01 Work, The Art Of The Nude, Alphonsine de Challié's Young brunette woman with a pink veil at her toilet, with footnotes # 31

Alphonsine de Challié, French, 1858 - 1904

Young brunette woman with a pink veil at her toilet

Oil on canvas

62.5 by 81½ cm., 24½ by 32 in.

Private collection

Alphonsine de Challie worked in the studio of Charles Joshua Chaplin and was a friend of Berthe Morisot. In 1875, Berthe Morisot painted the' Woman with her toilet 'which is today preserved at the Art Institute of Chicago. Is she undressing or getting ready? The same mystery surrounds this picture of Alphonsine Challie who was probably influenced by his elder. More on this painting

Having grown up in an intellectual family that encouraged her talent for drawing, Alphonsine de Challié studied painting under Charles Chaplin, one of the first artists to open his studio to female students among whom were Mary Cassatt, Louise Abbéma and Madeleine Lemaire. De Challié befriended fellow artist Berthe Morisot and exhibited regularly at the Salon between 1878 and 1882. More on Alphonsine de Challié

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01 Photograph, The Art Of The Nude, Manuel Álvarez Bravo's Fruta prohibida/ Forbidden Fruit, with footnotes # 170

Manuel Álvarez Bravo (Mexican, 1902 - 2002)

Fruta prohibida [Forbidden Fruit] 1976, printed 1990s

Silver print

6 7/8x9 inches (17.5x22.9 cm.)

Private collection

Manuel Álvarez Bravo was a teenager when he first picked up a camera and began taking pictures, before he enrolled in night classes in painting at the Academia San Carlos, in 1917, or sought instruction in the darkroom of local German photographer Hugo Brehme. Initially self-taught, Álvarez Bravo’s style developed through study of foreign and local photography journals. In these pages, he first encountered the work of Edward Weston and Tina Modotti, who came to Mexico in 1923; the latter became a close colleague and supporter, introducing Álvarez Bravo to the artists of Mexico’s avant-garde, including Diego Rivera, Frida Khalo, and Rufino Tamayo, as well as encouraging him to send photographs to Weston.

In the 1930s, Álvarez Bravo met Paul Strand, traveling with him while he worked in Mexico, and Henri Cartier-Bresson. With Cartier-Bresson and Walker Evans he exhibited in a three-man show at the Julien Levy Gallery, New York, in 1935. Mexico was a cultural hub for many in the international avant-garde in these years; André Breton visited, including Álvarez Bravo in the Exposition of Surrealism he organized in 1940 in Mexico City. Although the artist never identified with Surrealism, it was a major theme in the analysis of his pictures throughout his career. Revealing the influence of his formative years following the Mexican Revolution of 1910, Álvarez Bravo would instead speak of his interest in representing the cultural heritage, peasant population, and indigenous roots of the Mexican people in the face of rapid modernization. More on Manuel Álvarez Bravo

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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06 Photographs, The Art Of The Nude, Manuel Alvarez Bravo's La Desvendada/ The Unveiled, with footnotes # 168

Manuel Álvarez Bravo

Detail; Nude, circa 1985

Gelatin silver print

25.4 x 20.3 cm

Private collection

Manuel Álvarez Bravo

Nude, circa 1985

Gelatin silver print

25.4 x 20.3 cm

Private collection

Manuel Alvarez Bravo (Mexican, 1902–2002)

From the series, La buena fama durmiendo/ The Good Woman Sleeping

Gelatin silver print

8 x 10"

Private collection

Dr. Marín bandaging Alicia. From the exhibition 'Colección Permanente de la Casa de Cultura de Juchitá.' April-May '87 Casa de la Fotografía. This photograph is one of the variants of La buena fama durmiendo, classified as one of the iconic ones in the Manuel Álvarez Bravo archive, it was taken on the roof of the Antigua Academia de San Carlos, in Mexico City between 1938 and 1938. More on this work

I have no further description, at this time

Manuel Alvarez Bravo (Mexican, 1902–2002)

La Buena Fama Durmiendo/ The Good Woman Sleeping, c. 1939

Gelatin silver print

16 × 20 in. (40.6 × 50.8 cm)

Private collection

Manuel Alvarez Bravo (Mexican, 1902–2002)

La Buena Fama Durmiendo/ The Good Woman Sleeping, c. 1939

Gelatin silver print

16 × 20 in. (40.6 × 50.8 cm)

Private collection

I came across this Photograph with no explanation! The model and the pose are almost the same as the above pose...

