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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The ladies in this post on Venus Observations originate from Tahiti and their pictures were taken by a French photographer, Lucien Gauthier in the early years of the twentieth century.

Tahiti became a French protectorate in 1842 and the French government had a small garrison there. The first photographers in Tahiti were, therefore, French naval personnel.  A number of French officers took photographs which were sent to Paris for reproduction in magazines such as Tout du Monde and L’Illustration to pander to the thirst for views of these exotic islands.

By the 1860s there were regular visits by ships to Tahiti and it became possible for photographers to establish on the island.  These photographers would take pictures of views of the island and the exotic inhabitants to be sold in albums.

You can find the rest of the Tahitian beauties and more text explaining how the pictures were taken here >   Venus-observations

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Seignac-Guillaume-Nymphe-A-La-Piece-D-EauGuillaum Seignac (1870–1924) was a French academic painter. He was born in Rennes, France, on 1870, and died in 1924. He started training at the Académie Julian in Paris, where he spent 1889 through 1895. He had a lot of teachers there, including Gabriel Ferrier, and Tony Robert-Fluery. Tony Robert Fluery was a noted history and genre artist. Gabriel Farrel, on the other hand, had been an awarded Prix de Rome. He had another one named William Bouguereau.

In addition to his training in the academic style, much of Seignac’s work displayed classical themes and style, for example, is use of diaphanous drapery covering a woman’s body is reminiscent of classical style, in particular the sculptor Phidias. In 1897, Guillaume Seignac regularly exhibited at the Salon and won several honours, including in 1900 honourable mention and in 1903 a Third Class medal.

Guillaume Seignac gallery:Guillaume-Seignac-gallery
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Born in Grafton, MA on May 8, 1886.  Allen was educated in Boston followed by four years of traveling and studying art.  In 1907 he established the Allen Art Studio in Oakland which later became known as the Allen Institute of Fine & Applied Art.  The school was mostly devoted to photography and was destroyed by fire in 1925.  The following year it was rebuilt as the Classic Motion Picture Corporation but was bankrupt two years later.

  To the gallery:

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Pal Fried, (1893-1976), Hungarian American artist, was born in Budapest and studied at the Hungarian Academie under Professor Hugo Pohl and in Paris under Claude Monet and Lucien Simone. Under Pohl’s influence, he executed many portraits, nudes and Oriental scenes in pastel. He was also greatly influenced by the French Impressionist School of Renoir and Degas. His works are listed in the Fine Arts Book. Fried’s signature on his paintings was Fried Pal, last name first in the European manner. He is sometimes listed in auction catalogues and reference books erroneously under the letter "P".

While traveling in Spain and Africa, Pal Fried widened and enriched his palette, which gave him mastery of light and movement. After returning to Paris, Fried concentrated on portraiture in which he also became a recognized master. He exhibited his work in Budapest. In 1947, after WW II, he emigrated to America where he taught at the Academy of Arts in New York and developed his own unique style and technique. In the 1950’s and 60’s, Pal Fried gained popularity while living and painting in Hollywood. He made the rounds and often painted high society women and celebrities like Marilyn Monroe and the Gabor sisters. In New York, he painted portraits of Herbert Lehman (Governor and Senator from New York), Will Rogers and other notables.

Fried, an artist of the Hungarian school, worked with pastels and oil paints. He was known for being an important figure painter, and most often depicted beautiful young women, nudes, ballerinas, Parisian society women, western scenes, horse racing, and an occasional seascape. His artwork has gained much deserved recognition and notoriety and has become highly collectible. Many of his paintings hung in the famed Haussner Restaurant in Baltimore, Maryland.

Pal Fried died in New York City at his home, 1737 York Avenue, on March 6, 1976, at the age of 82. He died four days after the death of his beloved wife, Eva.

Image found at:icollector.com Text found at:Phillip-Chasen-Antiques

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01852_jaJean Agélou was the largest producer of nude postcards during the period of 1908-1916. He left little of his personal history behind but a vast amount of nude works in the form of stereo views, postcards, and magazines.

