Provenance

Artemis Fine Arts Inc.

Artemis Fine Arts Inc., New York
Artemis Fine Arts S.A.R.L.

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Shown from the thighs up, a light-skinned man and woman gesture dramatically, partially covered only by colorful lengths of loosely draped fabric in this horizontal painting. To our left, the man stands with his lean, muscled body facing us but he turns his face to our right in profile to look at the woman with his chin dropped. His thick, dark hair is brushed back. He has a long, straight nose and his lips are parted. His left arm, on our right, is raised to shoulder height, elbow pointed out at the woman, and that hand is clenched in a fist in front of his chest. His other arm is slightly bent at his side, that hand also balled into a fist. A narrow, vivid cobalt-blue cloth winds and flutters around his body from behind him to our left, over the raised arm, and across his hips. To our right, the woman stands with her back to the man, and she looks back over her right shoulder. Her copper-red hair blows back from her face, lifting off her shoulders. She has light brown eyes under lowered brows, and the corners of her pink lips are pulled slightly down. She wears a teardrop-shaped pearl earring from the ear we can see and a headdress wrapped with more pearls at the back of her head. Her body is pale, soft, and rounded. Her arms bend at the elbows to cross in an X-shape in front of her bare breasts. With her left hand, closer to the man, she points an index finger at him. Around her body swirl two layers of satiny draperies, the outer one a honey orange, and an inner layer in dusty pink. Both people are lit from our right brightly enough to create deep shadows. Behind them, a bed at hip height has ivory-colored linens and a dark green drapery hanging to each side. The space recedes into darkness beyond the bed, contrasting with the brightness of the people.
Guercino, Amnon and Tamar, 1649-1650, oil on canvas, Patrons' Permanent Fund, 1986.17.1

Amnon and Tamar

Guercino · 1649-1650 · oil on canvas ·  Accession ID  1986.17.1

We stand on a beach lined with black rocks and boulders looking out onto the water below a brick-red sky that dominates this nearly square landscape painting. The sky along the top edge of the canvas is turquoise but it quickly fades to rich, salmon pink and then to deep red along the horizon, which comes only a quarter of the way up the composition. Steel-gray clouds ripple across the width of the painting. Two sailboats float in the water in the far distance. The water is painted the same turquoise of the sky with some reflections of the deep pink and red. Close to us, water breaks around the jagged black rocks beyond the a strip of mustard-yellow and tan sand that lines the lowest edge of the canvas. The artist signed the work in dark red paint in the lower left corner: “G. Courbet.”
Gustave Courbet, The Black Rocks at Trouville, 1865/1866, oil on canvas, Chester Dale Fund, 2011.51.1

The Black Rocks at Trouville

Gustave Courbet · 1865/1866 · oil on canvas ·  Accession ID  2011.51.1

A nude woman with pale pink skin reclines under cream-white sheets in a bed as she reaches for the cloak of a man with light skin standing in front of the bed, who leans away with arms raised in this horizontal painting. The mattress runs along the bottom edge of the canvas, and the man is shown from the knees up. The woman’s bare torso faces us, hips stacked, as she turns her face to our right in profile, looking at the man. She props her body up with her right elbow, to our left, on a mauve-pink pillow. With that hand, she clutches the end of the man’s royal-blue cloak. With her other hand, she reaches with palm up across the body of the man toward his face. Her strawberry-blond hair is pulled back under a muted red ribbon, woven with pearls, and gathered at the nape of her neck. Soft curls frame her forehead and temple. A teardrop pearl earring dangles from her right earlobe. Her nose is long and slender, and her small, pale peach lips are slightly parted. The man’s body is angled toward the woman, to our left, but he twists and leans away, to our right. With elbow raised, he grips her extended forearm with his right hand, to our left. He raises his other arm with his palm out. He looks up with brown eyes under raised brows. His mouth is open and his head tipped sharply away from the woman so his chin-length, wavy, brown hair hangs by his face. He wears an ochre-yellow, thigh-length tunic over a white shirt. A thin olive-colored belt is tied in a bow at his waist. His vivid blue cloak wraps over his right upper arm, farther from us, around his torso and hips, and is pulled by the woman. Rose-pink, shiny curtains frame the scene in the upper corners, and beyond, the background is swallowed in shadow.
Guercino, Joseph and Potiphar's Wife, 1649, oil on canvas, Patrons' Permanent Fund, 1986.17.2

Joseph and Potiphar's Wife

Guercino · 1649 · oil on canvas ·  Accession ID  1986.17.2

This painting shows a man standing, his body and head slightly turned to the right. He has fair skin, arched eyebrows, round green eyes, a long nose, thin pink lips, a long brown beard, and a thin brown mustache. He wears a black flat-topped cap and a dark robe with puffed sleeves and lacy white details around the cuffs and neck. A gold ring with a green stone is on his left forefinger. He stands next to a wide window with a yellow sill, and in the background there is a landscape with dark green trees, green fields, a rustic house, and a faint person standing next to a horse, all under a blue sky.
Hans Mielich, A Member of the Fröschl Family, c. 1539/1540, oil on panel, Gift of David Edward Finley and Margaret Eustis Finley, 1984.66.1

