Dein Suchergebnis zum Thema: Olive

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

Henri de Toulouse-Lautrec had a passion for the theater in all its forms, from the popular dance halls and cabarets to the avant-garde theaters of Paris. He was both a keen spectator and an active participant, designing posters, theater programs, scenery, and costumes for a number of theaters and stage productions.
Lautrec Story, Japan, 1997, p. 26, repro. 2004 Hand, John Oliver.

Johns has long been concerned with the visual and conceptual act of decoding. His various manners of painting and drawing, for example, frequently result in a congested accumulation of marks or signs, while his materials include encaustic (a thick, quick-drying wax medium that allows for a visible layering of brushstrokes) as well as objects that have been mounted on the canvas in the manner of assemblage and collage.
National Gallery of Art, Washington, 1996: no. 46. 2004 Hand, John Oliver.

This bold composition reveals the influence of the flat, patterned surfaces, simplified color, and unusual angles of Japanese prints, which enjoyed a huge vogue in Paris in the late 1800s. The dark figure of the man compresses the picture onto the flat plane of the canvas, and the horizon is pushed to the top, collapsing a sense of distance.
New York, 1997: 259, 260, color fig. 156. 2004 Hand, John Oliver.

Black, blue, white, silver, russet, and orange paint are here, but no lavender. The title, suggested by a critic who championed the artist, points our attention to light and color effects.
Peru, Illinois, 2000: 407, nt. 159. 2004 Hand, John Oliver.

Toward the middle of the 1880s, a number of artists became disaffected with impressionism. Monet began to explore painting in a series, or creating groups of works of almost identical subjects.
New Haven, 2000: 174-175, color fig. 181-184. 2004 Hand, John Oliver.

Cassatt was known for her sensitive depictions of children. Rather than showing them as miniature adults, she painted them as individuals with moods and personalities.
New York, 1996: 189, repro. 2004 Hand, John Oliver.

Like many American artists of his generation, George Bellows was interested in the various urban construction projects that transformed New York City into an ultramodern metropolis. By the time he commenced work on The Lone Tenement in December 1909, he had completed four paintings devoted to the excavation site of the new Pennsylvania Station, culminating in the Gallery’s Blue Morning (painted in March 1909).
Hopewell, New Jersey, 1995: repro. 2004 Hand, John Oliver.

Unlike some of his contemporaries, John Frederick Kensett felt no need to travel to the tropics or the American West to find compelling subjects to paint. Instead, he continually revisited several familiar locales in New York and New England where he could explore the ways in which the same motif was altered by subtle differences in light and atmosphere.
Washington, D.C., 1996: 394-397, color repro. 2004 Hand, John Oliver.

Reynolds sought to elevate British painting, including portraiture, to the lofty realms of classical expression. After traveling to Rome, Florence, Bologna, and Venice, Reynolds became the first president of the Royal Academy, which had been founded in 1768.
Paris, 1999: 374, color repro. 2004 Hand, John Oliver.