Nude Paintings

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...

"Painting Oil On Canvas, Nude In An Oriental Setting Maurice Briard" Beautiful and large oil on canvas, French school signed from the 1920's representing a naked young girl in an Ori...

Josine Vignon (French 1922-2022) ...

Nicely painted mid century abstract cubist nude oil painting. Great color and composition. Framed. Signed

Signed and Dated Modern Line Drawing Oil Painting of Nude Man. Louis Stettner (November 7, 1922 – October 13, 2016) was an American photographer of the 20th century whose work inclu...

This original acrylic painting on canvas is an impressive work created by artist Lada Kholosho in 2024. It depicts a solitary figure wrapped in an embrace and rendered in a vivid pal...

Ps 233 La Fauve S'habille en leopard. (Tawny wears leopard) Portrait of a naked woman who is carrying a leopard. Structural analysis: Closeup portrait of a naked woman. The backgro...

Joan Palet (1911 - 1996) - Nude - Oil on canvas Oil measures 65x81 cm. Frameless. Joan Palet was born in Barcelona on March 28, 1911 in a family of sculptors and wood carvers. He b...

"Snow White" Oil Painting 39" x 35" inch by Yevhenii Shapovalov ATT: SHIPS ROLLED IN TUBE ABOUT: Yevhenii Shapovalov is a highly talented Ukrainian painter and graphic known for h...

Water,Swimmer,Summer,sea Birgitte LYKKE MADSEN (Odense, Denmark, 1960) 1981-86, Educated from the Academy of Fine Arts, Odense First solo exhibition in 1983 Artist statement: “I ...

"In love, pauses are especially delightful. As if in these moments tenderness accumulates, breaking through then with sweet outpourings."

The figure has a dreamlike quality, giving the piece a tranquil and serene feel. The beautiful detailing is so colourful and Vibrant. Ignacio Trelis is a Spanish contemporary painte...

#2203D is an original drawing by David Jones. David Jones, artist, is pleased to present a series of nude drawings in the style of Matisse. ADDITIONAL INFORMATION: #2203D by David ...

Red Sofa – Jolanta Johnsson, experienced Polish artist, graduate of the Academy of Fine Arts in Warsaw, PhD of fine arts, university teacher. She currently l...

Victoriano CODINA Y LANGLIN Barcelona, 1844 - London, 1911 Oil on canvas 47 x 31 cm (63 x 48 cm with the frame) Signed and dated at the bottom on the poster 'V. Codina L. / 1880" Ver...

Francisco Zúñiga (Mexican, 1912-1998) Seated nude with extended legs. This woman with eyes heavy in meditation shows a myriad of emotions including humility, vulnerability and fatigue. The figure makes the viewer appreciate those who do all the mundane and heavy lifting service work for us teaching us sympathy and empathy. Another very powerful work by Zuniga worthy of any art space. Black and sepia Conté Crayons made from a blend of natural pigments, kaolin clay, and graphite on paper. Signed and dated lower left: Zúñiga / 1975 Ariel Zúñiga personally confirmed the authenticity of this drawing when I acquired it. This painting will be included in his forthcoming Francisco Zúñiga: Catalogue Raisonné, Volume V. Sheet Size: 19-5/8 x 25-1/2 inches (49.8 x 64.8 cm) Framed Dimensions 28.5 X 34 Inches Condition: Excellent original condition. Sheet hinged to mat; pinholes to the corner, inherent to the works creation. Original solid wood frame with wear and touch ups. AVANTIQUES is dedicated to providing an exclusive curated collection of Fine Arts, Paintings, Bronzes, Asian treasures, Art Glass and Antiques. Our inventory represents time-tested investment quality items with everlasting decorative beauty. We look forward to your business and appreciate any reasonable offers. All of our curated items are vetted and guaranteed authentic and as described. Avantiques only deals in original antiques and never reproductions. We stand behind our treasures with a full money back return if the items are not as described. José Jesús Francisco Zúñiga Chavarría (December 27, 1912 – August 9, 1998) was a Costa Rican-born Mexican artist, known both for his painting and his sculpture. Journalist Fernando González Gortázar lists Zúñiga as one of the 100 most notable Mexicans of the 20th century, while the Encyclopædia Britannica calls him "perhaps the best sculptor" of the Mexican political modern style. Zúñiga was born in Guadalupe, Barrio de San José, Costa Rica on December 27, 1912 to Manuel Maria Zúñiga and María Chavarría, both sculptors. His father worked as a sculptor of religious figures, and in stone work. His artistic inclinations began early and by the age of twelve had already read books on the history of art, artistic anatomy and the life of various Renaissance painters. At age fifteen he began working in his father’s shop. This experience sensitized him to shape and spaces. In 1926 he enrolled in the Escuela de Bellas Artes in Mexico, but left the following year to continue on his own. As part of his self-study, he studied German Expressionism and the writings of Alexander Heilmayer, through which he learned of the work of two French sculptors, Aristide Maillol and Auguste Rodin, coming to appreciate the idea of subordinating technique to expression. Zúñiga’s painting and sculpting work began receiving recognition in 1929. His first stone sculpture won second prize at the Exposición Nacional de Bellas Artes. In the following two years continued to win top prizes at this event. This work made critics recommend him for study abroad. He won first prize in a 1935 Latin American sculpture...

