Italian 16th Century

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Freiburg-im-Breisgau 17th Century, Italian 16th Century, Western European 19th Century, Covered Cup with Serpent Handle, c. 1620/1630 (all but stem and mounts); late 16th century (stem); late 19th century (mounts), rock crystal and enameled gold, Widener Collection, 1942.9.297

Covered Cup with Serpent Handle

Freiburg-im-Breisgau 17th Century, Italian 16th Century, Western European 19th Century · c. 1620/1630 (all but stem and mounts); late 16th century (stem); late 19th century (mounts) · rock crystal and enameled gold ·  Accession ID  1942.9.297

Dozens of men, women, and a few children gather in groups amid a grassy landscape with a mountain in the distance in this horizontal painting. All of the people have pale or ruddy skin and wear flowing cloaks over long tunics or gowns. Warm light from the upper left illuminates the two groups closest to us, which cluster along the left and right edges of the canvas. Each group is set against a dark background suggesting cave walls or rocky outcroppings. On our left, an elderly man sits with his back to us as he looks across this shoulder to our right. He wears an amber-brown robe with darker brown stripes, and a denim-blue boot on the foot we can see. His head is wrapped in a white turban, and his tan face is framed by a salt-and-pepper beard. Steel-blue fabric drapes across his hips. A man and woman stand just beyond him, facing us. The young, bearded, dark-haired man wears a gleaming sea-blue cloak over a burgundy-red garment. The woman is wrapped in a rust-red cloak and holds an infant close to her cheek. Along the right edge of the painting, two blond women and a young child gather around a table covered with a white cloth. The woman seated on the far side of the table wears a velvety, chocolate-brown gown with a white kerchief around her shoulders, and rose-pink fabric drapes across her lap. She faces us with her upper body turned to our right as she gazes up and to our right with one hand raised. A youth cradling a silver bowl filled with fruit stands behind her with his head also turned to look in the same direction. Along the rightmost edge of the canvas, a woman sits facing us, wearing a coral-red gown with one breast exposed along a low neckline. Blush-pink fabric patterned with teal-blue diamonds drapes over one shoulder and across her lap. She tilts her head to our right and gazes down at the child standing by her side. The child wears a silver-gray tunic and has closely cropped brown hair. The woman offers the child an orange fruit. An elderly, balding man with a long silver-gray beard and hair stands behind the woman, at the top of the group. His arms cross his chest while he bows slightly. Between the rocky outcroppings behind both groups, a grassy meadow stretches to a hazy blue mountain in the distance. A narrow stream runs across the painting just beyond the outcroppings. Several people at the far side of the stream flank a tall man with a long beard who stands facing us. He wears a full-length, brick-red robe with a black mantle draped over his head, across his arms, and down his back. A headdress over the mantle has peaks like a narrow crescent moon. To his right, our left, a man also wearing a red tunic and spruce-blue leggings bends down to place a gold circle or dish on a pile of other gold objects on the ground. Two women and two men stand clustered to his left, our right. The women wear blue-green robes, and the men have lead-gray cloaks. About twenty-five men and women along with two small children sitting on the ground create a band across the landscape beyond the group at the stream. They wear gold, aquamarine-blue, canary-yellow, and scarlet-red garments. To the left beyond this group, a crowd circles around a tall narrow structure supporting a gold-colored calf. The people look up at the animal while four women kneel in front, playing instruments. To our right, in the distance, four men and women sit around a cloth-covered table under a tent-like canopy. There are dishes on the table and a fifth person stands nearby, presumably serving the group. On a hill that rises steeply behind the tent, another group of four people recline in a similar canopied structure. At the center of the painting, between the tents and the group around the calf, a single bearded man with white hair walks toward our right in profile, the arm we can see extended. The landscape beyond the people has a lake lined with trees at the foot of the hazy mountain, which almost reaches the top of the composition. Finally, in the upper right corner, atop the rocky outcropping close to us, a person, seen from the waist down, kneels, wearing a rose-pink garment. Golden yellow flames flicker out around and behind the person.
Italian 16th Century, The Worship of the Golden Calf, c. 1594, oil on canvas, Samuel H. Kress Collection, 1939.1.180

