Provenance

Denis Diderot

French, 1713 - 1784

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French Enlightenment philosopher writer and encyclopædist (1713–1784)

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A pale-skinned young girl leaning over a low fence and holding a broom gazes in our direction in this vertical painting. Her red hair is pulled back from her round face, and she has large hazel eyes under thin brows, a petite nose, and her coral-red mouth is slightly open. She is shown from the chest up, behind a wooden partition that spans the width of the painting. She wears a loose, ivory-white shirt under a garment with pumpkin-orange straps on the shoulders and chest. She leans forward with her elbows hooked over the partition as she holds a long-handled broom to her chest. A wooden pail with a bronze handle is overturned to the right of the broom. A blocky brown object to our left is difficult to make out. A dark brown semicircular object close to us in the center of the composition resembles the mouth of a well. Soft light from the upper left illuminates the girl and the left side of the caramel-brown wall behind her and throws the right side into shadow. A signature near the lower left looks like it had been painted on the inner edge of the well. It reads, “Rembrandt f. 1651.”
Dutch 17th Century, Carel Fabritius, A Girl with a Broom, probably begun 1646/1648 and completed 1651, oil on canvas, Andrew W. Mellon Collection, 1937.1.74

A Girl with a Broom

Dutch 17th Century, Carel Fabritius · probably begun 1646/1648 and completed 1651 · oil on canvas ·  Accession ID  1937.1.74

A man wearing armor, sitting astride a cream-white horse, drives a long lance down at a lizard-like dragon as a woman kneels with her hands in prayer in the landscape beyond in this vertical painting. Both people have pale skin and thin, gold halos floating above their heads. At the center of the composition, the man faces our left in profile as he looks down at the creature. The man has a straight nose and honey-brown hair under his gold-trimmed, pewter-gray helmet. Armor covers his entire body, and a celestial-blue cape billows behind him from where it fastens around his neck. A narrow, indigo-blue and gold band is tied around his left calf, and is inscribed with the word “HONI.” A black sword hangs from his left side. The horse is white with a silvery-white mane and tail. It rears on its hind legs as it turns its head to look at us with hazel-brown eyes. The horse wears a blue saddle and bridle, the same color as the man’s cape, trimmed with gold. A strap around the horse’s neck is painted in gold with the name, “RAPHELLO.” The rider thrusts his foot into the stirrup we can see as he plunges a lance down at the dragon under the horse’s front feet. The dragon has tawny brown skin with a mint green, dog-like head. It grips the earth with clawed feet as at pushes at the lance with one front foot. It twists its long, snake-like neck to look at the man with dark eyes. The dragon opens its pointed snout to show its teeth, and bat-like wings splay out. A tall outcropping over a cave rises along the left edge of the composition, behind the dragon. In a field a little farther back, to our right, the woman kneels with her body angled to our left. She tilts her head away from us and gazes past the man and horse. She has a straight nose, pale pink, bow-shaped lips, and her blond hair is pulled back in a bun. She wears a ruby-red dress and a sheer white wrap around her shoulders and across her arms. Around the woman, straw-yellow hills with bands of pine-green trees roll into the distance. Two terracotta-orange towers rise from a row of trees along the horizon. A few taller trees are outlined against the baby-blue sky, which lightens toward the horizon.
Raphael, Saint George and the Dragon, c. 1506, oil on panel, Andrew W. Mellon Collection, 1937.1.26

Saint George and the Dragon

Raphael · c. 1506 · oil on panel ·  Accession ID  1937.1.26

Six elegantly dressed, light-skinned women, a man with dark brown skin, and a person of short stature gather around a nude baby boy in front of a landscape with a town in the distance in this vertical painting. Attention is focused on the baby, held by a woman kneeling to our lower left, and on a woman wearing a silver and gold-colored brocade dress standing near the center of the painting. The central woman's dress is trimmed with gold and jewels. She wears a pearl necklace, and her blond hair is wrapped with pearls around a gold, jeweled tiara. She leans to our right, toward another woman with blond, pearl-adorned hair wearing a blue and white stripped dress with puffed sleeves. In front of that pair, and along the right edge of the painting, another woman with pearls in her hair bends over a person of short stature and gestures toward the baby. The person of short stature has brown hair over a high forehead and a tan complexion. He holds an instrument like a recorder and wears a navy-blue and crimson-red jester’s costume. Seen from the waist up in the lower left corner of the painting, the man with brown skin has close-cropped black hair and wears a marigold-orange garment. Looking onto the scene from the sunken riverbed, he gazes to our right in profile and holds a basket. Above him, the woman holding the baby looks at the woman wearing silver and gold. An older woman holds up a cloth, presumably to wrap the baby. Another person looks on over that woman’s shoulder, and two more women stand farther back to our left, apart from this group. Behind the main scene, a few spindly trees with feathery pine-green or harvest-yellow leaves extend off the top edge of the canvas. An arched bridge spans the river in the distance to the left and beyond a town is painted in blue and gray against rocky hills. Blue sky above is strewn with white clouds.
Veronese, The Finding of Moses, c. 1581/1582, oil on canvas, Andrew W. Mellon Collection, 1937.1.38