In the a book, "Jean Agélou: De l’académisme à la photographie de charme" by Christian Bourdon and Jean Agélou, the grandson of George Agélou, GA. Bourdon, a collector of postcards, accumulates many images bearing the initials JA. Starting with very few clues, he was able to trace the birth of the photographer, the address of his business (which we only have seen on one JA cabinet card) and the registration of his business. He finds the grandson of George Agelou (GA), whose name is also Jean Agélou and, together, they write a compelling story, filling in some of the missing details of the two photographers’ lives.

Images of nude women are as old as photography itself but the distribution of the nude image was very poor. Agélou started his business marketing stereo views but due to the obvious limitations, he needed another outlet. Postcards were just beginning to revolutionize the distribution of the photographic image, in particular, the nude, and timing couldn’t have been better for Jean Agélou.


In 1908, Jean Agélou began producing magazines for artists called "L’Etude Académique". Billed as model references, the magazines were sold in newsstands in a sealed envelope complying with the law of 1899 and while artists benefited from the production of the magazine, Agélou’s "real" business was dealing in mail order, fully nude, un-retouched postcards, which were discreetly delivered directly to the home.

JA photographed women both dressed and undressed but he preferred a model that would eventually sit down and take off her clothes. Elaborate backdrops, including landscapes, a seaside bathhouse, boudoir, and exotic props were trademarks in his career. He marketed his work in many forms.

Image from:
Text from:

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Rosa Domaille aka Eve EdenOne of Britain’s many anatomical marvels (39-22-36) in the figure modeling field. This very popular model featured in Harrison Marks’ “Solo” No.3. Her first appearance in  his magazine “Kamera”  came in 1958 in issue No.11. After that she became a regular for several months with studies in issues 12, 13, 15, 16 & 30. In issue 15 she appeared on the cover again, this time in a duo pose with another very popular model of the era, Lorraine Burnett. She also featured on the March page of the 1959 “Kamera” Calendar. Rosa modeled some in the late 1950’s, while harboring tap dance aspirations. After a bondage layout brought her to public scandal, she dyed her hair blond and reinvented herself as Eve Eden, and landed a part in the Beatles’ Help! movie.

The Rosa Domaille gallery
at MyArchives


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Published in the Amarican magazine LIFE – December 1948
GIRLS WADING, with sunlight playing on leaves and water, was posed by Photographer Yvonne Gregory at a private lake in Norfolk, England, and was shown in September in the 39th Annual Exhibition of the London Salon of Photography.


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Photographer Tom Kelley contacted Marilyn on May 25, 1949. John Baumgarth, a wealthy Chicago manufacturer of calendars, had contacted Kelley about an upcoming calendar and he wanted a new model for artistic nude photo and Marilyn agreed. On Friday, May 27, 1949, Marilyn signed a contract with Tom Kelley under the pseudonym Mona Monroe. The photo session lasted two hours, Saturday, May 28, 1949. Natalie, the wife of Tom Kelley, attended and  Kelley took twenty-four pictures, only two would be published. Kelley sold the publishing rights to the firm Baumgarth for $500, and Marilyn received $ 50 for the photo shoot.

In 1953, Hugh Hefner bought the rights to publish one of these calendar shots, "Golden Dreams" and used it as the centerpiece in the first issue of his new men’s magazine, Playboy, but this was not one of the photos of Marilyn on red velvet. He also bought "A New Wrinkle"  and other shots from the Kelley session.

On the other hand, the blonde centerfold on red velvet featured in Playboy in the August issue of 1954 is not Monroe although very often mistaken for her, but Arlene Hunter, as Playboy did a pastiche over the famous calendar shots featuring her as centerfold in that issue. In order to keep the two photo sessions apart, the playboy photographer used a much more shiny and glittering piece of red material where as the on Tom Kelly used was dull and reflected very little light. And as Arlene Hunter is very often mistaken for Monroe this is one of the few things that separates the two series of pictures enough to say for sure who’s who.

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Image and idea to the post
found at Retrogasm:


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