portraits of single figures: Isaac Abrahamsz Massa, 1626 (Art Gallery of Ontario, Toronto
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.
Newark, London, and Toronto, 1988: 218, 228, 265-268, 270-272, 275, 277, 280, 284
Massa,1626, Art Gallery of Ontario, Toronto, illustrated in Seymour Slive, Frans
Manet came from a well–to–do family, and this painting provides a glimpse of the sophisticated Parisian world he loved. He was uncomfortable in the countryside, preferring instead the finery of the city.
London and Toronto, 1993: repro. 43. 1994 Rubin, James H.
Gilbert Stuart achieved fame as a portrait painter in both England and America. When he returned to America from England in 1793, he found himself in a homeland that was foreign to him.
Museum of Art, 1950-1951, no. 59 Fifty Paintings by Old Masters, Art Gallery of Toronto
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.
Small Paintings by Members of the Ontario Society of Artists, The Art Gallery of Toronto
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.
Newark, London, and Toronto, 1988: 218, 228, 265-268, 270-272, 275, 277, 280, 284
In the tradition of his Flemish predecessors, Memling’s painting contains a wealth of religious meaning; it is filled with symbols which explain the importance of Christ’s mission on earth.
New York, London, and Toronto, 1959-1983.
In this three-quarter-length portrait, Henry, Duke of Gloucester, confidently counters the viewer’s scrutiny. He wears a gleaming breastplate that covers a richly brocaded gold doublet with split sleeves;
Boston and Toronto, 1974: 116-118, repro. 1975 National Gallery of Art.
Arthur Dove: Life and Work, with a Catalogue Raisonné (Newark, DE, London, and Toronto
