Provenance

Cardinal Joseph Fesch

French, 1763 - 1839

Explore Selected Works

An armored man riding a white horse cuts his scarlet-red cloak in half using his sword in this loosely painted, vertical panel. The horse walks angled to our left, and a kneeling, bare chested person to the right holds both hands up and grips the other end of the cloak. A woman, a bearded, bald man, child, and baby are clustered behind the kneeling man. The baby sleeps in the woman’s arms, but she and the other child look up at the man on horseback, Saint Martin. The end of a staff or crutch and a shallow wooden bowl are by the kneeling person’s feet. Saint Martin’s silver armor gleams with gold decoration. He and all the others have pale, peach-toned skin. Saint Martin has chin-length, curly brown hair and wears a red cap with a white feather. Two more people on horseback are behind Saint Martin, and the trio rides under an arch twined with some brown vines. A church is visible in the distance through the arch.
Jan Boeckhorst, Saint Martin Dividing His Cloak, c. 1640/1645, oil on panel, Ailsa Mellon Bruce Collection, 1970.17.107

Saint Martin Dividing His Cloak

Jan Boeckhorst · c. 1640/1645 · oil on panel ·  Accession ID  1970.17.107

Five men and two women gather around an infant in a landscape in this vertical painting. The people all have pale or peachy skin with delicate facial features. Halos, like gold rings, float behind each head. All the men but one have beards, and most of the people’s lips are parted. The pudgy baby, Jesus, lies nude on a white cloth on the grassy ground near the bottom center of the composition. Three people kneel around and look down at him. To our left, a man wearing a fur-lined, powder-blue tunic under a rose-pink robe crosses his arms to touch opposite shoulders. A tall staff with a gold cross at the top rests in one elbow. Just behind Jesus, a woman wearing a gold crown and sage-green and pink robes holds a palm frond in one hand and extends the other over the baby. To our right, Mary wears a gold diadem and an apple-red dress. The cloak billowing behind her shoulders and fluttering to our right is emerald green on one side and silvery blue on the other. She also crosses her hands over her shoulders. Four men stand behind the group. Starting behind Mary, to our right, a man faces our left in profile. He holds a tall staff in one hand and points at Mary with the index finger of the other. The next man looks at the first with his hand held by his own face, the first two fingers splayed over his beard near his mouth. Next, another man looks down at Jesus with his hands together in prayer by the shoulder farther from us. These three men wear robes in canary yellow, burnt orange, dark blue, vivid green, or raspberry pink. The fourth man, along the left edge of the painting, is nude except for a coral-orange and yellow cloth tied around his hips. He has short brown hair and is cleanshaven. The feathered ends of three arrows project from his torso and three more wounds on his neck, shoulder, and thigh trickle blood. He holds an arrow by his side with one hand and reaches out with this other to hold the first two fingers and thumb up over Jesus. A gray stone building rises along the right edge of the composition behind the group. A person wearing a white tunic, red robe, and a straw-colored hat climbs a set of stairs there. That person holds a long staff over one shoulder and carries a lamb by the animal’s four legs in the other. In the sky above the main group, a bearded man a triangular halo over gray hair floats among about a dozen winged, child-like angels on a cloud bank. The man holds up one hand in blessing and holds an orb topped with a cross in the other hand. A bank of winged baby heads clusters in the distance, farther along the cloud bank. A few people, tiny in scale, sit or walk through the landscape, which leads back to ice-blue, craggy mountains. Cream-white and muted blue clouds fill the sky above. The artist signed the work as if he had left an inscribed tablet near Jesus. It reads, “M.D.XXXIIII. PERINO BONAC CORSSI FLORENTIN OPVS FACEBA.” The letters of the artist’s name, PERINO, are then combined into two monograms.
Perino del Vaga, The Nativity, 1534, oil on panel transferred to canvas, Samuel H. Kress Collection, 1961.9.31

The Nativity

Perino del Vaga · 1534 · oil on panel transferred to canvas ·  Accession ID  1961.9.31