A Member of the Fröschl Family

Hans Mielich · c. 1539/1540 · oil on panel ·  Accession ID  1984.66.1

This is a print of a detailed interior scene with people in a cave-like environment. There is a contrast between the illuminated faces of the people near the entrance on the left and the people clustered in the deeper, darker parts of the cave on the right. In the center of the cave, a low wall appears to extend, trapping the people on the right into a dark, confined area. On top of this wall are small statues of people in different positions holding different objects, like long horns or scepters. Some of the statues have large wings. These statues cast shadows on the wall to the far right. To the left of center, a hanging brazier casts light on the left side of the print, below which a group of men in robes seem to converse together. Behind them is the arched opening of the cave, and beyond it we can see three distant people standing together against a pale sky. There is Latin text above and below the print.
Jan Pietersz Saenredam, Hendrik Hondius I, Plato's Cave, 1604, engraving on laid paper, Ailsa Mellon Bruce Fund, 1983.61.1

Plato's Cave

Jan Pietersz Saenredam, Hendrik Hondius I · 1604 · engraving on laid paper ·  Accession ID  1983.61.1

The image depicts a close-up drawing of a person's head and part of the shoulders, with a frontal view. The facial features are delicately rendered, including prominent eyes, a straight nose, and closed lips. The hair is styled in loose waves framing the face. The drawing is monochrome with shades of gray. There are no clothing details, jewelry, or objects. The background is plain, with a textured appearance similar to the drawing paper.
Sir Godfrey Kneller, Anthony Henley, before 1694, black chalk heightened with white chalk on brown laid paper, Ailsa Mellon Bruce Fund, 1981.95.1

Anthony Henley

Sir Godfrey Kneller · before 1694 · black chalk heightened with white chalk on brown laid paper ·  Accession ID  1981.95.1

The image shows a seated figure in a classical architectural setting. The figure is sitting on an elevated platform with one foot resting flat and is holding a scroll. They wear draped garments and have short curly hair, looking intently at the scroll. Four smaller male figures surround the seated figure, appearing like statues with muscular builds and posed with hands above their heads. Other figures below seem to be interacting. The image has a label with the word "IOEL" and is framed by architectural elements like arches and columns. The background includes shaded areas and architectural details.
Giorgio Ghisi, The Prophet Joel, early 1570s, engraving on laid paper, Ailsa Mellon Bruce Fund, 1985.57.5

The Prophet Joel

Giorgio Ghisi · early 1570s · engraving on laid paper ·  Accession ID  1985.57.5

The artwork depicts the upper bodies of two people, positioned closely together. The main figure is a man seated prominently in the center, looking forward with a calm expression. His hair is styled in soft curls, framing his face. He is wearing a coat with a fur collar over a high-collared shirt and holding an open book with one hand and a small quill in the other. Resting their head on the man's shoulder is a young boy, whose face is partially visible, his expression pensive and his hair swept to the side. The child is wearing a collared shirt and gazes intently at the book. This scene is set within a circular frame, giving an impression of a window or a portal, with a subtly textured background.
Valentine Green, Benjamin West and His Son Raphael Lamar West, 1775, mezzotint with engraving on laid paper, Paul Mellon Fund, 2001.96.7

Benjamin West and His Son Raphael Lamar West

Valentine Green · 1775 · mezzotint with engraving on laid paper ·  Accession ID  2001.96.7

The image depicts a male figure in a seated position, facing forward. The figure is drawn in a dynamic pose, with their torso turned slightly to the left. The person's head is tilted to the right, looking upwards. The face shows defined features such as cheekbones, a jawline, and a nose. The person has short to medium wavy hair. The figure appears muscular and is drawn nude. The right hand holds a large rectangular object, while the left arm extends outward with the hand pointing forward. There are no visible accessories or items being held. The background is a plain blue-gray textured surface, with the figure and objects outlined in a reddish-brown hue.
Carlo Maratta, A Seated Man Holding a Tablet, red chalk with white heightening on blue laid paper, Gift of Mrs. Rudolf J. Heinemann, 1988.5.1

A Seated Man Holding a Tablet

Carlo Maratta · · red chalk with white heightening on blue laid paper ·  Accession ID  1988.5.1

The image shows a man's face, depicted with long, wavy hair flowing past his shoulders. He has a serene expression, wide eyes looking directly at the viewer, a straight nose, and a slightly parted mouth. He has a neatly trimmed beard. The face has droplets of sweat or tears on the forehead and cheeks. It is imprinted on a piece of cloth tightly hung on a frame with a wreath of thorns below. The background is simple fabric within a rectangular border, presented in sepia tone.
Nicolas de Plattemontagne, The Veil of Saint Veronica, engraving on laid paper, Ailsa Mellon Bruce Fund, 1998.34.2

The Veil of Saint Veronica

Nicolas de Plattemontagne · · engraving on laid paper ·  Accession ID  1998.34.2