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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.
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.
Imported olives and a simple roll rounded out the feast, which would have been washed
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.
In an 1876 review, a sarcastic critic referred to participants in the second Impressionist exhibition as „five or six lunatics—among them a woman—a group of unfortunate creatures.“ Berthe Morisot is the woman to whom he alluded. Morisot, an original member of the group, showed in seven of its eight exhibitions and contributed financially to sustain the impressionist movement.
Chicago, 1998: 2:754. 2004 Hand, John Oliver.
This monumental view of the Hudson River Valley was painted from memory in the artist’s London studio. Cropsey adopted a high vantage point, looking southeast toward the distant Hudson River and the flank of Storm King Mountain.
Washington, D.C., 1996: 118-122, color repro. 2004 Hand, John Oliver.
When Approach to Venice was first exhibited in 1844, Joseph Mallord William Turner quoted Lord Byron in the catalog description: “The moon is up, and yet it is not night / The sun as yet disputes the day with her.� In Turner’s colorful view of Venice, a full moon shares the sky with the setting sun as a flotilla of barges and gondolas makes its way across the lagoon.
Washington, D.C., 1992: 288-291, color repro. 289. 2004 Hand, John Oliver.
Piet Mondrian intended his abstract or so-called „neo-plastic“ paintings to express his fundamentally spiritual notion that universal harmonies preside in nature. The horizontal and vertical elements of his compositions, assiduously calibrated to produce a balanced asymmetry, represented forces of opposition that parallel the dynamic equilibrium at work in the natural world.
Chicago, 2001: 94-95, 211, 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.
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.
