Dein Suchergebnis zum Thema: Olive

The Dutch and Flemish took extraordinary delight in depictions of the natural world as an expression of God’s everlasting blessing. The flower paintings of Jan Davidsz de Heem celebrate the beauty of flora while at the same time exemplifying the concept of Ars longa, vita brevis (art is long, life is short) embodied in the Dutch still-life paintings of the seventeenth century.
National Gallery of Art, Washington, 2002: 84, fig. 6. 2004 Hand, John Oliver.

This is no “family� in the usual sense. A harlequin, a jester, a young man in a leotard, a boy in a blue costume, a girl in a tutu with a basket, and a woman in a flowered hat are arranged in this rose-hued landscape.
Chicago, 1998: 2:581. 2004 Hand, John Oliver.

Gentile da Fabriano’s patrons were princes, the church, and various city governments as well as the customary merchant clients. His art has a cosmopolitan flavor, in which brilliant color, textural richness, and ornamental pattern are combined.
Washington, D.C., 2003: 288-292, color repro. 2004 Hand, John Oliver.

Washington, D.C., 1990: 124-127, repro. 123. 2004 Hand, John Oliver.

The strength and vitality of the people who helped establish the new Dutch Republic are nowhere better captured than in the work of Frans Hals, who was the preeminent portrait painter in Haarlem, the most important artistic center of Holland in the early part of the seventeenth century. This unidentified sitter—one of Hals’ most impressive portraits—was sixty years old when the painting was made, according to the artist’s inscription.
Raleigh, 2002: 110-111, repro. 2004 Hand, John Oliver.

This large double portrait on horseback is unusual in Dutch art, because equestrian likenesses were initially reserved for sitting monarchs. Traditional portrait convention would have placed the woman to the left and slightly behind the man, yet this elegant lady on her magnificent steed occupies center stage.
Washington, 2001: no. 40, 172-175, 207, repro. 2004 Hand, John Oliver.

Black White and Blue was painted at a critical juncture in Georgia O’Keeffe’s life. In 1929 she began to spend several months of each year in New Mexico, away from both New York and her husband, Alfred Stieglitz, the photographer and promoter of American modernist painting and photography.
Hand, John Oliver.

This gruesome scene is from the Old Testament story of David defeating the giant Goliath. David is shown swinging the slingshot that brought down Goliath, whose severed head lies on the ground.
Washington, 2003: 3-7, color repro. 2004 Hand, John Oliver.

Throughout his career Tiepolo painted small pictures of mythological themes, which proved extremely popular. The subjects of these works came from the best–known episodes from ancient literature, but his conception of the stories was varied and original.
Milan, 2002: no. 247/2, repro. 2004 Hand, John Oliver.

It might be said that with paintings like this one, Annibale Carracci invented the landscape as a subject for Italian baroque painting. Nature here is appreciated first and foremost for herself and not as the backdrop for a story.
Washington, D.C., 1996: 45-49, color repro. 47. 2004 Hand, John Oliver.