly called Live Stories. She continued providing cover art and illustrations for popular magazines and books until 1930 when she transitioned from illustrator to professional artist. From that year until her death in 1943, she took part regularly in group and solo exhibitions, receiving a growing amount of critical recognition and praise. In 1939 she told an interviewer that making money as an illustrator was so easy that it "almost spoiled [her] chances of ever being an artist."[1] In reviewing a solo exhibition of her work in 1939, the artist and critic A.Z Kruse wrote: "She paints and composes with a thorough understanding of form and without the slightest hesitancy about anatomical structure. Add to this a magnificent sense of proportion, and impeccable feeling for color and an unmistakable knowledge of what it takes to balance the elements of good pictorial composition and you have a typical Ann Brockman canvas."[2] Early life and training Brockman was born in Northern California in 1895 and spent much of her youth in nearby Oregon, Washington, and Utah.[1][3] She met the artist William C. McNulty in Seattle where he was employed as an editorial cartoonist. They married in March 1914 and promptly moved to Manhattan where he worked as a freelance illustrator.[4][5] At the time of their marriage, Brockman was 18 years old.[6] Over the next few years, her career generally followed that path that her husband had previously taken. His art training had been at the Art Students League beginning in 1908; she began her training there after moving to New York in 1914.[1] After an early career as an editorial cartoonist, he freelanced as a magazine and book illustrator beginning in 1914; she began her career as a magazine and book illustrator in 1919.[7] He embarked on a teaching career in the early 1930s and not long after, she began giving art instruction.[8][9] While they both adhered to the realist tradition in art, their usual subjects were different. His prominently depicted urban cityscapes in the social realist whereas hers generally focused on rural landscapes. He was best known for his etchings and she for her oils and watercolors.[8][10] Brockman returned to the Art Students League in 1926 to take individual instruction for a month at a time from George Luks and John Sloan.[1] Despite their help, one critic said McNulty's "sympathetic encouragement and guidance" was more important to her development as a professional artist.[11] Career in art In the course of her career as illustrator, Brockman would sometimes paint portraits of celebrities before drawing them, as for example in 1923 when she painted the French actress Andrée Lafayette who had traveled to New York to play title role in a film called Trilby.[12] She would also sometimes accept commissions to make portrait paintings and in 1929 painted two Scottish terriers on one such commission.[13] During this time, she also produced landscapes. In 1924 she displayed a New England village street scene painting in the Second Annual Exhibition of Paintings, Watercolors, and Drawings in the J. Wanamaker Gallery of Modern Decorative Art.[14] Available sources show no further exhibitions until in 1930 a critic for the Boston Globe described one of her portraits as "well done" in a review of a Rockport Art Association exhibition held that summer.[15] Between 1931 and her death in 1943, Brockman participated in over thirty group exhibitions and five solos.[note 1] Her paintings appeared in shows of the artists' associations to which she belonged, including the Rockport Art Association, Salons of America, Society of Independent Artists, and National Association of Women Painters and Sculptors.[17][19]Between 1932 and 1935, her paintings appeared frequently in New York's Macbeth Gallery.[20][23][25][27] She won an award for a painting she showed at the Art Institute of Chicago in 1940.[41] In 1942, the Whitney Museum bought one of the paintings she showed in its Biennial of that year.[10] Critical praise for her work steadily increased during the decade that ended with her untimely death in 1943. In 1932, her painting called "The Camera Man" was called "a clever piece of illustration."[21] Three years later, a painting called "Small Town" gave a critic "the impression of freshness, honesty, and skill".[29] In 1938, a critic described her "Folly Cove" as "masterful" and said "Pigeon Hill Picnic" was "sustained by excellence of execution".[48] At that time, Howard Devree of the New York Times saw "evidence of gathering powers" in her work and wrote "she imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Three years later, a Times critic reported Brockman had "set herself a new high" in the watercolors she presented,[52] and another critic said the gallery where she was showing had not "for some time" shown "so outstanding a solo exhibitor as Ann Brockman."[2] Shortly before her death, a critic for Art News maintained that she was "one of America's most talented women painters".[46] After she had died, a critic said Brockman's paintings "displayed real power", adding that she was "highly rated among the nation's professional artists" and was known to give "aid and encouragement, always with a smile," both artists and to her students.