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NATHAN OLIVEIRA (1928-2010)

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Nathan Olivera is often associated with the Bay Area Figurative painters of California, but in reality, his work reveals his interest in Willem de Kooning, Alberto Giacometti, and Francis Bacon. These influences are salient characteristics of Nude Stepping from the Carpet. Painted when Olivera was in his early 30s, it is just the sort of painting that established his early reputation for haunting depictions of isolated figures painted in an improvisational style. Oliveira's later work reflects de Kooning's influential comment regarding the challenge of painting visual memories and creating figurations having a tenuous presence, yet the strong horizon line grounding this landscape lends the figure a more corporeal presence than usual. Nathan Olivera is often associated with the Bay Area Figurative painters of California, but in reality, his work reveals his interest in Willem de Kooning, Alberto Giacometti, and Francis Bacon. These influences are salient characteristics of Nude Stepping from the Carpet. Painted when Olivera was in his early 30s, it is just the sort of painting that established his early reputation for haunting depictions of isolated figures painted in an improvisational style. Oliveira's later work reflects de Kooning's influential comment regarding the challenge of painting visual memories and creating figurations having a tenuous presence, yet the strong horizon line grounding this landscape lends the figure a more corporeal presence than usual. Nathan Olivera is often associated with the Bay Area Figurative painters of California, but in reality, his work reveals his interest in Willem de Kooning, Alberto Giacometti, and Francis Bacon. These influences are salient characteristics of Nude Stepping from the Carpet. Painted when Olivera was in his early 30s, it is just the sort of painting that established his early reputation for haunting depictions of isolated figures painted in an improvisational style. Oliveira's later work reflects de Kooning's influential comment regarding the challenge of painting visual memories and creating figurations having a tenuous presence, yet the strong horizon line grounding this landscape lends the figure a more corporeal presence than usual. Nathan Olivera is often associated with the Bay Area Figurative painters of California, but in reality, his work reveals his interest in Willem de Kooning, Alberto Giacometti, and Francis Bacon. These influences are salient characteristics of Nude Stepping from the Carpet. Painted when Olivera was in his early 30s, it is just the sort of painting that established his early reputation for haunting depictions of isolated figures painted in an improvisational style. Oliveira's later work reflects de Kooning's influential comment regarding the challenge of painting visual memories and creating figurations having a tenuous presence, yet the strong horizon line grounding this landscape lends the figure a more corporeal presence than usual. Nathan Olivera is often associated with the Bay Area Figurative painters of California, but in reality, his work reveals his interest in Willem de Kooning, Alberto Giacometti, and Francis Bacon. These influences are salient characteristics of Nude Stepping from the Carpet. Painted when Olivera was in his early 30s, it is just the sort of painting that established his early reputation for haunting depictions of isolated figures painted in an improvisational style. Oliveira's later work reflects de Kooning's influential comment regarding the challenge of painting visual memories and creating figurations having a tenuous presence, yet the strong horizon line grounding this landscape lends the figure a more corporeal presence than usual. Nathan Olivera is often associated with the Bay Area Figurative painters of California, but in reality, his work reveals his interest in Willem de Kooning, Alberto Giacometti, and Francis Bacon. These influences are salient characteristics of Nude Stepping from the Carpet. Painted when Olivera was in his early 30s, it is just the sort of painting that established his early reputation for haunting depictions of isolated figures painted in an improvisational style. Oliveira's later work reflects de Kooning's influential comment regarding the challenge of painting visual memories and creating figurations having a tenuous presence, yet the strong horizon line grounding this landscape lends the figure a more corporeal presence than usual. Nathan Olivera is often associated with the Bay Area Figurative painters of California, but in reality, his work reveals his interest in Willem de Kooning, Alberto Giacometti, and Francis Bacon. These influences are salient characteristics of Nude Stepping from the Carpet. Painted when Olivera was in his early 30s, it is just the sort of painting that established his early reputation for haunting depictions of isolated figures painted in an improvisational style. Oliveira's later work reflects de Kooning's influential comment regarding the challenge of painting visual memories and creating figurations having a tenuous presence, yet the strong horizon line grounding this landscape lends the figure a more corporeal presence than usual. Nathan Olivera is often associated with the Bay Area Figurative painters of California, but in reality, his work reveals his interest in Willem de Kooning, Alberto Giacometti, and Francis Bacon. These influences are salient characteristics of Nude Stepping from the Carpet. Painted when Olivera was in his early 30s, it is just the sort of painting that established his early reputation for haunting depictions of isolated figures painted in an improvisational style. Oliveira's later work reflects de Kooning's influential comment regarding the challenge of painting visual memories and creating figurations having a tenuous presence, yet the strong horizon line grounding this landscape lends the figure a more corporeal presence than usual. Nathan Olivera is often associated with the Bay Area Figurative painters of California, but in reality, his work reveals his interest in Willem de Kooning, Alberto Giacometti, and Francis Bacon. These influences are salient characteristics of Nude Stepping from the Carpet. Painted when Olivera was in his early 30s, it is just the sort of painting that established his early reputation for haunting depictions of isolated figures painted in an improvisational style. Oliveira's later work reflects de Kooning's influential comment regarding the challenge of painting visual memories and creating figurations having a tenuous presence, yet the strong horizon line grounding this landscape lends the figure a more corporeal presence than usual. Nathan Olivera is often associated with the Bay Area Figurative painters of California, but in reality, his work reveals his interest in Willem de Kooning, Alberto Giacometti, and Francis Bacon. These influences are salient characteristics of Nude Stepping from the Carpet. Painted when Olivera was in his early 30s, it is just the sort of painting that established his early reputation for haunting depictions of isolated figures painted in an improvisational style. Oliveira's later work reflects de Kooning's influential comment regarding the challenge of painting visual memories and creating figurations having a tenuous presence, yet the strong horizon line grounding this landscape lends the figure a more corporeal presence than usual.
Nude Stepping from the Carpet196252 x 48 in.(132.08 x 121.92 cm) oil on canvas
Provenance
Paul Kantor Gallery, Beverly Hills
Private Collection, San Francisco
Private Collection
Sale: Bonhams, Made in California, Contemporary Art, 2 April 2013, Lot 19
Private Collection, California

115,000

Nathan Olivera is often associated with the Bay Area Figurative painters of California, but in reality, his work reveals his interest in Willem de Kooning, Alberto Giacometti, and Francis Bacon. These influences are salient characteristics of Nude Stepping from the Carpet. Painted when Olivera was in his early 30s, it is just the sort of painting that established his early reputation for haunting depictions of isolated figures painted in an improvisational style. Oliveira's later work reflects de Kooning's influential comment regarding the challenge of painting visual memories and creating figurations having a tenuous presence, yet the strong horizon line grounding this landscape lends the figure a more corporeal presence than usual.
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