Dutch and Flemish Paintings

On View: West Building, Main Floor

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166 artworks on view.

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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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Shown from the waist up, a light-skinned man sits sideways in a wooden chair so the arm closer to us rests along the chair’s back in this vertical portrait painting. Brushstrokes are visible throughout, especially in the clothing and hair. The man’s right arm, to our left, drapes across the back of the chair. His face turns slightly to our right, and he looks at us with gray eyes under black, curving brows. He has an oval face with high cheekbones and a snub nose. His coral-pink lips are closed and framed by a mustache and pointed patch of hair under his lower lip. He is lit from our left so the far side of his face is in shadow. His loose, curly brown hair cascades over his shoulders. He wears a tall black hat with a stiff, wide brim with a black rosette or pompom on the brim to our right side. The hat is tipped slightly to one side so it angles away from us. A flat, stiff, white collar extends from his chin down to his shoulders, and two tassels hang at this throat. The voluminous sleeve along the back of the chair has a gold pattern picked out in loosely painted, swirling, feathered, and flaring lines against a black background. The jacket is unbuttoned along the forearm to reveal a stark white undershirt that is gathered with a narrow ruffle at the wrist. The chair has a crimson-red center framed by wooden rails to each side and along the top. The background is earth brown to our right of the man, and deepens to dark shadows along the left. A coat of arms, the size of the man’s palm, hangs from the back wall. Three black cow heads create an inverted triangle on a gold field. Under the coat of arms the artist inscribed, “AETA SVAE.22 1645.”

Willem Coymans

Frans Hals

1645

Oil on canvas  Accession ID  1937.1.69

On View: West Building Main Floor, Gallery M46
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A rutted, dirt road curves from the bottom center of the canvas toward and behind a grove of tall trees to our left, beneath a pale blue sky with fluffy white clouds that fills the top two-thirds of this horizontal landscape painting. The broad, green canopies of the trees to our left create deep shade over twisting trunks, shrubs, and grasses. A narrow stream meandering alongside the road to our left reflects the moss, pine, and sage greens of the leaves. The land rises in a sloping bank to our right, and leads back to open fields with hedgerows that stretch to the horizon. Shorter, more spindly trees cluster along the bank in the distance. Tiny in scale, people are sprinkled throughout the landscape, either singly or in small groups. In the shade of the grove to our left, a man with dark pantaloons, a brown hat and coat, and a walking stick strolls along the road with a woman wearing a red skirt, a dark shirt, and a white apron and cap. Just off the curve of the road to our right, another man with a walking stick, tan hat, and dark gray pantaloons talks to a woman also wearing red, black, and white. Another person, slightly smaller in stature, stands between them. At a pond farther back from this trio, a man with a broad-brimmed hat sits fishing at the edge of the water. Barely visible, a house with a pitched roof, a tall, brick-red chimney, and a white picket fence peeks out from behind the trees beyond the pond. Finally, a man wearing a rust-orange coat, gray pantaloons with white stockings, and a tall hat, carrying a pole propped on his shoulder, walks toward us on a footpath running alongside the fields. Tall, cream-white clouds dot the pale blue sky above, and tiny dots of dark paint suggest flying birds. Soft sunlight pours across the countryside. The artist signed and dated the painting in small script in the lower right corner: “meijndert Hobbema F 1663.”

A Wooded Landscape

Meindert Hobbema

1663

Oil on canvas  Accession ID  1937.1.61

On View: West Building Main Floor, Gallery M47
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A woman stands drinking from a tall glass as two men sit at a table in a courtyard enclosed by wood paneling and brick buildings in this vertical painting. The people all have pale, peachy skin. The men, table, and woman take up the lower left quadrant of the composition. Both men wear broad-brimmed, black hats. The man closer to us, on our side of the table, faces our right in profile and holds a long white, clay pipe to his lips. He wears an ink-black jacket and tan leggings. A white stocking hangs down in a wide cuff from his knee on the leg we can see. A dove-gray cape is draped across his lap and a brown coat with gold-colored buttons is slung over a railing behind his back. Across the table, a bearded man wears a shining armor breastplate over a brown shirt. He looks up at the woman and smiles, holding a blue and white tankard with the lid flipped open in one hand. Another pipe and piece of paper sit on the narrow table between the men. The woman stands to one side of the table, facing our left in profile and the toe of her shoe touching or nearly brushing the black shoe of the man closer to us. Her brown hair is covered by a white cap, and she wears a tan-colored jacket, a long, crimson-red skirt, and an ultramarine-blue apron. Across the courtyard, in the lower right corner of the painting, a young girl also wears a white cap and blue apron but with a slate-gray shirt and laurel-green skirt. She approaches the table. A glowing ember is visible inside the ceramic brown dish she holds in both hands. The slightly uneven floor is paved with long, pale yellow bricks. A building rises to our right, a red shutter opening out from a window on the ground level. The other, closed shutter is painted with triangles of black, white, and gray. A half-wall of red brick across from us surrounds an open door, through which are stairs and a tree trunk. More trees rise above the top of that wall. Horizontal paneling encloses the courtyard to our left, behind the men. A church steeple in the distance is silhouetted against the sky over the paneling. A few wispy white clouds float across the vivid blue sky above.