[10] in reviewing the memorial exhibition at the Kraushaar Galleries held in 1945, reviewers wrote about the strength and vibrancy of her personality, the quality of her painting ("every bit as good, possibly better than people had thought"),[53] called her "one of the best of our twentieth century women painters", and credited "her sense of the vividness of life" as a contributor to "the unusual breadth that is so characteristic of her work.[11] One noted that her work was "widely recognized throughout the country" and could be found in the collections of prominent museums, including the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Art Institute of Chicago.[54] Writing in the Times, Devree wrote, "even those who had followed the steady growth of this artist for more than a decade, each successive show being at once an evidence of new achievement and an augury of still better work to come, may well be surprised at the combined impact of the selected paintings in the present showing,"[55] and writing in the Brooklyn Daily Eagle, A.Z Kruse said she had made "extraorginary accomplishments", painted with "inordinate distinction" showing a "lyrical majesty," and possessed "a keen esthetic sense which did not deviate from truth."[54] Artistic style (1) Ann Brockman, undated drawing, black chalk on paper, 18 x 22 inches (2) Ann Brockman, High School Picnic, about 1935, oil on canvas, 34 1/4 x 44 1/4 inches (3) Ann Brockman, untitled landscape, about 1943, watercolor and pencil on paper, 15 1/4 x 22 1/2 inches (4) Ann Brockman, North Coast, undated watercolor, 21 1/2 x 30 inches (5) Ann Brockman, On the Beach, 1942, watercolor on paper, 16 1/2 x 20 inches (6) Ann Brockman, Lot's Wife, 1942, oil on canvas, 46 x 35 inches (7) Ann Brockman, New York Harbor, 1934, watercolor on paper, 13 1/2 x 19 1/4 inches (8) Ann Brockman, Youth, 1942, oil on board, 13 1/2 x 11 1/2 inches Brockman was a figurative painter whose main subjects were rural landscapes and small-town and coastal scenes. She worked in oils and watercolors, becoming better known for the latter late in her career. Most of her paintings were relatively small. Although she made figure pieces infrequently, the nudes and circus and Biblical scenes she painted were seen to be among her best works. In 1938, Howard Devree wrote: "Her gray-day marines and coast scenes are familiar to gallery goers and are favorites with her fellow artists. Her figure pieces have attained a sculptural quality without losing warmth or taking on stiffness. One spirited circus incident of equestriennes about to enter the big tent compares not unfavorably with many of the similar pictures by a long line of painters who have been fascinated by the theme. She imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Similarly, a critic for Art Digest wrote that year: "Fluently and virilely painted, [her] canvases suggest a close affinity between nature and humans. The artist takes her subjects out in the open where they may picnic or bathe with space and air about them. A fast tempo is felt in the compositions of restless horses and nimble entertainers busily alert for the coming performance. Miss Brockman is also interested in portraying frightened groups of people, hurrying to safety or standing half-clad in the lowering storm light."[56] Her palette ranged from vivid colors in bright sunlight to somber ones in the overcast skies of stormy weather. Of the former, one critic spoke of the rich colors and "sun-drenched rocks" of her coastal scenes and another of her "summery landscapes of coves and picnics."[11][50] Of the latter, Howard Devree said she "painted so many moody Maine coast vignettes of lowering skies and uneasy seas that artists have been heard to refer to an effect as 'an Ann Brockman day'".[57] Brockman's handling of Biblical subjects can be seen in the oil called "Lot's Wife", shown above, Image No. 6. Her watercolor called "On the Beach" and her oil portrait called "Youth" may both indicate the "sculptural quality" that Devree said was typical of her figure pieces (Image No. 8, above). An example of Brockman's bright palette in a typical summer theme is the oil painting called "High School Picnic" shown above, Image No. 2. Next to it is a painting, an untitled landscape of about 1943 whose medium, watercolor on paper, shows off the sunny palette she often used (Image No. 3). Among the darkest of her works was an untitled 1942 drawing she made in black chalk (shown above, Image No. 1). In a book called Drawings by American Artists (1947), the artist and art editor Norman Kent noted that this study influenced her painting through its use of "forms" that were "elastic" and suggested "color". He said its "massing of dark and light" created "a definite mood" that was "impressionistic" and had "the strength of a man's work".[58] Brockman's undated watercolor called "North Coast" (shown above, Image No. 4) is an example of the paintings to which Kent referred. Illustrator (9) Ann Brockman, cover, March 12, 1917, Every Week magazine (10) Illustration of an article, "The Taking of a Salient" by Henry Russell...

