Face Nude Paintings

Baroque Landscape with Figures French School, 17th century oil on canvas, framed Framed: 29.5 x 23.5 inches Canvas : 25.5 x 19 inches Provenance: private collection, France Condition...

A fine mid-century still life of a seated male nude in an artist's studio. Unsigned. On canvas on stretchers.

‘Awakening’ by Herbert James Draper (1864-1920). Academy Fine Paintings is fully conversant with the latest US Government import duties and the legal exemptions under the US Constit...

If something about this painting seems familiar, it is for good reason! Dating from circa 1905-10, it is a work by Lucien Boulier (1882-1963), who was effectively Renoir's last stude...

Spanish Oil painting on Canvas, a reclining Nude 19Th attr. to Luis Ricardo Falero (23 May 1851 – 7 December 1896) Additional Info painting : Title: reclining nude Medium: original...

Antique American impressionist nude landscape oil painting. Oil on canvas. Framed. Signed. In excellent original condition. Handsomely framed in a silver carved molding. Excelle...

Work on canvas Golden wooden frame 73 x 105.5 x 5 cm

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...

Byron Browne (American, 1907 - 1961) was a painter, muralist, and teacher who played a central role in the development of abstract and modernist art in the United States. Born in Yon...

Artist: Jan De Ruth, Czech (1922 - 1991) Title: Seated Nude in Yellow Skirt Year: circa 1960 Medium: Oil on Canvas, signed lower left Size: 36 in. x 24 in....

Nude before a mirror by French artist Auguste Leroux Beautiful oil on canvas, French school from the 1920' . The painting is not framed Title: " Nude before a mirror " Medium: or...

Ganymede was a Trojan prince in Greek mythology, known for his compelling beauty. Because of his alluring good looks, Ganymede was abducted by Zeus to serve as cup-bearer in Olympus....

Artist/ School: Suzanne Dinkés (French, 1895 - 1984) Medium: oil on canvas, unframed Size : 21.5 x 18 inches Provenance: private collection, France Condition: The painting is in over...

Rizaldy Celi Jr. (American, Filipino-Vietnamese, born 1983) "Covet" 2023 Oil paint, Varnish, Wood The artist signed the back of the painting. "Covet" by Rizaldy Celi Jr. is a striking exploration of expressionist-disrupted realism, depicted on a 48" x 36" wood board. This provocative piece challenges traditional norms of beauty and desire by juxtaposing a nude woman donning an Oni mask...

'Nu Aux Voiles Bleus' by Henri Fuss (French, 1930-1985) signed, dated and titled oil on canvas framed: 43 x 59 inches canvas: 35 x 51 inches Provenance: private collection, France Co...

Portrait of a Nude Lady French School, circa 1960's signed chalk and pastel on artists paper, unframed double sided size: 19.5 x 12.5 inches condition: very good and ready to be en...

This painting depicting the suicide of Lucretia intrigues us with its strangeness. Although inspired by the artworks of the Master of Female Half-Lengths, it differs from them in its...

John Knox Dillon (American, 1903-1974), Portrait of a Semi-Nude Male Figure, Oil on Canvas, 1958, signed lower right, signed, dated, and inscribed "Brackman" to verso, giltwood frame...

this painting perfectly encapsulates the artistic Parisian Montparnasse bohemianism of the 1920s and 30s. We see a beautiful but certainly nonchalent woman seated on a day bed in the...

This captivating artwork features a woman seated amidst an intricate tapestry of vibrant flora. Her serene expression and relaxed posture convey a sense of peace and introspection. S...

The Artists Model Nude Lady Model French School, circa 1970's signed oil painting on card, unframed size: 19 x 25.5 inches condition: overall very good, a very few light markings to...

Hebe with Zeus mythological nude by Eduard Buchler 19th Century Hebe is the daughter of Zeus and his sister-wife Hera. Pindar in Nemean Ode 10 refers to her as the most beautiful of...

Artist/ School: Suzanne Dinkés (French, 1895 - 1984) Medium: oil on canvas, unframed Size : 20 x 24 inches Provenance: private collection, France Condition: The painting is in overal...

John Tarantola's original nude portrait "Baby's Breath and Roses" (2023) is a surrealist oil on panel painting that depicts an athletic nude male figure, with a silhouette of another...

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...

Oil on Canvas by Fortunato Pirazzini (1907-2003), School of Paris, c. 1950 - "Sleeping Woman, Nude". This captivating oil painting, titled "Sleeping Woman, Nude", was created by Fort...

Staunch and utterly absorbed, the Art School Model is seized in a moment of confident detachment, posing not for the students, but for posterity. Here is a remarkable and historicall...

Italian School, circa 1700's Classical figures in landscape oil on canvas, framed framed: 36 x 32 inches canvas: 30 x 25 inches provenance: private collection, UK condition: very goo...

"The Portrait" by Geneviève Zondervan (French 1922-2013) Pencil/ charcoal on thick paper, unframed Paper size: 25 x 19 inches Beautifully decorative, mid 20th century French origin...

