Male Nude Collection

The Shepherds' Calendar, 1480-90 (gold ink & ink on parchment)
8682933 The Shepherds' Calendar, 1480-90 (gold ink & ink on parchment) by French School, (15th century); Fitzwilliam Museum, University of Cambridge

Model Session - 26-03-24
Corné Akkers

Model Session - 26-03-24
Corné Akkers

Slight ink scribbles, possibly a drapery study? (verso)
5938286 Slight ink scribbles, possibly a drapery study? (verso), eighteenth century (red chalk on paper) [see 5938219] by Solimena, Francesco (1657-1747); 29x20.5 cm; Fitzwilliam Museum

Apollo and the Muses, c. 1520-99 (graphite, pen & wash on paper)
7343336 Apollo and the Muses, c.1520-99 (graphite, pen & wash on paper) by Caron, Antoine (1520-99); 227x179 cm; Fitzwilliam Museum, University of Cambridge, UK; © Fitzwilliam Museum

Study sheet (recto), eighteenth century (red chalk on paper) [see 5938286]
5938219 Study sheet (recto), eighteenth century (red chalk on paper) [see 5938286] by Solimena, Francesco (1657-1747); 29x20.5 cm; Fitzwilliam Museum, University of Cambridge

The Anatomy Lesson, 1845 (oil on canvas)
ALG224959 The Anatomy Lesson, 1845 (oil on canvas) by Biscaria, Carle Felice (1823-94); Galleria d Arte Moderna, Turin, Italy; (add.info.: Ecole de Nu, Lecon d Anatomie; ); Italian, out of copyright

A wooded lanscape with Pan and Syrinx, before 1648 (oil on panel)
5938216 A wooded lanscape with Pan and Syrinx, before 1648 (oil on panel) by Uyttenbroeck, Moyses or Moses Matheusz. van (c.1595/1600-48); Fitzwilliam Museum, University of Cambridge

St. Peter Baptising the Neophytes, detail of the neophyte, c
BEN63314 St. Peter Baptising the Neophytes, detail of the neophyte, c.1427 (fresco) (see also 63311) by Masaccio, Tommaso (1401-28); Chiesa di Santa Maria del Carmine, Florence

St. Sebastian (oil on canvas)
PWI91062 St. Sebastian (oil on canvas) by Reni, Guido (1575-1642); 170x132 cm; Louvre, Paris, France; ePeter Willi; Italian, out of copyright

The academicians of The Royal Academy in London, copy after a painting by Johann Zoffany
AIS5388093 The academicians of The Royal Academy in London, copy after a painting by Johann Zoffany (1733-1810), 1773 (watercolour) by Sanders, John (1768-1826); (add.info.: George Barret (1728)

Ganymede with the Eagle of Jupiter, 1817 (marble)
NUL93342 Ganymede with the Eagle of Jupiter, 1817 (marble) by Thorvaldsen, Bertel (1770-1844); Thorvaldsens Museum, Copenhagen, Denmark; Danish, out of copyright

Adam and Eve in Paradise, 1629 (oil on copper)
5938230 Adam and Eve in Paradise, 1629 (oil on copper) by Konig, Johann or Hans (1586-1642); 17.0x23.3 cm; Fitzwilliam Museum, University of Cambridge, UK; eFitzwilliam Museum; German

Maiolica dish, Apollo slaying the Sons of Niobe- Shape approximately 64 with plain rim
5938087 Maiolica dish, Apollo slaying the Sons of Niobe- Shape approximately 64 with plain rim, base of dish, 1548 (earthenware, tin-glazed overall; the reverse pale beige)

Comrades, 1924 (oil on canvas)
WH45295 Comrades, 1924 (oil on canvas) by Tuke, Henry Scott (1858-1929); 81.9x121.9 cm; Private Collection; Photo eWhitford & Hughes, London, UK; English, out of copyright

Electra and Orestes (stone) (b / w photo)
ALI218387 Electra and Orestes (stone) (b/w photo) by Roman; Museo Archeologico Nazionale, Naples, Campania, Italy; Alinari

Reproduction of a poster advertising Deutsche Kunst und Dekoration
STC138821 Reproduction of a poster advertising Deutsche Kunst und Dekoration, a monthly illustrated review for everyone, 1898 (colour litho) by Witzel

The Little Fisherman (oil on canvas)
JKL66601 The Little Fisherman (oil on canvas) by Puvis de Chavannes, Pierre (1824-98); 28.1x14.5 cm; Private Collection; (add.info.: Le Petit pecheur; ); French, out of copyright

Drunken Silenus at the wine vat, before 1652 (etching & engraving
5938193 Drunken Silenus at the wine vat, before 1652 (etching & engraving, black carbon ink on laid paper) by Ribera, Jusepe de (c.1590-1652); 27.5x35.4 (plate); 27.5x35.4 (sheet)

Vol II Gonqui Hottentots of the Cape?, c1820-39. Creator: Gallo Gallina (1796-1874)
Vol II Gonqui Hottentots of the Cape whose skin is lighter than other Hottentots, and their noses less flat, and they are taller ; Pl. 57

Korah Hottentots of the Cape on the move, Vol II, c1820-40. Creator: Sir John Barrow (1764-1848)
Korah Hottentots of the Cape on the move, Vol II Pl. 55. from Le Costume Ancien et Moderne, c.1820-40 (colour lithograph). From the collection by Giulio Ferrario (1767-1847) of Costumi dei

G Ricordi e C Leopoldo Metlicovitz International Industrial
G. Ricordi e C, Leopoldo Metlicovitz, International Industrial and Commercial Exhibition Turin 1911, lithography, Total: Height: 100, 00 cm; Width: 69, 80 cm, monogrammed: top right in print: LM

Male nude kneeling knee kneeling figure Johann Joseph Schwachhofer
Male nude, kneeling on one knee, kneeling figure, Johann Joseph Schwachhofer (mentioned on object), 23-Dec-1805 - 1806, paper, chalk, h 539 mm × w 386 mm

Drawing Male Nude Figure Studies Raphael Roger Fenton
Drawing of Male Nude Figure Studies by Raphael; Roger Fenton (English, 1819 - 1869); London, England; 1858; Salted paper print; 21.4 × 16.5 cm (8 7, 16 × 6 1, 2 in.)

