Dutch and Flemish Paintings

On View: West Building, Main Floor

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166 artworks on view.

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A large cluster of green grapes hangs prominently in the upper center of this painting, accompanied by an intertwined vine and a single olive-green leaf. One of the grapes at the center of the bunch is a golden color, while the others are light green. Below the grapes, two round red fruits rest on the surface of a table, one with an opening that reveals a light orange interior. A delicate blue butterfly flutters to the left of the grapes, and a small red ladybug sits at the edge of the table at the bottom of the painting. The table is light brown, and the background behind the fruit and bugs is black.

Still Life with a Hanging Bunch of Grapes, Two Medlars, and a Butterfly

Adriaen Coorte

1687

Oil on canvas  Accession ID  2020.16.1

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A half-peeled pomegranate, a few nuts, a bunch of purple grapes, and a glass of pale yellow wine sit on the corner of a stone ledge against a dark background in this vertical still life painting. The corner of the chipped gray ledge is close to and lines up with the lower left corner of the painting. Two hazelnuts sit near the front of the ledge, and a twig with three more nuts in papery husks are attached to a twig. Behind that, the flaring cup of the wineglass is made up of flat panels, which are inwardly scalloped along the upper edge, like an upside-down badminton shuttlecock. The stem is made of intertwining ropes of clear and black glass. At the lower center of the composition, the glistening, scarlet-red seeds of the pomegranate contrast with the rust-orange rind. Another twig of hazelnuts is between the pomegranate and the bunch of frosty purple grapes. The vine and a broad, dark green leaf arches over the grapes and pomegranate. The objects are brightly lit from our left against a charcoal-gray background. Molding under the ledge can be made out in the shadows across the bottom edge of the painting. Closer inspection reveals tiny water droplets on the stone ledge and the pomegranate. The artist signed and dated the painting in cursive text on the front face of the ledge, near the lower right corner: “J: Walscappel 1675.”

Still Life with Fruit

Jacob van Walscapelle

1675

Oil on panel  Accession ID  2001.71.1

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A light-skinned man sitting near an oven is surrounded by papers and vessels, all within a shadowy room in this vertical painting. The scene is dominated by chocolate and clay brown, black, slate blue, and shades of gray. The man sits facing our right in profile near the center of the painting. He wears a tall black cap that shadows his eyes and a rust-brown sleeveless garment like a vest over dark, steel-gray, long sleeves. Cream-white fabric tied around his waist could be an apron, and more white fabric drapes over his knees. Brown hair is visible behind his ear, he has a mustache, and his lips are parted as he looks down toward the instruments in front of him. He is hunched over, the elbow closer to us on what might be a flattened bellows, and he holds tongs in his left hand. The vessel in front of him could be made from pewter or glass, and it has a high, curved top and a long spout angled downward. Other pots and a red cloth are jumbled with large, leather-covered folios like thick folders of papers on the floor close to us. More papers, pots, and containers sit on a wide ledge over the open fireplace or oven to our right. A piece of parchment-white cloth hangs down the front of the oven next to a leather knapsack that hangs from the mantle. The top zone of the painting is deep in shadow but there seems to be an arched window or door covered with a wooden shutter to our right, behind the oven. A piece of paper affixed to the wall near the opening shows a vessel like the long-spouted vessel in front of the man. A shallow wooden box near the lower right corner seems to be filled with crumpled paper or cloth. The artist signed and dated the front face of the box with light letters: “C. Bega Ao. 1663.”

The Alchemist

Cornelis Bega

1663

Oil on canvas mounted on panel  Accession ID  2013.34.1

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The painting depicts a wide country road seen from above. The horizon is halfway up the painting, showing the flat, green land meeting the blue sky. Far in the distance there are faint blue buildings, including a tall tower. The road curves toward us from this distant city, with small people in the distance walking along it. Closer to us, at the bottom of the painting, several groups of people travel down the path in either direction. People converse, herd cattle and brown pigs, or ride in horse-drawn carts as they move down the dirt path. Brushstrokes capture detailed foliage, people, and animals. The color palette includes rich greens, earthy browns, and bright clothing in shades of red, blue, yellow, and white.

