Richard D’Amore, NUDE ON EAGLE, 01 Photograph, The Art Of The Nude, with footnotes # 145

RICHARD D'AMORE (1940-2006) RARE 1972 NUDE ON EAGLE
Richard D’Amore, California (1940-2006)
NUDE ON EAGLE, c. 1972
Black and white photograph
11″X14″
Private collection

Richard D’Amore dedicated more than thirty years to fine art photography, distinguishing himself as a master printer.  In 1970, D’Amore relocated to France with his brother to work and study. During this time, he taught photography at Camberwell College of Art in London.  D’Amore’s  work was featured in fine publications.

Upon returning to the United States in the late 1970s, Mr. D’Amore continued to expand his artistic horizons, concurrently working for the celebrated designers. Using vintage and specialized techniques. D’Amore took great pride in the handmade print.

D’Amore was born on May 31, 1940 and was tragically murdered by his wife

on December 14, 2006.  More on Richard D’Amore

Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artistsand 365 Saints, also visit my Boards on Pinterest

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JOHN BRATBY,PAT IN THE BATH 01 Work, The Art Of The Nude, with footnotes # 95

JOHN BRATBY, R.A. (1)
JOHN BRATBY, R.A., 1928-1992
PAT IN THE BATH (BATH TIME)
Oil on board
122 by 76cm.; 48 by 30in.
Private collection

John Randall Bratby RA (19 July 1928 – 20 July 1992) was an English painter who founded the kitchen sink realism style of art that was influential in the late 1950s. He made portraits of his family and celebrities. His works were seen in television and film. Bratby was also a writer.

John Bratby was born on 19 July 1928 in Wimbledon. Between 1949 and 1950, he studied art at Kingston College of Art. He then began attending the Royal College of Art, completing his studies in 1954. He painted landscapes, still lifes, portraits and figure compositions, and had his first solo exhibition that year at London’s Beaux Arts Gallery.

Bratby is considered the founder of kitchen sink realism, a movement in which artists use everyday objects, like trash cans and beer bottles as subjects of their works, which are often thickly-laden portraits or paintings. It began in the early 1950s and has been considered an aspect of John Osborne’s “Angry Young Men” movement. Bratby often painted with bright colours, capturing his middle-class family’s daily lives. 

Bratby was elected to the Royal Academy of Arts in 1971.

Bratby’s own work fell out of favour with the emergence of Pop art. More on John Randall Bratby




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Richard D’Amore, Untitled 01 Painting, Streets of Paris, by the artists of their time, Part 71

Richard D'Amore, California (1940-2006),
Richard D’Amore, California (1940-2006)
Untitled, c. 1972
Black and white photograph
15 x 18 inches
Private collection

Richard D’Amore dedicated more than thirty years to fine art photography, distinguishing himself as a master printer.  In 1970, D’Amore relocated to France with his brother to work and study. During this time, he taught photography at Camberwell College of Art in London.  D’Amore’s  work was featured in fine publications.

Upon returning to the United States in the late 1970s, Mr. D’Amore continued to expand his artistic horizons, concurrently working for the celebrated designers. Using vintage and specialized techniques. D’Amore took great pride in the handmade print.

D’Amore was born on May 31, 1940 and was tragically murdered by his wife

on December 14, 2006.  More on Richard D’Amore

Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artistsand 365 Saints, 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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Thank you for visiting my blog and also for liking its posts and pages.

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Nana SR T; GOLD SPARKLE (V) 01 Work, The Art Of The Nude, with footnotes # 94

Nana SR T
Nana SR T
GOLD SPARKLE (V)
Photo, Paper on Aluminium,
35 W x 35 H x 0.1 in
Private collection

“I created this GOLD SPARKLE series inspired by movement, the power and beauty of transition, and reminiscing on the aesthetics of Art Deco which I adore. 

