Male Nudes in Dynamic Poses

Artistic depictions of male nudes in expressive stances. Features include dramatic poses, detailed anatomy, and a classical art style.

Standing male nude, seen from the side (3rd prize 1789), Daniël Friday, 1789 drawing paper. chalk standing figure (+ nude human being). standing figure (+ nude human being)

Back View of a Male Nude 19th century Henri Lehmann. Back View of a Male Nude 337652

Naked man with a peak in his hand; Paradigmata Graphics variorum artificum. Naked young man with a peak in his hand. He walks forward and looks back.

Cupid, Black chalk on cream paper, Standing Cupid, walking toward the left, with his left arm pointing behind him and his head turned to the right. He holds a bow in his right hand., Italy, 1770-1800, figures, Drawing, Drawing

Standing male nude, seen on the back (1st price 1787), Hendrik Voogd, 1787 drawing paper. chalk standing figure (+ nude human being). standing figure (+ nude human being)

Speculum Romanae Magnificentiae: Atreus Farnese 1574 Cornelis Cort Netherlandish This print comes from the museums copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title ‘Speculum Romanae Magnificentiae first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clie

Sculpture of a faun, anonymous, 1584 Caption in Latin. Print is part of an album. print maker: Italypublisher: Rome paper engraving Caption in Latin. Print is part of an album. print maker: Italypublisher: Rome paper engraving

Standing male nude, seen from the side (3rd prize 1789), Daniël Friday, 1789 drawing paper. chalk standing figure (+ nude human being). standing figure (+ nude human being)

James Barry, 1741-1806, Irish, Study of Hercules for 'Crowning the Victors at Olympia', between 1777 and 1780. Pen and black ink with brown wash over black chalk on medium, moderately textured, brown wove paper.

Statue of a naked young man, Claude Mellan, 1636 - 1637 print Rome paper engraving piece of sculpture, reproduction of a piece of sculpture

Standing nude man (Academy of Fine Arts, Munich). Redlich, Henryk (1838-1884), draughtsman, cartoonist

Seated male nude, seen from the front (3rd prize 1800), Jan Willem Pieneman, 1800 drawing paper. chalk sitting figure (+ nude human being). sitting figure (+ nude human being)

Sitting male nude, to the left, draughtsman: Jacob de Wit, (mentioned on object), 1747, paper, h 567 mm × w 483 mm

Statue of a standing man with sword; Galleria Giustiniana del Marchese Vincenzo Giustiniani I. Statue of a naked man with a sword in his left hand, standing next to a trunk. In the middle of the base the coat of arms of Vincenzo Giustiniani. Print from a series to the sculptures in the collection in the Galleria Giustiniani in Rome.

Standing male naked, seen on the back. Draughtsman: anonymous. Draughtsman: A. Waterloo (attributed to). Dating: c. 3-Feb-1812. Measurements: h 492 mm × w 385 mm. Museum: Rijksmuseum, Amsterdam.

Standing male nude, Roubillac, After Pierre Thomas Le Clerc, 1784 - 1796 print Paris paper etching male sex; man. drawing, sketch

Study to a classic image. .

Sculpture of Venus with a dolphin; Venus. Classic sculpture of Venus with beside himself a dolphin. The sculpture misses different fingers. The print is part of an album with a series of prints to the sculptures in the collection of Gerard Reynst.

Male Nude, John Constable, 1776-1837, British, 1808, Graphite and white gouache on medium, slightly textured, beige laid paper, Sheet: 21 3/4 x 17 1/2 inches (55.2 x 44.5 cm), figure, figure study, male, man, nude

Faun with child. Image of a picture of a naked Faun with a child on his arm.

Standing male nude; Academy study, 1789 drawing paper. chalk

Design: Grouped Figures, from Encyclopédie. Benoît-Louis Prévost (French, c. 1735-1809); after Jean Baptiste Jouvenet, III (French, 1644-1717); published by André le Breton (French, 1708-1779), Michel-Antoine David (French, c. 1707-1769), Laurent Durand (French, 1712-1763), and Antoine-Claude Briasson (French, 1700-1775). Date: 1762-1777. Dimensions: 320 × 210 mm (image); 353 × 221 mm (plate); 400 × 260 mm (sheet). Etching, with engraving, on cream laid paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Standing male nude, seen on the back (1st prize 1774), Wybrand Hendriks, 1774 drawing paper. chalk standing figure (+ nude human being). standing figure (+ nude human being)

Standing male nude, right. .

