Salisbury Cathedral from Lower Marsh Close by John Constable https://www.nga.gov/artworks/115-salisbury-cathedral-lower-marsh-close
Washington, D.C., 1992: 39-41, color repro. 41. 2004 Hand, John Oliver.
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White Poodle in a Punt by George Stubbs https://www.nga.gov/artworks/110281-white-poodle-punt
New York, 1991: 190, repro. 2004 Hand, John Oliver.
The Japanese Footbridge by Claude Monet https://www.nga.gov/artworks/74796-japanese-footbridge
In 1883 Monet moved his household, his two sons along with Alice Hoschedé and her children, to the rural community of Giverny, where he leased a house that he was able to purchase seven years later. In early 1893, he acquired a swampy area across the railroad tracks abutting his property and petitioned the village council for permission to divert a small stream into it.
Studies in the History of Art 41 (1993): repro. 156. 2004 Hand, John Oliver.
Houses in Provence: The Riaux Valley near L’Estaque by Paul Cezanne https://www.nga.gov/artworks/54129-houses-provence-riaux-valley-near-lestaque
Cezanne was deeply attached to Provence, the region in southern France where he was born and raised. He often painted its sundrenched terrain.
zanne, a la recherche de l’absolu, Japan, 1997, p. 70-71, repro. 2004 Hand, John Oliver
The Artist and His Mother by Arshile Gorky https://www.nga.gov/artworks/56935-artist-and-his-mother
New Haven, 2000: 264. 2004 Hand, John Oliver.
Improvisation 31 (Sea Battle) by Wassily Kandinsky https://www.nga.gov/artworks/56670-improvisation-31-sea-battle
The title „Improvisations“ refers to a series of works that Kandinsky painted between 1909 and 1913 which was, according to the artist, „a largely unconscious, spontaneous expression of inner character, non-material nature.“
Chicago, 2001: 52-53, 209, color repro. 2004 Hand, John Oliver.
One Year the Milkweed by Arshile Gorky https://www.nga.gov/artworks/56936-one-year-milkweed
In One Year the Milkweed , one of several so-called color veil paintings Gorky made in 1944, films of paint have been washed unevenly across the canvas, and evocative but indistinct forms have been brushed in. Overall green and brown hues suggest a landscape, but there are no identifiable landscape forms and no spatial recession.
Buffalo; Modern Art Museum of Fort Worth, 1995-1996: no. 8. 2004 Hand, John Oliver
Fantômas by Juan Gris https://www.nga.gov/artworks/56101-fantomas
New York, 1990: 127, fig. 144. 2004 Hand, John Oliver.
Tiger by Ellsworth Kelly https://www.nga.gov/artworks/75042-tiger
Ellsworth Kelly realized his first abstractions during his stay in France from 1948 to 1954. In these extremely productive years, he created a body of work whose refinement of line, form, and color remains the fundamental language of his art.
du Jeu de Paume, Paris, 1992: 145, 174, no. 89, color pl. 85. 2004 Hand, John Oliver
Miss Juliana Willoughby by George Romney https://www.nga.gov/artworks/111-miss-juliana-willoughby
Juliana Willoughby stands quietly but alertly, engaging the viewer with her direct, slightly questioning gaze. The blended harmonies of the pinks, whites, and creams of her skin tones, her dress, and her shining wisps of fine hair evoke not just Juliana, but the essence of all little girls of this age.
New Haven, 1993: 182, 184-185, color fig. 216. 2004 Hand, John Oliver.