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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.
Atlanta, 2003: 12, fig. 4. 2004 Hand, John Oliver.
Painted in August 1907, Forty-two Kids depicts a band of nude and partially clothed boys engaged in a variety of antics—swimming, diving, sunbathing, smoking, and possibly urinating—on and near a dilapidated wharf jutting out over New York City’s East River. A sharp observer of urban life, George Bellows has sketched his streetwise subjects with characteristic vigor and economy of means, and he has carefully rendered their varied ethnic backgrounds.
Bibliography 1908 Oliver, Maude I. G. "Art News of the Week [exh. review]."
Taking an in-depth look at the historical experiences and cultural formations of Black and African people since the 17th century, this exhibition includes works of art like paintings, sculpture, photographs, and time-based media by artists from Africa, Europe, the Americas, and the Caribbean.
Statens Museum for Kunst (SMK), National Gallery of Denmark, Copenhagen McPherson & Oliver
Joseph Mallord William Turner excelled at capturing the beauty and mysteries of light. Cool, white moonlight contrasts with warm, yellow and orange firelight.
Berkeley: University of California Press, 1997. 2004 Hand, John Oliver.
One of Domenico Veneziano’s major works is an altarpiece that he painted about 1445 for the Church of Santa Lucia dei Magnoli, in Florence. The incident illustrated in this small panel from the base of the altarpiece is John’s act of exchanging his rich, worldly clothes for a rough, camel–hair coat.
Washington, D.C., 2003: 241-250, color repro. 2004 Hand, John Oliver.
Commissioned for the Chapel of San José in Toledo by MartÃn RamÃrez, a namesake of the saint and donor of the chapel, Saint Martin and the Beggar was part of one of the artist’s most successful ensembles. The saint, who lived during the reign of Constantine the Great, was a member of the imperial cavalry stationed near Amiens, in Gaul.
Painting in Spain, 1561-1828, New York, 1997, no. 27, repro. 2004 Hand, John Oliver
Oliver, “Art News of the Week,� Chicago Record-Herald, November 8, 1908, sec.
Cole’s renowned four-part series traces the journey of an archetypal hero along the „River of Life.“ Confidently assuming control of his destiny and oblivious to the dangers that await him, the voyager boldly strives to reach an aerial castle, emblematic of the daydreams of „Youth“ and its aspirations for glory and fame. As the traveler approaches his goal, the ever-more-turbulent stream deviates from its course and relentlessly carries him toward the next picture in the series, where nature’s fury, evil demons, and self-doubt will threaten his very existence.
Chicago, 1998: 2:692. 2004 Hand, John Oliver.
