Provenance

Adar Picard Tajan

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A man and woman on horseback are on a strip of land also occupied by livestock, dogs, and seven other people in front of a body of water and towering cliff in this horizontal landscape painting. The couple on horseback is in the lower left quadrant of the composition, and they both have pale, peach-toned skin. The man’s silvery-white horse pulls its head down and back toward its front legs, mouth open. The man sits with one hand holding the reins and the other planted on his hip, palm facing out. He wears a white cloth tied around his neck, a tan-colored jacket, loose, nickel-gray pants, knee-high brown boots, and a wide-brimmed, peanut-brown hat with plumes of mauve-purple feathers. The man has shoulder-length, dark, curly hair and a goatee. A curved horn hangs from a strap looping across his torso, and a scarlet-red cloth is bunched over the saddle. Behind the white horse, the woman’s brown horse faces us. The woman wears a dark yellow dress with white sleeves and a white cloth along the neckline. Her hair is loose under a wide-brimmed, brown hat with dark yellow and white feathers. A falcon perches on her glove-covered hand. The mounted man talks to another man who stands next to the white horse. That man also has peach-toned skin, holds a lance, and wears a dark, royal-purple coat. A clean-shaven, pale-skinned young man sits and hunches toward two dogs at his feet in the lower left corner of the picture. Two more men wearing long robes stand a short distance away behind the boy. One has their back to us and the other, facing us, has dark brown skin and wears a turban. He holds one hand out, palm up. The person on this side sits in a boat near the left edge of the painting, looking off in that direction. He has dark, peach-colored skin and also wears a turban and robe. Six dogs spaced across the picture from the left edge to the mounted couple have brown or black fur with white spots. In the lower right corner of the composition, a person wearing tattered brown and red clothes sits facing away from us next to a cow and two sheep, all of whom lie down. The cow looks in our direction, head held low. Three goats mill about, and two sheep lie in a pile by the water’s edge as two men coax another goat onto a rowboat already laden with at least two cows. A two-masted sailing ship sits askance in low water to the right. A sailboat edges into the scene from the right edge, and a ship with sails unfurled sails near the cliff face to the right. That rocky outcropping comes almost halfway across the picture and is painted in tones of earthy brown and marine blue. Blocky structures along the top of the outcropping are hazy in the distance. The body of water stretches back to the horizon, where there are more outcroppings on the right and a church tower on the left. Mounds of white, puffy clouds against a vivid blue sky fill the top three-quarters of the composition behind the rock formations.
Nicolaes Pietersz Berchem, View of an Italian Port, early 1660s, oil on canvas, Gift of Robert H. and Clarice Smith, in Honor of the 50th Anniversary of the National Gallery of Art, 1990.62.1

View of an Italian Port

Nicolaes Pietersz Berchem · early 1660s · oil on canvas ·  Accession ID  1990.62.1

A jumble of pewter plates and a pitcher, glass goblets, a gold chalice, a brass candlestick, and other vessels along with lemons, olives, and the remains of a mince pie are arranged on a cream-white tablecloth bunched on a dark green tabletop in this square still life painting. The scene is painted almost entirely in shades of cool grays, gold, brown, and white against a deep beige background. The objects span width of the canvas across its center. At the left edge of the painting, a vibrant yellow lemon has been cut so its rind curls in a spiral that hangs over the front edge of the table. Behind the lemon, a scissor-like candle snuffer is propped against the wide ledge of the tall brass candlestick, its white candle nearly burned down. A few glistening olives sit in a small pewter plate, and one olive sits on the tabletop near the lemon and candlestick. A glass goblet with a wide stem with textured knubs rests upended on an elaborately chased, gold, footed vessel that has been tipped over so its wide shallow bowl faces away from us. The tall pewter pitcher behind this is dented on its rounded body. The lidded gold chalice next to the jug is the tallest object in the painting. Next to the chalice, along the right half of the painting, is a glass oil cruet with a long, curving spout, a tall, cylindrical vessel holding a small pile of salt, and a straight-sided, low glass holding beer. In front of these objects, an untouched bread roll and knife sit on a pewter plate at the center of the composition. The remains of the mince pie with its pastry crust sit on a large pewter plate to our right. In front of it is a smaller plate holding a broken goblet and a piece of black and white paper rolled into a cone. A few empty oyster shells sit on the table to the left and right, near the lemons and mince pie. The artist signed and dated the painting along the edge of the white cloth near the lower right corner: “HEDA 1635.”
Willem Claesz Heda, Banquet Piece with Mince Pie, 1635, oil on canvas, Patrons' Permanent Fund, 1991.87.1

Banquet Piece with Mince Pie

Willem Claesz Heda · 1635 · oil on canvas ·  Accession ID  1991.87.1

We look slightly down onto a rocky, natural stone arch next to a cave opening, both perched on a high, grassy cliff in front of a shimmering, aquamarine-blue body of water in this horizontal landscape painting. The arch is situated to our left of center, and the cave beyond the gaping opening extends off the left side of the canvas. In tones of ash and caramel brown, the jagged arch and outcroppings are lit from our left so deep shadows are cast along crevasses to our right. Shadow also sweeps across the emerald-green grass at the base of the arch and cave. A few more serrated rocks poke out of the water like teeth far below, to our right, presumably at the base of the cliff on which we are situated. To our left, the rocky shoreline juts into the water in the distance in front of mauve-purple mountains in the deep distance along the horizon, which comes about halfway up this composition. Tiny in scale, minuscule, triangular white sails dot the waterway. Similarly tiny white birds fly high above the water. Pale, petal-pink and white clouds line the horizon beneath a sky that deepens from light turquoise over the clouds to the same aquamarine blue of the water below.
William Stanley Haseltine, Natural Arch at Capri, 1871, oil on canvas, Gift of Guest Services, Inc., in Honor of the 50th Anniversary of the National Gallery of Art, 1989.13.1

Natural Arch at Capri

William Stanley Haseltine · 1871 · oil on canvas ·  Accession ID  1989.13.1