Impressionist Nude Paintings

Mid-century figure study of an African American man by American Impressionist artist Genevieve Rogers. Unsigned, but acquired with a collection of her...

This original painting is a beautifully depicted nude figure study in a cozy interior space with southwest elements by San Jose, California artist David D....

Impressionist Nude, Atmospheric Colour, Oil Painting By French artist Garnvault, 20th Century Signed by the artist verso Oil painting on canvas, unframed Canvas size: 15 x 21.5 inche...

“Often an act, in itself worthy of condemnation, becomes laudable due to the intention that inspires it”

The Studio Model French Impressionist artist, circa 1890's oil on canvas: 27.5 x 16.5 inches provenance: private collection, France condition: very good and sound condition

"You can teach a girl femininity for a long time, but stockings will do it instantly."

“Real beauty is not one that one admires with pleasure, but one that is as difficult to look at as the sun.”

"A woman becomes a goddess when she explores and accepts her femininity."

The wind of change is rarely warm and gentle, it can rather knock you off your feet. But still refreshing, invigorating and internally feel you can not do without it. Sometimes it's ...

This painting shows a girl with a juggling ball in her hand. Her image includes both coldness and vulnerability. Thanks to her ball, she juggles her life.

The study and depiction of the naked body - the quintessence and essence of every person - for thousands of years remains an occupation that is both revered and condemned, causing many discussions, a stumbling block in the history of art...

"The jug is so simple, any potter blinds it without difficulty, And everything in you inspires me with awe, Everything is full of subtle feminine charms."

The picture shows a girl firefighter. The main idea of ​​this work is that every woman contains strength and femininity, tenderness and will. A woman can do everything, but the quest...

This artwork "Two Nude Couples" is an oil painting on masonite board by noted German/American artist Norbert Schlaus, 1927-2009. It is signed at the lower left center by the artist. ...

"Happy is he who can love his wife like a mistress, and unhappy is he who allows his mistress to love him like a husband."

Nude Figure Study, Standing Female Figure with Sage Green Figure study of a nude model in studio by Los Gatos, California artist M.Z. Murphy (American, 20th century), c.1990. The f...

Redhead On A Yellow Blanket - Original Figurative Nude Study Original San Francisco figurative nude painting depicting a redhead model laying on a yellow blanket. Her hand lays over...

Artist/ School: French School, mid 20th century, indistinctly signed lower corner Title: Portrait of a Nude Lady Medium: signed oil painting on canvas, unframed canvas: 18 x 21.75...

"A woman is like good wine in an elegant vessel, the bouquet of which is exquisite, but can run out of steam if you do not stop it with a kiss in time."

Nude Figure by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 10 high by 8 inches wide condition: o...

Joan Palet (1911 - 1996) - Nude - Oil on canvas Oil measures 81x65 cm. Frameless. Joan Palet was born in Barcelona on March 28, 1911 in a family of sculptors and wood carvers. He b...

Nude Lady by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 10 high by 8 inches wide condition: ov...

A Redheads Dream - Figurative Nude With Butterflies and Flowers Original figurative nude painting of a redhead woman surrounded by butterflies and magenta flowers, by possibly an u...

Nude Female by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 10 high by 8 inches wide condition: o...

Female Figures by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 8 high by 10 inches wide condition...

Nude Female by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 8 high by 10 inches wide condition: o...

Female Nude Figure by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 10 high by 8 inches wide condi...

Nude Model by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 8 high by 10 inches wide condition: ov...

Nude Figures by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 10 high by 8.25 inches wide conditio...

Female Figures by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 10 high by 8 inches wide condition...

Nude Figure by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 10 high by 8 inches wide condition: o...

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...

Josine Vignon (French 1922-2022) ...

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...

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

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 ...

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...

Signed and titled oil on board nude circa 1905 by Belgian neo-impressionist painter Georges Lemmen. The work titled 'Reverie' depicts a red-haired lady who is kneeling down and resti...

