Reclining Nude Model, Signed Oil on Canvas, 40 x 102 cm

$2,900.00

Your name:

Your e-mail:

Your phone number:

Company (optional):

VAT / Sales tax number (optional):

Your country:

Your state:

Your city:

Your zip code:

Your address:

Current list price (in €):

Shipping (in €):

Your message to the seller:

I accept the transferring of my personal data as stated below

I acknowledge the following personal data stored in the user account of ArtOrigo.com Kft. (1 Csóka Street, Remeteszőlős H-2090 Hungary) in the user database of artorigo.com will be handed over to OTP Mobil Ltd. and is trusted as data processor.
The data transferred by the data controller are the following: first name, last name, company name, fiscal code, email address, phone number, billing address
The nature and purpose of the data processing activity performed by the data processor in the SimplePay Privacy Policy can be found at the following link: http://simplepay.hu/vasarlo-aff

A female nude reclining on a white draped surface, possibly an early academic study by Siri Derkert (1888–1973), signed S.D. lower right. The model is shown in profile, with her elbows resting against the draped surface and her hands raised to support her head, which rests deep in between them. This pose gives the figure a contemplative character, as if absorbed in thought or a state of quiet melancholy. The body extends across almost the entire width of the elongated canvas. The figure is carefully modelled, with particular attention to anatomy, proportion and the subtle transitions of light across the body. The background is loosely indicated, with broad and economical brushwork rather than a fully developed interior setting. A light sheet covering the bed or daybed on which the model is reclining merges almost imperceptibly with the surrounding background, so that the distinction between the two is deliberately softened. Only very loosely defined forms and tonal transitions suggest the interior space, leaving much of the setting open and indistinct. The painting has the character of an academic figure study, while the relatively free handling of the surrounding space and the simplified treatment of the background suggest an artist beginning to move away from strict academic naturalism. The warm ochre and flesh tones are set against the pale neutral ground, with darker passages defining the contours of the figure. The work is tentatively attributed to Siri Derkert and the attribution remains subject to further examination. Derkert studied at Caleb Althin's painting school before entering the Royal Academy of Fine Arts in Stockholm in 1911, where she remained until 1913. The teaching included artistic work done from models. In this work, Derkert became involved in a protest against the restrictions placed on female students' access to nude male models. The present painting subject is consistent with the type of academic figure study available to Derkert during this period. It is also worth noting that Derkert herself destroyed a number of her early works later in life. The survival of an early academic nude study would therefore not be impossible, although highly unusual. The clearly visible “S.D.” monogram is compatible with documented signatures used by Derkert. The signature is of particular interest. Siri Derkert is documented as having used the abbreviated form “S.D.” on some works. A particularly relevant comparison is her painting Ryttare, executed in 1916–17, which is signed “S.D.” and is documented through a substantial exhibition history. The shape and form the monogram on that painting is compatible with the shape and form of the monogram of the present paintings signature “S.D.”. After leaving the Academy in 1913, Derkert travelled to Paris, where she studied at Académie de la Grande Chaumière and worked at Académie Russe. During this early Paris period she was still searching for her own artistic language and spent considerable time drawing. Few works survive from her first Paris period. Her early works of the 1910´s is stylistically varied. Derkert's artistic language was developing rapidly during these years. Her early paintings incorporated influences from both Cubism and Fauvism, while some figure works retained a more traditional modelling of the human form. The present painting is consequently of interest precisely because it does not display the fully developed faceted Cubism associated with some of Derkert's better-known paintings from the middle of the 1910s. Instead, it has the appearance of a relatively direct study of the human figured in a style not associated with Derkert´s oeuvre but this would be the type of painting she would have done during her academic years.