Study of a male nude, on one knee, holding a stick above the head, Louis Fabritius Dubourg, 1735, draughtsman: Louis Fabritius Dubourg, 1735, paper, counterproof, h 481 mm × w 320 mm

Study for the picture elk

Bliżej Kultury Wyspiański, Stanisław (1869 1907)

Standing male naked, seen on the back (3rd prize 1786), Bartholomeus Ziensenis, 1786 drawing paper. chalk standing figure (+ nude human being). standing figure (+ nude human being)

Sculpture of amor; Cupid. Classic sculpture of a boy, leaning on a tree stump. The print is part of an album with a series of prints to the sculptures in the collection of Gerard Reynst.

Standing male nude, seen from behind, Anonymous, 1842 drawing paper. chalk standing figure

Study of nudemale. Artist: Unknown

Plastering study of a seated slave, draughtsman: Cornelis Joseph d'Heur, , 1717 - 1762, paper, h 562 mm × w 330 mm

Drawing, figure study for a fountain design; Elihu Vedder (American, 1836 - 1923); USA; black crayon, white chalk, on gray paper; 55.9 x 40.6 cm (22 x 16 in.)

Drawing, Drawing, Nude; Domenico Corvi (Italian, 1721 - 1803); Italy; red crayon on paper; 54.1 x 39.3 cm (21 5/16 x 15 1/2 in.); 1896-16-6

Male nude, kneeling, left. Draughtsman: Louis Fabritius Dubourg. Dating: 1725. Measurements: h 477 mm × w 337 mm. Museum: Rijksmuseum, Amsterdam.

Legs and Feet of Male Nude. Possibly after Michelangelo Buonarroti; Italian, 1475-1564. Date: 1812-1850. Dimensions: 431 x 256 mm. Pen and brown ink, on cream wove paper prepared with a pale brown wash. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Nude study of man with knots; Study to life. Study of a naked man with clock raised.

Seated male nude, seen from the side, to the right, Hendrik Lageman

Kneeling male nude, the arms made around a block, Noah van der Meer (II), 1751 - 1822 drawing paper. chalk

Sitting young man with raised left arm, Nude study of seated young man, draughtsman: Giuseppe Cesari, 1578 - 1640, paper, pen, h 278 mm × w 192 mm

Standing male nude, Jan Ekels (II), 1789 drawing Standing male naked. No. 50. paper. chalk standing figure. standing figure

Design Grouped Figures, from Encyclopédie 1762-1777 France. Etching, with engraving, on cream laid paper

Standing male nude, Hendrik de Flines, 1784 - 1798 drawing Standing male naked. No. 34. paper. chalk standing figure

Image of Juno and the peacock, draughtsman: Moses ter Borch, anonymous, Zwolle, c. 1657 - c. 1658, paper, brush, h 318 mm × w 205 mm

Study of the lower life of an ongoing male nude.

Set of three male figure studies by Alexander Rothaug on gray paper using pencil and chalk with white and reddish highlights, illustrating posture and proportion.

Sitting male nude, seen from the front (2nd prize 1799), Christiaan Andriessen, 1799 drawing paper. chalk sitting figure (+ nude human being). sitting figure (+ nude human being)

Sitting male naked, seen on the back. Draughtsman: anonymous. Draughtsman: A. Waterloo (attributed to). Dating: c. 18-Jan-1812. Measurements: h 513 mm × w 395 mm. Museum: Rijksmuseum, Amsterdam.

Bernard Picart, Academic Drawing, etching on paper.

Nude study, standing from the front. .

Sitting young man; Sketch sheets with figure studies.

Standing male nude with arm raised, to the right. .

Standing male nude, seen on the back, Johannes Joseph Maria Watrin, 1813 drawing paper. chalk standing figure (+ nude human being)

Image of a naked warrior with the body of a child. Make or a naked warrior with sword and the body of a death child over the shoulder, standing in a niche.

Statue of Endymion, Greek shepherd. Copperplate engraving by Francois-Anne David from Museum de Florence, ou Collection des Pierres Gravees, Statues, Medailles, Chez F.A. David, Paris, 1787. David (1741-1824) drew and engraved the illustrations based on Roman statues, engraved stones and medals in the collection of the Museum de Florence and the cabinet of curiosities of the Grand Duke of Tuscany.

Nude, Domenico Corvi, Italian, 1721 - 1803, Red crayon on paper, Young man, sitting, seen from behind., Italy, ca. 1740, figures, Drawing, Drawing

A naked woman character as a personification of beauty, with a globe in her right hand to a chain and a casser and a lily branch in her left hand. A ray wreath in the background. Counterprint of a print of part 1 of a series of prints with symbols, in total consisting of three parts with 23, 17 and 20 prints respectively.

Mercury Hermes. Engraving by Cook, 1789, after G. Volpato and R. Morghen.

Landscape male nude, half-sophisticated lean on the left arm.