Antique American impressionist landscape with a nude bather by Henrik Hillblom (1863 - 1948).

Josine Vignon (French 1922-2022) ...

In "Female Curve," a 24" x 36" oil on canvas, Natalia Aandewiel captures the sensuous form of the feminine mystique with an impressionistic touch. Swirls of cerulean, blush pink, and...

"Male Curve" is an evocative 36" x 24" oil painting by Ukrainian artist Natalia Aandewiel that captures the essence of masculine grace. Rendered with a raw, earthy palette, the comp...

Black and White Figurative Nude - Oil on Canvas Black and white figurative nude by F Vasquez (20th C). The nude torso of a woman takes up the canvas. Her right hand is on her hip wh...

Julie Elise Hullgren, born July 29, 1879 in Aalborg, Denmark, died 1963, was a Danish-Swedish painter. She was the daughter of director J.G. Dinesen and Vilhelmine Marie Rodskier and...

Kevin McAlpin (American, 20th Century) Untitled, c. mid-20th century Mixed media on canvas 24 x 19 7/8 in. Framed: 30 x 26 x 1 1/4 in. Signed lower right: Kevin McAlpin

Nude Model by Helen Greenfield (British 20th century) signed initials oil painting on board, unframed board: 19 x 13 inches condition: overall very good provenance: all the paintings...

"Beautiful And Large Oil On Canvas Impressionist Nude Signed V Regnart" Victor Regnart is a Belgian painter and engraver born January 26, 1886 in Élouge...

Posed Nude Model by Helen Greenfield (British 20th century) oil painting on board, un framed board: 20 x 13 inches condition: overall very good provenance: all the paintings we have ...

Nude study of the Three Graces attributed to André Favory unsigned, after Cezanne. Excellent condition, framed.

Over the last few years Francien has created a series of paintings, which stylistically dovetail into its overall work. This interesting new series came about by the birth of her lon...

Nude Lady Posing for artist on green throw by Josine Vignon (French 1922-2022) ...

Over the last few years Francien has created a series of paintings, which stylistically dovetail into its overall work. This interesting new series came about by the birth of her lon...

Envision a day when the cacophony of society fades away, dismissing judgments on appearance, social metrics, age, success, and norms. Recognize it as mere noise and picture the liber...

Francien Krieg, a contemporary Dutch artist, gives a new dimension to figurative painting with her penetrating and unfiltered portraits. Krieg, who received her art education at the ...

This artwork "Sitting Nude" c.1990, is an oil painting on hardboard panel by noted American artist Howard Rogers, b.1932. It is signed at the lower right corner by the artist. The artwork (panel) size is 8.85 x 11.85 inches, framed size is 17.75 x 21 inches. Framed in original wooden gold and grey frame, with fabric liner and gold bevel. It is in excellent condition, the frame have very small minor restorations, practically invisible. About the artist: Howard Rogers wanted to be an artist for as long as he could remember. "I had no idea what an artist was when I was a kid," he laughs. "But I had a distant cousin who had gone to art school and I saw some of his drawings. They really impressed me." Born and raised in San Diego, California, Rogers now focuses on the future: "I kind of enjoy today and tomorrow and to heck with yesterday." While in high school, Rogers took some art classes and served as an apprentice sign painter, eventually becoming a journeyman. He was also a member of his high school track team, competing in the high jump, the hurdles and cross-country, as well as doing some bike racing. Following a stint in the Army, he began training for the Olympics in bike racing, trying out in 1948, 1952 and 1956. Today, "I ride a stationary bike in front of my easel three times a week." After trying out for the 1956 Olympics...

This painting is on the cover of my book: Precious bodies Francien Krieg, a contemporary Dutch artist, gives a new dimension to figurative painting with her penetrating and unfilter...

Francien Krieg, a contemporary Dutch artist, gives a new dimension to figurative painting with her penetrating and unfiltered portraits. Krieg, who received her art education at the...