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Anhui Provincial Museum in Hefei (China)

 

Pan Yuliang (1895 - 1977) "was a Chinese painter, renowned as the first woman in the country to paint in the Western style. She had studied in Shanghai and Paris. Because her modernist works caused controversy and drew severe criticism in China during the 1930s, Pan returned to Paris in 1937 to live and work for the next 40 years. She taught at the École des Beaux Arts, won several awards for her work, had exhibits internationally in Europe, the United States and Japan, and was collected by major institutions."

en.wikipedia.org/wiki/Pan_Yuliang

Read the whole wikipedia article! It's extremely interesting!

Female figure study by Magnetic

Life drawing

26in x 19.5in

Acrylic painting and black pencil on paper

.....................................................................................................

 

Étude de figure féminine par Magnetic

Modèle vivant

65cm x 50cm

Peinture acrylique et crayon noir sur papier

 

www.magneticstudio.fr

unentschlossen, ziellos, schreckhaft, gespalten, furchtsam, beklommen, zaghaft, entscheidungsunfähig, zaudernd, ängstlich, unschlüssig, verschreckt, zweifelnd, schwankend, ratlos, unsicher, halbherzig, eingeschüchtert, wankelmütig, richtungslos, zögernd, vorsichtig, bang, unentschieden, ... Knäuel, Versammlung, Fülle, Knaul, Chaos, Durcheinander, Gewirr, Ballen, Ansammlung, Tohuwabohu, Wirrwarr, Bündel, Wust, ...

 

indecisive, aimless, frightened, divided, timid, anxious, tentative, incapable of decision, hesitant, timid, indecisive, frightened, doubtful, wavering, helpless, insecure, half-hearted, intimidated, fickle, directionless, hesitant, careful, bang, undecided, .. Hank, Gathering, Abundance, Knaul, Chaos, Jumble, Tangle, Bale, Accumulation, Tohuwabohu, Jumble, Bundle, Wust, ...

 

Diese Bildschichtung ist ein Beispiel für ein bildliches Oxymoron.

Ein Oxymoron ist eine rhetorische Figur, bei der eine Formulierung aus zwei gegensätzlichen, einander widersprechenden oder sich gegenseitig ausschließenden Begriffen gebildet wird, z. B. „alter Knabe“. Häufig werden Oxymora in Form von Zwillingsformeln geprägt. Einzelne Wörter, Begriffe und selbst ein oder mehrere ganze Sätze können ein Oxymoron bilden. Das Stilmittel wird verwendet, um beispielsweise dramatische Steigerungseffekte zu erreichen oder kaum Auszudrückendes oder gar Unsagbares in ein Gegensatzpaar zu zwingen und dadurch zum Ausdruck zu bringen.

Nude study by Magnetic

Life drawing

26in x 19.5in

Acrylic painting and pencil drawing on paper

.....................................................................................................

 

Nu féminin par Magnetic

Étude de modèle vivant

65cm x 50cm

Peinture acrylique et crayon noir sur papier

.....................................................................................................

 

Desnudo femenino de Magnetic

65cm x 50cm

Pintura acrilico

  

www.magneticstudio.fr

Female figure study by Magnetic

Life drawing

26in x 19.5in

Acrylic painting and black pencil on paper

.....................................................................................................

Étude de figure féminine par Magnetic

Modèle vivant

65cm x 50cm

Peinture acrylique et crayon noir sur papier

 

www.magneticstudio.fr

Nude painting by Magnetic

Life drawing

Female nude seating

50cm x 65cm

Acrylic on paper

 

Contact : hello [at] magneticstudio.fr

www.magneticstudio.fr

Stefan Schu - Blonde, Original drawing Nude Female Pin-up Art, Femme Nu Dessin, Frauenakt 2015, realism.

