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Kees van DongenUn nu feminin - Fauvist Nude Figurative Watercolour by Kees Van Dongenc.1900
c.1900
$19,719.25
£14,400
€16,879.60
CA$27,155
A$29,557.54
CHF 15,661.48
MX$355,474.09
NOK 199,131.73
SEK 182,482.19
DKK 126,089.56
About the Item
Signed nude watercolour on paper circa 1900 by Kees van Dongen. The piece depicts a standing nude woman with her hair tied up facing away from the artist. This superb work can be directly compared to a horizontal watercolour of a female nude by Van Dongen which was sold at Sothebys London on the 5th December 1985 depicting likely the same model.
Signature:
Signed lower right
Dimensions:
Framed: 20.5"
Unframed: 16"
Provenance:
Private collection - Germany
Kees van Dongen's father first placed him in a school of industrial design and decorative art in Rotterdam. Later, in 1894-1895, he became a pupil of J. Striening and J.G. Heyberg at the academy of fine arts in Rotterdam. His first paintings of this period were signed C. Van Dongen and from 1896 he published drawings, often of street women, in local newspapers, notably the Rotterdamsche Nieuwsblad where they created a scandal. After a trip to New York in July 1897, he spent time in Paris, living with Siebe Ten Cate, who introduced him to the art dealers Le Barc de Bouteville and 'le père Soulier'. However, lack of resources obliged him to resort to menial work as a porter at Les Halles, a furniture remover, a portrait painter on the terraces of cafes and a professional wrestler. In March 1900 he settled in Paris for good and in 1901 he married his comrade at the École des Beaux-Arts Augusta Preitinger, called Guus. In 1905 his daughter Augusta was born and nicknamed Dolly. In 1905-1906 he joined up with Picasso, though this friendship had no influence on his own artistic development, and settled at the Bateau-Lavoir where Pierre Mac-Orlan, André Salmon and Max Jacob also lived, and where Apollinaire, who disliked him, and Dérain, Vlaminck and others were regular visitors. He often went with Picasso to the Médrano circus, where he made pictures of clowns and acrobats. Fernande Olivier, then Picasso's companion, often modelled for him.
From 1910 to 1912 he made several trips to Spain, Italy, Morocco, Tunisia and Egypt. In 1916, separated by the war from his wife and daughter, Van Dongen set himself up at the Villa Saïd, which soon became the place to be for those who mattered in Paris and, more importantly, the studio where the greatest number of large society portraits were painted. He had been introduced into so-called 'high society' by his new companion, Leo Jasmy Jacob. Between 1920 and 1930 Van Dongen divided his time and activity between Cannes, Deauville, Venice and Paris. In 1921 he made a visit to Venice and in 1922 he settled in a luxurious private mansion in Paris at 5 rue Juliette-Lamber. The studio on the first floor was his working area. He was made a Chevalier of the Légion d'Honneur in 1926. In 1935 he transferred his Paris studio to 765 rue de Courcelles and in 1938 he entered into a relationship with Marie-Claire Huguen, who gave him a son, Jean-Marie. His activity was intense up to World War II; it then slowed down. After the war he abandoned large works and painted new portraits, among which was one of the actress Brigitte Bardot. He divided his time between Paris, Deauville and the Midi, where he set up home with his new companion and their son in Monaco.
The personal difficulties of his youth had put him in a position to understand the social misfortunes brought about by the industrial period, and he dedicated part of his work to representing those excluded from society. On his arrival in Paris he contacted Félix Fénéon, editor of the Revue blanche, who introduced him to the pointillist painters Maximilian Luce, Edmond Cross and Signac, who influenced him in his pictorial technique. During this period, in part occupied with making rapid sketches of typical street characters in Paris, he was particularly influenced by the incisive lines of Steinlein, Forain and Toulouse-Lautrec, influences that contributed to the apparent simplification of his drawing. From 1901 to 1903, he contributed to the illustrated publications of the time: Rabelais; Le Rire; L'Indiscret; Gil Blas; Frou-Frou and of course the Revue blanche. From 1901 a special issue of L'Assiette au Beurre: Petite histoire pour petits et grands nenfants (sic) was given over totally to his drawings, which earned him 800 francs. Between 1895 and about 1912, part of his work, mainly large drawings on paper, seemed completely taken up with denouncing poverty, alcohol and prostitution.