I have always had a great passion for the body as an instrument and very much enjoy capturing it in various ways with my camera” Nana

Nana SR T was born and raised between Vienna, Austria and Kochi, Japan, Nana has been exposed to contrasting aesthetics from the get go. Photography has always served as the perfect medium to express her thoughts, passions and vision of the world. Of the people, relations and objects surrounding her. Self taught on film and digital, Nana has always been guided by her gut more than by technicalities to achieve the image she envisions. Her love for performance and portraits reflect in her work as she moves through life. Nana hopes to draw people into her world whilst providing a canvas for own interpretation to the viewer. More on Nana SR T




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Richard Larter, Jean #1 01 Work, The Art Of The Nude, with footnotes # 93

Richard Larter (1929 - 2014)
Richard Larter, (1929 – 2014)
Jean #1, c. 1996
Acrylic and metallic paint on canvas
134 x 88cm
Private collection

Richard Larter (19 May 1929 – 25 July 2014) was an Australian painter, often identified as one of Australia’s few highly recognizable pop artists. Larter also frequently painted in a Pointillist style. He took advantage of unusual techniques with painting: using a syringe filled with paint to create his early works, and juxtaposing multiple images on to a canvas. Many of his works are brightly coloured and draw on popular culture for source materials, reproducing news photographs, film stills, and images from pornography. He was married to Pat Larter, an artist who was involved in the Mail art movement, then performance art and finally painting in a brightly coloured style similar to Richard’s. The Larters emigrated to Australia in 1962. Richard Larter’s pop art was less ironic than his American and English counterparts. In this Larter is similar to other noted Australian pop artists, such as, Mike Brown and Martin Sharp. More on Richard Larter

Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artistsand 365 Saints, also visit my Boards on Pinterest

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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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Tom Ouellette, Seated Nude II 01 Work, The Art Of The Nude, with footnotes # 92

Tom Ouellette (b. 1954)
Tom Ouellette, Massachusetts, b. 1954
Seated Nude II
Oil on linen
36″ x 24″. Framed 42″ x 30
Private collection

Tom Ouellette was born in Cambridge, Massachusetts, in 1954. With the aid of a National Merit Scholarship he attended Harvard University, and graduated in 1978. In 1982, after completing drawing courses, he decided to pursue a career in painting and entered The Art Institute of Boston, graduating with honors in 1985. Ouellette moved to New York City in 1988 to pursue intensive training in traditional oil painting techniques under the tutelage of Michael Aviano. Ouellette has earned the title of Copley Master from the Copley Society of Boston, and has received many awards, including the Robb Sagendorph Memorial Award from Yankee magazine, the John Singleton Copley Award and the Richard and Mary Schroeder Award for portraiture. Ouellette also teaches traditional methods of painting and drawing from his studio. More on Tom Ouellette

Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artistsand 365 Saints, also visit my Boards on Pinterest

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Charles Knight, SEATED FEMALE NUDE 01 Work, The Art Of The Nude, with footnotes # 91

Charles (1901) Knight (1901 - 1990)
Charles Knight, (1901 – 1990)
SEATED FEMALE NUDE
Oil on canvas
50 cm by 60 cm; 20 in by 23 1/2 in
Private collection

Charles Knight, ROI VPRWS (1901-1990), a Sussex landscape painter, channelled the tradition of English watercolour painting in order to produce his own original contribution. As a result, he became a pillar of the Royal Society of Painters in Water-Colours.

His father, employed by a firm of Brighton publishers, was a keen naturalist and artist, and took the young Charles on walking and sketching trips, so initiating a love of Sussex. His gift for drawing was further encouraged by trips to France with a childhood mentor, Canon Elliott. Studying first at Brighton School of Art (1919-23), in 1923 he won a scholarship to the Royal Academy Schools and, though commuting from the South Coast, became exposed to many new influences. His discovery of the work of John Sell Cotman was particularly seminal, for it determined his concentration on watercolour, and directed his travels, as well as affecting his early style. .

From 1925, Knight taught at Brighton School of Art, first as a full-time lecturer, and later as a visitor. The forty drawings of the county which he produced for Recording Britain were dubbed the ‘star turn’ of the project by William Russell Flint. During the Second World War, he was reserved by the teaching profession, and returned to full-time teaching at the college, but also worked as a night telephone operator for the Civil Defence and a member of the Home Guard. In 1944, he was asked by the Queen Mother to give Princess Margaret lessons in watercolour painting; his appointment lasted for three years. He continued to teach at Brighton School of Art, and in 1959 became both Vice-Principal and Head of the Drawing and Painting Department. He died on 15 May 1990. More on Charles Knight





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Hedi Schick, A Seated Female Nude, with an Attendant 01 Work, The Art Of The Nude, with footnotes # 90

Hedi Schick (1906-1999)
Hedi Schick, Austrian/British
A Seated Female Nude, with an Attendant
Oil on Canvas
24″ x 20″
Private collection

Hedi (Hedwig) Schick (1906 Vienna – 1999 London) was in her younger years strongly influenced by Oskar Kokoschka and Otto Dix. She studied at the Vienna Kunstgewerbeschule (School of Applied Arts), from which she graduated in the early 1930s (her name could be found among those of professional applied artists in the address book of Vienna Artists issued in 1934). 