 

AKT - ORIGINALZEICHNUNG

HELLGRAU GETÖNTES PAPIER "CANSON" 160 g/m²

FORMAT: 21 x 29,7 cm

TECHNIK: GRAPHIT, BLEISTIFT

GESCHÜTZT MIT FIXATIV

HANDGEZEICHNET, SIGNIERT UND DATIERT

 

Half nude life drawing sketch by Magnetic

Woman lying in pink underwear

42cm x 30cm

Drawing pencil and watercolor on paper

 

Contact : hello [at] magneticstudio.fr

Website : www.magneticstudio.fr

 

Stefan Schu - Dark blonde, Original Nude Female Pin-up Art, Femme Nu Dessin, Frauenakt 2015, realism

Sitzender Frauenakt mit aufgestützten Ellbogen/Seated Female Nude Resting on Elbows, 1914 (Bleistift und Deckfarben/Pencil and gouache), Albertina

 

Schiele twists the body of his Seated Female Nude Resting on Elbows through a number of different foreshortenings and overlaps. The woman calmly looks the viewer in the eye. The provocative effect resulting from both her gaze and her excessive sexuality ensures that the viewer cannot avoid staring at her. The model eyes the viewer eying her.

No contemporary saw sexual reality with less prejudice than Schiele. In Reclining Female Nude with Legs Spreat Apart, the red lips and the orange nipples are again set off against the black of the hair, the cloth, and the stockings. Compositionally, the recumbent body is anchored in the diagonal of the sheet, but the absence of any spatial context renders the lying position precarious.

 

Im Sitzenden weiblichen Akt mit aufgestützten Ellbogen strebt Schiele eine komplizierte Verschraubung des Körpers mit vielfältigen Verkürzungen und Überschneidungen an. Ruhig blickt die Frau dem Betrachter in die Augen. Durch die Kombination mit der exzessiven Sexualität der Frau liegt ihre provokative Wirkung geradezu in der Unausweichlichkeit der visuellen Ansprache des Betrachters: Das Modell betrachtet die Besichtigung ihres Körpers.

Kein Zeitgenosse hat die geschlechtliche Realität so vorurteilsfrei gesehen wie Schiele. Auch beim Liegenden Frauenakt mit gespreizten Beinen leuchten aus dem Schwarz der Haare, des Tuches und der Strümpfe die roten Lippen und die orangefarbenen Brustwarzen hervor. Der breit hingelagerte Leib ist in der Diagonale des Blattes kompositorisch verankert, doch bleibt die Statik des Liegens mangels räumlicher Umgebung prekär.

 

The Albertina

The architectural history of the Palais

(Pictures you can see by clicking on the link at the end of page!)

Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869

"It is my will that ​​the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".

This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.

Image: The Old Albertina after 1920

It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.

The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.

In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.

Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.

1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.

Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990

The era of stately representation with handing down their cultural values ​​found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:

After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".

Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905

This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.

The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.

Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.

Image: The palace after the demolition of the entrance facade, 1948-52

Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values ​​of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.

Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei

This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.

Image: The restored suburb facade of the Palais Albertina suburb

The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.

Image: The new entrance area of the Albertina

64 meter long shed roof. Hans Hollein.

The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".

 

Christian Benedictine

Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.

 

www.wien-vienna.at/albertinabaugeschichte.php

 

Stefan Schu - Gentle Longing, original drawing Nude Female Pin-up Art, Femme Nu Dessin, Frauenakt 2016, hyper realism, reality.

 

Stefan Schu 's realism pin-up drawings stand out because of his fine display of pin-up models posing in a natural spontaneous posture . The high quality of his pinup drawing approach the precision-like of black and white photography. The precise presentation of the female nude shows outstanding poses of realistic sensuality.

 

Technique: Graphite, Pencil

Original drawing on coloured artist paper 160g/m²

Signed by the artist 2016

Size: A4 - 21 x 29,7 cm / 8,27" x 11,69"

Condition: new

 

We live in a society of increasing androgyny and emancipation and that´s why we are in the danger of loss of femininity. To focus sensuality is one of the interests in the work of Stefan Schu.

 

Therefore Stefan Schu is fascinated to the subject of femininity. He wants to find sensibility again and get away from massive platter pornography. Freezing and displaying individual feminine beauty, is one of the major subjects of the artist. The nude with its flowing abstract forms that fit together and unite to a complete work of art is predestined to show sensuality.

 

Stefan Schu noticed that every woman carries her own charisma in herself. There are snapshots of women who are innocent, naughty, sexy, quiet, wild, or can act boldly. This diversity makes it so mysterious.

 

Showing reality as precisely as possible, and concentrating on the beauty of form are primary motivators to make the images in homogeneous gray tones and it emphasizes the mysterious femininity.

 

Reference:

atelier-schu.de/english/drawing.html

Stefan Schu - Sexy in Panty, Original graphite drawing on coloured Chanson paper, Nude Female Pin-up Art, Femme Nu Dessin, Frauenakt 2016, Realism

 

Stefan Schu 's realism pin-up drawings stand out because of his fine display of pin-up models posing in a natural spontaneous posture . The high quality of his pinup drawing approach the precision-like of black and white photography.

