Posts Tagged ‘nudes’


Un Regard Oblique, a 1948 photo taken by Robert Doisneau for his LIFE magazine assignment, was executed with Doisneau’s usual flair for humor. A couple looks at the window and the man is enthralled by the portrait of a naked woman (very vulgar picture by the standards of the time) while his wife talks to him about a photo which is presumably more modest. Although it was hailed as a decisive moment, the truth was that Doisneau carefully set his camera at the correct angle to the reclining nude and took a series of furtive photos of male admirers to the nude painting in the art shop window.

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Text and images found at “Très Blasé

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Photographies from the series “Vingt Études de Nu en Plein Air, 1920” from 1920

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Images found at “Art Of Photogravure

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The critical success that Louis Ritman enjoyed throughout his career can be attributed in large part to the sunny, impressionistic canvases that he executed in Giverny during the 1910s. Like many other American artists of his time, Ritman traveled from his home in Chicago to Paris as soon as he could afford to pay for the trip.

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After studying at the Academie Julian, he was accepted into the prestigious Ecole des Beaux-Arts. However, it was at one of the legendary cafes in Paris that he became acquainted with Frederick Frieseke, who introduced Ritman to the artistic scene in Giverny.

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In 1911, the small French town of Giverny was full of American artists who flocked there to paint the quaint area that was adorned with willow trees along the Epte, thatched cottages, and country gardens. It is no wonder that Ritman, "like so many others before him became enchanted with Giverny, which, more than any other place, seemed to possess a potent magic power to captivate Americans." (R.H. Love, Louis Ritman: From Chicago to Giverny, Chicago, Illinois, p. 151) Ritman’s painting up to this point had been largely in an academic style. However, the atmosphere in Giverny was more informal than that of Paris, a scenario that led artists to feel more comfortable to experiment with various styles of painting, including Impressionism. Ritman’s Giverny pictures combine an Impressionist style and palette with the American notion of intimism, with tremendous success. While many of his counterparts were assiduously emulating the work of Claude Monet, the artistic patriarch of Giverny, Ritman chose a more subtle approach when painting the gardens of Giverny. His works were closely associated with "American intimism which was by contrast quiet, reserved, and above all, discreet, never outside the parameters of the genteel tradition."

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Text from “fineoldart.com

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11410_pf4Paul Gustave Fischer (22 July 1860, Copenhagen – 1 May 1934 Gentofte) was a Danish painter.

Paul Fischer belongs to the fourth generation of Fischers to live in Denmark. This Jewish family originally came from Poland. The family was upper middle class; Paul’s father had started as a painter, but later succeeded in the business of manufacturing paints and lacquers.

His formal art education lasted only a short time in his mid teens when he spent two years at the Royal Danish Academy of Art in Copenhagen.

Fischer began to paint when he was still young, guided by his father. It was thanks to a painting he had published in Ude og Hjemme that his reputation began to evolve as he came in contact with young Danish naturalists. His earlier paintings depict city life. After a stay in Paris from 1891-1895, his colours became richer and lighter. It was not long before Fischer gained fame as a painter of cities, not just Copenhagen, but scenes from Scandinavia, Italy and Germany, reaching his zenith between 1890 and 1910. He benefited from contemporaries in Norway and Sweden, especially Carl Larsson. Around this time, he also painted bright, sunny bathing scenes, some with nude women, and developed an interest in posters, inspired by Théophile Steinlen and Henri de Toulouse-Lautrec.


During the period when he actively painted, Danish art was dominated by Laurits Tuxen. Despite Fischer’s lack of critical recognition during his lifetime, his art sold well. One major event in which he succeeded over Tuxen was when Sweden transferred the sovereignty of Norway back to the Norwegians – Fischer rather than Tuxen got the commission from the King of Norway to paint the event.

Text from Wikipedia, the free encyclopedia


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Falero isn’t a very well-known artist compared with the likes of Bougereau who also largely concentrated on nudes with a somewhat fantastical theme.  Falero was born in Toledo and was in the Spanish navy, which he hated.  So he upped and walked to Paris from Spain so he could study there, eventually settling in England and living in Hampstead.

Falero was very interested in astronomy and many of his paintings have a celestial theme.  However, he also painted a number of "harem" pictures as part of the late nineteenth century fascination with the near east.

More harem venuses on
Venus Observations
here and here

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11356_fdFrom Wikipedia, the free encyclopedia
František Drtikol (3 March 1883, Příbram – 13 January 1961, Prague) was a Czech photographer of international renown. He is especially known for his characteristically epic photographs, often nudes and portraits.

Life and work
From 1907 to 1910 he had his own studio, until 1935 he operated an important portrait photostudio in Prague on the fourth floor of one of Prague’s remarkable buildings, a Baroque corner house at 9 Vodičkova, now demolished. Jaroslav Rössler, an important avant-garde photographer, was one of his pupils. Drtikol made many portraits of very important people and nudes which show development from pictorialism and symbolism to modern composite pictures of the nude body with geometric decorations and thrown shadows, where it is possible to find a number of parallels with the avant-garde works of the period. These are reminiscent of Cubism, and at the same time his nudes suggest the kind of movement that was characteristic of the futurism aesthetic.

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He began using paper cut-outs in a period he called "photopurism". These photographs resembled silhouettes of the human form. Later he gave up photography and concentrated on painting. After the studio was sold Drtikol focused mainly on painting, Buddhist religious and philosophical systems. In the final stage of his photographic work Drtikol created compositions of little carved figures, with elongated shapes, symbolically expressing various themes from Buddhism. In the 1920s and 1930s, he received significant awards at international photo salons.

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I’m actually old enough to remember these pens, I even had one. Can’t remember from where I got it, but I treasured it.

I must have been around 11 – 12 when  I got hold of it and got a lot of enjoyment out of watching the black bathing suit slide down and away. But my mother caught me and then it was just a memory.

Image found at:

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