The Worship of the Golden Calf

Italian 16th Century · c. 1594 · oil on canvas ·  Accession ID  1939.1.180

A winged angel strides toward a young woman who kneels at the foot of a bed, while an older, bearded man, surrounded by several winged babies and a dove, hover overhead in this vertical painting. All the people have pale skin. To our left, the blond angel steps forward on his right, sandaled foot. He holds a long stem with a white lily in his left hand, farther from us, and raises his other hand to the sky. His charcoal-gray wings are partly extended, and he wears long, flowing, goldenrod-yellow and sage-green garments with a green and blue striped sash wrapped around his chest. His lips are parted, and he looks toward the woman to our right. The woman, Mary, kneels at a wooden lectern that holds an open book near the foot of the bed. Pillows and a moss-green bed curtain are visible behind her. A cobalt-blue mantle drapes across her shoulders and wraps around her rust-red gown and caramel-brown shawl. Mary’s brown hair is partially covered by a golden brown cloth, and her dark eyes are lowered, looking down to our left. Her body is angled to our right, hands crossed over her chest, but her shoulders and head have begun to turn to look back at the angel. Almost lost in shadow, a translucent glass vase with a single stem of rose-red buds sits on the ground next to her. The floor is covered with geometric patterns in tones of brown, gray, and black. A balustrade under arched openings encloses the room beyond the bed. At the foot of one column, a striped cat laps from a saucer. Floating above the pair the bearded man looks down toward Mary, his hands and arms extended in front of him. He also wears a cobalt-blue robe over rose-pink sleeves. Two winged, nude babies cling to his outstretched arms, and also look down at Mary. A trio of three blond baby heads float around the white dove, which flies in a starburst of light. Midnight-blue wings frame each baby’s head. The entire group is surrounded by puffy, golden clouds. The landscape beyond the balustrade has lush green trees under a sapphire-blue sky sprinkled with clouds.
Veronese, Italian 16th Century, The Annunciation, c. 1583/1584, oil on canvas, Samuel H. Kress Collection, 1959.9.6

The Annunciation

Veronese, Italian 16th Century · c. 1583/1584 · oil on canvas ·  Accession ID  1959.9.6

Three men, one woman, and three camels gather around the stone ledge of a well in this horizontal landscape painting. Along the left edge of the composition and on the far side of the well, a man with brown skin and short, black hair faces away from us as he reaches for the reins of two camels, one of which looks at or toward us. This man wears an emerald-green shirt under a canary-yellow tunic, which is tied in place with a strap over one shoulder. With her back to that man, a woman with pale, white skin stands angled toward the two light-skinned men who stand to our right, in the center of the painting. Light falls across this trio, and the woman’s face is especially bright against the muted blues of the sky behind her. Her blond hair is braided and coiled at the back of her head. Her white shirt has puffy, short sleeves, and is covered with sheer, gold fabric, like a vest. Salmon-pink fabric wraps across her shoulders and under her bust, and the light glints off the folds of her full, pink skirt. She touches her left wrist, to our right, with her other hand, and wears bracelets on both arms. A copper-colored pot sits on the ledge next to her, to our left. She looks toward a man who kneels as he holds up a handful of gold coins or jewelry. His body is angled away from us, and we see him in profile facing our left, the bottom of his face hidden by his raised arm. He wears a tunic striped with fawn brown and white, and short, teal-green pants come to mid-thigh. His knees are bare, and he wears peach-colored, shin-high boots. A buttercup-yellow robe is tied over one shoulder and around his waist, and he wears a close-fitting green cap, the same color as his pants. Just beyond him, a balding man with a trimmed, gray beard leans toward and looks at the woman. He wears an apricot-orange tunic under an ocean-blue cape. He gestures with one hand to the gold and props his other hand on a tall walking stick. A camel behind him faces our right in profile with coral-pink fabric draped over its hump. The camel’s head is near a tree with a bush growing at its base. A chest with a rounded top sits near the tree. Another camel peeks its face into the scene from the upper right corner, and a fifth drinks from another copper-colored vessel in the lower right. Gray rocks are scattered on the earth along the bottom edge of the painting, and a stick leans against the side of the well close to us. Beyond the tree and the camels to our right, a town with oyster-white buildings lines the horizon in the distance. The sky above is streaked with navy blue, steel gray, tan, and mauve pink. The weave of the canvas is visible in some areas, especially the sky.
Veronese, Italian 16th Century, Rebecca at the Well, c. 1582/1588, oil on canvas, Samuel H. Kress Collection, 1952.5.82

Rebecca at the Well

Veronese, Italian 16th Century · c. 1582/1588 · oil on canvas ·  Accession ID  1952.5.82

