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Untitled - Nudo Femminile_1711 Discover the best available selection of drawings by the artist Dady Orsi. Buy from art galleries around the world with Kooness! Kooness
960 EUR

Untitled - Nudo Femminile_1711


Single piece Signed Framed



48.5 x 36 cm
19.09 x 14 in




Drawings & Works on Paper



At the end of the 1970s, when the erotic art of Lautrec, Klimt and Schiele had not yet aroused the interest of the mainstream audience, Orsi executed a monumental series of large-scale Erotic pastels depicting women in explicit poses, immediately chosen by Fornasetti for an exhibition celebrating the sensual side of the modern woman. In an ironic twist, the two decided to hide the pastels behind screens decorated by the artist.

Yesterday at midnight, Piero Fornasetti picked me up to take me to see a bunch of Dady Orsi’s drawings at the Galleria dei Bibliofili. The exhibitions designed and set up by Fornasetti in Via Morone are among the most original held in Italy. And as soon as I can, I stay to visit them. I missed one: but I do not wish to bore you with my good reasons.

Orsi’s drawings depicted discreet girls who were quite active in titillating themselves: a fluency of sign that was a little calligraphic but insinuating. The first master by whom he was influenced must have been Egon Schiele; but without dramatic consequences. No anger! The opposite of damnation: a proposal of pleasure like the taste of a Vol-au-vent! Piero, like an irreducible Japanese guide, promised to surprise me with the twelve large paintings by Orsi.

Raffaele Carrieri, italian poet and writer

1917 Genova, Italy

The theme of Eros pervades Dady Orsi’s work. In his vast production of female nudes, the artist reveals the other side of the bourgeois woman who, like the Maja desnuda, is depicted in all her seductive power. Even at its most extreme, Orsi’s eroticism is never prosaic: his preferred type is that of the sophisticated woman, with noble features, who seduces with natural poses. Techniques and materials are varied: the works on canvas and wood, always in tempera, tend to be painted in a defined manner and with a greasier paint, those on paper see the use of a technique made up of discontinuous signs, in which pastel and gouache create plots of light and transparent signs. As far as image processing is concerned, Orsi uses a variety of approaches: he draws from memory, uses models but does not disdain the use of photographic images. The nude made its first sporadic appearance in some drawings and paintings from the 1940s. Still reluctant to exhibit these works, in the 1960s he increasingly devoted himself to the female nude. It was only from the 1970s onwards that there was an explosion of erotic paintings. The moment was propitious: the theme ceased to be taboo in mass culture. The first exhibition of nudes was held in 1975 at the Galleria Mainieri. The works exhibited revealed an exquisitely realistic eroticism that clashed with the then predominant tendencies of the representation of the female body, which were more critical and intellectual. These were the years in which the international artistic debate questioned whether eroticism had a right to citizenship or should be relegated to the sphere of pornography. Orsi shows what the public wants to see, but what culture does not consider to be innovative. At the end of the 1970s, when the erotic art of Lautrec, Klimt and Schiele had not yet attracted mainstream interest, Orsi produced monumental series of drawings (and engravings) representing women in explicit poses. In representing the perturbing side of the woman of his time, the artist revisits the manner and style of his illustrious models.

In the 1970s, afer having abandoned graphic design, Orsi returned to being a full-time painter, regularly exhibiting his work. Nevertheless, his return to art was characterised by freedom: he did not adhere to currents or groups. His language was characterised by realism, symbolism and a return to craftsmanship that only a few artists practised at the time. His painting is cultured but not intellectual. It was Beppe Mainieri who provided him the opportunity to present his Feminine nudes. This is the moment when the artistic debate raises the question of whether female eroticism, no longer perceived by mass culture as taboo, is released from the sphere of pornography. Orsi’s female nudes heralded an utterly realistic eroticism in contrast to the hitherto predominant trends in the representation of the female body. Executed from the second half of the 1970s onwards, these paintings show what the public wants to see, but what culture does not consider innovative.

The 1980s opened with the exhibition, again at Fornasetti’s, of the ‘lunar’ cycle Nuda in dodici quadri  - Naked in twelve pictures. This pictorial cycle is the result of the encounter between two apparently incompatible sources: Muybridge’s chrono photography and Holbein’s symbolic realism. In contrast with the languid erotic pastels in the twelve figures marble pallor that make up this monumental work, Raffaele Carrieri glimpses the paradoxical eroticism of chastity.


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Milan, Via Curtatone, 4

Established in 2015 and located in the fashionable Milan’s city center, Expowall Gallery is a fine-art gallery focused on the representation of contemporary Italian photographers who mostly worked on landscape and architectural photography. The aim of Expowall, founded by Pamela Campaner and Alberto Meomartini, is to present and promote the Italian contemp...

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20.3 x 25.5 cm

1400,00 €

Nudo Femminile


25.5 x 14 cm