Haskard Bank

active late 19th - early 20th century

Explore Selected Works

Shown from the waist up, a pale-skinned young woman with tawny-brown hair wears a sapphire-blue gown in this vertical portrait painting. Her body is angled slightly to our right, and she turns her head back to our left to gaze down in that direction with dark blue eyes under thin brows. A delicate wash of petal pink tinges her cheeks on either side of a slender nose over small, pale rose lips, which are closed. Shadows mark the hollows of the temples in her high forehead, the hollows of her high cheeks within her broad face, and the corners of her eyes. Her hair is coiled and wound round with a blue ribbon, which together cross over the top of her head. Her gown has voluminous, puffy sleeves and a low, squared neckline edged with black. The vertically pleated white chemise under her gown covers her chest, and a white cuff peeks out from the sleeve we see. That arm, on our left, rests in front of her on a slate-blue ledge. She holds a tightly folded piece of flax-brown fabric clutched in that hand. Black letters on the face of the ledge read, “LVCRETIAE.SVMARIAE.EFFIGIES.”
Ridolfo Ghirlandaio, Lucrezia Sommaria, c. 1510, oil on panel, Widener Collection, 1942.9.23

Lucrezia Sommaria

Ridolfo Ghirlandaio · c. 1510 · oil on panel ·  Accession ID  1942.9.23

A man and two winged angels support the limp body of a muscular, nearly nude man, Jesus, who is perched on the end of a tomb in this wide, horizontal painting. The people all have nearly white-colored skin faintly tinged with green. Jesus’s knees and body are angled very slightly to our left, and his head hangs down in that direction with his eyes and lips closed. He has a beard and long blond hair and a delicate gold halo. White cloth wraps around his shoulders and upper arms and another across his hips, and blood trickles from a gash over his right ribs. The man supporting him is bearded and wears a sapphire-blue turban and a raspberry-red robe. He looks at us from over Jesus’s left shoulder, to our right, and he supports Jesus’s torso with both hands. Both angels have blue robes over amethyst-purple garments visible only at the necklines and cuffs, long blond hair, gold halos, and wings shaded with pastel blue, yellow, and pink. They each support one of Jesus’s arms near the elbows. The angel to our left looks up at Jesus and holds one end of the white cloth that wraps around Jesus’s shoulders. The other angel looks down and holds a ring of thorns. The fabric separates Jesus’s body from the man and angel’s touch for all four hands. Jesus’s legs are shown from the mid-thigh up against the dark opening of the rectangular tomb. The area behind the group is dark within a rocky outcropping painted with shades of caramel and ash brown.
Filippino Lippi, Pietà (The Dead Christ Mourned by Nicodemus and Two Angels), c. 1500, oil (and possibly tempera) on panel, Samuel H. Kress Collection, 1952.5.86

Pietà (The Dead Christ Mourned by Nicodemus and Two Angels)

Filippino Lippi · c. 1500 · oil (and possibly tempera) on panel ·  Accession ID  1952.5.86

Benozzo Gozzoli, The Raising of Lazarus, mid 1490s, oil (?) on canvas, Widener Collection, 1942.9.24

The Raising of Lazarus

Benozzo Gozzoli · mid 1490s · oil (?) on canvas ·  Accession ID  1942.9.24

Bernhard Strigel, Saint Mary Salome and Her Family, c. 1520/1528, oil on panel, Samuel H. Kress Collection, 1961.9.89

Saint Mary Salome and Her Family

Bernhard Strigel · c. 1520/1528 · oil on panel ·  Accession ID  1961.9.89

Bernhard Strigel, Saint Mary Cleophas and Her Family, c. 1520/1528, oil on panel, Samuel H. Kress Collection, 1961.9.88

Saint Mary Cleophas and Her Family

Bernhard Strigel · c. 1520/1528 · oil on panel ·  Accession ID  1961.9.88