Male nude figure carrying shield sword side view
Male nude figure carrying shield and sword, side view, L anatomia dei pittori del signore Carlo Cesio, das ist, Deutliche Anweisung und grundliche Vorstellung von der Anatomie der Mahler

Studies Male Nude Drapery Hand Giorgio Vasari
Studies of a Male Nude, a Drapery, and a Hand; Giorgio Vasari (Italian, 1511 - 1574); about 1555 - 1565; Red chalk; 36 × 24.3 cm (14 3, 16 × 9 9, 16 in.)

Study Female Figure Putto recto Male Nude verso
Study of a Female Figure with a Putto (recto); Study of a Male Nude (verso); Simon Vouet (French, 1590 - 1649); France; about 1630 - 1635; Black chalk with white chalk; 38.7 × 21.7 cm (15 1)

Study Seated Man recto Male Nude verso Jean-Sime Chardin
Study of a Seated Man (recto); Study of a Male Nude (verso); Jean-Simeon Chardin (French, 1699 - 1779); France; about 1720 - 1725; Charcoal and white chalk; 25.6 x 16.7 cm (10 1, 16 x 6 9, 16 in.)

Verona Sketchbook Male nude back page 9 1760
Verona Sketchbook: Male nude from back (page 9), 1760. Francesco Lorenzi (Italian, 1723-1787). Black chalk with white heightening; sheet: 32 x 23 cm (12 5/8 x 9 1/16 in.)

Male Nude 1870-1875 Guglielmo Marconi French
Male Nude, c. 1870-1875. Guglielmo Marconi (French, 1842-aft.1885). Albumen print from wet collodion negative; image: 27.2 x 18.8 cm (10 11/16 x 7 3/8 in.); matted: 55.9 x 45.7 cm (22 x 18 in.)

Study Nude Woman Seated Looking Right recto Male Nude
Study of a Nude Woman, Seated Looking to the Right (recto) Study of a Male Nude (verso), c. 1810. Pierre-Paul Prud hon (French, 1758-1823)

Study Male Nude 1810 Pierre-Paul Prud hon French
Study of a Male Nude, c. 1810. Pierre-Paul Prud hon (French, 1758-1823). Black and white chalk (both stumped); sheet: 61.8 x 43.7 cm (24 5/16 x 17 3/16 in.)

Back View Male Nude 19th century Graphite 11 13 / 16 x 7 5 / 16
Artokoloro

Standing Male Nude Holding Bow Poynter Apollo
Artokoloro

Study Male Nude 1568-1640 Red chalk 7 x 4 5 / 16in
Artokoloro

Allegory Male Nude Stable Four Wild Horses ca
Artokoloro

Study Male Nude Althaemenes Despair Trying Hide Himself
Artokoloro

Figure Studies Seated Female Holding Book Two Heads
Artokoloro

Study Male Nude Althaemenes Trying Hide Himself
Artokoloro

Male Nude Left Arm Upraised Further Study Head
Artokoloro

Old Man Deathbed Tempted Demons recto Back View
Artokoloro

Two Studies Male Nude Althaemenes Hiding Bush
Artokoloro

Seated Nude Young Man Nearly Frontal View ca
Artokoloro

Male Nude 19th century Red chalk sheet 11 1 / 4 x 16 3 / 4
Artokoloro

Young Man Approaching Old Bearded Man Stands
Artokoloro

Male Nude Studio late 1850s Albumen silver print
Artokoloro

Half-Figure Male Nude Arms Back 1585-1644 Red chalk
Artokoloro

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"Exploring the Human Form: A Captivating Journey through Male Nude Art" Delve into the world art, where every stroke and detail tells a story. From slight ink scribbles to drapery studies on the verso, these artworks offer glimpses into the artist's creative process. One such masterpiece is "Apollo and the Muses, " created in graphite, pen & wash on paper around 1520-99. This captivating piece captures Apollo surrounded by muses, showcasing their beauty and grace. In contrast, "Lovers with hand to mouth" from approximately 1785 presents a mesmerizing color woodblock print that evokes passion and desire. The intricate details draw you in as you witness an intimate moment frozen in time. "The Death of Abel, " portrayed through oil on canvas, explores themes of tragedy and loss. The emotional depth conveyed by this artwork leaves a lasting impression on all who encounter it. The concept of corpus lumine takes center stage in "Prometheus. " Painted with skillful brushstrokes on canvas in 1868, this piece showcases Prometheus defying the gods for humanity's sake. A study sheet from the eighteenth century reveals meticulous red chalk sketches (recto) that provide insight into artistic techniques used during that era [see 5938286]. These delicate drawings showcase dedication to craft and attention to detail. "The Anatomy Lesson, " depicted through oil on canvas in 1845, invites viewers into a classroom setting where knowledge intertwines with artistry. This thought-provoking artwork raises questions about mortality and human existence. "A wooded landscape with Pan and Syrinx" transports us back before 1648 when oil met panel to create breathtaking scenes immersed within nature's embrace. Pan's presence adds an element of mystique while Syrinx embodies ethereal beauty. In "St. Peter Baptising the Neophytes, " we witness a detailed depiction of the neophyte, highlighting the significance of spiritual rebirth.