As a Jewish woman, Hedi Schick came to Britain in the late 1930s and began working, producing theatre backdrops and scene painting. She received British Citizenship in 1947. 

She met Clement and Wilfred Hall who ran a gallery in Islington (London) and began working for them as a picture restorer. Later on she exhibited with the Islington Art Circle during the 1950s and 1960s.

She worked as an illustrator, illustrated the fairy tales of Hans Christian Andersen, as well as the books such as “Bush and Billabong” and “Australian Tales of Long Ago” by Peter Paxton (1945), etc. She also made further advertising work for theatre and projects of textile. (*this information was borrowed from David Buckman’s “Artists in Britain since 1945”, Volume 2, page 412). More on Hedi Schick,




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Paul Delvaux, The Two Friends 01 Work, The Art Of The Nude, with footnotes # 89

Paul Delvaux (1897 - 1994)
Paul Delvaux, (1897 – 1994)
The Two Friends, c. 1967
Mixed media, watercolor, India ink and pencil on paper
63 x 100 cm
Private collection

Paul Delvaux (23 September 1897 – 20 July 1994) was a Belgian painter famous for his paintings of female nudes. He was influenced by the works of Giorgio de Chirico, and was also briefly associated with surrealism.

The young Delvaux took music lessons, studied Greek and Latin, and absorbed the fiction of Jules Verne and the poetry of Homer. All of his work was to be influenced by these readings, starting with his earliest drawings showing mythological scenes. He studied at the Académie Royale des Beaux-Arts in Brussels, attending painting classes taught by Constant Montald and Jean Delville. The painters Frans Courtens and Alfred Bastien also encouraged Delvaux, whose works from this period were primarily naturalistic landscapes.

Delvaux’s paintings of the late 1920s and early 1930s, which feature nudes in landscapes. A change of style around 1933 reflects the influence of the metaphysical art. In the early 1930s Delvaux found further inspiration in visits to the Brussels Fair, where the Spitzner Museum, a museum of medical curiosities, supplying him with motifs that would appear throughout his subsequent work.

In 1959 he executed a mural at the Palais des Congrès in Brussels, one of several large scale decorative commissions Delvaux undertook. He was named director of the Académie Royale des Beaux-Arts in 1965. In 1982 the Paul Delvaux Museum opened in Saint-Idesbald. Delvaux died in Veurne in 1994. More on Paul Delvaux

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Karl Schmidt-Rottluff, Female nude in front of fireplace 01 Work, The Art Of The Nude, with footnotes # 87

Karl Schmidt-Rottluff (1884 - 1976)
Karl Schmidt-Rottluff, (1884 – 1976)
Female nude in front of fireplace
Black ink and chalk on paper
51 x 38 cm
Private collection

Karl Schmidt-Rottluff, original name Karl Schmidt, (born December 1, 1884, Rottluff, near Chemnitz, Germany—died August 9, 1976, West Berlin [now Berlin]), German painter and printmaker, noted for his Expressionist landscapes and nudes.

In 1905 Schmidt-Rottluff began to study architecture in Dresden, Germany, where he and his friends formed the organization of Expressionist artists known as Die Brücke (“The Bridge”), united by the goal of creating a modern, intensely emotional style.

Schmidt-Rottluff is particularly known for his rural landscapes. He initially painted in an Impressionist style, but transitioned to his mature style, characterized by flat areas of boldly dissonant colours. Schmidt-Rottluff  began to explore the expressive potential of the woodcut medium. In 1911 Schmidt-Rottluff moved to Berlin, where he painted works with more angular, geometric forms and distorted space, revealing his new interest in Cubism and African sculpture.

After World War I Schmidt-Rottluff became increasingly interested in religious themes. During the 1920s Schmidt-Rottluff’s work became more subdued and harmonious, losing much of its former vigour and integrity. When the Nazis gained power in Germany, he was forbidden to paint. After World War II he taught art and resumed painting, although he never regained the power of his early works. More on Karl Schmidt-Rottluff




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