Dutch and Flemish Paintings

On View: West Building, Main Floor

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110 artworks on view.

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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

On View: West Building Main Floor, Gallery M51
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Shown from the waist up, a bearded man with a tanned, peachy complexion wears a turban and voluminous robes and looks out at us in this vertical portrait painting. Lit strongly from the left, the man’s brow is slightly furrowed over brown eyes, and his gray beard is trimmed. His turban is accented with a gold chain and feather, and his fur-lined robe is clasped over a burgundy-red garment with another gold chain. His right hand, on our left, grasps a sash that wraps around his waist, while his other hand rests on a wooden staff. The gray background behind the man deepens into shadows at the corners. The artist’s signature is painted to our left near the man’s upper arm. The first letter “R” is missing so it reads “embrandt ft.”

Man in Oriental Costume

Rembrandt van Rijn, Dutch 17th Century, Govaert Flinck

c. 1635

Oil on linen  Accession ID  1940.1.13

On View: West Building Main Floor, Gallery M48
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Three men and a woman sit around a wooden table on the right side of a dimly lit room in this horizontal painting. The scene is painted entirely in warm shades of bronze, golden yellow, and dark brown. A cleanshaven man to our right, Mercury, is dramatically backlit by golden light so we see his face almost in silhouette, though we can make out his eyes, straight nose, and parted lips. He rests both hands on the table, one palm down by the edge close to him and one palm up in front of him, near a glass of amber-colored liquid. He wears a gray and brown tunic, and light glinting in his chin-length hair suggests a silver band or another ornament. He looks toward a man and woman at the other end of the table, to our left and near the center of the composition. The woman’s head is covered with a dark cloth, and she holds a gray fowl in her lap. Her lips are also parted and her face tips down. The man next to her, closer to us, has a gray beard and hair, and he holds a rust-red cap at his chest with both hands as he looks across the table. A bowl of food lies in the center of the table between this couple and Mercury. The fourth person has a long gray beard and hair, and faces us across the table. He wears a gleaming copper and silvery-gray robe and cloak, and holds one hand up, palm down, over the table. Much of the rest of the room is swallowed in shadow but there is the suggestion of rafters and beams, and a small fire glows in a hearth on the left side of the scene. The artist signed and dated the lower left, “Rembrandt f. 1658.”

Philemon and Baucis

Rembrandt van Rijn

1658

Oil on panel transferred to panel  Accession ID  1942.9.65

On View: West Building Main Floor, Gallery M48
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In a space almost entirely shrouded in shadow, light falls across a bearded man kneeling in front of a woman cradling an infant, as about a dozen people to our left look on in this horizontal painting. The people all appear to have light skin, though some are deep in shadow. The scene is painted with dabs and soft strokes of peanut and coffee brown, golden yellow, ivory, smoke gray, and muted terracotta red, so many of the details are indistinct. At the bottom center of the painting, the man, woman, and baby are small in scale, reaching less than halfway up the composition. The kneeling man wears a long, pale yellow robe that pools around his bent legs. Facing our right in profile, he has a fringe of gray hair around his balding head and a gray beard. He reaches out toward the baby resting along the woman's lap. The man holds an instrument like a stylus at the baby’s groin, and the child’s legs are bare. The infant is wrapped in a white cloth over his head and torso, and gold-colored fabric drapes over his head and shoulders. With tiny, rounded features, the baby looks toward the man at his feet. The woman wears a long-sleeved, muted red dress with white fabric across her chest. She looks down, and her head is wrapped with a pale gray turban that falls to either side of her face and covers her hair. At the front of the group of men and women looking on, to our left, a bearded man wearing a brown turban, a waist-length dark gray cape, and a lighter gray robe writes in an open book slung over his forearm. Several people, most also wearing turbans in silver gray, ruby red, or terracotta brown look over the man’s shoulder. A few more people look down at the scene from the shadows above, near the upper left corner of the painting. Behind the woman and child, a ladder leans against a platform, perhaps a loft, and draped fabric creates a canopy over the woman. A jumble of objects there merge with the deep shadows.

