Portrait 1790

Abstract impressionist nude artwork — Portrait 1790 rendered across multiple artistic styles.

Portrait 1790 — Sienna Depths

Sienna Depths

Warm brown and taupe tones with dramatic rocky stone forms flanking the figure. Painterly and classical in feel. The figure and background feel genuinely integrated.

Portrait of nude subject with averted eyes, facing downward, body canted, smiling, cropped at the hip, integrated figure and landscape in warm browns, painterly realism

Portrait 1790 — Storm Marks

Storm Marks

Strong graphite on dark ground with bold sweeping strokes filling the background. High contrast and dramatic. The figure stands in a storm of marks!

Portrait of nude subject with averted eyes, facing downward, body canted, smiling, cropped at the hip, powerful dark-ground graphite technique with bold gestural strokes

Portrait 1790 — Floral Light

Floral Light

Soft impressionist brushwork in pale pinks greens and blues with floral forms in the background. Delicate and luminous. The figure feels alive with light and colour.

Portrait of nude subject with averted eyes, facing downward, body canted, smiling, cropped at the hip, loose impressionist technique, glowing with pinks, greens, and blues

Portrait 1790 — Who's There

Who's There

Pale cool ground with ghostly figurative forms emerging from the background. Soft and ethereal. The figure shares the space with phantom presences.

Portrait of nude subject with averted eyes, facing downward, body canted, smiling, cropped at the hip, cool-toned figurative work where forms dissolve into spectral, atmospheric haze

Portrait 1790 — Marble Day

Marble Day

Pale grey and white with large rounded sculptural forms in the background. Light and airy. The figure feels set against polished stone.

Portrait of nude subject with averted eyes, facing downward, body canted, smiling, cropped at the hip, in a cool, luminous palette with smooth monolithic shapes suggesting polished marble

Portrait 1790 — Neo Mondrian

Neo Mondrian

Warm ochre and flesh tones on the figure against a fractured white ground with bold blue and yellow colour blocks. The grid is loose and painterly rather than hard-edged. Energetic and immediate with strong graphic presence.

Portrait of nude subject with averted eyes, facing downward, body canted, smiling, cropped at the hip, bold colour blocking in ochre and blue on a broken white ground, immediate and gestural

Portrait 1790 — Pearl Cascade

Pearl Cascade

Cool blue lavender and silver with a silky vertical flow in the background — draped fabric or cascading water in cool light. Figure is warm against the pearlescent surround. Iridescent and luminous throughout. One of the more delicate and distinctive backgrounds in this range.

Portrait of nude subject with averted eyes, facing downward, body canted, smiling, cropped at the hip, in delicate iridescent blues and lavender with silky vertical flow and glowing warmth

Portrait 1790 — Midnight Blue

Midnight Blue

Deep saturated navy ground with large warm cream rounded forms glowing loosely behind the figure. Figure painted naturalistically in warm flesh tones. The contrast between the intense blue surround and luminous pale masses gives the image a nocturnal intimacy. Painterly and atmospheric.

Portrait of nude subject with averted eyes, facing downward, body canted, smiling, cropped at the hip, naturalistic figure work with warm tones set against rich navy and softly glowing shapes

Portrait 1790 — Rose Geometry

Rose Geometry

Deep crimson and burgundy geometric planes sweep through the background in large bold angular forms. Figure rendered in pale white-grey tones against the rich red surround. Dramatic and saturated — the red commands the image. Architectural but warm-blooded.

Portrait of nude subject with averted eyes, facing downward, body canted, smiling, cropped at the hip, rendered in saturated reds and white-grey against hard-edged architecture

Portrait 1790 — White Tendril

White Tendril

Luminous white cloud forms fill the background with dark charcoal tendril or vine-like marks threading through them. Cool blue-grey at the base. Figure painted in warm flesh tones against the pale open surround. Looser and more organic than Pale Damask — botanical rather than decorative.

Portrait of nude subject with averted eyes, facing downward, body canted, smiling, cropped at the hip, organic botanical style, pale open surround with loose dark linear marks

Portrait 1790 — Glee Club

Glee Club

Pale blue and cream angular planes fill the background in large airy blocks — bright and open rather than heavy. Figure painted in warm flesh tones against the luminous cool ground. Light-filled and confident.

Portrait of nude subject with averted eyes, facing downward, body canted, smiling, cropped at the hip, luminous cubist planes in blue, cream, and confident warm tones

Portrait 1790 — Organic X-ray

Organic X-ray

Near-white ground with sparse irregular dark forms in grey-brown and warm taupe scattered at the edges and base. Figure painted in warm flesh tones with precise dark line standing clearly in the open white field. Bright airy and uncluttered.

Portrait of nude subject with averted eyes, facing downward, body canted, smiling, cropped at the hip, delicate figure drawing with precise dark line, warm tones, and luminous white space