 

ORIGINAL DRAWING

COLOURED "CANSON" PAPER - 160 g/m²

SIZE: 8,27" x 11,69"

TECHNIQUE: GRAPHITE, PENCIL

PROTECTED WITH FIXATIVE

SIGNED AND DATED

 

AKT - ORIGINALZEICHNUNG

GETÖNTES PAPIER "CANSON" - 160 g/m²

FORMAT: 21 x 29,7 cm

TECHNIK: GRAPHIT, BLEISTIFT

GESCHÜTZT MIT FIXATIV

HANDGEZEICHNET, SIGNIERT UND DATIERT

 

We live in a society of increasing androgynity and emancipation and that´s why we are in the danger of loss of femininity. To focus sensuality is one of the interests in the work of Stefan Schu.

 

Therefore Stefan Schu is fascinated to the subject of femininity. He wants to find sensibility again and get away from massive platter pornography. Freezing and displaying individual feminine beauty, is one of the major subjects

of the artist. The nude with its flowing abstract forms that fit together and unite to a complete work of art is predestined

to show sensuality.

Stefan Schu noticed that every woman carries her own charisma in herself. There are snapshots of women who are innocent, naughty, sexy, quiet, wild, or can act boldly. This diversity makes it so mysterious.

 

Showing reality as precisely as possible, and concentrating on the beauty of form are primary motivators to make the images in homogeneous gray tones and it emphasizes the mysterious femininity.

 

Reference:

atelier-schu.de/english/drawing.html

Female nude painting by Magnetic

Life drawing

Female half nude seating in black underwear

50cm x 65cm

Acrylic painting on paper

 

Contact : hello [at] magneticstudio.fr

www.magneticstudio.fr

Stefan Schu - Blonde, Original Nude Female Pin-up Art, Femme Nu Dessin, Frauenakt 2015, realism

 

AKT - ORIGINALZEICHNUNG

HELLGRAU GETÖNTES PAPIER "CANSON" 160 g/m²

FORMAT: 21 x 29,7 cm

TECHNIK: GRAPHIT, BLEISTIFT

GESCHÜTZT MIT FIXATIV

HANDGEZEICHNET, SIGNIERT UND DATIERT

 

Stefan Schu - Blonde, Original graphite drawing on coloured Chanson paper, Nude Female Pin-up Art, Femme Nu Dessin, Frauenakt 2016, Realism

 

Stefan Schu 's realism pin-up drawings stand out because of his fine display of pin-up models posing in a natural spontaneous posture . The high quality of his pinup drawing approach the precision-like of black and white photography.

 

ORIGINAL DRAWING

COLOURED "CANSON" PAPER - 160 g/m²

SIZE: 8,27" x 11,69"

TECHNIQUE: GRAPHITE, PENCIL

PROTECTED WITH FIXATIVE

SIGNED AND DATED

 

AKT - ORIGINALZEICHNUNG

GETÖNTES PAPIER "CANSON" - 160 g/m²

FORMAT: 21 x 29,7 cm

TECHNIK: GRAPHIT, BLEISTIFT

GESCHÜTZT MIT FIXATIV

HANDGEZEICHNET, SIGNIERT UND DATIERT

 

We live in a society of increasing androgynity and emancipation and that´s why we are in the danger of loss of femininity. To focus sensuality is one of the interests in the work of Stefan Schu.

 

Therefore Stefan Schu is fascinated to the subject of femininity. He wants to find sensibility again and get away from massive platter pornography. Freezing and displaying individual feminine beauty, is one of the major subjects

of the artist. The nude with its flowing abstract forms that fit together and unite to a complete work of art is predestined

to show sensuality.

Stefan Schu noticed that every woman carries her own charisma in herself. There are snapshots of women who are innocent, naughty, sexy, quiet, wild, or can act boldly. This diversity makes it so mysterious.

 

Showing reality as precisely as possible, and concentrating on the beauty of form are primary motivators to make the images in homogeneous gray tones and it emphasizes the mysterious femininity.