The Circumcision

Rembrandt van Rijn

1661

Oil on canvas  Accession ID  1942.9.60

On View: West Building Main Floor, Gallery M48
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Shown from the hips up, a young man with pale skin and wearing black clothing sits with his body angled to our right as he turns to look at us in this vertical portrait painting. He looks out with green eyes under hooded lids. Light falls across his face from the upper left so his bumped nose casts a shadow on his high cheekbone. He has a wispy mustache over full, pink lips, which are slightly parted. His hair falls to his shoulders in auburn-brown curls, framing his slender face. Two silvery tassels hang on cords from a tall, wide, flat, bright white collar, which contrasts with the velvety black of his voluminous, long-sleeved jacket. His left hand, farther from us, rests on his knee and the other hand is curled so the back of his knuckles press against his right hip, closer to us. A patch of crimson red near that hand could be a pillow on his chair. His hat rests, presumably on a table, just beyond his legs. The hat has a tall, tapering, conical crown with a flat top. The shadowy wall behind him is mottled with slate gray and caramel brown, with a slightly darker panel to suggest a shallow niche.

A Young Man Seated at a Table (possibly Govaert Flinck)

Rembrandt van Rijn

c. 1660

Oil on canvas  Accession ID  1937.1.77

On View: West Building Main Floor, Gallery M51
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A young, smiling man bursts through the door of a dimly lit bedroom occupied by three women in this vertical painting. All four people have pale skin. The arched door is to our right and the man faces our left with his arms spread wide. He leans slightly forward as he holds the wide brim of his hat out by his left side, to our right. Shoulder-length chestnut-brown hair frames his face, and he wears a velvety brown jacket trimmed with tan stripes and pompoms down the front and along the sleeve we can see. A broad sash crosses his chest and tassels hang from his wide, white collar. Between us and him, a wooden chair is draped with a crimson-red cloak trimmed with white fur and bands of gold. A pewter pitcher and candlestick rest on the pine floor in front of it, near the lower right corner of the painting. The man is stopped at the door by a woman wearing a sable-brown gown with a tight-fitting bodice and a white cap on the back of her head. Her body faces the man as she leans toward him with her outstretched right hand resting on his shoulder, and she turns her smiling face back over her shoulder. Light from an open window on the left illuminates the woman in the center, who steps down from a bed enclosed by forest-green, velvet curtains trimmed with gold fringe and tassels. The curtains are parted behind her to reveal white pillows. She wears a long, gleaming white satin skirt topped by a tight-fitting coral-red bodice stitched with thin lines of gold. A white neckerchief covers her shoulders and is partially tucked into the bodice. Her head is covered by a white kerchief knotted under her chin. Her body faces us with one foot on a step stool, and the other foot reaches down to a gold and red shoe on the floor. Its mate lies nearby, pointing away from us. Her head is turned to our right to look at the man. She has a thin face with a high forehead, and small mouth is closed or pursed. Closest to us and near the lower left corner of the painting, the third woman sits alongside a small table under the open window. She wears a long, pine-green jacket trimmed with white fur over a brown skirt. Her auburn hair is partially coiled around her head, while some locks fall in bunched curls. She sits facing our right in profile with her back to the window, so her smiling face is mostly in shadow. Her left arm rests on the table, which is draped with a red and copper patterned cloth, and she holds a white comb in that hand. A mirror and round silver box sit on the table next to her. A small brown and white dog stands by her feet, its head tilted up to look at the others. The far wall of the room is covered with a faint pattern of golden brown vines and leaves against a forest-green background. The artist signed the painting on the face of the step leading up to the bed, “G. Metsu.”

The Intruder

Gabriel Metsu

c. 1660

Oil on panel  Accession ID  1937.1.57

On View: West Building Main Floor, Gallery M50
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More than a dozen light-skinned men, women, and children eat, drink, talk, and make music around a dancing couple under an arbor in this horizontal painting. Most of the people are dressed in muted tones of green, gray, and black. The patio-like space is enclosed by a railing along the back and a half wall to our right. Sage-green vines and leaves covering the roof-like trellis hang down. Ten men and women sit or stand closely around a long table along the left, next to the exterior wall of a red brick building. A woman sitting in a wooden chair at the end of the table closest to us wears a flax-yellow gown with a wide white collar and a starched white cap. She smiles up at the child she braces in her lap. The child stands and holds a toy in both hands and looks over one shoulder to our right. The child wears a carrot-orange gown with a white pinafore. Two men lean out of open windows at the far end of the brick building, and the people along the table drink, smile, or look on as a man in the center leads a woman by the hand to an open spot under the arbor. He wears a charcoal-gray suit, and a muted pink cap is pulled low over his eyes. He has a long, hooked nose, and light glints off teeth in his smiling mouth. The woman is pulled behind the man, so she stands flat-footed to our left of him. She faces our right but turns to looks at us from the corners of her dark eyes. Her light brown hair is gathered at the back of her head under a pearl-lined covering. She wears a dusty rose-pink gown with a sheer black shawl around her shoulders and white apron at her waist. Beyond the back rail, a man smiles widely as he balances a covered basket containing a gray chicken with one hand on his head. Nearby, a boy on our side of the rail talks with a little girl across the railing, who smiles back. Two men and a woman wearing a black head covering talk a short distance away. Close to us, a man, woman, and child in the lower right corner sit near two young men perched on the half wall, one playing a violin and the other a flute. A gleaming pewter ewer, a wooden barrel with a square opening, a white pipe, a terracotta bowl, broken eggs, a spoon, and an overturned pail of flowers lie scattered across the foreground of the patio. The artist signed and dated the lower left, “JSteen. 1663,” with the J and S overlapping.

