Anton Gojmir Kos - Female Nude

The life-size signed and dated depiction of a female nude unequivocally reveals the talent and ability of a twenty-one-year-old student. For at the time of the dating of this work, Kos was a student at the Vienna Academy of Arts. Some studies and completed works from the Vienna period have...
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Anton Gojmir Kos

Painting

The life-size signed and dated depiction of a female nude unequivocally reveals the talent and ability of a twenty-one-year-old student. For at the time of the dating of this work, Kos was a student at the Vienna Academy of Arts. Some studies and completed works from the Vienna period have been preserved, allowing an assessment of his early work. He revealed his ambitions as early as 1925 with his first presentation in Ljubljana's Jakopič Pavilion. With this performance he entered the stage of Slovenian art and his role grew until the end of his creative days. The standing girl with her back turned towards the viewer poses in a slight counterpoint and with a bent left hand twists out of a strict silhouette. Carefully realized light reveals the soft lines of the figure. This remoteness and the placement of the girl in front of an indefinable black background, however, is an excess in addition to the drawing tasks in the achieved intimate mood of the painters. Subtleties that go beyond mere drawing are, like sfumato, the soft transitions between black charcoal and the whiteness of paper as a carrier, giving the painter an expression of perfection in the direction from study to realistic persuasiveness. Given the level of painting, although at the mentor's suggestions, it is surprising that Kos reached a surprising level of painting so early, which proves how he upgraded his talent with careful study, with which he then, as a master of form and brilliant color, stepped up to picturesque perfection. He was probably also proud of that, because artists often cleaned up their early works in their mature years. The piece was a piece of it, as he treated and finished the image as a formally complete and artistically perfect work, which he testified with his signature and the year 1917, which can also be a later, but certainly the painter's autograph (Ferdinand Šerbelj, forensic expert and art appraiser - Expert opinion on the work of art).

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  Height (cm) Lenght (cm)
 Dimensions 172 86
 Dimensions with frame 180 101

Painting

Charcoal on paper

Act

The life-size signed and dated depiction of a female nude unequivocally reveals the talent and ability of a twenty-one-year-old student. For at the time of the dating of this work, Kos was a student at the Vienna Academy of Arts. Some studies and completed works from the Vienna period have been preserved, allowing an assessment of his early work. He revealed his ambitions as early as 1925 with his first presentation in Ljubljana's Jakopič Pavilion. With this performance he entered the stage of Slovenian art and his role grew until the end of his creative days. The standing girl with her back turned towards the viewer poses in a slight counterpoint and with a bent left hand twists out of a strict silhouette. Carefully realized light reveals the soft lines of the figure. This remoteness and the placement of the girl in front of an indefinable black background, however, is an excess in addition to the drawing tasks in the achieved intimate mood of the painters. Subtleties that go beyond mere drawing are, like sfumato, the soft transitions between black charcoal and the whiteness of paper as a carrier, giving the painter an expression of perfection in the direction from study to realistic persuasiveness. Given the level of painting, although at the mentor's suggestions, it is surprising that Kos reached a surprising level of painting so early, which proves how he upgraded his talent with careful study, with which he then, as a master of form and brilliant color, stepped up to picturesque perfection. He was probably also proud of that, because artists often cleaned up their early works in their mature years. The piece was a piece of it, as he treated and finished the image as a formally complete and artistically perfect work, which he testified with his signature and the year 1917, which can also be a later, but certainly the painter's autograph (Ferdinand Šerbelj, forensic expert and art appraiser - Expert opinion on the work of art).

Signed and dated lower left. 

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