Golden light from the upper left illuminates an assortment of vegetables, fish, and live and dead animals arranged among kitchen pots, pans, and bowls in this vertical still life painting. The animals and objects are displayed on three levels, each of which takes up about a third of the composition. Starting at the top: the body of a light brown hare lies over the front edge of a stone ledge, which is draped with a rumpled forest-green, gold-edged cloth. A large golden-brown fowl hangs upside down, its feet tied and the string looped over a nail on the dark brown wall behind the still life. The fowl’s cream-white wings are outstretched, and its head rests along the hare’s body. Five birds with feathers of golden yellow, white, black, and apple red lie in a pile to the left of the hare. A live peacock stands on the green cloth to the right, looking down at the other animals. Its long, caramel-brown tail is closed and is dotted with eyes that look like shiny black buttons. The next level down is made up of a short barrel next to a small wooden stool or table. A butterscotch-brown rooster is perched on the barrel among red onions. A copper bowl overflowing with dark green artichokes and leafy greens sits on the stool to our right. The bottom zone has objects and animals across the ginger-brown floor. To our left, a chicken or rooster stands facing away from us as it looks to our right toward a tall, sealed jug and two dark brown pots. Just behind the pots a gleaming copper bowl is propped up at an angle so we see coral-pink fish inside. The bowl leans against a lustrous brass basin and jug with a duck standing in front of it. A radish, lemon, a couple more fish, and two lobsters lie on the floor or are tucked between the pans and bowls. The space opens onto another dimly lit room beyond the still life, in the upper right corner of the painting. In that room, a woman wearing a long skirt and a white cap is backlit against a rectangular window opening filled with pale blue sky. A spark of orange to our left could be a fire on a raised hearth or stove.
Anton Maria Vassallo, The Larder, probably c. 1650/1660, oil on canvas, Samuel H. Kress Collection, 1961.9.91

The Larder

Anton Maria Vassallo · probably c. 1650/1660 · oil on canvas ·  Accession ID  1961.9.91

Four people with pale skin are gathered to our right in a landscape, their heads bowed down toward an infant who lies on a white cloth on the ground in this horizontal painting. The nude baby has a rounded belly, chubby limbs, and short blond hair. To our right and near the edge of the panel, a woman kneels with her hands in prayer, looking toward the baby so she faces our left in profile. She wears a lapis-blue robe over a rose-pink dress, and a white cloth covers her head and shoulders. Behind her and to our left, a man with a white beard, wearing a golden yellow robe, sits or kneels next to a rock at the mouth of a cave cut into a rocky outcropping that extends off the top of the composition. To the left of the baby and at the center of the foreground, a pair of men wear tattered clothing and hold shepherd’s staffs. The man closer to us kneels with his hands pressed together in prayer as the man behind him bends his knee as if to kneel. The landscape recedes deep into the distance on the left half of the painting with a winding river, houses and other buildings, grassy hills, and mountains beneath a blue sky. A small winged angel wearing white looks down on the scene from the upper left corner.
Giorgione, The Adoration of the Shepherds, 1505/1510, oil on panel, Samuel H. Kress Collection, 1939.1.289

The Adoration of the Shepherds

Giorgione · 1505/1510 · oil on panel ·  Accession ID  1939.1.289

Bibliography

1839

  • Fesch Inventory, Rome, Archivio di Stato, Archivio dei Notari Capitolini, UIfficio 11, Not. Augusto Appollinj.

1841

  • Camuccini, V. and G.B. Borrani, eds. Catalogue des tablesux composant la Galerie de Feu Son Eminence le Cardinal Fesch. Rome, 1841

1957

  • Thuillier, J. "Les tableaux du Cardinal-oncle." L'Oeil 34 (October 1957):32-41

1965

  • Le Blanc. "La Collection du Cardinal Fesch au Musée d'Ajaccio." La Revue Française 179 (August 1965):69+

1967

  • Carrington, C. Apollo 96 (November 1967):346-357

1970

  • Blumenthal, Arthur R. Bulletin of Elvehjem Art Center, University of Wisconsin (1970-1971):14+

1977

  • Wynne, Michael. "Fesch Paintings in the National Gallery of Ireland." Gazette des Beaux-Arts 89 (January 1977):1+