01 Work, The Art Of The Nude, with footnotes # 30

Alfred "di" Cesare (1910 - 1993)

Ultraviolet

Oil on board

61 x 76.2cm. 

Private collectiob

Alfred Di Cesare was born in Boston, Massachusetts in 1910. At fourteen he suffered an injury playing football and spent two months in a hospital on bed rest, it was during this time that he began to sketch pencil portraits of the doctors.  His family doctor encouraged Di Cesare's father to enroll his son in the School of Practical Arts. Through connections at the school the artist began working for the Donnelly Advertising Company making original layouts for hand-painted billboards. On a lunch break one day he attended an exhibition of paintings by Boston artists and was impressed by a work by Ernest Lee Major (American, 1864-1950) and immediately sought him out as a teacher. After studying with Major, Di Cesare became Major's studio assistant for ten years at the Massachusetts Normal Art School, now the Massachusetts School of Art and Design. More on Alfred Di Cesare 

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01 Works & Movie, The Art Of The Nude, with footnotes # 29

Marià Fortuny, Reus, 1838 – Rome, 1874

The Odalisque

Oil on cardboard

56.9 x 81 cm

Museu Nacional d'Art de Catalunya

An odalisque (Turkish: Odalık) was a chambermaid or a female attendant in a Turkish seraglio, particularly the court ladies in the household of the Ottoman sultan. 

An odalık was not a concubine of the harem, but a maid, although it was possible that she could become one. An odalık was ranked at the bottom of the social stratification of a harem, serving not the man of the household, but rather, his concubines and wives as personal chambermaids. Odalık were usually slaves given as gifts to the sultan by wealthy Turkish men. Generally, an odalık was never seen by the sultan but instead remained under the direct supervision of his mother, the Valide Sultan.

If an odalık was of extraordinary beauty or had exceptional talents in dancing or singing, she would be trained as a possible concubine. If selected, an odalık trained as a court lady would serve the sultan sexually and only after such sexual contact would she change in status, becoming thenceforth one of the consorts of the sultan.

In contrast to European depictions of nude harem women, they more often wore androgynous robes resembling those worn by the male pages of the palace. The conditions of the Ottoman harem "resembled a monastery for young girls more than the bordello of European imagination. More on an odalisque

Mariano Fortuny y Marsal (1838-1874) is one of the notable artists of the Spanish school of the XIXth century. A fervent admirer of Goya, he had an incontestable influence on the Spanish and Italian painters of his epoch. Following a stay in Morocco in 1860, his topics evolve towards Orientalist subjects.

Mariano Fortuny's was not only an accomplished painter, but also a very good engraver and designer. The museum Goya, thanks to a donation of the stepdaughter of the artist in 1951 and regular purchases, has eighty-seven of his writings on paper drawings and watercolors, engravings. As part of this exhibition, this whole fund of graphic art is introduced to the public, illustrating his talent for design. More Mariano Fortuny y Marsal

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01 Work, The Art Of The Nude, with footnotes # 28

Thomas Saliot, France

Golden Skin Blue

Oil on Canvas.

61 H x 47.2 W x 0.4 in

Private collection

Thomas Saliot: "I live in Morocco, France and Spain where i paint simple iconic images from the net or my life, like big oil sketches. I have been painting professionally for over thirty years. Sort of a child of Hopper, figurative and Pop art, i love colors, provocation and big canvas.

Thomas Saliot was born in Paris, France, in 1968. He studied Graphic Design at the Met de Penninghen (Esag) for 3 years and opened his own gallery in le Marais in the historic district of Paris from 1990 to 2000. For the past 20 years he has been living the life, painting and travelling between Marrakech, Morocco and his home city of Paris, France.  More on Thomas Saliot

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01 Work, The Art Of The Nude, with footnotes # 27

Richard Prince (born 1949)

GIRLFRIEND (FROM THE 'COWBOYS AND GIRLFRIENDS' PORTFOLIO) 

Vintage Ektachrome print

51cm x 61cm (20in x 24in)

Private collection

Richard Prince (born 1949) is an American painter and photographer. In the mid-1970s, Prince made drawings and painterly collages that he has since disowned. He began copying other photographers' work in 1977. His image, Untitled (Cowboy), a rephotographing of a photograph by Sam Abell and appropriated from a cigarette advertisement, was the first rephotograph to be sold for more than $1 million at auction at Christie's New York in 2005. He is regarded as "one of the most revered artists of his generation" according to the New York Times.

Starting in 1977, Prince photographed four photographs which previously appeared in the New York Times. This process of rephotographing continued into 1983, when his work Spiritual America featured Garry Gross's photo of Brooke Shields at the age of ten, standing in a bathtub, as an allusion to precocious sexuality and to the Alfred Stieglitz photograph by the same name. His Jokes series (beginning 1986) concerns the sexual fantasies and sexual frustrations of white, middle-class America, using stand-up comedy and burlesque humor. More on Richard Prince

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01 Painting, The Art Of The Nude, with footnotes # 20

Wade Reynolds

Nude, c. 1995

Oil on canvas

35 x 48 inches

Private collection

Wade Reynolds (born Charles Elwood Reynolds; June 5, 1929 – October 3, 2011) was a self-taught realist painter, Reynolds was best known for his figurative paintings often classified as California School of Light.

Reynolds was born in Jasper, New York, in 1929. He began his professional art career in New York City where he was hired in 1958 to create the artwork depicted in the film The World of Suzie Wong. From 1959 on, Reynolds resided in California, living in Newport Beach, Oceanside and San Francisco. He also painted in the Los Angeles area.

He was an instructor at the Art Institute of Southern California (now the Laguna College of Art and Design) and at the Academy of Art (now the Academy of Art University) in San Francisco. He influenced students including Julio Reyes, Candice Bohanon, and Alia El-Bermani. More on Wade Reynolds

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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

Private collection

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

Private collection

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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