Pamono Georges Gonthier, Female Nude of the Artist’s Wife, 1940s, Oil Painting, Framed> Painting

Female nude, mid century oil painting of the artist’s wife by Georges Gonthier. Though not signed it is extensively annotated to the back board with subject, artist and dedication. Presented in a very fine gilt wood and black frame with cloth insert.

This charming painting portrays a contemplative female nude figure seated in a classical pose, rendered with earthy tones and soft contours. The subject, viewed from the side, is captured with an inherent sense of tranquility and introspection. The play of light and shadow highlights the delicate curves and posture, adding depth and dimension. The background, a subtle blend of muted colours, emphasizes the subject while creating a serene atmosphere. The brushwork is expressive yet controlled, offering a textured, almost tactile quality to the skin tones. This composition evokes a timeless elegance, focusing on the natural beauty and quiet strength of the human form. The artist’s skilful use of colour and line draws the viewer’s eye, inviting contemplation of the subject’s inner world.

Born in the Nord department, not far from Valenciennes, where his father was a municipal collector, Georges GONTHIER pursued brilliant secondary studies, first at the college of Condé-sur-l’Escaut, then at the high school of Valenciennes where he received his baccalaureate in 1904. He also studied with the Drôme painter Fortuné LAYRAUD, Grand Prix de Rome, at the “Academies of Valenciennes” in 1905.

Rather than trying to obtain the Prix de Rome like his master, Georges GONTHIER turned to teaching his art. In 1907, having obtained the Certificate of Higher Education in Drawing, he was appointed to Fécamp and then, in 1914, to the boys’ high school in Le Havre. Due to the shortage of teachers during the conflict, he had to give courses in Mathematics and Natural History, subjects in which he had acquired a solid knowledge, in addition to Drawing.

from 1924, he also taught at the École Régionale des Beaux Arts in Le Havre and was appointed, in 1956, vice-president of the Union des Arts Plastiques du Havre. This artist, who was perfectly familiar with the pictorial trends of his time, such as Cubism, nevertheless remained very attached to classical construction, especially for landscapes, which were his specialty. He often returned to his native region to paint its attractions. He was also a good pianist, a curious mind about science, especially astronomy.

The Museum of Modern Art in Le Havre mounted an exhibition of his work shortly after his death.