In spite of all this, it is to his Fauvist period that he owes his place in history. This period was relatively long in his case, covering about eight years, during which he remained indifferent to the Cubist phenomenon. From his Self-portrait and Pipe Dream of 1895, the violence of his palette placed him as a pre-Fauvist. George Duthuit, a historian of Fauvism and son-in-law of Matisse, wrote: 'Van Dongen has followed the Fauves at a distance, he might even have moved ahead of them from 1895, without noticing it'. During the Fauve period, his sensual nudes, modelled often by 'Anita, the Gypsy', drew the attention of critics including Félix Fénéon and Louis Vauxcelles, who inappropriately called them 'the most radiant, the warmest since Renoir', with whom he had nothing in common. One of two paintings that figured in 1905 in the Fauvist area of the Salon d'Automne was a Torso based on his wife Guus, 'bestial and resplendent' according to Élie Faure. In a nice turn of phrase, Gustave Coquiot wrote that Van Dongen had discovered that a woman was the most beautiful of landscapes. During 1905, when he had exhibitions at the Berthe Weill and Druet galleries, the creation of some of these paintings was marked, from 1903, by the separated brushstroke of the Neo-Impressionists: '... in a retrospective of Seurat, I was able to copy his style and to add to it', an influence which he rejected for a long time, only coming back to it in his last years. As well as nudes, he also painted characters in drama, clowns and dancers, and later, a number of portraits.
After the birth of his daughter in 1905, he created many very tender portraits such as The Birth of Dolly and Guus and Dolly in the Nude. At Venice in 1921 he painted a series of 21 tableaus, among which were An American Woman in Venice and The Gondolier. After 1922, in the studio at rue Juliette-Lamber, he continued the series of large portraits: The Countess of Noailles; President Louis Barthou; President Paul Painlevé; The Aga Khan; King Leopold III; the actors Maurice Chevalier, Jules Berry and Arletty, whose splendid cheeky humour lent itself particularly to Van Dongen's studies of character types; and many more. He also painted landscapes in Paris, Versailles, Venice, Deauville, Cannes and Egypt, and flowers. Having given up the stippling brushstroke, he had substituted optical sparkle for the pure, high colour of Fauvism. During the years when he was faithful to Fauvism, using only basic colours, he rejected shading of colours, shaping of forms and depth of field, and instead favoured violent, chromatic contrasts and drawings partitioned by long, sinuous arabesques. In these extremes of flattened arabesques, and of pure flat colour, Van Dongen revealed himself much more violent in his Fauvism than Matisse, who at the same time was engaged in refining his work, starting with his Joy of Life and his Luxury. In this period, the observance of Fauvist rules concerning 'plastic form' in itself did not prevent him from continuing to be the cutting moralist, heir of Daumier and Toulouse-Lautrec, nor from sometimes casting a sideways glance at Klimt, as in his Portrait of Guus in Blue, Seated in 1910, now in a private collection in Lausanne. It could be said that he was one of the Fauves because Fauvism exactly fitted his earlier, natural inclination. He easily lined up with the Fauves because he was first and foremost an Expressionist, and remained so after Fauvism had become diluted and dispersed in the diversity of its interests.
After his true Fauvist period, Van Dongen's style developed gradually, the colour range becoming more refined, greys appearing, the arabesques in his design drawn out to the point of being Mannerist. From 1918, orders for portraits flooded in from diplomats, political figures and aristocrats. In 1925, Paul Gsell said of his society portraits: 'some of these portraits are expressive of ferocious mockery. So much the worse for the sitters, but Van Dongen is powerfully ironic and a shrewd moralist...'. In 1920, he painted Anatole France, accentuating the marks of ageing on the academician, and Boni de Castellane, stressing the worn-out fast-liver rather than the enduring dandy that Cocteau described as a combination of 'the pride, the magnificence and the grandiose shallowness of a twilight of the gods'. He painted his portraits of women with large brushstrokes, spreading the black of the kohl and the blue of the eyelids thickly on skin tones with green and violet shadows, causing breasts, hips, and legs to show through the indiscreet tulle. Nor did he resist the cartoonist's trick of giving shape to the sparkle of the pearl necklaces worn by his models, by using intense beams of white to contrast with the coloured background, drawn with a single line, and projected far beyond the jewels. Far from flattering his models, he overloaded them, letting vulgarity show through their air of sophistication. The prestige of his name in snobbish Parisian society achieved what his misunderstood talent would not have obtained from his clients: the satisfaction of seeing them ridiculed. At the same period, the Deauville seascapes and Parisian scenes again open a caustic eye on a society as garish as it was doubtful in taste, and have the same pictorial talent and vigour.
