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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

The sculpture is a bust of a man from the chest up. His hair is slightly wavy and pulled back from his face. He has high cheekbones, deep-set eyes, a straight nose, and thin lips in a neutral expression. He wears a pleated tunic or shirt with a shawl or cloth draped over one shoulder and a wide strap over the other shoulder. The material of the sculpture is off-white, with some areas of light gray. The bust is mounted on a simple, rounded pedestal.”
Jean-Antoine Houdon, George Washington, 1786/1793, plaster, Gift of Robert L. McNeil, Jr., in Honor of the 50th Anniversary of the National Gallery of Art, 1991.199.1

George Washington

Jean-Antoine Houdon · 1786/1793 · plaster ·  Accession ID  1991.199.1

Shown from the chest up, a pale-skinned, clean-shaven man looks off to our left against a moss-green background in this vertical portrait painting. The man’s shoulders and face are angled to our left, and he looks up and in that direction with silvery-blue eyes under flat, thin brows. The end of his short nose is slightly flattened, and his thin, pale pink lips are pressed together in an uneven line. He has the suggestion of a cleft chin set in a square jaw. Auburn-brown, wavy, chin-length hair and bangs frame his face under a black floppy cap. His dark garment has a high neck and falls in vertical folds down his chest. The earthy green background darkens around the edges. The artist signed and dated the painting, 1516, near the top right corner with a monogram of a capital letter D tucked between the wide, long legs of a capital A.
Albrecht Dürer, Portrait of a Clergyman (Johann Dorsch?), 1516, oil on parchment on fabric, Samuel H. Kress Collection, 1952.2.17

Portrait of a Clergyman (Johann Dorsch?)

Albrecht Dürer · 1516 · oil on parchment on fabric ·  Accession ID  1952.2.17

A man and two winged angels support the limp body of a muscular, nearly nude man, Jesus, who is perched on the end of a tomb in this wide, horizontal painting. The people all have nearly white-colored skin faintly tinged with green. Jesus’s knees and body are angled very slightly to our left, and his head hangs down in that direction with his eyes and lips closed. He has a beard and long blond hair and a delicate gold halo. White cloth wraps around his shoulders and upper arms and another across his hips, and blood trickles from a gash over his right ribs. The man supporting him is bearded and wears a sapphire-blue turban and a raspberry-red robe. He looks at us from over Jesus’s left shoulder, to our right, and he supports Jesus’s torso with both hands. Both angels have blue robes over amethyst-purple garments visible only at the necklines and cuffs, long blond hair, gold halos, and wings shaded with pastel blue, yellow, and pink. They each support one of Jesus’s arms near the elbows. The angel to our left looks up at Jesus and holds one end of the white cloth that wraps around Jesus’s shoulders. The other angel looks down and holds a ring of thorns. The fabric separates Jesus’s body from the man and angel’s touch for all four hands. Jesus’s legs are shown from the mid-thigh up against the dark opening of the rectangular tomb. The area behind the group is dark within a rocky outcropping painted with shades of caramel and ash brown.
Filippino Lippi, Pietà (The Dead Christ Mourned by Nicodemus and Two Angels), c. 1500, oil (and possibly tempera) on panel, Samuel H. Kress Collection, 1952.5.86

Pietà (The Dead Christ Mourned by Nicodemus and Two Angels)

Filippino Lippi · c. 1500 · oil (and possibly tempera) on panel ·  Accession ID  1952.5.86

