Provenance

Julius H. Weitzner

1896 - 1984

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See all 16 works of art
A nearly nude, muscular man with pale, peachy skin sits in an underground cave among seven male and two female lions in this horizontal painting. The man sits to our right of center with his legs crossed, elbows close to his body with hands clasped by his chest. His head tips back to look up through a small opening above. He has long, wavy, chestnut-brown hair and dark eyes. A white cloth wraps across his hips, and he sits on a scarlet-red swath of fabric draped up over a rock next to him. The nine lions stalk, sit, or lie down around the man. One male lion next to the man, to our left, opens his mouth with his head thrown back, curling tongue extended beyond long fangs. A human skull and other bones are strewn on the dirt ground close to us. The rocky cave curves up around the animals and man to a narrow, round opening showing blue sky above.
Sir Peter Paul Rubens, Daniel in the Lions' Den, c. 1614/1616, oil on canvas, Ailsa Mellon Bruce Fund, 1965.13.1

Daniel in the Lions' Den

Sir Peter Paul Rubens · c. 1614/1616 · oil on canvas ·  Accession ID  1965.13.1

We look across river at a bridge with a city skyline beyond in this stylized, horizontal landscape, which is painted entirely with broad, visible brushstrokes in vivid, saturated colors. The river spans nearly the width of the canvas, and the riverbank is lined to our left with a row of several buildings between us and the bridge. Those buildings are outlined with royal blue and filled in with mostly flat areas of color in coral pink, mint green, tangerine orange, and pinkish tan. Letters across the top of the building farthest from us reads “BREVER.” Eight boats are tied up at the foot of the buildings. The pointed hulls of three extend into the scene from the lower left corner, painted in marigold orange and outlined in cobalt blue. Five more boats, with rounded prows and hulls and painted with lapis blue and muted aqua, line up like a row of empty shoes. The bridge runs from behind the tallest building to our left across and off the canvas, and is painted with deep lapis blue with crimson-red Xes crisscrossing the span to suggest trestles. The front faces of the pilings below are also highlighted with red. The river fills most of the bottom half of the painting. The water to our left is painted as a field of coral pink with a few, short horizontal baby and cobalt-blue strokes, suggesting reflections of the boats and a bridge piling. A narrow band of kiwi green and sky blue lines the pink field to our right. Next to it, the water is painted as short, horizontal, disconnected strokes and dots mostly in bumblebee yellow with some strokes in bubblegum pink and pale burnt orange, all against the off white of the canvas below. The final zone, to our right, is more densely painted with short dashes in indigo, turquoise, and aqua blue. Beyond the bridge, the skyline is painted in silhouette with spiky spires to our left in mint green and a mass of shorter buildings in periwinkle blue to our right. Four clouds of pale yellow billow off the bridge in front of the skyline. The sky above is painted with short and long vertical strokes of butter yellow, rose pink, pale orange, and a few areas of watermelon pink. The artist signed the work with cobalt-blue paint near the lower left corner: “a derain.”
André Derain, Charing Cross Bridge, London, 1906, oil on canvas, John Hay Whitney Collection, 1982.76.3

Charing Cross Bridge, London

André Derain · 1906 · oil on canvas ·  Accession ID  1982.76.3

A young woman with long blond hair kneels in front of a crowd of about two dozen people, mostly men, under a heavenly group on cloudbanks overhead in this vertical painting. They all have pale or tanned skin. At the bottom center, the young woman, Saint Margaret, kneels facing us as she tips her head down and to our right, her fingertips pressed together in prayer. Her cloak shimmers from pale yellow to coral red over an olive-green gown edged with sapphire blue. A thin gold halo floats over her loose, waist-length hair. A muscular, bare-chested man to our right unsheathes a sword as he twists toward Saint Margaret. An armored man to our right rests one hand on a white and gold shield, which pins dragon to the ground. Another man is on horseback in the crowd beyond, and the rest appear to stand. Some hold halberds and spears. A rocky outcropping rises to our left, and a gray building is in the distance to our right. A woman holding a baby, Mary and Jesus, and two bearded men sit in a cloud bank in the top half of the picture. One man holds an oversized key and the other a sword. They and the people below wear robes and cloaks in tones of golden yellow, royal blue, dark rose pink, or shades of gray and brown. A winged angel holding a crown of leaves and a palm frond flies between the two groups, and more blond-haired angels hover above. Two baby-like putti scatter flowers over Mary. The artist signed the work in the lower left corner as if he had written his name on a rock. It reads, “IOSEPHVS CAESAR ARPINAS.”
Giuseppe Cesari, Martyrdom of Saint Margaret, c. 1608/1611, oil on panel, Gift of David Edward Finley and Margaret Eustis Finley, 1984.4.1