Shown from the knees up, a seated woman is surrounded by an arch of disembodied, winged baby heads as she gazes down at an infant lying across her lap in this vertical painting. They all have pale, peachy skin, and are placed against a honey-gold background. The floating heads are all angled inward to face the woman. The woman sits on straw-yellow clouds that billow up from the lower right corner, and more clouds fill the upper corners around the floating heads. The woman and baby take up most of the canvas. The woman’s knees are angled to our left but her upper body turns to us. Her hands are together, fingertips touching and coming toward us. Her chestnut-brown hair is pulled back and gathered at the back of her head, and is covered by a translucent white veil that falls to her shoulders. Her shoulders and upper arms are wrapped in an ivory-white shawl over a fawn-brown dress with rose-pink sleeves. Pale yellow stars create a ring around her head, which tilts down as she gazes toward the child with large brown eyes. The plump baby lies on his back, with his head resting on the woman’s right leg, farther from us. He has short, brown hair with dark eyes looking straight up. The white cloth on which he lies wraps around his midsection and upper thighs. One hand rests on his belly and the other by his side, and his chubby knees are bent over the woman’s leg.
Jacopo Tintoretto, Italian 16th Century, The Madonna of the Stars, c. 1575/1585, oil on canvas, Ralph and Mary Booth Collection, 1947.6.6

The Madonna of the Stars

Jacopo Tintoretto, Italian 16th Century · c. 1575/1585 · oil on canvas ·  Accession ID  1947.6.6

Italian 17th Century, Italian 16th Century, The Triumph of Cupid, late 16th or 17th century, bronze, Widener Collection, 1942.9.232

The Triumph of Cupid

Italian 17th Century, Italian 16th Century · late 16th or 17th century · bronze ·  Accession ID  1942.9.232

Shown from the knees up, a seated woman and two winged, nude children gather at the center of this vertical painting. They all have pale, peachy skin. At the center of the composition, the woman, Venus, sits with her body angled slightly to our right as she turns her head back to our left, gazing into the distance with brown eyes under thick brows. She wears a jeweled headpiece over her upswept, honey-blond hair, and delicate ringlets frame her brow. Her cheeks are tinged with dusty rose-pink, and she has a long nose and a ruby-red, bow mouth. She wears an amber-yellow gown trimmed with white lace at the neckline. The short sleeve we can see is slashed to reveal cream-white fabric puffing out of the openings. A wide, gold chain inset with gleaming pale aquamarine-blue jewels the size of thumbprints drapes over her far shoulder and across her chest like a sash. She wears a pearl necklace and teardrop-shaped earrings, and more pearls and gems adorn the gold bracelets on her wrists. One child, in the lower right corner of the painting, stands in front of her with his back to us. He holds an arrow in his left hand, which he rests on the chocolate-brown cloth draped across Venus’s lap. He turns head to the right, and his face is partially obscured by one of his small, charcoal-gray and cream-white wings. Venus holds two ends of an off-white cloth tied around his head as a blindfold. Just beyond him is another person, visible from the hip up, who fills the height of the composition but is mostly cropped by the right edge. We see the left arm, shoulder, and edge of the hip as they stand with their back to us. The arm we can see is raised to hold what appears to be a metal bowl. On Venus’s opposite side, to our left, the second winged child stands on the ledge on which Venus sits. He leans one hand and his chin on Venus’s shoulder and gazes off to our right. He has chestnut-brown hair and eyes, and a round nose in a pudgy face. Loosely painted cranberry-red drapery hangs from the upper left corner and falls in cascading folds behind him. An azure-blue sky with tan clouds is visible beyond the drapes.
Italian 16th Century, Anonymous Artist, Venus Blindfolding Cupid, c. 1566/1570 or c. 1576/1580, oil on canvas, Samuel H. Kress Collection, 1952.2.12

Venus Blindfolding Cupid

Italian 16th Century, Anonymous Artist · c. 1566/1570 or c. 1576/1580 · oil on canvas ·  Accession ID  1952.2.12

Italian 16th Century, Nicola Vicentino, 1511-c. 1576, Composer and Musical Theorist [obverse], after 1561, bronze, Samuel H. Kress Collection, 1957.14.1103.a

Nicola Vicentino, 1511-c. 1576, Composer and Musical Theorist [obverse]

Italian 16th Century · after 1561 · bronze ·  Accession ID  1957.14.1103.a

Italian 16th Century, Harpsichord and Organ [reverse], after 1561, bronze, Samuel H. Kress Collection, 1957.14.1103.b

Harpsichord and Organ [reverse]

Italian 16th Century · after 1561 · bronze ·  Accession ID  1957.14.1103.b

Italian 16th Century, Cup with Allegorical Scenes and Shields of Este Arms, 1560s, bronze, Widener Collection, 1942.9.132

Cup with Allegorical Scenes and Shields of Este Arms

Italian 16th Century · 1560s · bronze ·  Accession ID  1942.9.132