In the latter part of his life, Van Dongen illustrated three stories by Kipling, and some novels, as well as La princesse de Babylone by Voltaire, Les fleurs du mal by Baudelaire and all of In Search of Lost Time by Marcel Proust.
Women continued to flock to him to have their portraits painted. He gave them the same enormous eyes, fringed with black lashes, the same sensual mouth slightly open to reveal shining teeth, the same slim body, stretched, moulded, divined through insubstantial garments and set off by gaudy jewels. Mannerism had replaced psychological acuity. Right to the end of a long life he repeated his familiar themes, women, portraits, society scenes and flowers, with less and less conviction and more and more conformity.
He took part in group exhibitions and on his arrival in Paris showed several canvases at 'le père Soulier'; in February 1904 he showed six paintings at the Salon des Artistes Indépendants which were immediately noticed by the critics; he joined up with Vlaminck and Dérain and in November of the same year exhibited two paintings at the Salon d'Automne. In 1905 he appeared at the Salon d'Automne with two paintings in the famous room devoted to the work what came to be called the Fauves. He signed a contract with Kahnweiler in 1907 and with the gallery Bernheim Jeune, directed by Félix Fénéon, in 1908. Kahnweiler had publicised his painting in Germany, and had introduced him to the painter Pechstein, who in turn introduced him to the painters of Die Brücke. In 1908 he was invited to take part in an exhibition of Die Brücke, probably in Munich, and perhaps in other exhibitions. This was a recognition, apart from his membership of Fauvism, that he belonged, as a man of the north, to Expressionism. He exhibited in 1908-1909 in Moscow with the Golden Fleece group; in 1909-1910 in Odessa, Kiev, St Petersburg and Riga and at the Salon Izdebsky and at Salon d'Automne of 1913. One of his paintings, innocently entitled Picture ( Tableau), was judged obscene by the Prefect of Police and withdrawn from the exhibition. The painting in question was a large nude, modelled by his wife Guus, successively called Nude with Pigeons, Beggar of Love, The Spanish Shawl and Nude with Yellow Shawl. In 1928 he took part in the exhibition of contemporary French painting in Moscow and up to World War II he continued to exhibit in annual Parisian Salons and to show in numerous countries.
His work benefited most of all from solo exhibitions: in 1904, Ambroise Vollard organised for him a real retrospective exhibition, gathering together 105 works dating from 1892 to 1904, which was probably a success in spite of his exaggerated colouring style; in 1905, solo exhibitions at the Berthe Weil and Druet galleries; 1913, 1921, 1925, Galerie Bernheim Jeune, Paris; 1914, Gallery Cassirer, Berlin; 1918, Galerie Paul Guillaume, Paris. In 1922 he broke with all the galleries and became his own dealer, organising exhibitions in his ground floor studio, visited by the Parisian elite, a combination of crowned heads, anarchists, hard-up painters and millionaires. During World War II he held a large retrospective exhibition at the Galerie Charpentier. After the war he began to exhibit all over the world. In 1967, a year before his death, the Museum Boijmans van Beuningen in Amsterdam and the Musée d'Art Moderne de la Ville de Paris organised a huge retrospective exhibition of the whole of his work.