 

Reference:

atelier-schu.de/english/drawing.html

Stefan Schu - Dark blonde Pin-up Art 2015, realism

Nude Female Pin-up, Femme Nu Dessin, Frauenakt

 

Prachtig pin-up model op 160 grams "Canson" papier, gesigneerd door de kunstenaar. Afmeting 21 x 29,7 cm.

 

Stefan Schu's realisme pin-up tekeningen vallen op door zijn fijne weergave van pin-up modellen poserend in een natuurlijke spontane houding. De hoogwaardige kwaliteit van zijn pinup tekeningen benaderd de precisie van zwart-wit fotografie..

 

Stefan Schu 's realism pin-up drawings stand out because of his fine display of pin-up models posing in a natural spontaneous posture . The high quality of his pinup drawings approaches the precision-like of black and white photography.

 

Techniek: Potlood, grafiet.

Gesigneerd: st Schu 2015

 

ORIGINAL DRAWING

COLOURED "CANSON" PAPIER - GREY - 160 g/m²

TECHNIQUE: GRAPHITE, PENCIL, PASTEL

PROTECTED WITH FIXATIVE

SIGNED AND DATED

 

Reference:

atelier-schu.de/english/drawing.html

 

Watercolor sketch by Magnetic

Life drawing

Woman half nude lying

25cm x 40cm

Watercolor and drawing pencil on paper

 

Contact : hello [at] magneticstudio.fr

Website : www.magneticstudio.fr

FacebookTwitterPinterestInstagram500pxWebsite

 

On view in Toronto for the first time since its acquisition by the Art Gallery of Ontario, Untilled (Liegender Frauenakt) daringly extends Huyghe’s long-term interests. On site near the Hearn, within a ruined landscape of concrete rubble, weeds and gravel, the artist has placed a statue of a reclining woman, an unremarkable object but for the beehive that entirely obscures its head.

 

Untilled again opens up the artwork to interaction, but one that is no longer limited to its human viewers — instead, a whole ecosystem is engaged, with the bee colony pollinating surrounding flora and extending the work beyond an anthropocentric definition of art.

 

luminatofestival.com/2016-Program/Events/Untilled-Liegend...

"A top-down way"

Female figure study by Magnetic

26in x 19.5in

Acrylic painting and black pencil on paper

.............................................................................................

 

"De haut en bas"

Étude de modèle féminin par Magnetic

65cm x 50cm

Peinture acrylique et crayon noir sur papier

 

www.magneticstudio.fr

Skulptur "Esmeralda mit der Ziege", Antonio Rossetti um 1856

de.wikipedia.org/wiki/St%C3%A4delsches_Kunstinstitut

Städel Museum, Schaumainkai, Frankfurt am Main

oil on canvas after Gauguin, painted by me- JuliusJAMV ,

as a gift for a friend

 

Paul Gauguin frequently depicts two conspiratorial figures exchanging words. Titles such as this one - 'What ! Are you Jealous?' suggest, but do not betray, their intimacy. Some critics have suggested that the question is being addressed to the western viewer of the painting, envious of the idyllic setting, the graceful ease of the figures, and also perhaps, the man painting them. The pose of the seated woman is taken from a classical frieze, while the lower body of the reclining woman seems to disappear into the almost - abstract landscape of the undergrowth and water. "

( Tahitian ) Aha Oe Feii?, (French) Eh quoi! Tu es jaloux? , (English) What! Are You Jealous?

texture: PicMonkey

 

Artist: Julius V - JJAMV, Completion Date: 2008, Place of Creation: C/Mare di Stabia, It.

Style: Cloisonnism, Period: Campania period, Genre: nude painting (nu)

Technique: oil, Material: canvas, Dimensions: 66 x 89 cm

 

* 500px

Female study by Magnetic

Life drawing

Seated female in underwear

26in x 19.5in

Acrylic painting and pencil drawing on paper

.....................................................................................................

  

Étude de femme par Magnetic

Modèle vivant

Femme assise en sous-vêtements

65cm x 50cm

Peinture acrylique et crayon noir sur papier

.....................................................................................................

