Nathan Gutman (1914 Warsaw – 1990 Paris), Female Nude, oil on cardboard, Paris (?)
3700,00 zł
The painting depicts a nude woman in a semi-recumbent position on a bed or sofa; she supports her body with one hand and holds the other behind her head. The figure of the model, the piece of furniture and a small picture in the upper left corner (with a vase of flowers) were painted with a black outline, contrasting with a multicolored background composed of saturated patches of color in various shades of red, yellow, blue and green. The intense color palette clearly refers to the aesthetics of fauvism. The lower left corner bears Gutman’s signature. All framed in a contemporary frame.
1 in stock
Historical context
The painting was probably created after Nathan Gutman emigrated to Paris, where the artist encountered the vibrant tradition of French modernism.
Collector's value
Gutman's works depicting the nude are among the exceptions, so this representation is of particular value to collectors. Its attractiveness is enhanced by the expressive color scheme, which is close to the aesthetics of Fauvism, and the way the figure is depicted, making the painting stand out from the artist's other works.
Aesthetic qualities
The painting attracts attention with an intense color palette juxtaposed with clear contours emphasizing the shapes of figures and interior elements. The combination of straight lines with saturated colors creates a clear and striking composition.
This painting is best suited to modern, eclectic and minimalist interiors, where it acts as a distinctive artistic accent. It goes well with simple forms, neutral walls, natural wood and contemporary furniture, adding character and light creative freedom. It will also work well in spaces with a more gallery or loft atmosphere, where a strong, single eye-catching element is important.
Biography
Nathan Gutman was born in Warsaw in 1914. He studied at the Academy of Fine Arts in Warsaw (1929-1933). After graduation, he worked briefly in Russia, exhibiting at the Museum of the Revolution in Minsk, among other places. After World War II, he returned to Warsaw, but soon emigrated to Paris, where he continued his work. Gutman died in 1990. He painted colorful, expressive scenes of Jewish life - everyday life, rituals, traditions. The largest collection of his works is today in the Museum of the History of Polish Jews in Warsaw.
- Nathan Gutman was born in Warsaw in 1914
- Studied at the Academy of Fine Arts in Warsaw from 1929 to 1933
- After his studies, he worked in Russia and exhibited at the Museum of the Revolution in Minsk
- After World War II, he returned to Warsaw
- He then emigrated to Paris, where he continued his work
- He painted mainly colorful, expressive scenes of Jewish life
- He died in 1990
| Weight | 1,55 kg |
|---|---|
| Dimensions | 60 × 40 cm |
| Type |
Oil painting |
| Form |
Female nude |
| State of preservation |
Very good |
Related products
Epitaph portrait of Jan Czapski (1699-1742), oil on copper, Poland, 1740s.
Fragment of an antiphonary page with illuminated initial, parchment, Europe, 15th century
Gillis van Tilborgh (ca. 1625 – ca. 1678) – workshop or circle, Interior of an inn with backgammon players, oil on duplicated canvas, Netherlands, ca. 1650-1670
Govert Camphuysen (1623/1624-1672) – attributed, Landscape with cattle grazing in front of a hut, oil on board
In front of the village thatched hut, sheep, a cow and a goat are grazing. Next to it, a villager is sleeping under a tree. To the left of the composition, a second scene is visible: a man leading a bull over a small bridge over a stream. In the background is a landscape with trees and gentle hills, and the sky occupies a large part of the painting, building the mood of the whole scene. What draws attention is the exquisite way in which the animals are depicted. This was a specialty of Camphuysen, whose work was inspired by the style of Paulus Potter. Warm, earthy colors dominate - browns, ochres, dim greens and broken yellows. The light is soft, diffused, as if in the early morning or towards evening. The sky has shades of gray, beige and soft pink, suggesting changing weather or impending dusk. The contrast between the bright sky on the left and the darker, more saturated part with the cottage on the right gives the image depth and balance.
Hendrik van Steenwijk II (ca. 1580 – 1649) – circle, Interior of a Gothic church, oil on board, Flemish school, 17th century.
The painting depicts the interior of a Gothic church, executed in the Flemish school of the 17th century, in the circle of Hendrick van Steenwijk i.e. one of the pioneers of perspective painting. The composition, built on an axis leading towards the main altar, shows a monumental interior with pillars, cross-ribbed vaults and side chapels. Figures of the faithful and clergy are visible in the space, introduced to emphasize the scale of the architecture and the mood of concentration.
The painting was made with oil technique on board, in typical Flemish school style. The frame is original, wooden, veneered, with preserved gilt edge.
The composition refers to the solutions used by Hendrick van Steenwijk the Elder and Younger, as well as Pieter Neefs and Bartholomeus van Bassen, developing the genre of architectural painting in Antwerp and Delft.
John Baptist Lambrechts (1680 – after 1731), Genre scene in an inn, oil on board, ca. mid-18th century.
Pawel Wrobel (1913 – 1984), Merry Town, acrylic on canvas, 1973
Portrait of a nobleman (Sarmacki portrait), oil on canvas, Poland, 18th century.
The portrait, originally rectangular and later cut down to an oval and relined, depicts an elderly man in noble (szlachecki) attire characteristic of the 18th century. The figure is shown half-length, facing frontally with a slight turn of the torso and one hand resting on the hip, which lends the composition a sense of dignity and static elegance.
The face, with mature features such as a high forehead, short, thinning grey hair, and subtle wrinkles — is rendered realistically, with attention to individual physiognomic traits. The gaze is calm and restrained, conveying charisma and composure, as well as an established social standing. This is further emphasized by the impressive noble (szlachecki) attire: a żupan embroidered with gold thread, a dark blue kontusz lined with red fabric, fastened with large gold buttons, and a wide, light-colored sash tied around the hips.
The painting is an excellent example of the so-called “Sarmacki portrait”, emphasizing social class affiliation, wealth, and official position. It stands out for its solid artistic craftsmanship, naturalistic treatment, and the mature age of the sitter.