Manuel Alvarez Bravo

La Desvendada/ The Unveiled, c. 1979

Gelatin silver print

8 3/4 x 6 1/8 in. (22.2 x 15.6 cm)

International Center of Photography

Manuel Álvarez Bravo was a teenager when he first picked up a camera and began taking pictures, before he enrolled in night classes in painting at the Academia San Carlos, in 1917, or sought instruction in the darkroom of local German photographer Hugo Brehme. Initially self-taught, Álvarez Bravo’s style developed through study of foreign and local photography journals. In these pages, he first encountered the work of Edward Weston and Tina Modotti, who came to Mexico in 1923; the latter became a close colleague and supporter, introducing Álvarez Bravo to the artists of Mexico’s avant-garde, including Diego Rivera, Frida Khalo, and Rufino Tamayo, as well as encouraging him to send photographs to Weston.

In the 1930s, Álvarez Bravo met Paul Strand, traveling with him while he worked in Mexico, and Henri Cartier-Bresson. With Cartier-Bresson and Walker Evans he exhibited in a three-man show at the Julien Levy Gallery, New York, in 1935. Mexico was a cultural hub for many in the international avant-garde in these years; André Breton visited, including Álvarez Bravo in the Exposition of Surrealism he organized in 1940 in Mexico City. Although the artist never identified with Surrealism, it was a major theme in the analysis of his pictures throughout his career. Revealing the influence of his formative years following the Mexican Revolution of 1910, Álvarez Bravo would instead speak of his interest in representing the cultural heritage, peasant population, and indigenous roots of the Mexican people in the face of rapid modernization. More on Manuel Álvarez Bravo

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

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06 Works, The Art Of The Nude, Steve Hanks' Morning Rituals, with footnotes # 165

Steve Hanks, 1949-2015

Comfort in Solitude

Paper Lithograph

7 3/4 x 13 1/2

Private collection

Steve Hanks, 1949-2015
Wonders Of A Woman
Limited Edition Print
27"w X 8"h.
Private collection

Steve Hanks Wonders of a Woman" I don't often paint the model looking at you because then the viewer becomes a participant in the painting. I don't want that. By showing the model with her face turned aside, I allow the viewer to admire this special moment from the outside, with the choice to emphathize with the model or to see her as themselves or as someone that they know." More on this work

Steve Hanks, 1949-2015

Blending into Shadows and Sheets

Paper Lithograph

12 x 20

Private collection

Steve Hanks, 1949-2015

In Repose

Paper Lithograph

5 x 14

Private collection

Steve Hanks, 1949-2015

Holding the Moment

Paper Lithograph

5 x 14

Private collection

Steve Hanks, 1949-2015

Casting Her Shadow

Paper Lithograph

13 x 20

Private collection

Steve Hanks, 1949-2015, is recognized as one of the best watercolor artists today. The detail, color and realism of Steve Hanks' paintings are unheard of in this difficult medium. Steve Hanks captures these patterns of life better than anyone.

Steve Hanks was born into a military family in San Diego in 1949. His father was a highly decorated WWII Navy flyer. Hanks grew up playing tennis and surfing along the beaches of Southern California. 

The family was transferred to New Mexico when Steve was a junior. After high school he attended the Academy of Fine Arts in San Francisco, earning excellent marks in commercial art and figure drawing. He transferred to the California College of Arts and Crafts, where he graduated with a Bachelor of Fine Arts degree.

Steve Hanks took a job as a caretaker at a Campfire Girl’s camp near Cuba, New Mexico in 1976. The pay was minimal, but the rent was free, and all during the winter months his time was his own. For the next four and a half years Hanks experimented with many media: oils, watercolor, pencil, acrylics. 

Hanks calls his style ‘emotional realism’. He often leaves the faces of his figures obscured or turned away, not only to leave the face to the imagination of the viewer but also to allow the entire figure to express the emotion. Backlighting is also a signature element of his style. 

He received the National Watercolor Society Merit Award and the National Academy of Western Art Gold Medal, in addition to consistently appearing in the list of top ten American artists compiled by U.S. Art Magazine. Art for the Parks has honored his work with many awards since 1989. More on Steve Hanks

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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01 Painting, The Art Of The Nude, James Gleeson's Salvage from Random’s Effigy, with footnotes # 165

James Gleeson, (1915 – 2008)

Salvage from Random’s Effigy, c. 1939 – 41

Oil on canvas on board

45.5 x 35.0 cm

Private collection

When James Gleeson first exhibited Salvage from Random’s Effigy, 1939 – 41 the Second World War had been raging for almost three years, eventually reaching Australian shores with the terrifying bombing of Darwin and the submarine attack on Sydney Harbour in February, then May of 1942. Gleeson and a number of his artist-associates had been concerned by the insidious rise of Fascism for many years, and utilised their individualistic styles in an attempt to illustrate or articulate the horror that they felt. Gleeson, a deeply read man who also wrote poetry, found a suitable strategy in Surrealism which, through its probing and analysis of the subconscious, explored ‘the realms of imagination and politics’.1 Nearly eighty years after their creation, his paintings remain some of the most enigmatic and haunting images to have been produced in Australia during this traumatic period. More on this painting

