Meintest du oliver?
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.
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.
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.
We don’t know who this family is, but the inscription on the lid of the box on the floor tells us the date: April 1, 1756.
Word and Image 6, no. 4 (October-December 1999): 359, repro. 2004 Hand, John Oliver
Washington, D.C., 2003: 383-387, color repro. 2004 Hand, John Oliver.
Nicolas Lancret was one of Antoine Watteau’s most talented followers and helped to disseminate the taste for fête-galante subjects in the eighteenth century. On the far left musicians are hidden amidst the trees, while across the canvas from left to right, arranged on an exaggerated S curve, stylishly dressed spectators have assembled in intimate groups to watch a couple perform a pas de deux.
Berlin, 2001: 13, fig. 5, 15, 36. 2004 Hand, John Oliver.
The exhibition of Home, Sweet Home in the spring of 1863 auspiciously marked Winslow Homer’s debut as a painter. The painting was enthusiastically admired.
Washingtonian 33, no. 11 (August 1998): 70. 2004 Hand, John Oliver.
Museo Nacional del Prado, Madrid, 2003: 94, repro. 2004 Hand, John Oliver.
Fragonard’s brushwork is as much the subject of this painting as the young woman. A flurry of rapid marks captures her blushing face.
Chicago, 2001: 70-71, color repro. 2004 Hand, John Oliver.
