Henri Fantin-Latour

Andromède

1904

Oil on canvas Signed lower left Signed, located and dated on reverse side "N.Diaz Barbizon 1857". Provenance: Christie's sale, New York, 10/1990 N°51 Christie's sale, New York, 28...

Oil on canvas 24.5 x 32.5 cm, signed lower right Provenance: Sale Galerie Boussod-Valadon & Allard, Paris, 03/03/1919, Georges Petit Hotel Drouot Ferri Sale 05/06/2019 lot no 18 L...

Oil on canvas 32.5x55.1 cm. Signed in the lower left and dated 1855. Origin: - Christie's New York sale on February 15, 1985 - Rindoko Museum in Tochigi, Japan - Special collection ...

Oil on canvas, signed in the bottom right corner His father was a lace designer and set him up to work in adecoration workshop. Later, he became heavily influenced by impressionist ...

"Bords de l'Yonne" also referred to as "Le Canal" Oil on canvas, signed in the bottom left corner, 33x41cm, circa 1867 Origin: -Sotheby's sale July 05-06 1961, lot no. 131 -Walter ...

"Le retour de pêche", Oil painting on canvas, signed in the bottom right corner, 55x82cm. Chérioux's student in Brest, Noel moved to Paris and debuted in the 1840 Salon, at which he...

The painting reveals a nude woman, her aura exuding self-assurance. She stands upright on the rugged terrain of a rocky mountain. Her curly hair freely frames her face. The work is e...

[Bruce Sargeant (1898-1938)] Three Bathers by the Water Signed in red, recto Oil on canvas 96.25 x 67 inches (244.5 x 170.2 cm) $15,000 + $900 framing This work is offered by Cla...

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...

Julius EXNER (Copenhagen, 1825 - Copenhagen, 1910) Model stripping Oil on canvas H. 122 cm; L. 74 cm Signed and dated 1842 lower right Exhibition: most likely Charlottenborg Salon of 1845, under number 110, titled Modelfigur, awarded with a silver medal Provenance: Emilio Fernando Bolt (c.1860 - 1944), acquired from the artist around 1900, then by descent Our painting was produced as part of the summer sessions organized between 1839 and 1850 by Christoffer Wilhelm Eckersberg (1783-1853), the master of Danish painting of the first half of the 19th century, in his private studio-apartment on the ground floor. floor at the Royal Academy of Fine Arts in Copenhagen. The master brought together a few students there between June and September, rented one or two models for the season, which were painted from different angles, the artists (including Eckersberg himself) sitting side by side. Eckersberg used to paint a fairly small version, the pupils of the larger formats. The work fits more generally into the legendary context of the research and reforms carried out by Eckersberg concerning the studies of nudes and in particular of female nudes, to make this exercise a genre of painting in its own right. Following his two-year stint in Jacques-Louis David's studio in Paris in 1811, Eckersberg had been made aware of work on the nude and in particular on live models, in natural light, while in Denmark the drawings were then only made from casts of antique models or other mannequins. In 1822, when he had been a professor there since 1818, it was he who had the Royal Academy of Copenhagen authorize the study of nudes, no longer in the evening by candlelight, but in natural light; from 1833, it was still he who allowed students to work on nude female models, even if the official authorization of the Academy did not take place until 1839. It was this same year that he instituted his summer sessions, on a private basis, to orient his painting and that of his students towards a new conception of the representation of models: even if the nude remains the real theme, it does not however, this is more than just an academic exercise. The subject is placed in a contemporary interior, with a rather sophisticated decor, and occupied with an intimate activity (it is this type of intimate vein that we will find later in Degas or Cassatt for example); thus in our painting, the young woman is supposed to take off her clothes to wash. The objective is that the viewer forgets that the master and his students are painting a model during a posing session, and that he instead has the impression of being alone with the model, but invisible, almost like a voyeur in spite of himself. Moreover, in these paintings, the model never looks towards the spectator, inducing a psychological distance with him, whereas model and artist are actually physically very close. On the other hand, it is not a question of idealized nudes either, even if Eckersberg, proof of his debt to the antique, chooses fairly classic models and poses. The sensuality is real and very present, with dreamy, even innocent, and timeless expressions (the models do not seem to have a defined age), suave and slow attitudes and movements, and especially with clothes that hide or reveal skillfully parts of the female body: upper buttocks, pronounced hips... Made by an artist under 20, our sensual painting is probably one of the most beautiful and spectacular produced by the students of Eckersberg during these summer sessions. With a perfect balance between the firmness of an ancient statue (it recalls the Venus de Milo) and the softness of the feminine forms, highlighted by a harmonious palette, it captures the attention with many details: the almost photographic folds white clothing...

Sunil Das - Confrontation Series - 57.5 x 65 inches (unframed size) Oil on Canvas Inclusive of shipment in ready to hang form. Sunil Das (1939-2015) was a Master Modern Indian Artis...

A painting by Nathan Oliveira. "Untitled" is a Bay Area Figurative Painting, oil on canvas in a brown and tan palette by American artist Nathan Oliveira. The artwork is signed in the...