With the subject covering his face, we, the viewer, are perplexed by the mystery of the moment. The warm light from the background in this painting titled, "Seer" suggest a fire. I...

This captivating artwork presents a serene and introspective portrayal of a reclining figure, seamlessly integrated into a lush, floral backdrop. The subject, rendered in warm, earth...

The Artists Model Nude Lady Model French School, circa 1970's signed oil painting on card, unframed size: 17.5 x 24.5 inches condition: overall very good, a very few light markings...

Bacchanal Cupids Playing French School, early 1900's after the earlier work by Rubens, unsigned oil painting on canvas, framed canvas: 22 x 39 inches framed: 27 x 44 inches Large s...

Posing Nude by Mikhail Turovsky, Russian (1933) Date: 2001 Oil on Masonite, signed lower left Size: 48 x 30.5 in. (121.92 x 77.47 cm)

Peter Kuhfeld (b. 1952) Painted In the studio, Evening; ; Reclining nudes in front of a mirror signed 'Kuhfeld'' (upper right) Provenance with Petley Fine Art, London.

Artist/ School: by Henri Van Der Beck (French 1886-1956), signed and stamped verso Medium: signed oil on canvas, unframed Painting: 16 x 13 inches Provenance: private collection, ...

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...

Christopher Remmers' (US based) "Nomos" is an original, handmade oil painting that depicts a nude man hugging a glowing orb of light to himself as ...

Woman is an orignal modern artwork realized by Antonio Feltrinelli in 1930s. Mixed colored oil painting on canvas. Signature on the lower margin. Provenance Galleria Pesaro, Milan...

Self-portrait 1 2009, canvas, acrylic, 140x98 cm. Juris Utāns (1959-2022) was a Latvian painter. Worked in the field of critical realism, socially active and political art. Juris ...

"The Model" by Jean Marc (French 1949-2019) gouache paint painting: 18.25 x 15 inches provenance: private collection, South of France Superb original painting by the widely exhibit...

John Garth (1889-1971). female, nude, painting by prolific California artist widely recognized for his astonishing murals. Oil on canvas board. 14 x 24.5 unframed, 16.5 x 27 framed.

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

A captivating early 20th-century oil painting depicting a nude woman with a chic 1920s bob, gazing wistfully to the left. She is seated on a bed of green satin, a delicate lace shawl...

Derek Harrison's (US based) "Sam" is an oil painting that depicts a nude female model with pink hair and shaved sides. "Sam" is a secondary market work with one previous owner. Artist Biography: Derek Harrison has worked as an artist almost all of his life. It all began with experimental art in various mediums. These ranged from watercolor to spray paint, tattooing, illustration and eventually to oil painting. A full spectrum of mediums experimented with as an artist beginning to learn his craft. In early 2010 Derek began taking workshops with very accomplished painters. This exposure opened his eyes and mind to what the possibilities are in the fine art world. After a very short amount of time, Derek began to take an extreme interest in classical/traditional art. This interest would lead him to study at the Los Angeles Academy of Figurative Art. After formal training, many classes and workshops outside of the school and a very important session of weekly classes with artist Jeremy Lipking, Derek Harrison has become one of the most exciting new talents in the field of representational painting. He has shown in galleries all over California and as distant as Amsterdam. His paintings sit in many collections across the country including musician Richie Sambora...

Karen Offutt's "Languishing" is an original, handmade painting that depicts a nude female figure covered by a sheer black fabric with peonies in the foreground. About the Artist: K...

The Space Between This work foregrounds negative space as an emotional register. The figure’s isolation is intensified by the surrounding darkness, which functions as both void and refuge. Hall’s mastery of chiaroscuro is evident in the way light traces bone and muscle while leaving the face partially obscured, denying easy access to the subject’s inner life. Nathan Brad Hall...

17th century French School circle of Nicolas Poussin (French 1594-1665) "Figures in Arcadia" oil on canvas, unframed canvas: 16 x 20 inches provenance: private collection, England condition: very good and sound condition Nicolas Poussin was a renowned French painter of the 17th century. He is considered one of the greatest figures of classical French Baroque art...

This intriguing artwork captures an introspective moment, featuring a solitary figure curled inward, creating a sense of vulnerability and introspection. The figure's skin is rendere...

John Baker’s “Studio Sketch of Ella” is an acrylic painting on canvas with collage 20 x 16 inches in creams and browns. The painting is from the “Studio Visitors” series. When Ella a...

Oil on paper realized by Luigi Granetto in 1998. Hand signed. Includes a wooden frame realized by the artist cm. 50x40

Matthew Durante's "Figure 2 2021" is an original, handmade acrylic painting that depicts a pink-toned nude male model kneeling on a blue surface.

"Bathing Beauty" c. 1915 Carl Rudolph Krafft (American, 1884-1938) Oil on Canvas Signed Lower Left 38 x 40.25 inches Born in Reading, Ohio, Carl Krafft...