Man striking a bundle of branches Paradigmata graphices variorum artificum , print maker: Jan de Bisschop, (mentioned on object), after: Domenichino, (mentioned on object), Northern Netherlands, 1668 - 1671, paper, etching, h 215 mm × w 140 mm

Design Academic Figure, from Encyclopédie 1762-1777 France. Etching, with engraving, on cream laid paper . A. J. Defehrt

Sketchbook, page 60: Nude Male Study. Ernest Meissonier (French, 1815-1891). Graphite;

Statue of Eros, Greek god of love, naked with quiver, launching invisible arrows with an invisible bow. Copperplate engraving by Francois-Anne David from Museum de Florence, ou Collection des Pierres Gravees, Statues, Medailles, Chez F.A. David, Paris, 1787. David (1741-1824) drew and engraved the illustrations based on Roman statues, engraved stones and medals in the collection of the Museum de Florence and the cabinet of curiosities of the Grand Duke of Tuscany.

Plate XXXVII (37): Mars. From "Museum Florentinum" (Statuae antiquae dorum et virorum illustrium) 1734 Carlo Gregori. Plate XXXVII (37): Mars. From "Museum Florentinum" (Statuae antiquae dorum et virorum illustrium). Carlo Gregori (Italian, Florence 1719-1759 Florence). 1734. Etching and engraving. Prints

Standing male naked with raised arm, to the left, anonymous, 1826 drawing paper. chalk standing figure

Loo, Carle van, Paris, Demarteau, Gilles, Standing male nude, print, prints, height 620 mm, width 314 mm, Southern Netherlands (before 1775), 1722-01-19 - 1776-07-31, print maker, printmaker, 1732 - 1776, paper, papier, etching, etchings, crayon method, color printing, Work conception, French, 1705-02-15 - 1765-07-15

Male nude kneeling on one knee, the left arm stretched. Draughtsman: anonymous. Draughtsman: Bernard Picart (rejected attribution). Dating: 1700 - 1800. Measurements: h 466 mm × w 388 mm. Museum: Rijksmuseum, Amsterdam.

Standing male nude.

Study of a Supplicant Male Figure. Paris Bordone (Italy, Treviso, 1500-1571). Italy, circa 1525-1535. Drawings. Black chalk, heightened with white, on blue paper

Man subjects a harpy; Wanderings of Aeneas; L'ENEA Vagante Pitture Dei Caracci. Console with a naked man, one of the soldiers of Aeneas, sitting on a harp.

Standing male nude. Study of a male nude, standing and left.

Ticky example of a naked man, Pieter de Jode (I), 1629 print Lying naked young man, with eyes closed, supportive on the left arm. paper engraving human figure of ideal proportions, e.g. academic nude. lying figure

Male Nude with Left Arm Upraised, and a Further Study of His Head. Artist: Aniello Falcone (Italian, Naples 1607-1656 Naples). Dimensions: 10 1/2 x 6 5/8in. (26.7 x 16.9cm). Date: 1607-56. Museum: Metropolitan Museum of Art, New York, USA.

Statue of a boy with officer stick, 1636 - 1647 print Statue of a naked boy with an officer stick in his hand. On the pedestal the coat of arms of Vincenzo Giustiniani. Print is part of an album with a series of prints to the sculptures in the collection in the Galleria Giustiniani in Rome. paper engraving the (nude) human figure; 'Corpo humano' (Ripa) (+ young male (human being)). piece of sculpture, reproduction of a piece of sculpture

Copper engraving by Nicolaus Theodori Braew depicting the mythological scene of Hercules and Telephos, showing the figures in action, detailed anatomy, and classical composition, created between 1599 and 1621.

Figure, from Seconde livre de figures dAcademies gravées en Partie par les Professeurs de l Académie Royale 1745 Switzerland. Etching on ivory laid paper . Pierre Soubeyran

Academic study of a male nude drawing on a rope, 1743 print paper etching / engraving human figure of ideal proportions, e.g. academic nude

Copper engraving by Hendrick Goltzius circa 1592 depicting Hercules Farnese, showing a muscular figure in classical pose with detailed anatomy and composition.

Standing Female nude, Hendrick Goltzius, 1586 - 1590 drawing paper pen / brush standing figure - AA - female human figure. purse, money-bag

Statue of Caesar as a Divinity 1771-1844 Vincenzo Camuccini Italian. Statue of Caesar as a Divinity 338355

Drawing by the Augsburger Meister depicting a warrior in antique costume, executed in brown feder around 1530.

Red chalk drawing by an anonymous artist depicting the Empire of Hercules Farnese, including figure details and composition, circa 1700.

Sitting male nude, seen from the front (1st prize 1786), Willem de Jong (draftsman), 1786 drawing paper. chalk sitting figure (+ nude human being). sitting figure (+ nude human being)

Seated pan with flute, Jan de Bisschop, After Anonymous, 1669 print Northern Netherlands paper etching non-aggressive, friendly or neutral activities and relationships of Pan

A male figure is depicted in front view facing right with the right leg angled. The drawing is executed in chalk on whitewashed brownish paper, showing several brown spots over the head and a hole on the chest.

