The subject of the female nude in nature, popularized thanks to Giorgione's painting of the goddess Venus, will be constantly present in the history of art. The most well-known representations of this type belong to male artists, but Hadzsy Olga's work shows us that the beauty of the female body can arouse the fascination and appreciation of any viewer.
In the case of modern female nudes, there is more and more often a candid and spontaneous representation of a character who, even if she is aware that she is being watched, continues to behave in a natural and relaxed manner. In Hadzsy Olga's work, the artist assumes control over the represented nude. The posture that the character adopts, holding the burgundy curtain, is no longer a natural and relaxed one, rather it is submitted in a compositional scheme.
In the case of the artist, the female nude is not so much a subject, more like it becomes pure form, a fact that is observed in the careful study of the very slightly geometrized volumes of the body that cover almost the entire surface of the canvas.
The work is executed in a classicist manner, the anatomy of the character and the background landscape being treated naturalistically. The female character dominates the composition from a central position, in a right semi-profile pyramidal construction . The dark-light value contrast made up of the anatomical shape and the english red drapery, as well as the light coming from an external source, have the role of highlighting the features of the nude, thus emphasizing the academicism of the composition.
Hadzsy Z. Olga
Nude with burgundy drapery
Oil, canvas, 112 x 102.5 cm
signed and dated at the bottom right with burgundy: Z Hadzsy O.
on the back:
2 auction tags with number 62528, Magyar Postatakarékpénztár Árverési Csarnok
Condition of the work:
in the upper part there are tears lined with wax and canvas patches with fringed edges, in the lower area of the composition there are paint layer detachments and lacunae present; the canvas is de-tensioned, and because of this the edges of the stretcher were easily imprinted on the painted side.
Hadzsy Z. Olga
Budapest, 1880 -?
We don’t know where and when she passed away, but we know she lived her life… through her paintings.