Dutch and Flemish Paintings

On View: West Building, Main Floor

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110 artworks on view.

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In this vertical painting, a woman stands near the corner of a dimly lit room, facing our left in profile and looking down at a balance she holds suspended in her right hand over a wooden table. She wears a peacock-blue velvet jacket with a white hood and fur lining, and a voluminous, mustard-yellow skirt. A window near the upper left corner is partially covered by a canary-yellow curtain. Light coming in through that window falls on the pale skin of the woman's face and hands, and highlights the white trim of her garment. Her left hand, closer to us, rests on the edge of the table near two open boxes, and a blue cloth is bunched at the back of the table to our left. Gold chains and pearl strands drape over the edge of one box. The woman stands in front of a framed painting. Much of the detail is lost in shadow but at the top center of the painting, a person surrounded by a golden halo floats in the sky with both arms raised, and is flanked by people encased within a bank of clouds. Nude people on the ground below in the painting, seen to either side of the woman, writhe, twist, and point upward.

Woman Holding a Balance

Johannes Vermeer

c. 1664

Oil on canvas  Accession ID  1942.9.97

On View: West Building Main Floor, Gallery M50
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A windmill stands on a promontory cutting into a waterway under a partially stormy sky in this square landcape painting. The promontory and mill are painted in muted tones of brown and rust orange, while steel-gray and white clouds encircle a topaz-blue sky above. The promontory juts into the scene from our left, and the front of the windmill is angled to our right so its golden-tan sails catch the light. Silvery water winds around the base of the promontory and extends to a dark green, shadowy bank on the far side. A boat in the lower right corner of the composition is rowed by a man wearing a red jacket and cap. A path runs to the water’s edge from the left edge of the painting, in front of the promontory’s retaining wall, which is shored up with stones or panels. A person in dark clothing close to the windmill seems to rest their arms on the retaining wall, their back to us. Closer to us, a woman holds a child’s hand as they walk down the path to the bank. A bearded man with tattered brown clothes and bare feet stands leaning against the wall near a woman wearing burnt-orange garment. She sits or kneels at the water’s edge in front of a basket of clothes and holds up a brown cloth. The olive-green forms of the trees on the far bank are reflected in the water, and closer inspection reveals two cows near the water there. Charcoal-gray clouds pile up along the left of the painting and span the top edge. There is a brilliant blue sky beyond and a screen of white clouds near the horizon, which comes about a third of the way up the canvas.

The Mill

Rembrandt van Rijn

1645/1648

Oil on canvas  Accession ID  1942.9.62

On View: West Building Main Floor, Gallery M48
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Shown from about the knees up, a pale, smooth-skinned woman in a fur-lined yellow jacket looks out at us as she sits writing at a table in this vertical painting. The woman’s body faces the table to our left. She turns her head to gaze at us from the corners of her dark gray eyes under faint brows. She has a wide nose, and her pale lips are closed. Her light brown hair is pulled back and held in place with white bows, and gleaming teardrop-shaped pearl earrings dangle from her ears. Her lemon-yellow jacket is trimmed with ermine fur, which is white with black speckles, at the cuffs and down the front opening. A full, elephant-gray skirt falls to the floor beneath the jacket. Both hands rest on the table, and she holds a quill in her right hand, farther from us, on a piece of paper. She leans forward in her wooden chair. The back panel of the chair is covered in black fabric and lined with brass studs. Two gilded finials, carved into lions’ heads, face the woman’s back with mouths open. The table is covered with a celestial-blue cloth crumpled near the left edge of the canvas. On the table are a strand of pearls, a pale yellow ribbon, and a black box with three brown panels studded with pearls around silver keyholes. Two pewter gray vessels are visible just beyond it, in front of a second chair, which faces us. On the putty-gray wall behind the woman, a framed painting hangs in the upper left quadrant of the composition. The painting-within-the painting is done in muted tones of brown and shows a cello and other unidentifiable objects.

A Lady Writing

Johannes Vermeer

c. 1665

Oil on canvas  Accession ID  1962.10.1

On View: West Building Main Floor, Gallery M50
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Shown from the elbows up, a young person with pale skin and brown hair wearing a wide, scarlet-red hat sits in front of a tapestry in this vertical portrait painting. She sits with her body facing our right in profile but she turns her face to look at or toward us with dark eyes. She has a rounded nose, rather flat cheeks, and a sliver of teeth is visible through parted coral-pink lips. The wide brim of the red hat seems to be made of a soft, almost feathery material, and it casts a shadow across her face. She wears a high-collared white garment that catches the light, a royal-blue, possibly velvet, robe or overcoat, and large, teardrop pearl earrings. Her arm runs along the bottom edge of the panel in front of two carved, wooden lion finials that could be the arm or back of the chair. The tapestry behind her is painted in tones of pale caramel brown and pine green. The painting has a soft, hazy look, and light glints with bright white specks off the pearl earrings, the tip of her nose, her lips, and the lion finials.