Group Exhibitions:
1979, Paris-Moscow, Centre Georges Pompidou, Paris
1999, Fauvism or 'Trial by Fire': The Eruption of Modernity in Europe (Le Fauvisme ou 'L'Épreuve du Feu': Éruption de la Modernité en Europe), Musée d'Art Moderne de la Ville de Paris
Solo Exhibitions
1990, Museum Boijmans van Beuningen, Amsterdam and the Musée d'Art Moderne de la Ville de Paris
1997, Van Dongen Rediscovered, Musée des Beaux-Arts, Lyons and at l'Institut Néerlandais in Paris
2002, Fondation Pierre Gianadda, Martigny (retrospective)
2002, Kees van Dongen. Elegant Lines: Lithos, Pochoirs and Paintings, Kunsthal, Rotterdam (a presentation of all the graphic work in relation to his paintings)
2008, Nouveau Musée National de Monaco (retrospective)
2009, Van Dongen: A Fauve in the City, Musée des Beaux-Arts, Montreal
Museum and Gallery Holdings
Amsterdam (Rijksmus.): Still-life with Flowers
Amsterdam (Stedelijk Mus.): Old Clown (1910); Portrait of Countess Anna de Noailles (1926)
Angers (MBA): Spanish Dancer
Antwerp (Koninklijk Mus. voor Schone Kunsten): Monsignor Gerassimos Messara
Brussels (French Embassy): Sunday in the Bois de Boulogne
Brussels (Mus. royaux des Beaux-Arts de Belgique): Louis Barthou
Chicago (AI): Woman in front of a White Window (1910-1914); Rue de la Paix (1910-1914); Tea in my Studio (1910-1914)
Cologne (Wallraf-Richartz Mus.): Portrait of a Swiss Woman Painter
Copenhagen (Statens Mus. for Kunst): Head of a Woman (1913)
Geneva (Petit Palais): Portrait of D.H.Kahnweiler; Old Clown; Village Square; Beach at Deauville
Grenoble (Mus. de Grenoble): Amusement (1914); Woman with a Fan (1922); Woman at the Hearth
Le Havre (Mus. Malraux): Montmartre (1903); Horseriders in the Bois de Boulogne (1906); Parisian Woman of Montmartre (1910); Bouquet
Lyons (MBA): Woman in Front of a Door
Montpellier (Mus. Fabre): Fernande Olivier (1908)
Montreal (MAC): Drizzle, Normandy; Young Girl
Moscow (Pushkin MFA): Woman with Black Gloves (c. 1910)
Nantes (MBA): Honest Pastime
New York (Brooklyn Mus.): Dr. W.S. Davenport
New York (MoMA): Madame Modjesko, soprano (1908)
Nice: Ambassador of Haiti, Auguste Cassius
Nice (MBA Jules-Chéret): Blue Man and Red Woman (c. 1918)
Paris (MAMVP): Two Women (1908); Flowered Bowl (c. 1925); Portrait of Paul Guillaume
Paris (MNAM-CCI): Acrobat with Bare Breasts (c. 1910); Railings of the Elysée Palace (c. 1912); Lake in the Bois de Boulogne (c. 1912); Fellahs (1913); Spanish Dancer (c. 1913); Deauville, Boat for Le Havre and Trouville (c. 1920); Couple (1920); Portrait of the Artist as Neptune (1922); Portrait of Madame Jasmy-Alvin (1925); Portrait of Madame Jenny (1926); Portrait of the Actress Paulette Pax (1928)
Rome (Gal. Nazionale d'Arte Moderna): Woman in White (c. 1910)
Rotterdam (Mus. Boijmans Van Beuningen): House at Montmartre (1903); Interior with Yellow Door (1910); Portrait of Dr Charles Rappoport (1913); Finger in the cheek
San Francisco (California Palace of the Legion of Honor): At The Folies Bergeres (1909, oil on canvas); Portrait of a Young Woman (1920, oil on canvas)
San Francisco (MA): Black Shirt (1906)
St Petersburg (Hermitage): Woman with a Black Hat (before 1910); Red Dancer (c. 1907)
St-Tropez (Mus. de l'Annonciade): Women at the Balustrade (1907-1910); In the Square (1910); Gypsy Girl; Little Donkey on the Beach (c. 1930)
The Hague (Gemeentemus.): Flowers; Harbour Girls (1920)
The Hague (Rijksverspreide Kunstvoorwerpen): Grand Canal in Venice (1921)
Tourcoing: Couple (1912)
Troyes (MAM, Pierre and Denise Lévy donation): At the Moulin Rouge (1904)
Tucson (MA, University of Arizona): Fisherman Mending his Net (1892); Polo Players (1947)
Wuppertal (Von der Heydt Mus.): Portrait of the Baron Auguste von der Heydt; Young Girl on the Beach
- Creator:Kees van Dongen (1877-1968, Dutch)
- Creation Year:c.1900
- Dimensions:Height: 20.5 in (52.07 cm)Width: 16 in (40.64 cm)
- Medium:
- Movement Style:
- Period:
- Condition:Very good condition.
- Gallery Location:Marlow, GB
- Reference Number:Seller: LFA02131stDibs: LU415317202492
Kees van Dongen
The Dutch painter Kees van Dongen began his career as a poor young artist with no formal training who happened to encounter art by chance. Van Dongen’s distinctive style later earned him a place amongst the most fashionable artists of his generation. He was particularly famous in Paris during the 20s and 30s and was best known for depicting the modern woman. At the beginning of his career, van Dongen painted dancers and cabaret girls. Eventually, he moved to a studio, where he would host parties and balls and began to paint society women.