Wooded Landscape with Travelers

Jan Brueghel the Elder

1610

Oil on panel  Accession ID  2020.26.1

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Warm, diffuse light fills a room where a girl sits, chin in hand, on a ladderback chair facing our left in profile in this vertical painting. She is at the opposite end of a long room from us, across an expanse of ginger-brown floor. A dark, cabinet-like form spans the far, narrow end of the room and we slowly realize that a woman with closed eyes lies in the shadowy bed enclosed within. Both women both have light skin. The girl in the chair wears a slate-gray skirt and cinnamon-brown jacket with a white kerchief draped down her shoulders. The back of her brown hair is covered by a pleated white cap. She is flanked by short, ladderback chairs with rushed seats along the far wall. To our left, in front of her, the top half of a Dutch door is swung inward. Light pours through the door and the deep-set window above it. The room has tall cream-white walls with dark wooden beams and a wooden ceiling overhead. The opening to the enclosed bed is lined with burgundy-red curtains, and two gleaming brass balls hang from the top edge. A perforated brass bowl hangs at the opening to our left. The right side of the room is nearly filled with a tall, wide fireplace mantel that supports an angled chimney rising to the upper right. Footed, pewter bowls hang from the top corners of the mantelpiece and a silver candlestick stands atop each of the two front corners. A small fire burns in the fireplace, while a pair of tongs and copper vessel stand nearby. The beams, door, doorframe, and mantel are all mahogany brown. Almond-white plates decorated with loosely painted strokes and daubs of brown are set along the ledges created by the molding over the bed and mantel.

Young Woman in an Interior

Jacobus Vrel

c. 1660

Oil on panel  Accession ID  2012.106.1

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Livestock, woodland animals, and about a dozen people cluster in groups throughout a densely wooded landscape with rocky outcroppings and the ruins of a round structure in this horizontal painting. The people all appear to have light skin. A narrow river curves from near the lower left corner of the composition back around a grove of trees on a spit of land. One white, long-necked bird stands near a rock on the riverbank, and a second bird, shown in flight low over the water, clutches a short snake in its beak. Three deer stand in the deeply shadowed trees, and two goats perch on the rocky cliffs that rise steeply beyond the deer. Across the composition, in the lower right corner, a man wearing a gray jacket and high boots, red pants, and a floppy, wide-brimmed, gray hat stands with a long staff propped on one shoulder. He has ruddy complexion and a bulbous nose. He is surrounded by seven brown, gray, tan, and black cows and three pale gray goats. He and his livestock are backed by a screen of tall, leafy trees. The spaces around the cowherd and the deer to the left are shadowed to create a dark U across the bottom of the landscape, so the sunlit scene beyond is notably lighter in comparison. Just above the center of the composition, plants and trees grow on and among the ruins of the gray, round tower. Two arched openings extending to our left also crumble and are largely taken over with plants. At the base of the tower, water pours from a spigot into a rectangular, presumably stone trough. Three cows drink from the trough while more cows and a herd of about a dozen sheep stand and lie nearby. Several men sit, stand, or kneel near the cows around the trough. Painted loosely with pale gray and tan, several people pass under the archway closest to the tower. One person rides a donkey there. Close by, two elegantly dressed men wearing hats, perhaps turbans, stand and gesture with one arm raised. One man wears a charcoal-gray cloak over a red tunic and pants, and the other wears a forest-green cloak over yellow clothing. Another donkey and at least two smaller animals, perhaps dogs, stand near the men and the second archway, to our left. A grassy hill rises sharply behind the archways to the edge of a dense forest, where the camels, birds, perhaps peacocks, and other men stand. Along the right edge of the painting, beyond the cowherd and cows, the land dips into a wooded valley, painted in tones of pale aquamarine and ice blue. About two dozen birds of varying sizes fly over the tower and valley. White clouds float against the vibrant blue sky. The artist signed and dated the work as if written on the face of the rock near the white birds, “ROELANT SAVERŸ FE 1624.”

