01 Works & Movie, The Art Of The Nude, with footnotes # 26

Pino Daeni
Purity Embellished 2002
Limited Edition Print
Embellished Giclee Stretched Canvas
40 x 30 in  |  102 x 76 cm

Pino Daeni (November 8, 1939 – May 25, 2010) was an Italian-American book illustrator and artist. He is known for his style of feminine, romantic women and strong men painted with loose but accurate brushwork. Considered one of the highest paid book illustrators of his time, he created over 3,000 book covers, movie posters and magazine illustrations. From 1960 to 1979, his work garnered several prizes and awards. During this period, he was commissioned by two of Italy's largest publishers, Mandadori and Rizzoli, for numerous book illustrations. After a visit to Manhattan in 1971, Pino's experiences of the art scene at that period led him to feel restricted in Milan, and in 1978, he moved to New York, where he believed the artistic freedom would allow him greater opportunities. In 2001, Pino's son, Massimo, began representing his artist-father, despite Pino's initial reluctance. Massimo, more known as Max, successfully grew his efforts into a profitable marketing company, helping his father expand beyond his normal gallery representation to include magazines and books. His work continues to appear in art galleries all over the world, and his Giclee prints sell into the thousands of dollars. On May 25, 2010, Pino died at the age of 70. More on Pino Daeni




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01 Works & Movie, The Art Of The Nude, Martein Peeters' Descent from the Cross , with footnotes # 25

Martein Peeters, Netherlands
Nudes/ After Peter Paul Rubens - Descent from the Cross
Oil on Canvas
Size: 39.4 H x 39.4 W x 1.6 in

Peter Paul Rubens  (1577–1640)
The Descent from the Cross, between 1612 and 1614
Oil on panel
height: 421 cm (13.8 ft); width: 311 cm (10.2 ft)
Onze-Lieve-Vrouwekathedraal

The Descent from the Cross, or Deposition of Christ, is the scene, as depicted in art, from the Gospels' accounts of Joseph of Arimathea and Nicodemus taking Christ down from the cross after his crucifixion. In Byzantine art the topic became popular in the 9th century, and in the West from the 10th century. The Descent from the Cross is the 13th Station of the Cross.
 
Other figures not mentioned in the Gospels who are often included in depictions of this subject include St. John the Evangelist, who is sometimes depicted supporting a fainting Mary, and Mary Magdalene. The Gospels mention an undefined number of women as watching the crucifixion, including the Three Marys and Mary Salome.  More on Deposition of Christ

Martein Peeters (1969) works as a painter in Amsterdam. As a thirteen year old Peeters discovered oil paint. Inspired by the works of Van der Weyden, Eyck and Willink, he started making very detailed large paintings. Peeters continued his journey as a painter at the Royal Academy of Fine Arts in Antwerp, known for its traditional and artisanal way of working. Peeters feels drawn to the work of the magnificent master painters from the 17th and 19th century, which is reflected in his work. He is known for his striking brushwork and his ability to beautifully capture light in his paintings. Less

Peeters studied at the Royal Academy of Fine Arts in Antwerp, known for its traditional and artisanal way of working. More on Martein Peeters





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01 Works & Movie, The Art Of The Nude, with footnotes # 24

Egon Schiele
Two nude women
Gouache and watercolor on paper
43 x 32 cm (16.9 x 12.6 inches)
Private collection

Egon Schiele (German: 12 June 1890 – 31 October 1918) was an Austrian painter. A protégé of Gustav Klimt, Schiele was a major figurative painter of the early 20th century. His work is noted for its intensity and its raw sexuality, and the many self-portraits the artist produced, including naked self-portraits. The twisted body shapes and the expressive line that characterize Schiele's paintings and drawings mark the artist as an early exponent of Expressionism. More on Egon Schiele



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05 Works, The Art Of The Nude, Hedy Lamarr in kstase and White Cargo, with footnotes # 23

Hedy Lamarr
During the Filming of ‘White Cargo’ (1942)

White Cargo: In Africa early in World War II, a British rubber plantation executive reminisces about his arrival in the Congo in 1910. He tells the story of a love-hate triangle involving Harry Witzel, an in-country station superintendent who'd seen it all, Langford, a new manager sent from England for a four-year stint, and Tondelayo, a siren of great beauty who desires silk and baubles. Witzel is gruff and seasoned, certain that Langford won't be able to cut it. Langford responds with determination and anger, attracted to Tondelayo because of her beauty, her wiles, and to get at Witzel. Manipulation, jealousy, revenge, and responsibility play out as alliances within the triangle shift.