A mostly nude man hangs by his outstretched hands from a wooden cross, and is flanked by two pairs of people in this vertical painting. The cross and four people at its foot fill the composition. All the people have pale skin, and the scene is set in front of a shiny gold background. Blood trickles from a ring of thorns around the man’s head, over chestnut-brown hair. Eyes closed, his face tips to his right, our left, to rest on his shoulder, and his body faces us. His hips are wrapped in a translucent white cloth. Blood drips from the nails piercing his hands and overlapping feet on the T-shaped cross, and from a wound over his right ribs. His head is encircled with a flat, gold, disk-like halo. A plaque at the top of the cross, over his head, reads “INRI.” At the foot of the cross, to our left, a balding man with a long, white beard, wearing a gold brocade tunic under a red cape, kneels with his head tipped back and eyelids lowered. Behind him and to our left, a woman wearing a long lapis-blue robe that covers her head and body stands facing us with her hands crossed across her chest. She holds a piece of white cloth and has tears on her cheeks. She also has a gold halo. Another man kneels to our right of the cross. He wears a white robe and his hair is cut into a ring that encircles his head. He looks up at the cross. Along the right edge of the panel, a person with long blond hair surrounded by a halo stands with fingers interlaced in prayer, looking toward the cross. This person’s robe is rose pink lined with olive green, and it falls over a coral-pink garment beneath. Five tiny angels wearing royal-blue garments flit about, each catching the blood from the man’s hands, side, and feet in golden chalices. The fifth angel flits to our right, mirroring the angel catching blood from the gash on the opposite side. The angels’ wings were punched into the gold background, but are difficult to make out now. The surface of the panel is covered with a network of fine cracks, and some of the red layer under the gold shows through.
Master of Saint Veronica, The Crucifixion, c. 1400/1410, tempera on panel, Samuel H. Kress Collection, 1961.9.29

The Crucifixion

Master of Saint Veronica · c. 1400/1410 · tempera on panel ·  Accession ID  1961.9.29

This round portrait painting shows the head, face, and the top of the shoulders of a young, blond boy with pale, peachy skin and flushed cheeks, facing our right in profile against a tan background. Light comes from behind us and to our left, so the boy’s cheek, jawline, and ear are brightly lit as he looks straight ahead, to our left. He has long, dark eyelashes, a turned-up nose, and his full, coral-pink lips are closed. The cheek we see is deeply flushed along the curve, near the nose and mouth. His short, light brown hair is highlighted with gold strands where it catches the light. A long tendril falls down past his chin on the far side of his face. He wears a fitted jacket, perhaps of brown velvet, stitched along the seams in a lighter golden color. The narrow, white ruff encircling his neck above the jacket is pleated to create a pattern of figure-eights. The background is lighter to our right and deepens to a brownish olive green to our left. The portrait is somewhat loosely painted with visible brushstrokes.
Judith Leyster, Young Boy in Profile, c. 1630, oil on panel, Gift of Mrs. Thomas M. Evans, 2009.113.1

Young Boy in Profile

Judith Leyster · c. 1630 · oil on panel ·  Accession ID  2009.113.1

A half-peeled pomegranate, a few nuts, a bunch of purple grapes, and a glass of pale yellow wine sit on the corner of a stone ledge against a dark background in this vertical still life painting. The corner of the chipped gray ledge is close to and lines up with the lower left corner of the painting. Two hazelnuts sit near the front of the ledge, and a twig with three more nuts in papery husks are attached to a twig. Behind that, the flaring cup of the wineglass is made up of flat panels, which are inwardly scalloped along the upper edge, like an upside-down badminton shuttlecock. The stem is made of intertwining ropes of clear and black glass. At the lower center of the composition, the glistening, scarlet-red seeds of the pomegranate contrast with the rust-orange rind. Another twig of hazelnuts is between the pomegranate and the bunch of frosty purple grapes. The vine and a broad, dark green leaf arches over the grapes and pomegranate. The objects are brightly lit from our left against a charcoal-gray background. Molding under the ledge can be made out in the shadows across the bottom edge of the painting. Closer inspection reveals tiny water droplets on the stone ledge and the pomegranate. The artist signed and dated the painting in cursive text on the front face of the ledge, near the lower right corner: “J: Walscappel 1675.”
Jacob van Walscapelle, Still Life with Fruit, 1675, oil on panel, Juliet and Lee Folger/The Folger Fund, 2001.71.1

Still Life with Fruit

Jacob van Walscapelle · 1675 · oil on panel ·  Accession ID  2001.71.1

This painting is a still life featuring several objects arranged in a line. On the far left is a red apple with its stem toward us. Next to it is a transparent glass goblet with a hint of golden liquid inside. To the right of the glass is a blue plate with a large yellow apple next to what look like dark red dates or raisins. Resting beside the plate is a thin brown twig with green leaves. Farthest to the right is a small round yellow cake with white frosting, decorated with a pink dot in the center of the frosting and four green ovals around it. The surface these objects rest on is light gray, and they cast dark shadows, indicating light coming from the left. The wall behind the objects is mostly black, which transitions into a lighter gray color on the far-right side of the painting.
Raphaelle Peale, Still Life with Apples, Sherry, and Tea Cake, 1822, oil on wood, Collection of Mr. and Mrs. Paul Mellon, 2014.18.35