Girl with the Red Hat

Johannes Vermeer

c. 1669

Oil on panel  Accession ID  1937.1.53

On View: West Building Main Floor, Gallery M50
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Shown from the waist up, an older man with pale, peachy skin looks out at us with deep-set, gray eyes under a furrowed brow, in front of a sable-brown background in this vertical portrait painting. His body is angled to our left, and his face turns to us. He has a faintly pink, bulbous nose, and his slightly sunken cheeks are shaded with gray. His peach-colored lips are framed with a wispy, gray mustache and goatee. Bronze-orange lines are incised within the battleship gray of his hair to create soft curls under his brown beret, which has gold trim around the base. The dark collar of his fawn-brown coat is turned up so his neck is covered. He is lit from the upper left, so his body and the right side of the painting are deeply shadowed. On our left, the canvas is painted with blended strokes of tawny and dark brown. His dark coat blends into the background, and his folded hands are in shadow in the lower left corner. The brushstrokes are visible in some areas, especially in the man’s face. The painting is signed and dated next to his shoulder, to our left, “Rembrandt f. 1659.”

Self-Portrait

Rembrandt van Rijn

1659

Oil on canvas  Accession ID  1937.1.72

On View: West Building Main Floor, Gallery M51
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Shown from the waist up, a young woman sits on the other side of the edge of a table, leaning toward us on one elbow in this vertical painting. She looks at us with dark brown eyes under faint, arched brows. She has pale skin with flushed cheeks, a long, rounded nose, and her ruby-red lips are parted. Her brown hair is tucked into a wide, conical hat with gray, pale yellow, and ash-brown vertical stripes. Light falls across her face from our right, so the hat casts a shadow over her eyes and on the far cheek, to our left. Light glints off of two teardrop-shaped pearl earrings. Her muted blue bodice has a few touches of topaz and sky blue create a brocade-like floral pattern. The bodice is trimmed with a wide band of white fur down the front and around the cuffs, which come down just beyond her elbows. A white kerchief tucked into the bodice covers her shoulders. She leans onto her left forearm, to our right, and that arm is close and parallel to the bottom edge of the composition. In that hand she holds a golden flute like a pencil, and her other hand rests against the edge of the table. She leans to our right so we can see the gold lion's head finial at the top of her wooden chair. The area behind her is painted with patches of harvest yellow, fawn brown, muted brick red, and parchment white to create a loosely patterned drapery that fills the background.

Girl with a Flute

Dutch 17th Century

c. 1669/1675

Oil on panel  Accession ID  1942.9.98

On View: West Building Main Floor, Gallery M50
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Shown from the thighs up, a pale-skinned woman looks down and off to our left as she holds the pointed end of a dagger toward her chest in this vertical painting. Her lips are slightly parted, and her arms are spread wide as holds the hilt of the dagger in her right hand, to our left. Her hooded, dark brown eyes are rimmed with red. Her head tilts to our left, her pale lips parted. There are gray shadows at the corners of her mouth and along her jawline. Her brown hair is pulled back under a cloth covering painted with white flecks to suggest shiny thread or possibly jewels. She wears a long, tawny-brown gown with diaphanous sleeves. The bodice is laced up over a cream-white undergarment with a deep V neck and voluminous sleeves with unfastened cuffs near her wrists. She wears a large, teardrop-shaped pearl in the ear we can see and two necklaces. One necklace is a strand of pearls, and the other is a gold and possibly jeweled pendant with another teardrop pearl hanging from a cord. A gold belt drapes around her hips over a narrow waist. She is warmly lit from the upper left and set against an earth-brown background. The artist signed and dated the center left, “Rembrandt 1664.”

Lucretia

Rembrandt van Rijn

1664

Oil on canvas  Accession ID  1937.1.76

On View: West Building Main Floor, Gallery M51
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A woman with pale, peachy skin wearing elegant gold and ink-black garments sits in front of a stone portico in this vertical portrait painting. Her red armchair is angled to our right, but the woman turns to look at us under cocked brows. She has high, rosy cheekbones and a long straight nose. Her pink lips curve up in a smile framed by the faint suggestion of dimples. Her brown hair is pulled back under a gold band or net, and a gold earring hangs from the ear we see. Her gold dress has a fitted bodice with a line of buttons down the front and puffy, brocaded sleeves. She wears the bodice over a white chemise, which comes nearly to the double strand of pearls worn like a choker around her neck. Frothy white lace surges up to encircle the back of her neck, and more lace stretches back along her forearms from the cuffs of her gold dress. The black cloak she wears over the dress splits over the sleeves and flares up behind the neck, echoing the lace. A long gold chain weaves back and forth across the open front of the black cloak, which is patterned with black on black. The woman wears a ring on her right hand, which rests in her lap and holds a white flower. The cloak stops at the woman’s knees to reveal a gold and red striped skirt. The woman’s other hand, farther from us, rests along the arm of the chair and holds an ostrich' feather fan with a silver handle. A scarlet-red curtain in the upper left corner above the chair gives way to a view into a courtyard lined with a portico along the right side. The portico has three openings separated by wide, horizontally ribbed columns. Ornamental shells, creatures, and people are carved into the face of the portico, and bright green trees are just visible through the openings. Gray and white clouds sweep across a vivid blue sky around the woman’s head.