Trude Fleischmann
SELECTED IMAGES OF HEDY LAMAR
Photography
Private collection

Trude Fleischmann opened her studio at age 25, worked as a successful independent photographer through the Depression, and photographed some of the great artists, thinkers, and activists of her day, including Max Reinhardt, Eleanor Roosevelt, and Albert Einstein. In 1920 she founded her studio, photographing musicians and performers for magazines. Her expressive, often erotic style brought her difficulties in 1925 when her powerful nude photographs were confiscated for indecency. Fleischmann fled the Anschluss in 1938, first to Paris and then New York, where she opened a studio in 1940 with fellow émigré Frank Elmer. Her clients included many artists and intellectuals who had fled Europe, as well as noted Americans. In 1969 Fleischmann retired to Switzerland, and in 1987, she returned to the US. More on Trude Fleischmann

Hedwig Kiesler (Hedy Lamarr)
Ekstase (1933)

Hedy Lamarr (born Hedwig Eva Maria Kiesler, November 9, 1914 – January 19, 2000) was an Austrian-born American film actress and inventor.

After a brief early film career in Czechoslovakia, including the controversial Ecstasy (1933), she fled from her husband, a wealthy Austrian ammunition manufacturer, and secretly moved to Paris. Traveling to London, she met Metro-Goldwyn-Mayer studio head Louis B. Mayer, who offered her a movie contract in Hollywood. Her greatest success was as Delilah in Cecil B. DeMille's Samson and Delilah (1949). She also acted on television before the release of her final film, The Female Animal (1958). She was honored with a star on the Hollywood Walk of Fame in 1960.

At the beginning of World War II, she and composer George Antheil developed a radio guidance system for Allied torpedoes that used spread spectrum and frequency hopping technology to defeat the threat of jamming by the Axis powers. Although the US Navy did not adopt the technology until the 1960s, they claim. But it was used as early as 1955 by contractor to the Navy Romuald Scibor for the development of the sonar buoy. A Tribute to Hedy Lamarr by Romuald Scibor The principles of their work are incorporated into Bluetooth technology and are similar to methods used in legacy versions of CDMA and Wi-Fi. This work led to their induction into the National Inventors Hall of Fame in 2014. More on Hedy Lamarr

Hedy Lamarr in 'Ecstasy' (1933)

Hedwig Kiesler (Hedy Lamarr)
Ekstase (1933)

Ecstasy is a 1933 Czech-Austrian romantic drama film directed by Gustav Machatý and starring Hedy Lamarr (then Hedy Kiesler), Aribert Mog, and Zvonimir Rogoz.

The film became both celebrated and notorious for showing Lamarr's face in the throes of orgasm as well as close-up and brief nude scenes, a result of her being "duped" by the director and producer, who used high-power telephoto lenses.

The film gained world recognition after winning an award in Rome. Throughout Europe, it was regarded an artistic work. In America it was considered overly sexual and received negative publicity, especially among women's groups. It was banned there and in Germany.

The film is about a young woman who marries a wealthy but much older man. After abandoning her brief passionless marriage, she meets a young virile engineer who becomes her lover. 

Lamarr swims in the nude and runs through the countryside naked. The film was celebrated as the first motion picture to include a nude scene, rather than the first to show sexual intercourse, for which it has a better claim. More on Ecstasy






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10 works, The Art Of The Nude, MAN RAY's Kiki of Montparnasse, with footnotes #217

MAN RAY (1890-1976) Portrait de Kiki, c. 1923 Oil on canvas 24 1/8 x 18 in. (61.3 x 45.6 cm.) Private collection Sold for USD 1,623,000 in ...