Richard Grosvenor, 2nd marquis of Westminster

British, 1795 - 1869

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Shown from the waist up, a cleanshaven man with pale, peachy skin, wearing a black cap and a voluminous fur-lined, black cloak, is positioned behind a crimson-red ledge or tabletop in this vertical portrait painting. His head and torso nearly fills the composition. His body is angled to our left, and he looks off in that direction with dark brown eyes under faint eyebrows. His high cheeks are lightly flushed, and he has a pointed nose and a hint of a five o-clock shadow. His soft black cap has flaps that cover his ears. The wide, fur lapels of his black cloak nearly reach his shoulders. The sleeves of the garment beneath has a tan and black checked pattern, and a white undershirt peeks out at his neck and cuffs. A cross hanging from a heavy gold chain has black pearls in the cross of each arm and a teardrop-shaped black pearl hangs from the bottom. The cross has a hand on each short arm, two feet on the long leg, and a red circle at the center. The sitter’s left hand, on our right, rests on the red ledge holding a pair of gloves that are ivory white around the wrist and charcoal gray at the fingers. His right hand, father from us, rests in a loose fist near his other wrist. A folded piece of white paper with black writing lies to our left of the hands. It reads, “NVNQVID NON PAVCITAS DIERVM MEORVM FINIETVR BREVIS.” The background behind the man is mottled with rust brown and steel gray. Gold writing spans the background to either side of the man’s head, reading, “BRIANVS TVKS, MILES, ANO ETATIS EVAE LVII” along the top and “DROIT ET AVANT” below.
Hans Holbein the Younger, Sir Brian Tuke, c. 1527/1528 or c. 1532/1534, oil on panel, Andrew W. Mellon Collection, 1937.1.65

Sir Brian Tuke

Hans Holbein the Younger · c. 1527/1528 or c. 1532/1534 · oil on panel ·  Accession ID  1937.1.65

A winged angel strides toward a young woman who kneels at the foot of a bed, while an older, bearded man, surrounded by several winged babies and a dove, hover overhead in this vertical painting. All the people have pale skin. To our left, the blond angel steps forward on his right, sandaled foot. He holds a long stem with a white lily in his left hand, farther from us, and raises his other hand to the sky. His charcoal-gray wings are partly extended, and he wears long, flowing, goldenrod-yellow and sage-green garments with a green and blue striped sash wrapped around his chest. His lips are parted, and he looks toward the woman to our right. The woman, Mary, kneels at a wooden lectern that holds an open book near the foot of the bed. Pillows and a moss-green bed curtain are visible behind her. A cobalt-blue mantle drapes across her shoulders and wraps around her rust-red gown and caramel-brown shawl. Mary’s brown hair is partially covered by a golden brown cloth, and her dark eyes are lowered, looking down to our left. Her body is angled to our right, hands crossed over her chest, but her shoulders and head have begun to turn to look back at the angel. Almost lost in shadow, a translucent glass vase with a single stem of rose-red buds sits on the ground next to her. The floor is covered with geometric patterns in tones of brown, gray, and black. A balustrade under arched openings encloses the room beyond the bed. At the foot of one column, a striped cat laps from a saucer. Floating above the pair the bearded man looks down toward Mary, his hands and arms extended in front of him. He also wears a cobalt-blue robe over rose-pink sleeves. Two winged, nude babies cling to his outstretched arms, and also look down at Mary. A trio of three blond baby heads float around the white dove, which flies in a starburst of light. Midnight-blue wings frame each baby’s head. The entire group is surrounded by puffy, golden clouds. The landscape beyond the balustrade has lush green trees under a sapphire-blue sky sprinkled with clouds.
Veronese, Italian 16th Century, The Annunciation, c. 1583/1584, oil on canvas, Samuel H. Kress Collection, 1959.9.6

The Annunciation

Veronese, Italian 16th Century · c. 1583/1584 · oil on canvas ·  Accession ID  1959.9.6

We hover low over a body of choppy water in front of several rowboats filled to capacity with light-skinned men jostling and fighting each other amid larger wooden ships in this horizontal painting of a naval battle. The water transitions from tan and pale green near us to sage green in the background. A few of the men are bare-chested but most wear a wide range of colorful military uniforms or the full-sleeved shirts of sailors. A few vignettes within the bustling, action-filled boats draw our attention. For instance, at the center of the hubbub, two men wearing white shirts lean over the stern of a crowded boat, pulling two submerged men out of the water. Three other men float nearby, only their heads peeking above the water. In the same boat, another rescuer reaches for a man in the water, while yet another has pulled an unconscious or lifeless man into his arms. That rowboat bumps into several others filled with men weilding swords, long muskets, and perhaps spears. Much of the activity swirls around two men who stand in the boats to our right. One man wearing a fawn-brown uniform with gold embellishments, a white neck cloth, and a brown hat with red feathers brandishes a sword as he seizes the shirttails of a man wearing blue. The man in blue steps into another boat and clutches the mast as he raises his own sword up over his head. With eyes and mouth wide open, he looks over his shoulder toward the man in brown. Boats to our left are also filled with men but they sit in orderly rows. One man wearing a rust-orange suit and white plumed hat holds a sword in front of his body and raises his other pointer finger. A man blows a long horn behind the standing man. Other rowboats fill the space behind these, and surround three large wooden, ornately carved and decorated ships beyond. The carved insignia of the rightmost ship looms close to us along the right edge of the canvas; boats swarm around another ship in the distance at center; and flame and smoke billow from the ship to our left.
Benjamin West, The Battle of La Hogue, 1778, oil on canvas, Andrew W. Mellon Fund, 1959.8.1

The Battle of La Hogue

Benjamin West · 1778 · oil on canvas ·  Accession ID  1959.8.1