Dein Suchergebnis zum Thema: Olive

Washington, D.C., 1992: 97-99, color repro. 99. 2004 Hand, John Oliver.

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.

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.

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

New York, 1990: 127, fig. 144. 2004 Hand, John Oliver.

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

A play and a painting appear to have merged in Jan van Eyck’s dramatic Annunciation , which is rich with Christian symbolism. The rainbow-winged archangel Gabriel tells the Virgin Mary that God has chosen her to bear his son.
New York, 1985: 103-104, fig. 103. 1986 Hand, John Oliver and Martha Wolff.

This painting is an outstanding example of the abstract elegance characteristic of Rogier’s late portraits. Although the identity of the sitter is unknown, her air of self–conscious dignity suggests that she is a member of the nobility.
New York, 1985: 138, fig. 134. 1986 Hand, John Oliver and Martha Wolff.

Although Nicolas Poussin’s work exerted an enormous influence on the development of French seventeenth-century painting, the artist perfected his style in Rome, incorporating the lessons of Renaissance and contemporary Italian painters into his own idiom. Poussin’s Baptism of Christ is one of a series of canvases illustrating the Seven Sacraments executed from 1638-1642 for his friend and patron Cassiano dal Pozzo.
Oliver Bonfait. Paris and Rome, 1996: 38-39.

Washington, D.C., 2000: 126-130, color repro. 2004 Hand, John Oliver.