The Dancing Couple

Jan Steen

1663

Oil on canvas  Accession ID  1942.9.81

On View: West Building Main Floor, Gallery M46
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Shown from about the knees up, an older, bearded, pale-skinned man sits at a desk with his head in one hand in a shadowy room in this vertical painting. His body is angled to our right, and he sits in a heavy wooden armchair next to a desk. His left elbow, farther from us, rests on the chair’s arm, and he holds that hand to his forehead. He holds a quill with his other hand, which brushes his knee. He has ash-brown hair covered at the back by a cap and a long shaggy beard. He looks off to our right with dark, shaded eyes. His voluminous brown robe is brushed loosely with golden brown highlights. The rust-red garment under the robe is visible at the sleeves, neckline, and one knee. The desk, to our right, has a stack of papers or parchment. The oversized hilt of a long sword leans against the wall behind the desk. The background is painted with areas of earth and chestnut brown. Some areas of the scene are loosely painted so brushstrokes are visible, especially the brightest white highlights on his collar, the quill, the edges of the parchment, and glints on the sword. The artist signed the painting on the face of the desktop, near the lower right corner: “Rembrandt f.”

The Apostle Paul

Rembrandt van Rijn, Anonymous Artist

c. 1657

Oil on canvas  Accession ID  1942.9.59

On View: West Building Main Floor, Gallery M48
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A young girl stands next to and holds the hand of an elegantly dressed woman sitting in a wooden armchair near stone columns, in front of a crimson-red curtain pulled up to reveal a distant landscape view in this vertical portrait painting. The child and woman have smooth, light skin, and the fabric of their dresses has a silken sheen. To our right, the woman sits with her knees angled slightly to our left, and she looks at us with dark blue eyes under faint brows. Her brown hair is pulled back from her high forehead under a hair covering set with pearls. Her pointed chin is slightly pulled back, and her pale pink lips are closed. A teardrop-shaped pearl hangs from the ear we can see, and she wears two strands of pearls like a choker, above a thick, pleated lace ruff. The fabric of the long-sleeved bodice has a gold-on-gold pattern, and is lined with a row of buttons down the front. Filmy lace cuffs extend back over her forearms from her wrists. Her full, floor-length skirt is scarlet red with a gold, brocade-like pattern, and has silvery-gray stripes down the front and around the lower hem. The cloak she wears over the dress has a black-on-black floral pattern. Three thick gold chains hang across her bodice, and she wears a square-cut, gray stone set in a gold ring on the third finger of her left hand. To our left, the young girl stands next to the wooden arm of the chair and holds the woman’s hands with both of hers. The child looks at us with gray eyes, and her pale pink lips are parted in a slight smile. Her light brown hair is pulled back under a gray band, perhaps of fur, around her head, over an apricot-colored head covering that matches her dress. The tight-fitting, long-sleeved bodice is striped with bands of alternating gold and pink geometric designs against the apricot-peach background. A lace-edged collar lies across her shoulders. A red, oval pendant hangs from her three-standed pearl necklace, and she wears three pearl bracelets on one wrist. A thick gold chain falls across her chest and around one hip. The floor-length, full skirt has buttercup-yellow and shell-pink highlights on the coral-colored background. Behind the pair, the red curtain has been pulled up so it seems to flutter behind the woman’s head, in front of stone columns that frame a distant landscape view with trees. A blocky structure, presumably a building, sits on the far distant, hazy horizon. Light pours down in streaks from steel-gray clouds against a pale blue sky.