The Finding of Moses

Veronese · c. 1581/1582 · oil on canvas ·  Accession ID  1937.1.38

Shown from the knees up, a pale-skinned woman wears a wide, pleated collar and a black gown in this vertical portrait painting. Her body is angled to our left, and she looks at us from the corners of her light brown eyes. She has low brows, a straight nose, and her thin lips are closed. Her hair is pulled back under a pearl-white headdress at the back of her head, and a few tendrils curl alongside her face. Pearls hang from the ear we can see. The figure-eight pleats of the collar are as tall as her neck so her chin rests on it, and it is nearly as wide as her shoulders. A gold-colored corset comes down in a long U shape over her belly. Her black dress has puffed shoulders, and white lace extends back from the cuffs of the long sleeves. The full, black skirt flares out from her waist. She wears gold bracelets on both wrists. Her left arm, to our right, hangs down in front of her, and she wears a ring on the third finger of that hand. The back of a chair is at her other elbow, which is bent so she can rest a loose fist against her corset. She wears a gold ring on that index finger. The sides of the back of the chair are studded with brass bosses, and a gold-colored finial is at the front. The background is earthy brown.
Sir Anthony van Dyck, Portrait of a Flemish Lady, probably 1618, oil on canvas, Andrew W. Mellon Collection, 1940.1.14

Portrait of a Flemish Lady

Sir Anthony van Dyck · probably 1618 · oil on canvas ·  Accession ID  1940.1.14

A woman with pale, peachy skin wearing elegant gold and ink-black garments sits in front of a stone portico in this vertical portrait painting. Her red armchair is angled to our right, but the woman turns to look at us under cocked brows. She has high, rosy cheekbones and a long straight nose. Her pink lips curve up in a smile framed by the faint suggestion of dimples. Her brown hair is pulled back under a gold band or net, and a gold earring hangs from the ear we see. Her gold dress has a fitted bodice with a line of buttons down the front and puffy, brocaded sleeves. She wears the bodice over a white chemise, which comes nearly to the double strand of pearls worn like a choker around her neck. Frothy white lace surges up to encircle the back of her neck, and more lace stretches back along her forearms from the cuffs of her gold dress. The black cloak she wears over the dress splits over the sleeves and flares up behind the neck, echoing the lace. A long gold chain weaves back and forth across the open front of the black cloak, which is patterned with black on black. The woman wears a ring on her right hand, which rests in her lap and holds a white flower. The cloak stops at the woman’s knees to reveal a gold and red striped skirt. The woman’s other hand, farther from us, rests along the arm of the chair and holds an ostrich' feather fan with a silver handle. A scarlet-red curtain in the upper left corner above the chair gives way to a view into a courtyard lined with a portico along the right side. The portico has three openings separated by wide, horizontally ribbed columns. Ornamental shells, creatures, and people are carved into the face of the portico, and bright green trees are just visible through the openings. Gray and white clouds sweep across a vivid blue sky around the woman’s head.
Sir Anthony van Dyck, Isabella Brant, 1621, oil on canvas, Andrew W. Mellon Collection, 1937.1.47

Isabella Brant

Sir Anthony van Dyck · 1621 · oil on canvas ·  Accession ID  1937.1.47

Shown from the lap up against a dark background, a pale-skinned woman wearing a black dress looks out at us in this vertical portrait. Soft light coming from our left highlights her oval face, the peach blush on her cheeks, and her crisp white collar, cap, and cuffs. Her brown hair is pulled back under the cap that flares slightly over her ears and the wide, lace-trimmed collar covers her shoulders. She has dark eyes, a straight nose, and her pink lips are slightly parted. Her left arm, on our right, rests on a table covered with a rose-red patterned carpet next to two pieces of fruit, perhaps apples, and a book fastened with metal clasps. She rests her other arm on the arm of the wooden chair and holds a deep pink carnation the same color as the carpet. She wears a ring on the third finger of each hand. The artist signed the work with black paint against the dark background near the upper right corner: “Rembrandt. f.1656.”
Rembrandt van Rijn, A Woman Holding a Pink, 1656, oil on canvas, Andrew W. Mellon Collection, 1937.1.75

A Woman Holding a Pink

Rembrandt van Rijn · 1656 · oil on canvas ·  Accession ID  1937.1.75

Bibliography

1898

  • Nouveau Larousse Illustré. 7 vols. Paris, 1898-1904:3:721-713