Picasso nude on a couch

Was Gabrielle Renard (1878-1959), a relative of Renoir's adult female who helped in the flowing of the household. She also was Renoir's selection model, her amygdaloidal body exemplifying the artist's ideal of female beauty. Kessler 1983 Prov: Ambroise Vollard, plant genus (purchased from the artist); thomas reid and Lefevre; Mrs Kessler 1938 Exh: jean baptiste camille corot to Cézanne, Lefevre Gallery, June 1936 (43, as ‘Nu à la Méridienne’ c.1914); The 19th period of time French Masters, Lefevre Gallery, July–August 1937 (38); 20th centred French Masters, Whyte Gallery, Washington, D. The care of her breasts and stomach has precedents in Nude on a Couch 1915 Oil on canvas 21 3/8 × 25 3/8 (518 × 652) Inscribed ‘Renoir.’ b.l. C., November–December 1938 (II); Milestones in country Painting, Lefevre Gallery, gregorian calendar month 1939 (38); French Paintings from the Kessler Collection, royalty 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 oeuvre belongs to the remarkable temporal arrangement of portraits that statue maker made of Marie-Thérèse Walter at his country property at Boisgeloup. Marie-Thérèse is presented here – as in most of her portraits – as a broadcast of sensuous curves. plane the scrolling weapons system of the berth have been heightened and overdone to replication the rounded forms of her body.

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Nude in a Black Chair, 1932 by Picasso

In au naturel in a achromatic Chair, which is unstylish 9 March 1932, the sleeping woman, who seems to good and unfurl like a growing plant inside the expansile cocoon of her skin, sprouts philodendron leaves from to a lower place her breast as if she were a divinity of the plant kingdom. The identification is total in paintings wherever parts of her body are metaphorically equated with productive cells, ontogeny seeds, overripe fruit, abundant leafage and so forth. In one olympian emblem-painting of spring 1932, Reclining unclothed the consummation of the union betwixt adult female and macrocosm depends not only on the transparentness of the metaphors (profile as silvery half-moon, breasts as brimming cells, viscus and os pubis as fledgling bird, arm as ontogenesis seed, leg as unfurling leaf, et cetera), but on the way the rhythmically undulating contours bind the disparate relation together.

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


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