Surrounded by his drying canvases, he would ask
a young nude female model to remain with him in the studio, not necessarily to paint her in a particular pose as Matisse or Bonnard might have done (he was wary of the anecdotal side of a pose and tried to avoid it as much as he could), but for a sheer physical presence next to him while he was painting, and for its influence on his perception of his subject.
Not exact matches
Whenever he's bored with that, he resorts to graphic bursts of violence (an early instance of which, I must admit, is a bit of a showstopper); and when all else fails, he throws in another shot of the
young female ghost who just happens to haunt house while completely
nude.
A brief survey of representations of life - drawing sessions reveals: an all male clientele drawing from the
female nude in Rembrandt's studio; men working from male
nudes in 18th - century representations of academic instruction in The Hague and Vienna; men working from the seated male
nude in Bailly's charming painting of the interior of Houdon's studio at the beginning of the 19th century; Mathieu Cochereau's scrupulously veristic Interior of David's Studio, exhibited in the Salon of 1814, reveals a group of
young men diligently drawing or painting from a male
nude model, whose discarded shoes may be seen before the models» stand.
A brief survey of representations of like - drawing sessions reveals an all male clientele drawing from the
female nude in Rembrandt's studio; men working from male
nudes in 18th - century representations of academic instruction in The Hague and Vienna; men working from the seated male
nude in Boily's charming painting of the interior of Houdon's studio at the beginning of the 19th century; Mathieu Cochereau's scrupulously veristic Interior of David's Studio, exhibited in the Salon of 1814, reveals a group of
young men diligently drawing or painting from a male
nude model, whose discarded shoes may be seen before the models» stand.
Several works from the 20th century close the exhibition: three masterly drawings by the
young Pablo Picasso, Two Fashionable Women (1900), a blue - period Head of a Woman (c. 1903), and a cubist Standing
Nude (summer 1910); an imposing study of a female nude by Georges Braque (1927); and three drawings by Louise Bourgeois, including M is for Mother (1998), a drawing of a large, red letter M that conveys not only maternal comfort but also maternal cont
Nude (summer 1910); an imposing study of a
female nude by Georges Braque (1927); and three drawings by Louise Bourgeois, including M is for Mother (1998), a drawing of a large, red letter M that conveys not only maternal comfort but also maternal cont
nude by Georges Braque (1927); and three drawings by Louise Bourgeois, including M is for Mother (1998), a drawing of a large, red letter M that conveys not only maternal comfort but also maternal control.
In another odalisque, Petunia Pig is repurposed as a pugnacious putti confronting a Gaugin - like
nude female in «Portrait of the Artist as a
Young Pig.»
Over the past two decades, she has developed her own genre of the
female nude: lavish, erotic, cartoonish, vulgar, angelic
young women cast within fantastical landscapes or dramatically lit interiors.