Still Life with Apples, Sherry, and Tea Cake

Raphaelle Peale · 1822 · oil on wood ·  Accession ID  2014.18.35

A tall goblet made with a spiraling nautilus shell on a gold and silver stem, a blue and white lidded, porcelain bowl, an orange, a cut lemon, and a bunched up, woven rug are gathered on a tabletop in front of a black background in this vertical still life painting. Light falling on the objects from our left contrasts sharply with the deep shadow beyond, which makes some details difficult to make out. The objects might be gathered on a silver tray. At the center of the composition, the flagon is made with a shimmering, ivory-colored nautilus shell with its wide opening facing up. The stem is made of gold bands coiling around a silver figurine, which is nearly lost in shadow. To our right, a white porcelain bowl has a rounded bottom and tall sides. It is painted with blue designs around a raised relief showing two people in crimson-red and harvest-gold garments. A utensil sits in the bowl to our right, and the lid, which has a finial in the shape of an animal, rests angled upward, partially in the bowl and partially on the stem of that utensil. A translucent, cylindrical knife handle protrudes toward us, angled to our right, in front of the bowl. A rug with a geometric pattern of rust red, tan, and pine green is bunched next to the bowl, along the right side of the painting. To our left of the nautilus cup, an orange with a stem and green leaves sits next to a bright, glistening lemon at the foot of the cup. Between the two pieces of fruit, the vivid yellow lemon rind has been peeled into a long, curling strip that curves off the front edge of the table.
Anonymous Artist, Still Life with Nautilus Cup, 1665/1670, oil on canvas, Gift of Robert H. and Clarice Smith, 1974.109.1

Still Life with Nautilus Cup

Anonymous Artist · 1665/1670 · oil on canvas ·  Accession ID  1974.109.1

A bearded man with copper-blond hair and flushed, peachy skin stands on a stone-gray pedestal and gestures toward a group of five more men gathered before him in this square painting. Some of the men are light-skinned, others are tan. The man on the platform, Decius Mus, stands with his ruddy face turned to our right in profile, his muscular right arm raised and right foot extended. He wears a knee-length toga, and form-fitting armor covers his torso. A sword hangs from his waist, and a scarlet-red cape flaps behind him. Piled against the pedestal in the lower left are spears, battle axes, a silvery-gray shield covered with gold lightning bolts, and an ornate crested helmet. In the upper left corner, an eagle with one wing extended hovers behind Decius Mus’s head, clutching long peach and straw-colored strands in its talons. The other five men stand clustered together on the ground to our right, facing Decius Mus. They are also bearded and muscular, and each holds a golden staff topped with a different symbol. They wear knee-length tunics and cloaks in brick red, olive green, black, or tan, and three wear armor protecting their upper bodies. Calf-high, brown boots cover their feet but leave their toes exposed. The man closest to us has gray hair and stands with his back to us. A parchment-brown animal skin speckled with brown spots covers the back of his head and wraps around his armor and tunic. The man just beyond him, to our left, faces us and holds a gold staff topped with an eagle set within a round laurel wreath. The rest of the men stand in profile, filling the right side of the composition, and they lean in toward Decius Mus. Two of them wear crested helmets, one olive green, the other charcoal gray, both with gold ornamentation on the front. The man in the gray helmet holds aloft a flag painted with vertical swipes of scarlet red and ginger brown. A sketchily painted landscape beyond the group has trees with dark brown trunks and sage-green leaves along the left edge, leading back to a line of trees in the distance. Rolling, teal-blue land along the horizon could be hazy mountains. The powder-blue sky above is scattered with butter-yellow and light gray clouds. The scene is loosely painted, especially in the costumes and background.
Sir Peter Paul Rubens, Decius Mus Addressing the Legions, probably 1616, oil on hardboard, transferred from wood and canvas, Samuel H. Kress Collection, 1957.14.2

Decius Mus Addressing the Legions

Sir Peter Paul Rubens · probably 1616 · oil on hardboard, transferred from wood and canvas ·  Accession ID  1957.14.2

Bibliography

1934

  • "Ehrich-Newhouse History Related." Art News 32 (9 June 1934):10.

  • "Art Firms Merge." Art Digest 8 (15 May 1934): 8.