Nadir Afonso Artworks - Paintings - Women Series

Women Series

Date Title Image Description Notes
1962 Olympiades à Rio (Olympic Games in Rio) study
1963 Cariocas
1968 As Marionetas (The Marionettes) study
1973 Mulheres (Women) study; legend Les chiens et les femmes
1980 Sabinas (Sabine Women) study
1981 Les Femmes et les Chiens (The Women and the Dogs) based on a study
1982 No Title oil on canvas, 95.5x117.5 cm motif: two women and a ball on the beach
1982 Nymphes (Nymphs) study; not related to the painting Ninfas
1982 A Moda (The Fashion) study
1982 Sílvia Áurea 1 2 based on the 1962 study «The Stars»
1983 Mulheres de Dima (Women of Dima) study
1986 Os Tatuados (The Tattooed) based on a study
1987 Deusas (Goddesses)
1949-88 As Filhas de Sião (The Daughters of Siam) based on a 1968 oil on canvas, 100.5x112 cm
1988 Sphnix
1988 Orízias (Oreithyias) based on two studies, the later dated 49-78
1988 As Quatro Irmãs (The Four Sisters) dated 89
1947-89 Três Irmãs (Three Sisters) oil on canvas, 96.5x109.5 cm dated 47-89; alt. date 1949-89; alt. title Três Mulheres (Three Women)
1947-89 As Banhistas (The Bathing Women) oil on canvas, 74x105 cm not related to the 1940 painting Banhistas
1952-89 Mulheres na Praia (Women on the Beach) oil on canvas, 96x119 cm dated 1952-89; alt. date 1988
1989 A Cidade Longínqua (The Far City) 1 based on the 1959 study Moças na Praia (Girls at the Beach)
1989 Sanremo study
1989 Deusas do Vento (Goddesses of the Wind) 1 2 3
1989 Gueixas (Gheishas)
1991 Jeunes Filles (Young Girls) 1:gouache/exhibition (right) acrylic on canvas, 93x134 cm based on a non-dated (1984–91) gouache on paper, 21x33 cm, exhibited in 2007 (António Prates gallery, Lisbon, Portugal) for €22,000; not related to the 1947-87 painting of the same title; collection Nadir Afonso Foundation
1993 Au Ciel (In Heaven) based on a study
1998 As Princesas (The Princesses) based on a 1968 study; not related to the 1991 painting of the same style
1999 Olympus based on a study
1948–2000 Couple based on a 1948 (alt. date 1949) study
2001 Sirènes (Mermaids) 1 2 based on a 1968 study
2001 As Raças (The Races) 1 based on a 1964 (titled Les Races) study
2002 As Amantes de Lúcifer (Lucifer's Lovers) based on a study; not related to the non-dated oil on canvas of the same title
not dated Bordel (Brothel) 1 2 3 acrylic on canvas, 95x134 cm based on the 45-91 painting Bourdele which was based on, or an update of, a study dated 1945; collection Nadir Afonso Foundation
not dated As Amantes de Lúcifer (Lucifer's Lovers) 1 oil on canvas, 95x127 cm based on the 51-91 painting Lucifer; not related to the 2002 painting of the same title; alt. title Os Amantes de Lúcifer; collection Nadir Afonso Foundation
not dated Jeux (Games) 1:exhibition (right) gouache on paper, 23,5x37,5 cm update of a 1999 painting of the same title, which was based on a study; 2007 first exhibition price (António Prates gallery, Lisbon, Portugal): €22,000
not dated Le Trottoir (The Sidewalk) 1 2:exhibition (right) gouache on paper, 26,5x32 cm 2007 first exhibition price (António Prates gallery, Lisbon, Portugal): €22,000
Le Rêve (The Dream) 1 2:Exhibition acrylic on canvas, 97x127 cm reproduction of a 2002 painting of the same title, which was based on a study; collection Nadir Afonso Foundation
Criselefantinas (Criselefantines) 1:2002 painting acrylic on canvas, 98x134 cm based on a 2002 painting of the same title, which was based on a study; collection Nadir Afonso Foundation

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    There are some women ... in whom conscience is so strongly developed that it leaves little room for anything else. Love is scarcely felt before duty rushes to encase it, anger impossible because one must always be calm and see both sides, pity evaporates in expedients, even grief is felt as a sort of bruised sense of injury, a resentment that one should have grief forced upon one when one has always acted for the best.
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    The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.
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