Meintest du oliver?
In 1775, Gilbert Stuart set sail for London where Benjamin West welcomed the destitute young man into his home. The Skater marks the end of his five-year apprenticeship to West.
Chicago, 1998: 2:586-588. 2004 Hand, John Oliver.
Oliver, “Art News of the Week,� Chicago Record-Herald, November 8, 1908, sec.
William Merritt Chase, an influential art teacher and one of the leading exponents of American impressionism, captured the genteel, privileged life of polite society in the 1890s. A Friendly Call , set in Chase’s elegant summer house at Shinnecock Hills, Long Island, shows two fashionably dressed women in a large, airy room decorated with prints, paintings, hanging textiles, and a large, gilt–framed mirror.
Washington, D.C., 1996: 55-60, color repro. 2004 Hand, John Oliver.
This could be a scene from a children’s book, but the story is a strange one. At first glance, everything looks ordinary.
Chicago, 2001: 30-31, color repro. 2004 Hand, John Oliver.
Roses was painted shortly before Van Gogh’s release from the asylum at Saint–Rémy. He felt he was coming to terms with his illness—and himself.
The Phillips Collection, Washington, 2001: 175, repro. 2004 Hand, John Oliver.
Painter Charles Willson Peale named many of his children for famous artists, including his sons Rembrandt and Rubens Peale. Rembrandt became an artist himself.
American Art Journal 33, nos. 1 and 2 (2002): 4-19, fig. 1. 2004 Hand, John Oliver
In this panel Bosch shows us the last moments in the life of a miser, just before his eternal fate is decided. A little monster peeping out from under the bed–curtains tempts the miser with a bag of gold, while an angel kneeling at the right encourages him to acknowledge the crucifix in the window.
New York, 1985: 205, 201 color pl. 36. 1986 Hand, John Oliver and Martha Wolff
Like Jacques Onésime de Bergeret, Lalive de Jully (1725-79) was an influential collector, amateur, and painter in the Parisian art world of the 1750s and 1760s. One of Jean-Baptiste Greuze’s first patrons, Lalive is depicted seated on a chair he had commissioned as part of a suite of furniture à la grecque.
New Haven, 2002: 37, fig. 28. 2004 Hand, John Oliver.
The crest bearing three cows’ heads, visible on the wall behind the sitter, indicates that this young man is a member of the prosperous Coymans family of Haarlem. The cows’ heads refer directly to the Dutch family name, which translates as „cow man.“ Archival and genealogical information, combined with the Latin inscription „AETA SVAE.22 / 1645“ below the shield, identifies the sitter as Willem Coymans, who was twenty-two years old in 1645.
Nederlands Kunsthistorisch Jaarboek (2003): 296, repro. 2004 Hand, John Oliver
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.