Martyrdom of Saint Margaret

Giuseppe Cesari · c. 1608/1611 · oil on panel ·  Accession ID  1984.4.1

A nude, muscular, pale-skinned man sits on a rock in front of a deep, shadowy landscape in this vertical painting. Most of the man’s body is silhouetted against the sky, and he nearly fills the picture. His body faces our right almost in profile, and he turns his head to look away. He has short black hair and a moustache and beard. The rest of his face is in shadow. He rests his left arm, farther from us, along a spear that spans the composition from the lower right corner to the upper left. He grips the spear with the other hand. One knee is bent so his foot is propped on the stone just below his seat. The other leg, closer to us, stretches long. He sits on a pine-green cloth draped over the rock. Bands of brown and then blue rocky hills line the horizon, which comes a quarter of the way up this composition. Steel-gray and white clouds fill the sky above.
Théodore Gericault, Nude Warrior with a Spear, c. 1816, oil on canvas, Chester Dale Collection, 1963.10.29

Nude Warrior with a Spear

Théodore Gericault · c. 1816 · oil on canvas ·  Accession ID  1963.10.29

A wooden, T-shaped cross, with a man nailed to its crossbeam, is raised so it stands vertically as men and women look on against a grassy, hilly landscape in this horizonal painting. The painting is made up of three parts: a vertical rectangular panel at the center and a tall, narrow rectangular panel to each side. The people all have pale, ruddy, or tanned skin. The cross is being pushed up from behind by two men with poles and pulled up on the front side by three men pulling on two ropes. The man on the cross, Jesus, is nude except for a white cloth across his hips. Blood trickles from nails holding his hands in place, the single nail driven through both feet, and a ring of thorns across his forehead. His long brown hair hangs down over his shoulder, and he has a full, trimmed beard. His red-rimmed eyes slope downward as he looks down to the crowd below. His mouth is closed. The people in the crowd at the base of the cross wear dresses, robes, and turbans in shades of ruby red, grass green, lapis blue, pale yellow, carnation pink, and bright white. Three men push and pull on the base of the cross, driving it into a hole dug in the dirt ground. Eleven men and one child look on from our left, some with gaping mouths. One of the two men pulling on one of the ropes to our right wears tattered blue clothing, and his toes poke out of the shoe we can see. The other man there is barefoot and has a prominent hooked, red nose and a pointed beard. A red cowl covers his head over a tunic striped with lemon yellow and brown. An inscription on that man’s sleeve reads, “OHAIR.” Two men stand in the lower left corner of this panel. One looks at the cross and the other looks out at us, while pointing up to Jesus. Two human skulls and other bones litter the ground around the cross. Two more wooden crosses and some rope lie on the ground near us. Two dogs romp together nearby, next to a coat of arms showing a crowned man wearing a red robe and holding two pointed staffs. In the panel to our left, a woman wearing an azure-blue robe, Mary, interlaces her fingers and flips her hands palm-down, as she looks at the ground. Another woman in front of her kneels and holds her interlaced hands up by her face, elbows high. A woman and a cleanshaven man stand near Mary, and to our left, a woman wearing emerald green holds a cloth with Jesus’s face on it. Four more men and women look on, the women crying. In the panel to our right, a man in a red robe and a man wearing armor sit on horses. The armored man gestures up at Jesus. Two more men sit on horses behind this pair, and six stand among and in front of the group. Two men sit, one with his hands tied behind his back, near the lower right corner of this panel. The bound man is bald and looks down. The man behind him has a brown beard and hair, and looks up at Jesus. Across all three panels, the scene takes place on a smooth, dirt ground. Grassy hills rise beyond the cross to higher peaks in the left and right panels. Paths or roads wind into the distance to a town on the horizon, which comes about two-thirds of the way up the composition. Hazy in the distance, a city wall encloses steeples and buildings, and a bridge spans a body of water leading up to the city. Gray clouds begin to tumble across the sky from our right. The sky is nearly white along the horizon and deepens to watery blue along the top edges of the panels.
Master of the Starck Triptych, The Raising of the Cross [center, left, and right panels], c. 1480/1490, oil on panel, Patrons' Permanent Fund, 1997.100.1.a

The Raising of the Cross [center, left, and right panels]

Master of the Starck Triptych · c. 1480/1490 · oil on panel ·  Accession ID  1997.100.1.a

This painting displays a woman standing upright, turned towards the left. The woman holds a sword vertically, with one hand on the hilt, the long blade pointed downward. She has long blonde hair that falls past her shoulders under an intricate crown. She has fair skin, pale, arched eyebrows, round eyes, and small red lips, and her facial expression is neutral. She wears a red robe over a red dress with a black belt at the waist and a faint pattern of flowers and vines. By her feet appears to be a broken piece of curved wood with thin spokes pointing upward, similar to a broken piece of a wheel. The background is black, and the ground is gray.
Master of the Starck Triptych, Saint Catherine [right wing exterior], c. 1480/1490, oil on panel, Patrons' Permanent Fund, 1997.100.1.b