This original acrylic painting, rendered on a quality stretched canvas measuring 50 cm in width and 70 cm in height, compellingly explores the human form through a vibrant interplay ...

Konstantin Razumov (Born 1974) Russian Semi-Nude Lady Standing in the Courtyard of the Harem Oil on canvas: 16 x 11 inches. Frame: 23 x 18 inches. Konstantin Razumov's work has ...

Francisco Zuniga, Mexican (1912-1998). 'Brujeria', sepia and black charcoal on paper. I spoke with Ariel Zuniga and he was very impressed by this painting saying three or more figures is rare. The scene is of a mother and sick daughter with a witch (Bruja) hovering by her side expelling her maladies. the witch’s eyes are penetrating the daughter at the point of her demise with the mother in black rode mourning the very thought of losing her daughter. A very powerful and moving painting. The color spectrum is impressive combining Sepia and black chalk to create an impressive spectrum of colors and depth in this scene. A COA by Ariel Zuniga will be included with this painting and it will be included in Francisco Zuniga’s upcoming Catalogue Raisonne Vol V. Signed and dated bottom left 1970. Ariel Zuniga kindly authenticated this painting through his Zuniga Laborte A.C. Foundation and will include it in the upcoming Catalogue Raisonne Vol V. Gallery label on verso. Sight Dimensions: 19 Inches x 25 Inches. Framed: 25.5"H x 31.5"W. Condition: painting in very good condition with wear to frame. AVANTIQUES is dedicated to providing an exclusive curated collection of Fine Arts, Paintings, Bronzes, Asian treasures, Art Glass and Antiques. Our inventory represents time-tested investment quality items with everlasting decorative beauty. We look forward to your business and appreciate any reasonable offers. All of our curated items are vetted and guaranteed authentic and as described. Avantiques only deals in original antiques and never reproductions. We stand behind our treasures with a full money back return policy if the items are not as described. Biography Zúñiga was born in Guadalupe, Barrio de San José, Costa Rica on December 27, 1912 to Manuel Maria Zúñiga and María Chavarría, both sculptors. His father worked as a sculptor of religious figures, and in stone work. His artistic inclinations began early and by the age of twelve had already read books on the history of art, artistic anatomy and the life of various Renaissance painters. At age fifteen he began working in his father’s shop. This experience sensitized him to shape and spaces. In 1926 he enrolled in the Escuela de Bellas Artes in Mexico, but left the following year to continue on his own. As part of his self-study, he studied German Expressionism and the writings of Alexander Heilmayer, through which he learned of the work of two French sculptors, Aristide Maillol and Auguste Rodin, coming to appreciate the idea of subordinating technique to expression. Zúñiga’s painting and sculpting work began receiving recognition in 1929. His first stone sculpture won second prize at the Exposición Nacional de Bellas Artes. In the following two years continued to win top prizes at this event. This work made critics recommend him for study abroad. He won first prize in a 1935 Latin American sculpture...

Pierre-Albert BÉGAUD (Bordeaux 1901 – 1956) End of game Oil on canvas H. 27 cm; L. 46.5 cm Signed lower right Pierre-Albert Bégaud is a French portrait and landscape painter born in...

Raoul Dufy (French, 1877-1953) Nu allongé sur canapé, circa 1939 China ink, gouache, and watercolor on paper laid on board Sight: 16 x 19.75 inches (40.6 x 50.2 cm) Signed lower righ...

#2209E is an original minimalist style drawing by artist David Jones. In this contemporary life drawings David Jones used a drawing techniques central to his practise which involved ...

In this artwork, the serenity of the figure is juxtaposed with the dynamic scarlet background, symbolizing comfort in passion and color. The painting portrays the female form in a m...

Jolanta Johnsson, experienced Polish artist, graduate of the Academy of Fine Arts in Warsaw, PhD of fine arts, university teacher. She currently lives in Sweden. This is how she writ...

"Fragment 8" by Rudolf Kosow is an evocative miniature painting on wood, capturing the elusive nature of human memory and emotion through abstract forms and subtle colors. This artwo...

This image is part of the artist's early series of portraits depicting queer subject matter in domestic settings, painted to resemble a private snapshot.

"Night" work in progress please come back Original painting. size 35.4x27.5in / 90x90cm . Shipped stretched, as it is, ready for hanging. Artist Statement "I started by paint...