Van Dongen’s work can be found in the world’s most prestigious collections, such as the Musée d’Art Moderne de la Ville de Paris, the Hermitage in Saint Petersburg, the Museo Thyssen-Bornemisza of Madrid, the Museum of Modern Art in New York or the Stedelijk Museum in Amsterdam.
(Biography provided by Stern Pissarro Gallery)
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By Georges Lemmen
Located in Marlow, Buckinghamshire
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 resting her head on her arm.
Signature:
Signed lower right and titled on original artist's label verso
Dimensions:
Framed: 16"x19"
Unframed: 10"x13"
Provenance:
Original artists label verso for Georges Lemmen at 96 Avenue Coghen , Brussels
Private collection - Brussels
Georges Lemmen was the son of an architect and studied under Amédée Bourson at the academy in St Joost-ten-Node. He was invited in 1889 to join the Group of Twenty ( Cercle des XX) which had been launched in 1884 by Oscar Maus and had in the interim emerged as an influential force in Belgian artistic circles, not least by bringing to public and critical attention the work of such artists as Georges Seurat and Paul Signac. The Cercle des XX would be reborn in 1894 as La Libre Esthétique.
In the early days of the Cercle des XX, Lemmen espoused a pointilliste technique. His earlier painting was clearly influenced by the Neo-Impressionists; over time, however, his style became more subtle and nuanced - recalling, perhaps, that of his compatriot Van Rysselberghe, another Cercle des XX member. With the group's rebirth as the Libre Esthétique, Lemmen's work became more intimiste in character, most notably in his portraits, nudes and still-lifes, where the influence of Bonnard and Vuillard is unmistakable, as is that of Renoir, particularly after Lemmen's travels in the Midi in 1911. From this point onwards, he would go on to make a major contribution to the renewal of the graphic and decorative arts in terms of his input to the new 'free' aesthetic and to Art Nouveau. Although his draughtsmanship retained its essential purity and elegance of line, his painting became more fleshy, imprecise and sensual, his compositions governed less by technical considerations than by the urgent need to express his emotions.
Between 1889 and 1893, Lemmen exhibited at the Salon des Indépendants in Paris, aligning himself with the Neo-Impressionists. In 1893, Henry van de Velde invited him to participate in the Pour l'Art association that had been created in Antwerp. He travelled to the south of France in 1911. By this juncture, he had already exhibited solo on two occasions (in 1906 and 1908) at the Galerie Druet in Paris. A further solo exhibition in 1913, his first in Brussels, cemented Lemmen's reputation.
Museum and Gallery Holdings:
Bremen (Kunsthalle): Standing Nude Combing her Hair
Brussels (Mus. royaux des Beaux-Arts de Belgique): Children's Room (watercolour); Reading; Couture; Young Girl by the Sea...
Category
Early 1900s Impressionist Nude Paintings
Materials
Oil, Board
Nu avec des fleurs - Post-Impressionist Oil, Nude
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Espagnat
By Georges d
Espagnat
Located in Marlow, Buckinghamshire
Signed nude oil on original canvas circa 1910 by French post impressionist painter Georges D'espagnat. The work depict a nude woman seated on a stall turned away from the artist. Paintings hang on the wall and there's a vase filled with pink and red flowers on the wooden mantlepiece beside her.
Signature:
Signed upper left
Dimensions:
Framed: 30"x26"
Unframed: 22"x18"
Provenance:
Private French collection.
Exhibition stamp verso
From the beginning of his career, it was a constant concern of Georges d'Espagnet to assert his originality. His studies at the École des Arts Décoratifs, Paris, did not last very long, for he wanted immediate independence and decided to follow courses in the private academies of Montparnasse. In about 1900, he became acquainted with Maurice Denis, Bonnard and Vuillard, and his collaboration with Denis led to a renewal of religious art in France.
In 1903, d'Espagnet was one of the founders of the Salon d'Automne, and was appointed professor in charge of studios at the École des Beaux-Arts, Paris, in 1934. He illustrated a number of books: Rémy de Gourmont's Evil Prayers ( Oraisons mauvaises) (1896), The Saints of Paradise ( Les Saintes du paradis) (1898), Simone (1907), Sistine ( Sixtine) (1922); Alphonse Daudet's The Immortal ( L'Immortel) (1930); André Gide's The Pastoral Symphony ( La Symphonie pastorale); Francis Jammes' Clearings in the Sky ( Chairières dans le ciel) (1948).