Known as the Father of Australian Surrealism, artist, poet, and critic James Gleeson examines human nature in Surrealist landscapes. His interest in classical figures and mythology inspired by artists like William Blake and El Greco, along with his unease about the fate of humanity as a result of the World Wars, resulted in a body of work featuring an apocalyptic fantasy world. In his alternative reality—as seen in works like Aspiring Echoes (1999)—punishment for historical brutalities are brought to bear in the near future in a mood of disturbing and seductive foreboding. His meticulously rendered and lusciously painted scenes of geological shapes and biomorphic forms merge into the macabre. The artist studied at East Sydney Technical College and the Sydney Teachers’ College. Gleeson’s work is in numerous collections including the Art Gallery of New South Wales, the National Gallery of Victoria, and the National Gallery of Australia. More on James Gleeson

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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07 Paintings, The Art Of The Nude, Max Middleton, On the Beach with Hazel and Danielle, with footnotes # 163

Max Middleton (1922 - 2013)

Detail; Hazel On the Beach

Oil on canvas

57 x 41cm

Private collection

Max Middleton enjoyed a long and highly acclaimed career as a professional artist, exhibiting in 68 exhibitions over 66 years. He died in 2013. Max had a great interest in the Australian landscape. As an en plein air painter, he faithfully rendered what he saw. He had an extraordinary ability to capture light on canvas.

Max Middleton (1922-2013)

Study of Hazel I, c.  2002

Oil on linen

31 x 46cm

Private collection

Born in Melbourne in 1922, Max knew he wanted to be an artist from the age of 12. At 16 he started lessons in drawing at the National Gallery School, and practiced his oil painting technique on Sunday’s when his father drove him to the country to paint en plein air. Max studied privately with Septimus Power from 1940. Power greatly influenced Max’s early paintings with use of broad brush strokes and patterns of light and shade. Power became both a mentor and a friend to Max, and expressed his confidence in Max’s technical competence by inviting Max to assist with teaching.

 

Max Middleton

Relaxing on the Sand

Oil on linen

29.5 x 49.5 cm

Private collection

Max Middleton (1922-2013)

Playing in the Shallows

Oil on canvas

59 x 59 cm

Private collection

Max Middleton (1922-2013)

Hazel In The Shallows

oil on canvas

signed lower right: Max Middleton

60 x 101cm

Private collection

Max Middleton

On the Sand, Sorrento

Oil on canvas board

37 x 49 cm

Private collection

Sorrento is a town overlooking the Bay of Naples in Southern Italy. Sorrento is located on the Sorrentine Peninsula at the south-eastern terminus of the Circumvesuviana rail line, within easy access from Naples and Pompei. The town is widely known for its small ceramics, lacework and marquetry (woodwork) shops. More on Sorrento

Max Middleton (1922 - 2013)

Hazel On the Beach

Oil on canvas

57 x 41cm

Private collection

Max Middleton (1922 - 2013)

Study on Danielle

Oil on board

22 x 29.5 cm

Private collection

In 1950 Max travelled to Europe to see the major museums and train at Heatherleys School in London, and in Florence at the Scala di Bellearti (School of Fine Art). In Europe his key influences were JMW Turner and Joaquin Sorolla y Bastida, both en plein air painters of the transformative effects of light. He painted in Wales, Ireland, Paris and Spain and in the flourishing art community of Cornwall. It was in regional Spain that he chose to paint the people of the area, and since then, the human figure has been a recurring subject in his paintings. Max returned to Australia in 1953, excited to once again be painting landscape in the unique Australian light. He felt liberated by his altered perspectives and adapted his technique and to a style influenced by the European masters. More on Max Middleton

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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01 Painting, The Art Of The Nude, Harrington Mann's Nude, with footnotes # 166

Harrington Mann, (British, 1864-1937)

Nude, c. 1933

Oil on canvas

50.8 x 63.5 cm. (20 x 25 in.)

Private collection

Harrington Mann (7 October 1864, Glasgow–28 February 1937, New York City) was a Scottish portrait artist and decorative painter. He was a member of the Glasgow Boys movement in the 1880s.

Mann began his studies at the Glasgow School of Art. He then studied at the Slade School of Fine Art in London under professor Alphonse Legros. He then studied in Paris under the guidance of the figure painters Gustave Boulanger and Jules-Joseph Lefebvre at the Academie Julian for a short time.

Mann's early paintings from the 1880s are mainly of fishing communities in Yorkshire. He began to develop a name for himself in portrait painting in the 1890s.

He had a strong sense of colour and design for decorating interior walls and for stained glass. In the 1890s he designed for the Scottish firm of J. and W. Guthrie. In 1893 he designed the stained glass for the west window of St Bartholomew's Church, Barbon, in what is now Cumbria.

In 1900, he moved south to London, also opening a studio in New York, where his paintings became popular. In London, he found success in society portraits, especially of children and including members of the British royal family.

Mann was one of the founder members of the National Portrait Society in 1911. More on Harrington Mann

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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