Meintest du 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
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
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.
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
Revue du Louvre 51, no. 2 (2001): 56-65, 58, repro. fig. 2. 2004 Hand, John Oliver
Dutch seventeenth-century artists drew their subject matter from all elements of society. The refinement of the wealthy burghers in the second half of the century was best captured by Gerard ter Borch the Younger.
New Haven, 2003: 296, fig. 138. 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
