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Dealer: Rogallery
Contact:
Robert Rogal
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Price:
$2,000.00 USD
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Description:
Artist: Raphael Soyer
Title: Standing Nude
Year: circa 1950
Medium: Sepia Ink on Paper, signed lower right
Paper Size: 16" x 11"
Frame: 29" x 18"
Russian-born artist Raphael Soyer is best known
for his compassionate, naturalistic depictions of urban subjects.
His sensitive, penetrating portrayals include a broad range
of city dwellers: Bowery bums, dancers, seamstresses, shoppers,
office workers and fellow artists. Historically, Soyer is associated
with the social realist artists of the 1930s, whose art championed
the cause of social justice.
Born in Tombov, Russia in 1899, Soyer emigrated
with his family to the United States in 1912. His siblings included
a twin brother, Moses, and a brother, Isaac, who became successful
artists. After settling with his family in New York City, the
young Soyer pursued an art education at Cooper Union from 1914
to 1917, at the National Academy of Design from 1918 to 1922,
and intermittently at the Art Students League.
Soyer's earliest work was consciously primitive
in manner. Until the late 1920s, he typically used frontal presentations,
shallow pictorial space and figures rendered in caricature.
Later, he developed a brushy, more gestural style that was tonal
rather than coloristic. These early works are reminiscent of
the paintings of Edgar Degas.
Soyer's interest in depicting his urban environment
was expressed early in his career in works such as Sixth
Avenue (ca. 1930-1935, Wadsworth Atheneum). As the Depression
continued, the artist turned more and more to subjects directly
related to the prevailing economic difficulties. One result
of the mass unemployment of the 1930s that caught Soyer's imagination
was the new role of independent working women. Hemmed in by
the crowd, the self-absorbed women in Office Girls (1936,
Whitney Museum of American Art) are shown walking to or from
work. Soyer's sympathetic study of unemployed men in Transients
(1936, University of Texas) is an example of a less propagandistic
social realist work. In addition to paintings, he executed a
number of lithographs of Depression scenes.
Soyer developed his subjects from New York
City's poorer sections. Unlike the painters of the Ashean School
25 years earlier, Soyer and his contemporaries did not view
the city as a picturesque spectacle. Instead, they dwelt on
the grim realities of poverty and industrialization. Soyer's
work, however, is less issue-oriented than that of fellow social
realist artists Philip Evergood and Ben Shahn.
After 1940, Soyer began to concentrate on the
subject of women at work or posing in his studio. His technique
grew more sketchy during the 1950s, but in his ambitious painting
Homage To Eakins (1964-1965, National Portrait Gallery),
he rendered the figures in a manner typical of his early work.
Between 1953 and 1955, he edited Reality. He later wrote
Painter's Pilgrimage (1962), Homage to Thomas Eakins
(1966), Self-Revealment: A Memoir (1969) and Diary
of an Artist (1977). In 1967, Soyer was given a retrospective
at the Whitney Museum of American Art, and his paintings have
been displayed at many museums and galleries. He has taught
at the Art Students League, the New School and the National
Academy of Design in New York City.
| Status: For Sale |
Reference#: Soyer_R_Standing_Nude |
| Condition:
very good |
Year:
c. 1950
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| Height:
16 in. (40.64 cm) |
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Width: 11 in. (27.94 cm)
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| Title:
Standing Nude |
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