Susanna Fourment and Her Daughter

Sir Anthony van Dyck

1621

Oil on canvas  Accession ID  1937.1.48

On View: West Building Main Floor, Gallery M42
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The face of a young woman with pale, peachy skin materializes from a deeply shadowed background in this vertical portrait painting. Shown from the waist up, her body is angled to our right, and her face turns to look at us. She has gray eyes, a rounded nose, and her pink lips are slightly parted. A golden veil covers long strawberry-blond hair and falls down over the shoulders of her dark dress. The dress has a high, white lace collar, and a gold chain hangs over her shoulders and on her chest. Painted mostly with deep browns and earth tones, the light that falls on her face and hair creates an aura-like effect.

Saskia van Uylenburgh, the Wife of the Artist

Rembrandt van Rijn

probably begun 1634/1635 and completed 1638/1640

Oil on panel  Accession ID  1942.9.71

On View: West Building Main Floor, Gallery M51
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A pale-skinned woman sits on a red velvet chair, which is almost entirely hidden by her voluminous, dark emerald-green and gold gown, in this vertical portrait painting. The woman sits in the center of a shadowed, cavernous space, and her body and dress nearly fill the composition. Her body is turned slightly to our right, and she looks at us from the corners of her large, dark eyes. She has a round face, slightly flushed cheeks, and her full, rose-pink lips are closed. Her tawny-brown hair is pulled back under a headband that glints silver over her right ear, to our left. A goldenrod-yellow flower is tucked into her hair near that spot. Her tall, gossamer lace ruff collar is pleated into figure-eights, and it spans the width of her shoulders. Dots of white paint suggest detailing along the pleated edges. The fabric of her gown is so dark green that it appears black in some places, and it is decorated with bands of gold embroidery down the front of the bodice and full skirt, and around the bottom hem. A cape-like garment splits over long, puffy sleeves, which end with pleated, fog-gray fabric at the wrist. The cape and sleeves are densely ornamented with vegetal designs in glimmering gold. She rests her left elbow, on our right, on the arm of her chair so her hand rests palm up, near her waist. The other hand hangs off the end of the other arm of the chair, which is covered by her sleeve. A closed, black and gold fan hangs on a gold chain near that hand. Her skirt brushes the carpet, which is patterned with floral designs in ruby red, mustard yellow, and charcoal gray. The only parts of the chair that we see are a gold orb finial over her right shoulder, to our left, and the velvet-covered arm of the chair on the opposite side. Above the woman to our right hangs the edge of a muted gold curtain. The woman is lit from behind us, and the space around her is largely swallowed in shadow. Another curtain is lifted in the room behind her. Through it, we look out onto a landscape with a stone tower and buildings under a sky swirled with parchment brown, steel gray, and a sweep of brick red.

Marchesa Balbi

Sir Anthony van Dyck

c. 1623

Oil on canvas  Accession ID  1937.1.49

On View: West Building Main Floor, Gallery M42
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Shown from the hips up, a boy with pale, peachy skin and copper-brown hair stands in front of a rocky outcropping with a narrow view into a distant landscape to our left in this vertical portrait painting. His body faces our left almost in profile, and he turns his face to look at us with dark brown eyes under faint brows. He has a long, straight nose, a pointed chin, flushed cheeks, and his full, rose-pink lips are slightly parted. His dark hair falls in waves to the wide, flat, white collar at his neck. He wears a golden yellow doublet brocaded with shimmering threads, possibly silver and gold. The sleeves split along the inner arm to reveal a white shirt with voluminous, puffy sleeves that end with wide, transparent cuffs like floppy saucers around each wrist. Over the jacket, he wears a gleaming, pewter-colored breastplate with a topaz-blue sash crossing his chest. His peanut-brown pants are also sewn or woven with metallic thread in stripes down the side of the leg. The boy rests his right hand, farther from us, on a staff or walking stick propped in front of him. His other hand rests around the gold hilt of a rapier, a thin sword at his left hip, closer to us. Behind the boy, the view is almost entirely taken up with a slate-gray boulder, or it could be the entrance of a cave. A view onto the landscape along the left edge of the composition has a few treetops beneath pale yellow clouds against an ice-blue sky.

Henry, Duke of Gloucester

Adriaen Hanneman

c. 1653

Oil on canvas  Accession ID  1937.1.51

On View: West Building Main Floor, Gallery M43
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