Phillips

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Thomas Jones, Larici from the Convent of the Galoro, 1777, watercolor over graphite touched with gum arabic on laid paper, New Century Fund, 2002.80.1

Larici from the Convent of the Galoro

Thomas Jones · 1777 · watercolor over graphite touched with gum arabic on laid paper ·  Accession ID  2002.80.1

Shown from the hips up, a pale-skinned man with a Van Dyck beard stands with one hand on his hip in this vertical portrait painting. The man’s body faces our right almost in profile, but he turns his head to look at us from the corners of his brown eyes under lifted, black brows. The bridge of his nose is slightly flattened, and he has full pink lips, a pointed chin, and chin-length, wavy black hair. His mustache flares upward at the ends, and a line of hair grows down his chin. The wide brim of his hat would nearly have reached his shoulders, but it sits angled on the back of his head. Layers of white lace create a round collar resting on his chest over a black jacket. The coat is slashed over the chest and upper arms of the sleeves so the white shirt underneath is visible. The jacket is also partially unbuttoned over his torso. The cuff we can see reaches from his wrist along his forearm and is edged in lace. The back of that hand rests against that hip, and the cloth of a black cloak is bunched up around that hand. Black drapery fills most of the background but is pulled back to our right to reveal a landscape with a sunset-streaked sky.
Flemish 17th century, Jan Cossiers, Portrait of a Man in a Wide-Brimmed Hat, early 1630s, oil on panel, Ailsa Mellon Bruce Fund, 1969.2.1

Portrait of a Man in a Wide-Brimmed Hat

Flemish 17th century, Jan Cossiers · early 1630s · oil on panel ·  Accession ID  1969.2.1

Shown from the thighs up, a pale-skinned woman looks down and off to our left as she holds the pointed end of a dagger toward her chest in this vertical painting. Her lips are slightly parted, and her arms are spread wide as holds the hilt of the dagger in her right hand, to our left. Her hooded, dark brown eyes are rimmed with red. Her head tilts to our left, her pale lips parted. There are gray shadows at the corners of her mouth and along her jawline. Her brown hair is pulled back under a cloth covering painted with white flecks to suggest shiny thread or possibly jewels. She wears a long, tawny-brown gown with diaphanous sleeves. The bodice is laced up over a cream-white undergarment with a deep V neck and voluminous sleeves with unfastened cuffs near her wrists. She wears a large, teardrop-shaped pearl in the ear we can see and two necklaces. One necklace is a strand of pearls, and the other is a gold and possibly jeweled pendant with another teardrop pearl hanging from a cord. A gold belt drapes around her hips over a narrow waist. She is warmly lit from the upper left and set against an earth-brown background. The artist signed and dated the center left, “Rembrandt 1664.”
Rembrandt van Rijn, Lucretia, 1664, oil on canvas, Andrew W. Mellon Collection, 1937.1.76

Lucretia

Rembrandt van Rijn · 1664 · oil on canvas ·  Accession ID  1937.1.76

A group of pale-skinned men, women, and children along with a few horses and dogs form a loose line across a dirt road, which is flanked with rows of buildings on both sides that converge in the tree-filled distance in this horizontal painting. The scene is painted mostly with sage and moss green, peanut and caramel brown, cream white, and black. Most of the people wear hats or caps. The women wear long dresses and the men wear jackets and pants. One man wearing a black jacket with buttons down the front, and with white at the neck and cuffs, leans down from atop a black horse at the center of the group. Another man with a tall, cream-white, brimmed hat and white collar stands behind a dappled horse to our right of center. Men, women, and children, most wearing tattered and worn clothing, look on. One woman to our left holds a baby strapped to her back and others gather around the horses. A pair of men in front of a stone building to our right smoke long, white, tobacco pipes. Others peer out of the open door and windows. An illegible wooden sign hangs above the door. Leafy vines grow over parts of the building façade. To our left, a woman sits on the ground and holds a spindle as she winds wool with a spinning frame. A man leans down over her shoulder, and a child looks away from us, into a fenced enclosure in front of a building. People, horses, dogs, and chickens are scattered along the road into the distance, and a church steeple rises against the ivory-white clouds in the sky beyond. A partial inscription with the artist’s name and date appears in black paint in the lower right corner: “Isack van Os 164.”
Isack van Ostade, The Halt at the Inn, 1645, oil on panel transferred to canvas, Widener Collection, 1942.9.49

The Halt at the Inn

Isack van Ostade · 1645 · oil on panel transferred to canvas ·  Accession ID  1942.9.49