 

Desnudo femenino de Magnetic

65cm x 50cm

Pintura acrilico

  

www.magneticstudio.fr

Street Art nude woman

digital street art nude woman by Jörg Schubert

Lotte Laserstein, Preußisch Holland bei Königsberg 1898 - Kalmar, Schweden 1993

Morgentoilette - Morning Toilette (1930)

National Museum of Women in the Arts, Washington DC, USA

 

Lasersteins Modell Traute Rose: Gertrud Rose (geb. Süssenbach), genannt Traute war Lotte Lasersteins wichtigstes Modell, ihre langjährige Muse und Freundin. Traute Rose verkörperte den Typus der „Neuen Frau“, wie er in den Zwischenkriegsjahren in den Medien geradezu propagiert wurde, und war damit offensichtlich ein ideales Modell. Die androgyne, sportliche, emanzipierte junge Frau mit Bubikopf und locker sitzender Kleidung schlüpfte in den Bildnissen in unterschiedlichste Rollen: Tennisspielerin, als Modell an der Seite der Künstlerin oder als Aktmodell im Kontext des Ateliers. Mit Traute Rose, die in Deutschland blieb, verband Laserstein zeitlebens eine tiefe Freundschaft und die beiden führten auch während ihrer Zeit in Schweden eine umfangreiche Korrespondenz.

 

Lotte Laserstein begab sich in die Fußstapfen ihrer männlichen Kollegen, wenn sie sich in „Vor dem Spiegel“ (1930/31) und „In meinem Atelier“ (1928) mit der nackten Rose als Modell und Muse sowie sich selbst in der Rolle der Malerin darstellte. Für eine lesbische Liebesbeziehung zwischen den beiden Frauen, worüber immer wieder spekuliert wird, gibt es keine Hinweise. Einzig die weiblich besetzte Künstlerrolle überrascht in ihrer Neuheit. Hierin mag man den Willen der Malerin erkennen, sich zum einen einem tradierten Schema zu unterwerfen (Aktmodell im Atelier) und zum anderen diese Herausforderung anzunehmen und mit einfühlsamen, sinnlichen Frauenakten zu übertreffen.

 

Quelle: Art in Words

Painting by Magnetic

Life drawing

Woman seating

50cm x 65cm

Acrylic painting on paper

 

www.magneticstudio.fr

Lotte Laserstein, Preußisch Holland bei Königsberg 1898 - Kalmar, Schweden 1993

Vor dem Spiegel - At the mirror (1930-31)

The Bute Collection at Mount Stuart, Isle of Bute, UK

 

Lasersteins Modell Traute Rose: Gertrud Rose (geb. Süssenbach), genannt Traute war Lotte Lasersteins wichtigstes Modell, ihre langjährige Muse und Freundin. Traute Rose verkörperte den Typus der „Neuen Frau“, wie er in den Zwischenkriegsjahren in den Medien geradezu propagiert wurde, und war damit offensichtlich ein ideales Modell. Die androgyne, sportliche, emanzipierte junge Frau mit Bubikopf und locker sitzender Kleidung schlüpfte in den Bildnissen in unterschiedlichste Rollen: Tennisspielerin, als Modell an der Seite der Künstlerin oder als Aktmodell im Kontext des Ateliers. Mit Traute Rose, die in Deutschland blieb, verband Laserstein zeitlebens eine tiefe Freundschaft und die beiden führten auch während ihrer Zeit in Schweden eine umfangreiche Korrespondenz.

 

Lotte Laserstein begab sich in die Fußstapfen ihrer männlichen Kollegen, wenn sie sich in „Vor dem Spiegel“ (1930/31) und „In meinem Atelier“ (1928) mit der nackten Rose als Modell und Muse sowie sich selbst in der Rolle der Malerin darstellte. Für eine lesbische Liebesbeziehung zwischen den beiden Frauen, worüber immer wieder spekuliert wird, gibt es keine Hinweise. Einzig die weiblich besetzte Künstlerrolle überrascht in ihrer Neuheit. Hierin mag man den Willen der Malerin erkennen, sich zum einen einem tradierten Schema zu unterwerfen (Aktmodell im Atelier) und zum anderen diese Herausforderung anzunehmen und mit einfühlsamen, sinnlichen Frauenakten zu übertreffen.

 

Quelle: Art in Words

Stefan Schu - Dark blonde, Original Nude Female Pin-up Art, Femme Nu Dessin, Frauenakt 2015, realism

 

AKT - ORIGINALZEICHNUNG

HELLGRAU GETÖNTES PAPIER "CANSON" 160 g/m²

FORMAT: 21 x 29,7 cm

TECHNIK: GRAPHIT, BLEISTIFT

GESCHÜTZT MIT FIXATIV

HANDGEZEICHNET, SIGNIERT UND DATIERT

 

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