GERALD MEARES (1911 - 1975)

Vintage Nude Study

Gerald Meares (1911 - 1975) Nude study.jpg




20th Century


Oil on Board


Label verso


Oil on board

300 mm x 450 mm


425 mm x 570 mm




nude frame a.jpg

Your tagline fits right here...

nude back.jpg

Very interesting and attractive vintage abstract painting of a nude from the back. She has her brown hair tied up to reveal the nape of her neck and is looking down to her RHS in contemplation maybe. The impression is that the nude is sitting on the edge of a bed maybe with some of the blue tones in the background alluding to a window, mirror or an open view in the distance. A number of paint techniques have been applied to create patterns with tools and fingers, in Meare’s well known style. Clever texturing of the body contours creates a sense of life and reflection from the skin of the subject.  The colours are really well balanced with subtle grey/ greens, blue, flesh/peaches, a touch of pink, creams and browns. The board has been shaped and set onto the frame with a dark green back ground and grey frame.

A real one off collectors piece with lots of interest to hold your gaze and wonder what the lady in the painting is all about

GERALD MEARES (1911 - 1975)

A sculptor, woodcarver and painter, born in Woodford, Essex. Meares originally planned on a career in science, but changed his mind in favour of the arts. He trained after the war as a sculptor at the Regent Street Polytechnic under the sculptor Geoffrey Deeley and then lived for several years in Tenterden as a monumental mason doing sculpture, lettering and portraiture. After moving to Tunbridge Wells, he began painting nudes, portraits and semi abstract work. He also became interested in the people, art and scenery of North Africa and the Sahara after going on safari.

Meares was fascinated by movement, and would always carry his sketch pad on trains, into cafes and on walks – later combining the recalled movement in composite paintings. The characteristic Meares subject begins from a group of moving figures. These may be enmeshed with moving water or set in abstract complementary shapes which echo the lines and planes in the central figures – reminiscent of the abstract effects of a stained glass window. His more completely abstract works show much experimentation with technique. These are frequently on hardboard, sized and textured with canvas or plaster, upon which ground he pushes liquid paint into shape with a variety of wooden tools, and his own fingers. These methods produce crusty, textured slabs, usually framed in brass.

His works were highly regarded by his fellow artists and feature in numerous private and public collections, including that of the Duke of Edinburgh.

Exhibitions Include:
Royal Academy; RBA; Young Contemporaries; Glasgow Institute; Royal Portrait Society