Picasso nude on a couch

Was Gabrielle Renard (1878-1959), a cousin of Renoir's wife who helped in the running of the household. She also was Renoir's favourite model, her aspherical body exemplifying the artist's ideal of female beauty. Kessler 1983 Prov: Ambroise Vollard, national capital (purchased from the artist); thomas reid and Lefevre; Mrs Kessler 1938 Exh: painter to Cézanne, Lefevre Gallery, gregorian calendar month 1936 (43, as ‘Nu à la Méridienne’ c.1914); The 19th Century French Masters, Lefevre Gallery, July–August 1937 (38); 20th period French Masters, Whyte Gallery, Washington, D. The direction of her breasts and belly has precedents in Nude on a Couch 1915 Oil on canvas 21 3/8 × 25 3/8 (518 × 652) graven ‘Renoir.’ b.l. C., November–December 1938 (II); Milestones in sculptor Painting, Lefevre Gallery, gregorian calendar month 1939 (38); latinian language Paintings from the Kessler Collection, York Art Gallery, May 1948 (10, as ‘Gabrielle’); Renoir, Lefevre Gallery, June 1948 (33, repr.); The Kessler Collection, Wildenstein Gallery, October–November 1948 (27); The Kessler Bequest, Tate Gallery, February–April 1984 (not numbered, col.) Lit: Ambroise Vollard, Tableaux, Pastels et Dessins de Pierre-Auguste Renoir, Paris, 1918, 1, no.498, repr.

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‘Nude Woman in a Red Armchair’, Pablo Picasso, 1932 | Tate

This work belongs to the remarkable sequence of portraits that Picasso successful of Marie-Thérèse Walter at his administrative division attribute at Boisgeloup. Marie-Thérèse is conferred greek deity – as in all but of her portraits – as a ordination of aesthetic curves. Even the scrolling arms of the chairwoman have been heightened and exaggerated to let out the rounded forms of her body.

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Nude in a Black Chair, 1932 by Picasso

In au naturel in a african-american Chair, which is datable 9 March 1932, the sleeping woman, who seems to swell and unfurl like a growing plant inside the elastic cocoon of her skin, sprouts liana leaves from at a lower place her breast as if she were a goddess of the plant kingdom. The designation is total in paintings where portion of her body are metaphorically equated with fertile cells, sprouting seeds, aged fruit, verdant architectural ornament and so forth. In one exceptional emblem-painting of spring 1932, decumbent Nude the completion of the union 'tween cleaner and creation depends not only on the transparency of the metaphors (profile as silvery half-moon, breasts as brimming cells, venter and pubis as fledgling bird, arm as ontogenesis seed, leg as unfurling leaf, et cetera), but on the way the rhythmically undulating contours bind the heterogenous parts together.

‘Nude on a Couch’, Auguste Renoir, 1915 | Tate


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