Isabella Brant

Sir Anthony van Dyck

1621

Oil on canvas  Accession ID  1937.1.47

On View: West Building Main Floor, Gallery M42
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Shown from about the waist up, a light-skinned man with sagging jowls and a double chin wears a fur garment and hat, a large teardrop pearl earring, and gold chains in this vertical painting. In front of a cracked gray stone wall, the man's body is angled to our right but he turns his face to look at us with brown eyes under a furrowed brow. He has a bulbous nose, and his lips are slightly parted under a wide, wispy mustache. His brown hair is mostly hidden under the tall dark brown fur hat, which is wrapped with a gold chain with a gold medallion at the front. The chestnut-brown fur coat looks especially fuzzy along the neckline, which is also encircled with a thick gold chain. A gold, crown-shaped pendant with a black brush hangs over his right shoulder, closer to us. He holds a gold-tipped cane with his right hand, his thumb extended along the cane. The artist signed and dated the work in the upper right corner, "Rembrandt f: 1637."

A Polish Nobleman

Rembrandt van Rijn

1637

Oil on panel  Accession ID  1937.1.78

On View: West Building Main Floor, Gallery M48
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A woman with pale skin, wearing a black dress and holding a full, billowing white ostrich feather, is shown from the hips up against a dark background in this vertical portrait painting. She has dark eyes, faint, arched brows, a slightly pink nose, and her pink lips are parted. Light falls from our left, creating shadows under the other cheekbone and along the side of her neck. Her shoulders are covered by a transparent, white, lace-edged wrap fastened with a bow. Her black dress also has wide, white cuffs, exposing a thick, possibly jeweled bracelet on each wrist. She wears two gold rings, one with a clear gem, perhaps a diamond, gold, dangling earrings, and a round pendant necklace. The lush white ostrich feather arches down from her right hand, held at her waist by her opposite hand, clasping that wrist.

Portrait of a Lady with an Ostrich-Feather Fan

Rembrandt van Rijn

c. 1656/1658

Oil on canvas transferred to canvas  Accession ID  1942.9.68

On View: West Building Main Floor, Gallery M48
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A fleet of ships gathers in a river lined by trees and buildings in this horizontal painting. The horizon is low, less than a quarter of the way up the composition, and the immense pale blue sky above is filled with clouds with golden tops above dove-gray undersides. The river spans the width of the painting and is congested with boats and ships, many festooned with red, white, and blue flags and banners. The vessels are crowded with people, mostly men wearing hats and black or brown garments. A ship to our right is closest to us and is the largest in the composition. A rowboat has pulled up to the side of the ship, and is occupied by a seated man wearing crimson red and a standing man wearing black. Another man, wearing brown, pulls the rowboat closer to the ship. Amid the densely packed deck over the rowboat, a musician plays a drum while another drinks from a flagon. Ships with unfurled sails, rowboats, and ferries fill the river behind and around the large ship. Churches and buildings are clustered along the riverbank to the left and trees line the river to the right.

The Maas at Dordrecht

Aelbert Cuyp

c. 1650

Oil on canvas  Accession ID  1940.2.1

On View: West Building Main Floor, Gallery M49
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A pale-skinned young girl leaning over a low fence and holding a broom gazes in our direction in this vertical painting. Her red hair is pulled back from her round face, and she has large hazel eyes under thin brows, a petite nose, and her coral-red mouth is slightly open. She is shown from the chest up, behind a wooden partition that spans the width of the painting. She wears a loose, ivory-white shirt under a garment with pumpkin-orange straps on the shoulders and chest. She leans forward with her elbows hooked over the partition as she holds a long-handled broom to her chest. A wooden pail with a bronze handle is overturned to the right of the broom. A blocky brown object to our left is difficult to make out. A dark brown semicircular object close to us in the center of the composition resembles the mouth of a well. Soft light from the upper left illuminates the girl and the left side of the caramel-brown wall behind her and throws the right side into shadow. A signature near the lower left looks like it had been painted on the inner edge of the well. It reads, “Rembrandt f. 1651.”

A Girl with a Broom

Dutch 17th Century, Carel Fabritius

probably begun 1646/1648 and completed 1651

Oil on canvas  Accession ID  1937.1.74

Not on view
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