Landscape with the Flight into Egypt

Roelandt Savery

1624

Oil on panel  Accession ID  1989.22.1

On View: West Building Main Floor, Gallery M44
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A few dozen light-skinned men, some on horseback and some on foot, fight each other on a low hill in this horizontal battle scene. The men and horses are arranged in a band that crosses the horizon of the painting and swells in numbers as it moves to our right. Some men wield guns, knives, or swords as they attack each other. They wear jackets, vests, or suits in black, brown, sage green, currant red, and pale yellow. While much of the action is in chaos, a few details stand out. For instance, a man in the center of the fray lies on the ground, dead or dying. A white horse behind him steps over a second fallen man, and the rider of that horse is about to be bludgeoned. To the left of the fray, a man wearing tattered black clothing looks over his shoulder at the crowd as he lurches away. It appears that one hand may have been severely injured or even cut off, leaving a bloody stump. A large drum lies on the ground nearby. The hill where the fight takes place sweeps gently upward from the lower left corner to more than hallway up the height of the panel to the right. Flags in the hazy distance have red, white, and blue horizontal stripes and a tall, thin tree grows up the right edge of the panel to frame the scene. A pale blue sky is mostly filled with parchment-colored clouds. The artist signed the work with his initials in brown paint in the lower right corner: “PH. W.”

Battle Scene

Philips Wouwerman

c. 1645/1646

Oil on panel  Accession ID  2000.159.1

On View: West Building Main Floor, Gallery M47
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On a tabletop spread with an ivory-white cloth, plates, and white porcelain bowls containing sweets, fruit, olives, and a cooked fowl are arranged around the largest platter, which holds the head, wings, and tail of a peacock stuck into a tall, baked pie, in this horizontal still life painting. The front, left corner of the table is near the lower left corner of the painting, so the tabletop extends off the right side of the composition. The white tablecloth lies over a second cloth underneath, which is only visible along the right edge. The cloth underneath has a leafy, geometric pattern in burgundy red against a lighter, rose-red background. The peacock pie is set near the back of the table, to our right, so it fills the upper right quadrant of the composition. The bird holds a pink rose in its beak. In front of it, near the lower right corner of the painting, a white porcelain bowl painted with teal-green floral and geometric designs holds about ten pieces of pale yellow and blush-red fruit. A pewter plate next to it, to our left, holds dried fruit and baked, stick-like sweets, some covered with white sugar. A pile of salt sits atop a gold, square vessel between the sweets and the peacock pie. Another blue-patterned, white porcelain bowl filled with green olives sits near the back of the table next to a lidded, pewter pitcher with a long spout. Other pewter plates hold a baked fowl, like a small chicken, and, closest to us, a partially cut lemon with its peel curling off the plate. Nuts, more fruit, an ivory-handled knife, bread rolls, and flat biscuits sit on the white cloth among the plates. One glass with a wide stem covered in nubs and a flaring bowl sits near the back, left corner of the table, filled with a pale yellow liquid. An empty glass lies with the upper rim on another pewter plate, to our left. Also on the plate is a bunched up white napkin and a leather case for the knife. The background behind the still life is brown.

Still Life with Peacock Pie

Pieter Claesz

1627

Oil on panel  Accession ID  2013.141.1

On View: West Building Main Floor, Gallery M50
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Shown from the shoulders up, a bearded man with wrinkles lining his pale-skinned face looks up and to our left, toward a bright light source, in this vertical portrait painting. His shoulders are angled to our left, and he tips his head slightly back so his face turns toward us. He looks up from the corners of his gray eyes under bushy brows. A soft gray cap, pushed back high over the crown of his head, frames his face over a few tuffs of charcoal-gray hair on his high forehead. His brows are furrowed and his hollow cheeks ruddy. He has a silvery gray mustache, and his long, full beard falls to his chest. Lines have been incised in the gray and white paint of his beard to reveal an underlayer of rust orange. His slate-gray tunic is streaked with fawn brown to create highlights. The background is painted with blended strokes of leather brown and touches of golden orange, and it lightens around the man’s head.