“Desire her” makes part of AGAPO (meaning “I Love” in Greek) series. “The series expresses the warmth of intimacy.  It is intentionally exotic. Intimacy is spontaneous and irrational...

"Fragment 7" by Rudolf Kosow is a deeply evocative miniature painting on wood that portrays the subtle details of a human profile with a focus on the neck and shoulder. The artwork's...

Dorothy King was born and lived in London in 1907. She studied at the Hornsey School of Art under JC Moody, then briefly at the Slade School of Fine Art with Randolph Schwabe. She to...

"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" by Rudolf Kosow is a poignant miniature painting on wood, which masterfully captures the essence of contemporary portrait art with a nuanced approach. The painting feature...

In the "Happiness Series: Journey to Inner Peace", the painting, which captivates with its depth, reflects the essence of exploring happiness and joy in unpredictable times. This can...

"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...

“Escapades with her” makes part of AGAPO (meaning “I Love” in Greek) series. “The series expresses the warmth of intimacy.  It is intentionally exotic. Intimacy is spontaneous and ir...

The work "In the Steam Bath" is one of my childhood memories of the Russian steam bath. For me it is not just an image of naked bodies, it is a mood - muffled whispers and laughter, ...

“Crush” makes part of AGAPO (meaning “I Love” in Greek) series. “The series expresses the warmth of intimacy.  It is intentionally exotic. Intimacy is spontaneous and irrational. At ...

Jolanta Johnsson, experienced Polish artist, graduate of the Academy of Fine Arts in Warsaw, PhD of fine arts, university teacher. She currently lives in Sweden. This is how she writ...

Giuseppe Marullo (Orta di Atella, 1610 ca – Napoli, 1685) Suicidio di Lucrezia Olio su tela, cm 132 x 94 Con cornice, cm 148 x 110 Pubblicato in “Achille della Ragione, Scritti di st...

This image is part of the artist's early series of portraits depicting queer subject matter in domestic or outdoor settings, painted in a classical style, offering something of a pri...

"Super Ballet" Oil Painting 63" x 51" inch by Yevhenii Shapovalov Artwork ships rolled in a tube ABOUT: Yevhenii Shapovalov is a highly talented Ukrainian painter and graphic know...

This image is part of the artist's early series of portraits depicting queer subject matter in domestic or outdoor settings.

This image is part of the artist's early series of portraits depicting queer subject matter in domestic or outdoor settings, offering something of a private, snap-shot-like aesthetic...

This image is part of the artist's early series of portraits depicting queer subject matter in domestic or outdoor settings. This one depicts a kissing couple, starkly lit in a chiar...

This image is part of the artist's early series of portraits depicting queer subject matter in domestic or outdoor settings, offering something of a private, snapshot-type aesthetic....

This image is part of the artist's early series of portraits depicting queer subject matter in domestic or outdoor settings, painted in a classical style with strong chiaroscuro ligh...

This image is part of the artist's early series of portraits depicting queer subject matter in domestic or outdoor settings, offering something of a private snapshot-like aesthetic i...

This image is part of the artist's early series of portraits depicting queer subject matter in domestic or outdoor settings, painted in a classical style against a blank black backgr...

This image is part of the artist's early series of portraits depicting queer subject matter in domestic or outdoor settings.

This image is part of the artist's early series of portraits depicting queer subject matter in domestic or outdoor settings, painted in a classical style with an allusion to Greco-Ro...

"Hypnos 1", oil on canvas, 27.5x19.68in / 70x50cm Hypnos is the personification of sleep, the god who touches humans with his wings , his mission is to help people sleep. Part of my...

PS 243 La Contrebasse d'Ingres Such as Odalisque from Ingres or the photography composition from Man Ray, the most important point is the round shape of the body. The pale body sha...

André Derain (1880-1954) nude female pencil drawing, circa 1935 Stamped with Atelier Oval “Andre Derain” Stamped on verso with the S. Knaub...

Blair Hughes Stanton (British, 1902-1981) Girl with a Guitar, 1929 oil on canvas 16.3/8 x 25.3/4 in. (41.4 x 65.5 cm.) Provenance: the Estate of t...

Echoes 3 Composition with Two Male Nudes, oil on canvas, 35.5x19.5in / 90x50cm Part of Wings of Gods solo show, April 2024. Shipped as it is, stretched, directly from the artist...

Disegno del nudo maschile. Dal 19 ° secolo Disegno su carta leggermente colorata. In buone condizioni. Il disegno rappresenta un uomo sdraiato, che si abbandona al sonno. In una posa...

“The Holy Hour” German School, circa 1930's signed lower corner oil painting on canvas, framed The painting is a copy after the earlier work: THE HOLY HOUR; DIE HEILIGE STUNDE. by LUDWIG FAHRENKROG (1867-1952). painting: 51cm x 81cm provenance: private collection, Germany Fine quality Symbolist oil painting from the 1930...