Provenance

Hall & Knight

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A kneeling woman and two nude, winged, child-like angels supporting her all look up at three angels on a cloud bank in this vertical painting. The woman and her attendants in the lower right corner take up half the composition, which is divided from the second group by a diagonal line of charcoal-gray clouds. All the people have pale skin with gray-tinged shadows and pink cheeks. The woman’s face is tipped up, her mouth open. Long, copper-red curls frame her face and fall down her back. An ochre-yellow robe falls off her shoulders to expose her breasts, and her legs are covered by a white shift. She holds both hands palm up. One arm drapes across the shoulders of an angel who hugs her waist. The other angel leans against the woman’s lap. These two and the other three angels all have gold or strawberry-blond curly hair and silvery gray or lavender-purple wings. In the clouds, one angel plays a violin, and another gestures with the first two fingers raised. Those two wear robes in laurel green, crimson red, or white. Another nude child-like angel sits on the clouds along the left edge of the painting, and a winged baby head is below. The groups are lit dramatically from the front and slightly to our left, so the setting is deep in shadow.
Giulio Cesare Procaccini, The Ecstasy of the Magdalen, 1616/1620, oil on canvas, Patrons' Permanent Fund, 2002.12.1

The Ecstasy of the Magdalen

Giulio Cesare Procaccini · 1616/1620 · oil on canvas ·  Accession ID  2002.12.1

Twelve people are gathered along a stone bench as a thirteenth, kneeling person washes the foot of a man seated in the center of the group in this horizontal painting. All the people have pale skin and wear togas and robes in ruby red, parakeet green, sky blue, pale lilac purple, or pumpkin orange. A faint gold halo encircles each head except for one person, near the lower right. At the center of the painting, the kneeling person, Jesus, faces our right in profile. He has blond, shoulder-length ringlets and a pointed beard. He wears a red, gold-trimmed robe over a white garment. He holds the lower leg of a seated man at the center of the group, and washes the foot in a gold-colored basin. That seated man looks down at Jesus, one hand flat against his own chest. He has short, curly white hair and a full beard. Other people sit and stand along the bench, which spans the width of the composition. Most have beards and look toward Jesus. One is cleanshaven and stands near the left edge of the painting. Another cleanshaven person sits just behind Jesus. A sheer veil is tucked into the squared neckline of that person’s garment, and the front is vertically pleated. The man without the halo sits near the lower right corner, and he looks at us as he points toward Jesus. He has a brown beard and short hair, and a pouch is tucked into the band tied around his orange robe. The floor in front of the group is cream white, as is the bench, which curves in a shallow U shape in front of us. A parchment-white stone building rises immediately behind the group, with columns rising off the top edge.
Garofalo, Christ Washing the Disciples' Feet, c. 1520/1525, oil on panel, Patrons' Permanent Fund, 2001.29.1

Christ Washing the Disciples' Feet

Garofalo · c. 1520/1525 · oil on panel ·  Accession ID  2001.29.1

A woman kneeling on the ground and leaning toward a wafer held out by a man in a brown robe is surrounded by three winged angels in this vertical painting. The scene is dramatically lit from the upper left, and the people all have light skin. The woman, Saint Mary of Egypt, takes up most of the lower right quadrant of the painting, and she faces our left in profile. Her skin is tinged with gray, and a tear rolls down her gaunt cheek. Her lips are parted as she leans toward the quarter-sized wafer. Her wavy, chestnut-brown hair cascades down her back. She is naked from the waist up except for a white cloth she loosely holds to her chest with her left hand, closer to us. Her other hand is lifted, palm up, and her lower body is wrapped in voluminous, cobalt-blue fabric. The man stands opposite her, to our left, and he leans toward her to offer the wafer with his right hand. He holds a gold plate with his other hand. He is balding with a thick beard and deeply creased face. He wears a patched brown robe and a string of thick beads around his neck. Below him, in the lower left, an angel kneels facing away from us, looking toward Saint Mary. Light shines on the angel’s blond ringlets and along the edges of long, white and dove-gray wings. The angel wears a saffron-yellow tunic. An orange sash flutters at the waist, and a white cloth wraps around the lower body but reveals bare shins and feet. A burning torch is held in one hand, to our right. Another angel with widespread wings hovers in mid-air behind Saint Mary and looks down at her. This second angel’s glowing white wings nearly span the width of the painting. One arm reaches for or braces Saint Mary and the other holds the other end of the cloth Saint Mary clutches to her chest. Dark blond ringlets lift away from the angel’s shadowed face, and folds of the coral-orange garment flutter around the body. A third angel looks on from under one lifted wing, along the right edge of the painting. That angel is seen from the shoulders up with fingertips touching, and has tousled copper-red hair. Two winged baby heads float above the scene and are set against the cream-white and ginger-brown clouds that billow in from the upper right and fill much of the sky. A sliver of royal-blue sky is visible in the upper left.
Sebastiano Ricci, The Last Communion of Saint Mary of Egypt, c. 1695, oil on canvas, Patrons' Permanent Fund, 2003.85.1

The Last Communion of Saint Mary of Egypt

Sebastiano Ricci · c. 1695 · oil on canvas ·  Accession ID  2003.85.1

Antonio Susini, Crouching Bather, late 16th or early 17th century, bronze, Gift of Robert H. Smith/Robert H. Smith Collection, 2022.181.31

Crouching Bather

Antonio Susini · late 16th or early 17th century · bronze ·  Accession ID  2022.181.31