D'Espagnet belongs to the group of artists who made the Courrier Français so successful. The drawings of his which are published in it are strongly expressive and some bear comparison with the designs of the great Renaissance masters. He also contributed to L'Image. He often placed cheerful nudes in a landscape, reminding us that, though he moved away from the Fauves, he retained their freedom of colour and arabesque. He painted many portraits, including those of Albert André, André Barbier...
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Materials
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La Toilette - Post-Impressionist Nude Oil Painting by Georges D
Espagnat
By Georges d
Espagnat
Located in Marlow, Buckinghamshire
Signed oil on original canvas nude circa 1914 by French post impressionist painter Georges D'espagnat. The work depict a nude woman standing beside a wash basin in a boudoir.
Signature:
Signed lower right
Dimensions:
Framed: 45"x34"
Unframed: 37"x26"
Provenance:
Private collection - Netherlands
From the beginning of his career, it was a constant concern of Georges d'Espagnet to assert his originality. His studies at the École des Arts Décoratifs, Paris, did not last very long, for he wanted immediate independence and decided to follow courses in the private academies of Montparnasse. In about 1900, he became acquainted with Maurice Denis, Bonnard and Vuillard, and his collaboration with Denis led to a renewal of religious art in France.
In 1903, d'Espagnet was one of the founders of the Salon d'Automne, and was appointed professor in charge of studios at the École des Beaux-Arts, Paris, in 1934. He illustrated a number of books: Rémy de Gourmont's Evil Prayers ( Oraisons mauvaises) (1896), The Saints of Paradise ( Les Saintes du paradis) (1898), Simone (1907), Sistine ( Sixtine) (1922); Alphonse Daudet's The Immortal ( L'Immortel) (1930); André Gide's The Pastoral Symphony ( La Symphonie pastorale); Francis Jammes' Clearings in the Sky ( Chairières dans le ciel) (1948).
D'Espagnet belongs to the group of artists who made the Courrier Français so successful. The drawings of his which are published in it are strongly expressive and some bear comparison with the designs of the great Renaissance masters. He also contributed to L'Image. He often placed cheerful nudes in a landscape, reminding us that, though he moved away from the Fauves, he retained their freedom of colour and arabesque. He painted many portraits, including those of Albert André, André Barbier, Victor Boucher, Déodat de Séverac, Albert Marque, André Marty and Albert Roussel. He also painted mural decorations, including a wall for the Palais de la Découverte (1937), the ceiling of the Victor Hugo Room in the Palais du Luxembourg (1939), a decorative panel for the Palais de Justice, Toulouse (1941) and interior decorations for private houses. His landscapes are Impressionist in inspiration, and work for a certain sobriety, an intimacy, both in their composition - one, two or three sketched figures and large open spaces - and in the choice of colours and treatment with the special hazy brushstroke that marks his style.
D'Espagnet took part in a number of annual Parisian exhibitions, including the Salon des Indépendants, the Salon de la Société Nationale des Beaux-Arts, the Salon d'Automne (from 1903 to 1949, except in special circumstances), the Salon de la Libre Ésthétique, Brussels (1899, 1901), the Berlin Secessionists (1940). He also exhibited at the first Salon de la Société de la Gravure sur Bois. Among other exhibitions were 1912, A Century of French Art ( Centenaire de l'art français), St Petersburg; 1916, Kunstverein, Winterthur; 1918, 1926, Galerie M. Bertheim, Paris; 1930, Contemporary French Art...
Category
1910s Post-Impressionist Nude Paintings
Materials
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Les Baigneuses - Neo-Impressionist Nudes in Landscape Oil by Georges Lemmen
By Georges Lemmen
Located in Marlow, Buckinghamshire
Signed oil on canvas nudes in landscape circa 1910 by Belgian neo-impressionist painter Georges Lemmen. The work depicts nude bathers on a sunny beach beside the sea.