Saint Catherine [right wing exterior]

Master of the Starck Triptych · c. 1480/1490 · oil on panel ·  Accession ID  1997.100.1.b

Master of the Starck Triptych, Saint Barbara [left wing exterior], c. 1480/1490, oil on panel, Patrons' Permanent Fund, 1997.100.1.c

Saint Barbara [left wing exterior]

Master of the Starck Triptych · c. 1480/1490 · oil on panel ·  Accession ID  1997.100.1.c

A pale-skinned young woman with copper-orange hair, wearing a turquoise-blue robe, stands in a pastel-infused landscape in this stylized, vertical painting. The woman fills most of the left half of the composition. She faces our right in profile with her head bowed as she looks down at the silver and brown box she holds in her right hand, closer to us. Her body angles away from us so we see her back. Her hair is held back under a gold-colored headand, and her blue robe falls over a white skirt. Beyond her, rocky mountains in ice blue and pale lilac purple span the horizon, which comes about three-quarters of the way up the painting, beneath a pale, rose-pink sky. An area of mottled parchment-white to our right of the person could be a field. Along the bottom edge of the canvas, rounded and organic shapes in scarlet red, turquoise, lapis blue, golden and lemon yellow, and pumpkin orange could be abstracted earth or flowers at the woman’s feet.
Odilon Redon, Pandora, 1910/1912, oil on canvas, Chester Dale Collection, 1963.10.56

Pandora

Odilon Redon · 1910/1912 · oil on canvas ·  Accession ID  1963.10.56

The image shows a man from the waist up. He is slightly turned to the side, with a serene expression. He has short, swept-back gray hair, sideburns, and visible lines on his face. The man is wearing a dark suit, white high-collared shirt, and a white cravat. A chain, possibly a watch fob, is visible on his suit. There is a red detail, possibly a ribbon or handkerchief, in his breast pocket. The background is plain dark brown.
Antoine-Jean Gros, Dr. Vignardonne, 1827, oil on canvas, Chester Dale Collection, 1963.10.154

Dr. Vignardonne

Antoine-Jean Gros · 1827 · oil on canvas ·  Accession ID  1963.10.154

A crowned man holding up a sword lunges toward another man who wears a helmet and holds up both hands in this vertical painting. This happens in front of a long banquet table set with a rumpled white cloth. About a dozen people react or cling to each other on the far side of the table and more gather farther in the background. Most of the people have pale, peachy skin and wear tunics, robes, and dresses in shades of celestial and sky blue, pale yellow, forest green, peach, or white. The man holding the sword has a furrowed brow, and his lips are parted. He wears a molded yellow breastplate over seafoam-green, knee-length tunic. A marine-blue cloak patterned with a gold design wraps loosely around his shoulders, and he wears toeless, shin-high sandals on bare legs. A white pearl earring hangs from the ear we can see, and more pearls are on his breastplate. He holds the sword up with his right hand, farther from us, and holds the sheath with the other. He steps to our left, toward the man who wears royal-blue armor with gold trim, including a gold lion’s head at the shoulder. His silver helmet has gold decorations and a fluffy sky-blue feather. He faces our right so his face is in shadow, but his mouth is open. He steps onto his right leg, closer to us, as he leans back with his hands raised. A vivid red cloth flutters from his shoulders to his knees. The table behind this pair is on a platform with five steps. A man lies on the green and white checked floor on our side of the steps with his head coming toward us. He grips an urn with one arm and holds his other hand out. One foot is raised and the other knee bent so that foot is on the ground. Silver urns, trays, and a chalice sit on the steps to our right. Two people in the crowd on the far side of the table stand out. One is an ashen-faced woman wearing a crown to the left, who clutches another woman as she looks at the conflict. The other person is to the right and has dark brown skin and short, dark hair. That person wears an iron collar around the neck over a white pleated shirt and a sage-green vest edged in gold. The space behind the table is enclosed with a person-high wall topped with thick, dark green columns. A man to our left stands above the melee and reaches for another person, presumably to rescue them from the chaos. The space beyond opens into a tall, light-filled, white stone-clad space where people line balconies. Several spears and the tops of people’s heads indicate another group on the far side of the wall. A green curtain is pulled up into the top right corner of the composition.
Donato Creti, Alexander the Great Threatened by His Father, probably 1700/1705, oil on canvas, Samuel H. Kress Collection, 1961.9.6

Alexander the Great Threatened by His Father

Donato Creti · probably 1700/1705 · oil on canvas ·  Accession ID  1961.9.6