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

Dave Seeley's mesmerizing oil painting, "Venus of Los Angeles (Olympia)," is a contemporary masterpiece that pays homage to the timeless beauty of the female form. Created in 2023, t...

Antique impressionist nude woman portrait oil painting. Oil on canvas. Framed.

Artist: Mel Ramos, American (1935 - ) Title: O from the Hollywood Suite Year: 2009 Medium: Oil on Canvas, signed and dated verso Size: 39.5 in. x 30 in. (100.33 cm x 76.2 cm) Frame S...

Presenting a just discovered original pastel by American artist Hans Burkhardt. The Artists Model, is an original pastel on paper, signed, dated 1966, good original condition, with ...

Amazing early American surrealist nude male portrait landscape. Painted by Charles W St Clair. Oil on board. Framed. Image size, 24L x 30H. Super detailed and rare!

"Nude with Red Glass", acrylic on canvas, 3x20in

Seated Female Nude Figure in Oil on Canvas Beautiful modern impressionist figure painting of a seated nude woman by George Wishon (American, 1937-2005). The two-toned light blue and...

1950's Mid Century modern oil portrait of a nude black woman seated on a chair The artist was a portrait and figure painter active during the 1950s-1...

This charming pastel painting on paper was designed by Pio Santini (1908-1986) and named "nude with lace". The signature, Santini, can be found in the bottom left corner of the artwo...

Horizontal figurative photo-realist painting of women swimming in an aqua blue pool "Weightless, Timeless," painted by Hudson Valley artist, Samantha French, is 2019 oil on canvas, 48 x 60 inches Sides are cleanly painted white so additional framing is optional Excellent condition and ready to hang as is This photorealist figurative painting captures a peaceful water scene of a women leisurely floating in a crisp, aqua blue pool. The sunlight reflecting off their sun kissed skin complements the cool color palette, making for a serene visual experience. The brush work is highly detailed with little texture (impasto) on the surface. The horizontal painting on canvas is currently unframed and has clean, white painted sides, so additional framing is optional. About the Artist: Born and raised in north central Minnesota, Samantha French graduated from the Minneapolis College of Art and Design in 2005. French’s current body of work explores the idea of escape, the tranquility and nostalgia for the lazy summer days of her childhood. The series is inspired by Samantha’s own reflections and memories of her childhood summers spent in the lakes of Northern Minnesota. French actively exhibits her paintings and is included in many private and public collections throughout the country while her work has garnered extensive international and national press. She is a full-time painter and keeps a studio in New York’s Hudson Valley. "My current body of work is focused on swimmers underwater and above. Using vague yet consuming memories from my childhood summers spent immersed in the tepid lakes of northern Minnesota, I attempt to recreate the quiet tranquility of water and nature; of days spent sinking and floating, still and peaceful. These paintings are a link to my home and continual search for the feeling of the sun on my face and warm summer days at the lake. They are my escape, a subtle reprieve from the day-to-day. At the same time, I am drawn to an idealistic time before my own, where swim caps and wool swimsuits were commonplace. This combination of memory, observation and photography has allowed me to preserve the transitory qualities of water and remembrance." Artist Resume: 2019 Winter Swim, Rubine Red...

n.d. Signed in red, u.l. Double-sided oil painting on panel 30 x 24 inches

This painting is in excellent condition and has only been shown in a gallery setting. The board dimensions measure approximately 32" x 26", with frame it measures approximately 40" ...

Maura Petersen (American, born 1956) "Lounging Figure" 2019 Acrylic Paint, Canvas, Stretcher Bars The artist signed the back of the painting. In "Lounging Figure", Maura Petersen en...

Marcel von Herrfeld, born in 1889, was a son of Alice Herrfeldt and the Spanish painter of nudes Luis Ricardo Falero (1851-1896) who worked in Pari...

Spring Scattering Stars is a 1927 Neoclassical painting by American artist Edwin Blashfield. It depicts a nude female allegory of spring on a w...

3804 Fantasy oil painting nude bathers

Beautiful nude female portrait boudoir scene by Cynthia Kleinmeyer. Watercolor on paper measures 8 x 12 inches. Framed measurement: 12 x 16 inches. Signed and dated 1932 by artist...

Joseph Kardonne (1911-1985). East River, 1966. 9.5 x 12.25 inches. Watercolor on paper, sheet measures inches. Signed, dated and titled lower right. Excellent condition. Born in N...

