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Left to right. All by Sir Francis Derwent Wood: (a) Nude with Peacock and (b) Nude female figure with grapes, (c) Nude Torso (d) Nude (on Chelsea Embankment) (e) La Moqeuse [sic]
Left to right. (a) Andrea Lucchesi's Destiny. (b) Andrea Lucchesi's The Flight of Fancy. (c) Albert Toft's Fate Led. (d) Frederick William Pomeroy's The Wood Nymph. (e) Frederick William Pomeroy's Pensée. (f) Edward Onslow Ford's Echo
Left to right. (a and b) Two by Sir Edgar Bertram Mackennal, both entitled The Dancer. ( (c) Albert Toft's The Bather. (d) Charles Leonard Hartwell's The Rising Tide
Left: Percy Portsmouth's The Necklace . Middle left: Hamo Thornycroft's The Kiss . Middle: Mary Pownall’s Maiden Meditation. Middle right: Horace Montford's A Song for Demeter. Right: Frank Ransom’s A Broken Idol.
Literary and Religious Figures
Left to right. (a and b) Sir Thomas Brock's Eve. (c) Thomas Woolner's Lady Godiva. (d) Sir Francis Derwent Wood's's Atalanta. (e) Sir Edgar Bertram Mackennal.'s Salome.
Venus and Circe
Diana and Atalanta
Left: Psyche by Francis Derwent Wood. Right: Psyche and the Cabinet of Venus by Horace Montford.
- The Sculptural Nude: Material and Formal Considerations
- Male Nudes
- Female Nudes: Sitting, Crouching, Kneeling, or Reclining
- Female Nudes: the Woman in Chains
- Female Nudes: Relief Sculpture
- Naked or Nude
- The Two Aphrodites: Celestial and Vulgar, Vegetable and Crystalline
- Mediterranean versus Northern Conceptions of the Ideal Nude
Last modified 27 May 2013