Description
Bacchante-Reclining Nude-by FrederickRoscher-German-American Society Portraitist
Frederick Roscher (1890–1968) was a prominent portraitpainter in the early to mid-20th century. He was born in Nuremberg, Germany,and later moved to the United States. His sitters included Pope Benedict XV(who also knighted him), Pope Pius XI, the King and Queen of Bavaria, andEleanor Roosevelt. Due to his work as a high society portrait painter for royalfamilies, religious leaders, and political figures, his portraits are notwidely distributed on the art market. Outside those commissions, Roscher wasalso a master of female nude painting.
In the 1920s, his life-size reclining female nude TheSleeping Venus sparked heated discussion for its astonishing realism andelegance, as well as for the story that the model was an Italian princess ( TheSunday Oregonian , Oct. 22, 1922). Roscher never disclosed the identity ofthe sitter and claimed he had modified the facial features so the model couldnot be recognized. Interestingly, about 40 years later, near the end of hiscareer, Roscher painted the current smaller work, Bacchante , with asimilar pose, similar composition, similar drapery (though very little), andblurred facial features. He even left a note on the verso stating “no model” –which makes me wonder about the relationship between these two works.
Every painter depicting reclining female nudes inevitablyhas Giorgione’s and Titian’s Sleeping Venus in mind. Roscher’s 1920s SleepingVenus shared that same elegance. However, in this current Bacchante ,though the pose is borrowed, Roscher altered the gesture of the left arm andleft leg and changed the light source to an unconventional position. Thesechanges create a chaotic, enchanted mood – an atmosphere fitting for abacchante. Curiously, in 1922, Roscher remarked that a woman’s hair should hangfreely without combs or pins, which would injure the simplicity. Yet here, thebacchante clearly wears a pearl comb in her golden hair. Perhaps this addedcomplexity was intended to emphasize the bacchante’s bewitched beauty, incontrast to the elegant simplicity that belongs more to Venus.
Frederick Roscher was no doubt a master portrait painter.In this painting, he employed various techniques to depict the scene, creatinga striking contrast between the impasto background and highlights, and theivory-smooth, translucent skin that could only be achieved through multiplelayers of glazing. This Bouguereau-like effect in depicting female skin is ahallmark of his nude paintings—though in some of his other works I came across,it is, to my taste, a little too much. Yet in this current work at the latestage of his career, Roscher has found a perfect balance.
This oil painting is on a Masonite panel and is unframed.Roscher’s signature “F.R. Roscher” and the year “1963” can be found in thelower left corner. Interestingly, he also hid another signature—“F.R.” and“1963”—within the Greek architecture in the background. On the back of thepanel, Roscher wrote some notes about the painting process in white chalk.
Considering its age, the painting has been well preservedand is in good condition. There are a few small patches of surface dirt, andsome areas of the paint show minor oxidation. The edges have slight damage.Please refer to the photos for detailed condition.
Dimensions:
• 20 × 16 in
Medium:
• Oil on Masonite board
Condition Report:
• Small damages on edges • Small patches of surface dirt • Small areas of paint oxidation
Provenance
• South Bay Auctions Inc.
Disclaimer: I have conducted thorough research to ensure the accuracy and authenticity ofthis painting to the best of my ability. However, it is sold as is, with noguarantees or warranties regarding its provenance or historical attribution.