Mercury with the head of Argus, Jacob Binck, after Giovanni Jacopo Caraglio, 1530 print Mercury as a messenger of the gods blowing on two trumpets with the carved head of the shepherd Argus next to his feet. The inscription Mercvrivs Divvm QVI Fert Responsa per Avras indicates Mercury in his role of messenger who bears the answers of the gods on the wind. Copy to a print by Giovanni Jacopo Caraglio. Germany paper engraving (story of) Mercury (Hermes)

Male nude, standing. Draughtsman: Louis Fabritius Dubourg. Dating: 1703 - 1775. Measurements: h 470 mm × w 330 mm. Museum: Rijksmuseum, Amsterdam.

The Belvedere Torso, Museo Pio-Clementino, Vatican. Perhaps Heracles seated on the Nemean lionskin, or Ajax, the son of Telamon, contemplating suicide. Hercules statua trunca vetus marmorea. Copperplate engraving by Giovanni Battista Cannetti from Copperplates of the most beautiful ancient statues of Rome, Calcografia di piu belle statue antiche a Roma, engraved by Cannetti all'Arco della Ciambella, published by Gaetano Quojani, Rome, 1779.

Ceres with crown of corners, sickle, burning torch and two -headed snake, Jacob Binck, after Giovanni Jacopo Caraglio, 1530 print Ceres as a goddess of agriculture with crown of corners and sickle. The burning torch and two -headed snake refer to her role as a mother looking for her stolen daughter Proserpina. The inscription Aema Ceres Docvit SegetVM Spem Credter Svicis states that the belief in Ceres taught man to entrust the hope of a good harvest to the team. Copy to print from Jacopo Giovanni Caraglio Germany paper engraving (story of) Ceres (Demeter)

Sitting male nude, on a block with a stick, Alexander Cranendoncq, 1809 - 1869 drawing paper. chalk

Print made by Oliverio Gatti, 1568-1651, Italian, Studies for the Instruction of Painters, two suites. Rome, c. 1630, undated. Line engraving on medium, slightly textured, cream laid paper.

Bliżej Kultury Wyspiański, Stanisław (1869 1907)

Sitting young; Raynefeld, Józef (1908-1940); 1930-1940 (1930-00-00-1940-00-00);

Study of male nude.

A Male Nude Seen from Behind. Dated: c.1760. Dimensions: sheet: 56.6 x 38.4 cm (22 5/16 x 15 1/8 in.). Medium: red chalk on laid paper. Museum: National Gallery of Art, Washington DC. Author: French 18th Century.

Sitting male naked, seen from the front with hands on the back. Draughtsman: anonymous. Draughtsman: A. Waterloo (attributed to). Dating: c. 17-Feb-1826. Measurements: h 546 mm × w 374 mm. Museum: Rijksmuseum, Amsterdam.

Etching by Edme Bouchardon showing a male figure with a title leaf, created in 1738, highlighting anatomy, classical posture, and period style.

Standing male nude, bent forward at a block, seen on the back. .

Statue of Amor with a broken arch, 1636 - 1647 print Statue of Amor with a broken arch. On the base the coat of arms of Vincenzo Giustiniani. Print is part of an album with a series of prints to the sculptures in the collection in the Galleria Giustiniani in Rome. paper engraving (story of) Cupid, Amor (Eros). piece of sculpture, reproduction of a piece of sculpture

Sitting male naked, resting the head on the left arm. Draughtsman: Gerrit Jan Michaëlis (mentioned on object). Dating: 29-Feb-1808. Measurements: h 393 mm × w 480 mm. Museum: Rijksmuseum, Amsterdam.

"Jocund Day Stands Tip Toe on the Misty Mountain Tops" (Shakespeare, Romeo and Juliet, Act 3, Scene 5). Artist: George Richmond (British, Brompton 1809-1896 London). Dimensions: Sheet: 16 11/16 × 10 7/8 in. (42.4 × 27.7 cm). Subject: William Shakespeare (British, Stratford-upon-Avon 1564-1616 Stratford-upon-Avon). Date: ca. 1830.This dramatic pose embodies lines that Romeo speaks to Juliet as he prepares to leave after their wedding night:Look, love, what envious streaksDo lace the severing clouds in yonder east.Night's candles are burnt out, and jocund day Stands tiptoe on the misty mountain tops. I must be gone and live, or stay and die.Echoing the verse, Richmond's figure of Day balances on the toes of one foot, her forward movement arrested as she turns to check the waxing light. Firm graphite lines define the form while lighter rapid strokes describe flying hair and drapery. When he made this drawing, the artist was suffering romantic difficulties and would have sympathized w

of 3