Bearded Man with a Beret

Jan Lievens

c. 1630

Oil on panel  Accession ID  2006.172.1

On View: West Building Main Floor, Gallery M51
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This horizontal painting shows a group of eight light-skinned musicians and onlookers gathered closely around a rectangular, carpet-covered table. The front edge of the table runs parallel to the bottom edge of the painting, and seems close to us. Shown from about the waist up, the men and women’s vivid lapis-blue, coral-red, buttercup-yellow, lilac-purple, and moss-green garments fall in crisp folds. Bright reflections on the fabric suggest a satin-like material. Two women wear feathers in their hair and one man’s hat is plumed. One man, wearing crimson red and black, sits with his back to us to our left on the near side of the table. He holds the neck of a bass viol, about the size of a cello, with his left hand, and points to pages of an open music book with the bow in his right hand. The other people cluster on the far side of the table. A man to the left plays a violin; a woman at the center plays a guitar-sized bandora, and a woman to our right plays a lute. The musicians, along with a man who leans over the table from between the two women, look down at the music books. A young man behind the woman at the center holds up a glass of pale liquid with his right hand as he touches his left forefinger to his smiling lips. A man and woman stand close together in the background to our right, in the top right corner of the canvas.

The Concert

Gerrit van Honthorst

1623

Oil on canvas  Accession ID  2013.38.1

On View: West Building Main Floor, Gallery M45
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Two women, four men, and a satyr, which is a creature with a man’s body and hairy goat’s legs, gather in a wooded landscape in this horizontal painting. All the people have pale, peachy skin. At the center of the group, to our left of center, a young, cleanshaven man balances on the ball of one foot as he strides toward us. He turns his head to his left so he faces our right in profile, and he looks off in that direction. He wears a ring of laurel leaves in his blond curls and his lips are parted. He holds a jeweled, golden stringed instrument, a lyre, in the crook of his right arm, on our left. He lifts his other hand to gesture toward the men to our right. He is nude except for a coral-red cloak fastened with a gold clasp at his neck. The cloak billows around his muscular body, and one bottom corner curls across his hip to cover his groin. To our left, two women sit on a rocky outcropping. The woman to our left holds a sapphire-blue robe to her chest. Her golden brown hair is pulled back, and she looks at the young man. The second woman sits with her body facing away from us, her arms resting on the rock in front of her. Her nude back faces us and she has a soft, rounded belly. She sits against a white cloth, and a light sage-green cloak pools around her hips and lies across one thigh. To our right, behind the young man holding a lyre, two bearded men sit on a rock with their bodies angled toward each other. The man to our left wears a leafy crown and holds a wooden staff. The second man wears a topaz-blue hood and robe, and turns to speak to his neighbor as he points in the opposite direction. Closer to us, near the right edge of the painting, the satyr plays a set of pan pipes. The man sitting next to him has tall, pointed, ass’s ears and a pointed, red beard. He wears a shimmering butter-yellow cloak over a brick-red tunic, and he rests one hand on the satyr’s shoulder. The entire group is enclosed by tall, tawny-brown rocks and leafy, sage-green trees. In the upper left corner, lilac-purple clouds float across a pale blue sky. The scene is painted with swirling brushstrokes that are especially visible in the clothing and background.

The Judgment of Midas

Jan van den Hoecke

c. 1640

Oil on panel  Accession ID  2015.143.18

On View: West Building Main Floor, Gallery M45
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We look across a body of calm water onto a wooden pier, rowboats, sailboats, and a town on the distant shore, all beneath a cloudy sky that takes up the top three-quarters of this horizontal landscape. The pier extends into the scene from the left edge, and stretches about a quarter of the way across the painting’s width. Three men and a woman, all with light skin, stand in a group near a fourth man, who sits on a piling at the front corner. They all wear charcoal-gray, muted blue, or fawn-brown clothing and hats. A rifle leans against the hip of one man, and another man looks out at the water, his back turned to the rest of the group. Three small boats are tied to the end of the dock. The one closest to us holds large containers, perhaps wrapped with rope. A fifth man bends over the far edge of the boat farthest from us. In another rowboat to our right, a man stands, another sits, and a third pulls on the oars. Four sailboats float into the distance down the center of the composition. To our right, the town along the far shore has closely spaced buildings with peaked roofs, a windmill, and a tall steeple, all painted with tones of peanut brown and tan. Light falls across the water from our left, casting the area closest to us in deep shadow. The surface of water is painted with tones of ivory and gray, matching the sky above. Light filters and streaks through ash-gray clouds across most of the sky. The clouds part to reveal a patch of pale blue at the upper left corner.

A Pier Overlooking Dordrecht

Aelbert Cuyp

early 1640s

Oil on panel  Accession ID  2012.73.1

On View: West Building Main Floor, Gallery M49
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