Edward Steinkopff

British, 1837 - 1906

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A woman sits in the center of this vertical panel painting and gazes down at a baby lying across her lap while two winged angels hold up a red, gold, and black brocade-like patterned cloth behind her. All the people have pale skin, pink cheeks, blond hair, and flat, gold halos. The woman’s body is angled slightly to our right, and she holds her hands crossed over her chest as she gazes down at the baby. The woman has a straight, pointed nose and a small, pink-lipped mouth. Her azure-blue robe covers her head and drapes over much of the crimson-red dress beneath. The edge of the robe and cuff of her dress are trimmed in gold. The baby lies with his arms slightly raised, and he looks up at the woman. His hips and legs are wrapped with sheer white cloth. The angels in the upper corners of the panel both wear robes in the same azure blue of the woman, and the garments have a gold band around the high waist and gold around the neckline. They look at the woman and hold up the cloth that falls behind and under her and the baby.
Fra Angelico, The Madonna of Humility, c. 1430, tempera on panel, Andrew W. Mellon Collection, 1937.1.5

The Madonna of Humility

Fra Angelico · c. 1430 · tempera on panel ·  Accession ID  1937.1.5

We look down onto a grass-topped promontory that gives way to a vast, hazy river valley in this horizontal watercolor. A dozen men, women, children, and babies rest in small groups or work near grapevines to our right on the promontory. They all have pale, peachy skin and wear garments in off white, royal blue, pink, beige, or gray. Rakes, barrels, cloth, and other equipment are piled to our left. The land dips steeply down beyond the pile to a slender, tall white tower. Opposite it, to our right, a grove of tall, spindly trees partially hides a brown stone, crenelated tower. The land drops steeply down from there to a deep, wide river valley. Flanking the waterway, mounded hills mottled with harvest yellow, laurel green, and pinkish-beige lighten to icy blue in the distance. Buildings tucked among the hills and ships on the river are suggested with indistinct strokes or scratches on the paper, and a few tufts of smoke rising from chimneys or smokestacks. The horizon comes two thirds of the way up the composition. A white glow across the center of the sky deepens to lapis blue at the edges. The artist signed and dated the lower right corner, “JMWT 1840.”
Joseph Mallord William Turner, Oberwesel, 1840, watercolor and gouache over graphite with scratching-out, Paul Mellon Fund, 2007.77.1

Oberwesel

Joseph Mallord William Turner · 1840 · watercolor and gouache over graphite with scratching-out ·  Accession ID  2007.77.1