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Here he had numerous opportunities to paint portraits in which he was marvelously successful and had few equals. He painted Cavaliers and Ladies of our city and all of them so lifelike and invested with a certain air, that .
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.
Renaissance artist Raphael was famous in his own time. It is easy to understand why.
Konemann, 1998: 76-77, repro. no. 97. 2004 Hand, John Oliver.
Raphael was born in Urbino, a central Italian duchy noted for its elegant gentility and Renaissance scholarship. He moved to Florence toward the end of 1504.
Cambridge, 2002: 269-270, fig. 87. 2004 Hand, John Oliver.
When his friend Marcotte first suggested that Ingres paint Ines Moitessier, the wife of a financier and jurist, he demurred. Ingres changed his mind after being struck by her „terrible et belle tête“ (terrible and beautiful head.) The author Théophile Gautier described her as „Junolike,“ and Ingres presents her with the imposing remoteness of a Roman goddess.
Washington, D.C., 2000: 300-310, color repro. 2004 Hand, John Oliver.
Are artists sinners or saints? Gauguin paints himself as both.
Chicago and New York, 2001: 309, repro. 312. 2004 Hand, John Oliver.
Trees, grass, and shrubbery, simplified almost to abstraction, set off the fragile, wasp–waisted figure of MarÃa Ana de Pontejos y Sandoval, the Marquesa de Pontejos. Splendidly attired, she typifies those ladies of the Spanish aristocracy who affected the „shepherdess“ style of Marie Antoinette, so popular in pre–revolutionary France.
Madrid; National Gallery of Art, Washington, 2001-2002: no. 26. 2004 Hand, John Oliver
„Remember me, O Mother of God. O Queen of Heaven, rejoice.“ These words, taken from an Easter psalm sung in the Virgin’s honor, appear on the golden arch at the top of Carlo Crivelli’s Madonna and Child Enthroned with Donor.
Washington, D.C., 2003: 230-235, color repro. 2004 Hand, John Oliver.
Filippino Lippi was the son of the painter Fra Filippo Lippi, who was undoubtedly the boy’s first master. After his father died in 1469, he became a pupil of Botticelli, who had a profound influence on his style.
New Haven and London, 2003: 2003: 233-237. 2004 Hand, John Oliver.
Seville’s most popular painter in the later 17th century was Bartolomé Esteban Murillo. While Murillo is well known for works with religious themes, he also produced a number of genre paintings of figures from contemporary life engaged in ordinary pursuits.
Chicago, 2001: 100-101, 212, color repro. 2004 Hand, John Oliver.
