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The artist’s wife Camille stands on a hill with their son Jean behind her. Monet worked quickly to record this moment.
Chicago, 2001: 24-25, color repro. 2004 Hand, John Oliver.
The three cargo ships in this large painting are the type of wide-bellied, seagoing vessels used to transport much of the commodities that generated the wealth of the Dutch in the seventeenth century. Flying the red, white, and blue flag of the Dutch Republic, these floating symbols of national prosperity are nevertheless in peril of crashing on the rocky shore.
Philadelphia, 2003: 9, fig. 8. 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.
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.
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.
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.
When Thomas Sully painted fifteen-year-old Eliza Ridgely in the spring of 1818, he was widely regarded as America’s leading artist. Particularly noted for his graceful images of women, he was a natural choice to paint this Baltimore merchant’s daughter.
Chicago, 1998: 2:939. 2004 Hand, John Oliver.
Renoir had his girlfriend Lise Tréhot pose as the ancient Roman goddess Diana. He chose a mythological subject and painted it at grand scale in hopes of getting this picture into the largest art show of the time, the Salon.
Pennsylvania State University Press, 1998: 58-60, repro. no. 29. 2004 Hand, John Oliver
National Gallery of Art, Washington, 1985: 235, repro. 1986 Hand, John Oliver
National Gallery of Art, Washington, 1985: 436, repro. 1986 Hand, John Oliver