Signature:
Signed lower left with the cachet of painter
Dimensions:
Framed: 23.5"x24.5"
Unframed: 14.5"x15.5"
Provenance:
Olivier Bertrand (expert on the painter) has confirmed the authenticity of this work
Georges Lemmen was the son of an architect and studied under Amédée Bourson at the academy in St Joost-ten-Node. He was invited in 1889 to join the Group of Twenty ( Cercle des XX) which had been launched in 1884 by Oscar Maus and had in the interim emerged as an influential force in Belgian artistic circles, not least by bringing to public and critical attention the work of such artists as Georges Seurat and Paul Signac. The Cercle des XX would be reborn in 1894 as La Libre Esthétique.
In the early days of the Cercle des XX, Lemmen espoused a pointilliste technique. His earlier painting was clearly influenced by the Neo-Impressionists; over time, however, his style became more subtle and nuanced - recalling, perhaps, that of his compatriot Van Rysselberghe, another Cercle des XX member. With the group's rebirth as the Libre Esthétique, Lemmen's work became more intimiste in character, most notably in his portraits, nudes and still-lifes, where the influence of Bonnard and Vuillard is unmistakable, as is that of Renoir, particularly after Lemmen's travels in the Midi in 1911. From this point onwards, he would go on to make a major contribution to the renewal of the graphic and decorative arts in terms of his input to the new 'free' aesthetic and to Art Nouveau. Although his draughtsmanship retained its essential purity and elegance of line, his painting became more fleshy, imprecise and sensual, his compositions governed less by technical considerations than by the urgent need to express his emotions.
Between 1889 and 1893, Lemmen exhibited at the Salon des Indépendants in Paris, aligning himself with the Neo-Impressionists. In 1893, Henry van de Velde invited him to participate in the Pour l'Art association that had been created in Antwerp. He travelled to the south of France in 1911. By this juncture, he had already exhibited solo on two occasions (in 1906 and 1908) at the Galerie Druet in Paris. A further solo exhibition in 1913, his first in Brussels, cemented Lemmen's reputation.
Museum and Gallery Holdings:
Bremen (Kunsthalle): Standing Nude Combing her Hair
Brussels (Mus. royaux des Beaux-Arts de Belgique): Children's Room (watercolour); Reading; Couture; Young Girl by the Sea...
Category
1910s Impressionist Nude Paintings
Materials
Oil, Canvas
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Materials
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By Jean-Gabriel Domergue
Located in Marlow, Buckinghamshire
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Category
1940s Post-Impressionist Portrait Paintings
Materials
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Wash & charcoal on gray laid paper, 12 x 9 inches
Framed: 16 x 13 inches
Estate stamp lower right
Born in Philadelphia, Adol...
Category
Early 20th Century Modern Figurative Drawings and Watercolors
Materials
Paper, Watercolor, Charcoal
Nude - Watercolor on Paper by Jean Delpech - 1960s
By Jean Delpech
Located in Roma, IT
Nude 1940's is a drawing in watercolor a on paper, realized by Jean Delpech (1988-1916).
Sheet dimension: 20.7 x 10 cm.
The artwork represents a nude woman standing with her hands...
Category
1960s Figurative Drawings and Watercolors
Materials
Watercolor
Nude Woman - Watercolor by French Master - Mid 20th Century
Located in Roma, IT
Nude Woman is an original drawing in watercolor on paper, realized by an Anonymous artist of the XX century.
The state of preservation of the artwork is good with the signs of the t...
Category
Mid-20th Century Figurative Drawings and Watercolors
Materials
Watercolor
Nude - Watercolor by Jean Delpech - Mid 20th century
By Jean Delpech
Located in Roma, IT
Nude is an original drawing in watercolor, realized in the Mid-20th Century by Jean Delpech (1916-1988).
Good conditions.
Jean-Raymond Delpech (1988-1916) is a French painter, eng...
Category
Mid-20th Century Modern Figurative Drawings and Watercolors
Materials
Watercolor
Nude
Located in San Francisco, CA
This artwork "Nude" 1947 is a watercolor on paper by noted California (German/American) artist Ernst Stolz, 1901-1989. It is signed and dated at the lower right corner by the artist....
Category
Mid-20th Century American Impressionist Nude Drawings and Watercolors
Materials
Watercolor
Nude of Woman - Original Watercolor by Jean Delpech - 1930s
By Jean Delpech
Located in Roma, IT
"Nude" is an original drawing in sanguine and watercolor on paper, realized by Jean Delpech (1916-1988).
The state of preservation of the artwork is very good.
Included Passaport....
Category
1930s Figurative Drawings and Watercolors
Materials
Paper, Watercolor
