Meintest du 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.
Imported olives and a simple roll rounded out the feast, which would have been washed
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
Adriaen Brouwer was one of the most expressive artists of the 17th century. His great contribution to genre painting was to give a face to the peasant, to infuse his images of these lower-class individuals with recognizable and vividly expressed human emotions—anger, joy, pain, and pleasure.
National Gallery of Art, Washington, 1998: 65, no. 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.