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

Henri Montassier was born at Courlon near the River Yonne on July 27th 1880. As a young man he studied under Luc -Oliver Merson and began his career painting primarily landscapes, ma...

Clyde Steadman's "Bathsheba" is an original, handmade oil painting that depicts an impasto painting of a nude female model in an interior setting.

Bruce Sargeant (1898-1938)] Two Sailors n.d. Signed in red, u.r. Double-sided painting on panel 30 x 24 inches

Artist: Jan De Ruth, Czech (1922 - 1991) Title: Another Question Year: circa 1960 Medium: Oil on Canvas, signed l.r. Size: 28 in. x 22 in. (71.12 cm x 55.88 cm) Frame Size: 35.5 x 29...

Rare and well painted modernist nude composition. Oil on canvas. Signed. Framed. Image size, 18H by 24L inches.

Represented by George Billis Gallery, NYC & LA --A walk through any major museum will reveal paintings that depict or legitimate only certain kinds of experience. Despite the good intentions of critical theorists questioning the validity of the canon, paintings of the old masters on the walls of museums like the Met, the Louvre, Rijks museum still have a certain cache. They're revered not just for their technique but because they enshrine our collective past experience. Of course, it's a selected past that gets validated. Conspicuously absent to me as a gay man...

A walk through any major museum will reveal paintings that depict or legitimate only certain kinds of experience. Despite the good intentions of critical theorists questioning the va...

John Tarantola's original nude portrait "Pieta" (2021) is a beautiful surrealist oil on panel painting that depicts two young athletic male figures atop a red cloth in vast desert du...

The Three Graces - Original Surrealist On Board Dramatic and dynamic fantasy scene by Russell R. Tripp (American, 1942-2025). This piece depicts a dream like scene with two nude wom...

Quang Ho's "Bathroom Window" (2024) is a beautiful impressionist nude portrait of a woman drying off in the bathroom, with sunlight shining dimly through a window behind her. About...

In the Mid-Century Modern style of the 1960s, artist Gregory Cary recalls discovering "Beefcake" male nude photography when he was thirteen years old via male model magazines which h...

John Tarantola's original nude portrait "Blake of Night" (2012) is a beautiful surrealist oil on panel painting that depicts an athletic nude male figure crawling forward on a slab o...

Coreen Mary Spellman (1905 - 1978) Dallas Artist Image Size: 20 x 14 Frame Size: 25 x 19 Medium: Oil Bio: Exhibited in the Ninth Annual Student Art show at the State University of Iowa Coreen Spellman Biography Coreen Mary Spellman (1905 - 1978) Coreen Mary Spellman was a fine-art teacher as well as a painter, designer, illustrator, lithographer and muralist. Many of her paintings depicted human-made structures and industrial landscapes in a style combining realism, precisionism and abstraction. Often the central subject such as in "Railroad Signal" was the only suggestion of humanity against a backdrop of stark Texas landscape. Of her painting these isolated subjects she said: "I enjoy taking some rather obscure or unimportant subject or theme and making something fine and important out of it . . . It always gives me great pleasure to discover something which has been passed over as being inadequate material". (Trenton 199) Spellman was born in Forney, Texas in 1905. At an early age she moved to Dallas, Texas and studied under Vivian Aunspaugh before attending the College of Industrial Arts (Texas Woman's University). She received a Master of Arts degree from Columbia University and a Masters Degree from the University of Iowa, Iowa City in 1942. In addition, Spellman received a Carnegie Scholarship for study at Harvard University, followed by studies with Kenneth Hayes Miller, Vaclav Vytlacil, and Charles Wheeler...

[Bruce Sargeant (1898-1938)] Two Men on Beach is a painting by the artist Mark Beard which depicts two men in speedos standing on a beach. n.d. Signed i...

Dave Seeley’s *Venus* (2023) is a striking oil painting on canvas mounted to panel, measuring 44 x 29 inches (50 x 36 inches framed). This evocative figurative work presents a nude f...

Antique Male Academic nude painting Henri Brugnot with exposition label (1st prize). by Henri Brugnot (1874-1940) Oil on canvas board 15" x 30" The lab...

A monumental watercolor on paper, painted in Paris by Russian artist Sacha Zaliouk. Zaliouk moved to Paris in the early 1920's and became an artist and illustrator, becoming part ...

American impressionist nude beach scene oil painting by Nathan Hoffman (1900 - 1979). Framed. Oil on board. Signed. Image size, 16H by 20L.