Seated Nude Woman American Figurative School 1940s Mid-century American impressionist painting of a woman by American artist Frederick "Fred" Yost (American/Swiss, 1888-1968). He studied: at Mt. Union Col., Alliance, OH; American Students League, New York, and with Homer Boss, John Sloan, Robert Henri, R. Lahey. The painting gleans much form his studies with John Sloan and Robert Henri in the French post-impressionist style. Image 24"H x 18"W Frame, 30"H x 24"W x 1.5"D Signed "Yost" lower right Painter, lithographer, teacher, lecturer About Fred's life: by Hal Fry of the Herald “Fred Does Whatever He Likes” was a title given to a biography written about Fred Yost by Hal Fry of the Herald. The following is taken directly from this column: “Fred Yost’s living style is like his painting style. He has fun with it. Fred John Yost was born in Switzerland, he’ sure, on November 6, 1889, he thinks. His father John brought the family to his country when Fred was about a year old—first to New York and later to Canton, Sebring and finally Alliance, where Yost Sr. loaded freight for a railroad. Fred like drawing and painting so far back he can’t remember how or when it started—it was always that way. But through the public schools in Alliance he didn’t think of this as a career possibility. He wanted to be a newspaperman. He worked his way through Mt. Union College, finishing, he thinks, about 1912. Then he beat it for New York and after kicking around for a time got a job as a proofreader for the Wall Street Journal. He combined this and art school until World War I took him into the Army. In infantry, field artillery and ordnance duties he served with the 27th New York Division through St. Mihiel and the Argonne and the rest—in the process getting his hearing clobbered by blasts from his outfit’s own guns. Coming out a Sergeant in 1919, he went back to the Wall Street Journal briefly—then caught on as a staff artist for the (New York) Herald. For several years, when he felt like it, Yost would take a bus to the Mexican border and switch to a Mexican bus to carry him way down south, then make it any way he could to the places he wanted to see. On these trips he virtually becomes a peon, disappearing totally from those who know him—living with, like and clearly thoroughly liked by the people among whom he moves.” Yost was a graduate of the Art Students League and past president of the Ohio Watercolor Society. Fred Yost, a man who eminently loved the Mexican landscape, Exhibited: S. Indp. A., 1928, 1930-33; MMA, 1945; AIC; Butler AI, 1947-1951; Ohio WC Soc.; PAFA, 1948-1950; Akron AI, 1947-1951, 1958; Fla. Southern Col., 1952; Ohio Univ., 1950; Columbus Gal. FA, 1947-50; AWCS, 1958; Salons of Am.; 3 solo: Canton AI; Akron AI, Springfield Mus. A. Contributor to Ford Times, 1958-59. Awards: prizes, Massilon Museum, 1944; Ohio Watercolor Society, 1944, 1948; Indianapolis, Ind., 1944; Tri-State Pr. M., 1945, 1946; Butler AI, 1946; Youngstown Pub. Schools, 1946 (prize); Ohio Univ., 1950; Ethel Printz award, 1950; Fla. Southern Col., 1952; Akron AI, 1952, 1956-1958; Canton AI, 1961, 1963; medal, Phila. Pa., 1950 Member: Ohio Watercolor Society (president) Work: Massillon Mus.; Youngstown Pub. Sch. Coll.; Butler AI; Akron AI; Kennedy & Co., NY; Beaver Col., Beaver Falls, Pa.; Block Gal., Indianapolis; Prospect Park, NY; murals, Sioux City Steak House; Sioux City A. Center; City Hall, Sioux City; Akron AI; Evangelical Church, Akron; Rockefeller Center; Radio City, NY; Brooklyn Zoological Park. Affiliated with NYC Park Dept. Mural Projects. Comments: Came to U. S. in 1889. Position: teacher, Butler AI; Akron AI; instr., Akron AI, Akron, Ohio; cur. Historical House of Refuge...

Alejandro Casanova Playing around 100 x 100 cm oil on canvas The Spanish artist Alejandro Casanova lives and works in Tenerife, where he moved afte...

Oil pastel on paper of a nude woman with a dark background. 13" x 20" About the Artist: Miles Mathis is an American artist known for his nude portrait paintings and drawing of women...

Oil on canvas painting of Marie-Henriette Mus (1927), the wife of the artist Cornelis Leegenhoek (1903-1971). Leegenhoek was a Master Restorer at the Bruges Museums. His signature ca...

"Figure 3" (2022) by Matthew Alfonso Durante is an original handmade mixed media painting that depicts a nude female model in front of a greyscale landscape. This piece measures 10 x...

Konstantin Razumov (Born 1974) Russian Standing nude wearing a red feather flapper. Oil on canvas: 14 x 9 inches. Frame: 20 x 15 inches. Konstantin Razumov's work has been offe...

"Oracle" (2024) by Allen Williams is an original oil painting on a sealed illustration board that depicts an eerie portrait of a nude female figure. Thi...