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In the tradition of his Flemish predecessors, Memling’s painting contains a wealth of religious meaning; it is filled with symbols which explain the importance of Christ’s mission on earth.
National Gallery of Art, Washington, 1985: 266, repro. 1986 Hand, John Oliver
Paris, 1992: no. 64, 38, repro., as Paysage de Collioure. 2004 Hand, John Oliver
The salt we see in 17th-century still lifes was central to the Dutch economy—and Dutch colonialism.
presentation piece, complete with pink rose in the peacock’s beak, are a cooked bird, olives
of Bruegel, 1986-1987, NGA, The Pierpont Morgan Library, New York, cat. by John Oliver
Two of Magritte’s favored themes were the „window painting“ and the „painting within a painting.“ The Human Condition is one of Magritte’s earliest treatments of either subject, and in it he combines the two, making what may be his most subtle and profound statement of their shared meaning. The Human Condition displays an easel placed inside a room and in front of a window.
Comprehension: A Paradigma for Cognition, 1998, cover, repro. 2004 Hand, John Oliver
In December 1872, Sisley traveled to Port-Marly, a village in the western suburbs of Paris. There he produced four paintings showing the flooding of the Seine River.
National Gallery of Art, Washington, 1992: 191, repro. 2004 Hand, John Oliver.
Sigamos, Lecturas Literarias y Culturales. 1998: 46, repro. 2004 Hand, John Oliver
Discover works by Sir Anthony van Dyck and learn about the artist
Antwerp and London, 1999. 2004 Barnes, Susan J., Nora De Poorter, Oliver Millar
This unusually large panel painting depicts three facets of Marian iconography: the Virgin’s corporeal assumption, the Immaculate Conception—the crescent moon and the radiance behind her identify Mary as the Woman of the Apocalyse, mentioned in Revelation 12:I—and the Coronation of the Virgin.
National Gallery of Art, Washington, 1985: 258, repro. 1986 Hand, John Oliver
New Haven, 2000: 264. 2004 Hand, John Oliver.
