Meintest du oliver?
Ginevra de‘ Benci’s portrait is two-sided. This is the back, an emblematic portrait of Ginevra.
New Haven, 2000: 8-9, fig. 3. 2004 Hand, John Oliver.
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.
Paris, 1995: 38, color repro. 2004 Hand, John Oliver.
Born in 1844 to a working-class family in Laval, France, Henri Rousseau worked briefly for a lawyer and served a stint in the military before taking a position at a French customs post in 1868; the nickname “ Le Douanier “ (the customs inspector) remained with him even after his retirement in 1893.
Louis, 1997: 146-147, 212, color repro. 2004 Hand, John Oliver.
Completed in 1914, The Aero may have been the painting that Marsden Hartley described in a letter to his dealer, Alfred Stieglitz, the previous year: “I have one canvas ‘Extase d’Aéroplane’ if it must have a title—it is my notion of the possible ecstasy or soul state of an aéroplane if it could have one.� The artist was thrilled when he saw zeppelins, or huge airships, flying overhead.
New Haven, 2000: 250-251, color fig. 261. 2004 Hand, John Oliver.
Oudry was the leading painter of still-life and hunting scenes in France during the first half of the eighteenth century. Much admired by Louis XV, he portrayed favorite royal hounds and painted scenes of the king riding to the hunt, which was the monarch’s sporting passion.
Bibliography 2004 Hand, John Oliver.
New Haven and London, 2002: 31-39, fig. 11. 2004 Hand, John Oliver.
Washington, D.C., 1992: 344-350, repro. 347. 2004 Hand, John Oliver.
With great bravura, this fashionably clad member of the Haarlem civic guard stands with one arm akimbo, staring out at the viewer. His proud bearing, accented by the panache of his shimmering pink satin costume and plumed hat, attests to the great sense of confidence felt by the Dutch at the height of their „golden age.“ Andries Stilte, whose family coat of arms decorates the upper corner of this painting, is presented as a standard bearer, or ensign, of the Kloveniers, one of Haarlem’s militia companies.
Carolina Museum of Art, Raleigh, 2000: fig. 6, color repro. 2004 Hand, John Oliver
In about 1600, Hendrick Goltzius, who was famous across Europe for his extraordinary abilities as a draftsman and printmaker, turned his talents to painting. In 1616 he painted this magnificent image of Adam and Eve reclining in the Garden of Eden like mythological lovers.
Zwolle, 2003: 302-303, cat. no. 111. 2004 Hand, John Oliver.