A Dutch Courtyard

Pieter de Hooch

1658/1660

Oil on canvas  Accession ID  1937.1.56

On View: West Building Main Floor, Gallery M50
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Shown from the chest up, a young man with a plump, pale-skinned face hooks one elbow over the back of a wooden chair and looks at us in this vertical portrait painting. The man’s body faces our right as he turns his head over his right shoulder, closer to us, to gaze out with brown eyes under lifted brows. His nose ends with a round bump, and his round cheeks are flushed. He has a wispy mustache over full pink lips, which are parted. He wears a tall-crowned, brimmed black hat over a cloud of wavy, shoulder-length black hair. A lace-edged white collar spreads over an ink-black, satin coat. His right elbow is planted across the back of the chair, which has carved finials to either side. That hand is closed in a fist, which may hold something. The man’s hat casts a shadow on the right side of the taupe-gray wall behind him, where the artist has signed the painting with two monograms of his initials, “HF.” The brushwork is loose throughout, especially so in the man’s clothing.

Portrait of a Young Man

Frans Hals

1646/1648

Oil on canvas  Accession ID  1937.1.71

On View: West Building Main Floor, Gallery M46
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A man bows to a woman as another man looks on from the shadowy background, while a woman sitting at a table plays a lute in this vertical painting. All the people have pale skin. The bowing man enters from an open door to our left. He faces our right in profile and has a bumped nose, a dark mustache, and his brown hair falls loosely over his shoulders. He wears a voluminous, black jacket that has a wide white collar and flat, plate-like, starched white cuffs. He bends forward with one foot stretched in front of him, as he gazes at the woman to our right. His hands are spread wide. His left forefinger and thumb touch to make an O shape, and he holds a wide-brimmed, black hat in his right hand, closer to us. At the center of the composition, the woman wears a dress with a coral-pink bodice and a cream-white satin skirt trimmed with gold down the front and around the hem. She faces our left in profile and looks at the man, her cheeks flushed. Her eyebrows are slightly raised over dark eyes, and she has a straight nose and the hint of a double chin. Her blond hair is pulled back under a lace covering, and curls frame her face. A black ribbon is tied into a bow at the shoulder closer to us. A brown and white dog, about knee-high, stands between the man and woman. To our right, a young woman sits at the far side of a table playing a lute. She wears a sapphire-blue dress and looks down at her instrument. One elbow is propped on the patterned rug that covers the table. A second instrument, perhaps a cello, lies on the table, and a wooden chair with a pine-green upholstered seat has been pulled up to our side of the table. Almost lost in the shadows at the back of the room between the two women, a man with a goatee and wearing a brown jacket and trousers stands with his body angled to our right as he looks over his shoulder at the couple at the door. He stands in front of a fireplace with an opening so large that the mantle is supported by columns as tall as the man.

The Suitor's Visit

Gerard ter Borch the Younger

c. 1658

Oil on canvas  Accession ID  1937.1.58

Not on view
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A man, woman, several children, a dog, and a chicken work and play outside a two-story, partially vine-covered, brown brick house in this vertical painting. All the people have peachy, light skin. We look slightly down onto a courtyard enclosed by the house to our right and a wall along the back of the yard, a short distance from us. To our right and closest to us, laundry dries on a line over a pile of branches, cast off bricks, and a wooden shovel near the lower right corner. A young girl wearing a white bonnet, a royal-blue shirt, and a long, harvest-yellow skirt sits on the dirt ground, leaning toward a little boy holding the paws of a black and white dog that stands on its hind legs. A broom leans against a fenced-in chicken coop behind the boy, and a bunch of carrots rests on the flat roof of the coop. Beyond the children, a woman sits hunched on a rushed chair, cleaning mussels taken from a wooden bucket and placed in an earthenware dish. A bearded man leans in the open doorway in the courtyard wall looking at the woman and a young girl helps a toddler stand nearby, as a chicken pecks at the ground. The roof slouches atop the brick house along the top edge of the canvas to our right, and the peak of another roof and trees rise above the courtyard wall. Fluffy white clouds float across the bright blue sky in the upper right corner. The artist signed and dated the work in dark paint in the lower center: “Av. Ostade 1673.”

The Cottage Dooryard

Adriaen van Ostade

1673

Oil on canvas  Accession ID  1942.9.48

Not on view
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Shown from the lap up, a man with pale skin sits facing our right in profile, playing a bagpipe in this vertical painting. He is lit from our left so his face is in shadow, and he looks off to our right. He has dark eyebrows, a chestnut-brown mustache and short beard, and a rounded nose. He wears a floppy, chocolate-brown beret that covers his hair and the ear facing us. A cream-white, voluminous shirt falls off the shoulder close to us, and a fawn-brown robe gathers around his lap. He blows into a long mouthpiece as he squeezes the tawny-brown bag of the instrument between his forearms. Two long, wooden pipes rest over his shoulder, and he covers the finger-holes of the flute-like chanter at the front of the bag. The background behind him is pale peanut brown. The artist signed and dated the painting just to the right of the musician’s face, “HTBrugghen fecit 1624,” with the HTB intertwined into a monogram.

Bagpipe Player

Hendrick ter Brugghen

1624

Oil on canvas  Accession ID  2009.24.1

On View: West Building Main Floor, Gallery M44
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Shown from the knees up, a pale-skinned woman wearing a black dress with white cuffs and a wide, starched collar sits in a wooden chair against a dark brown background in this vertical portrait painting. Her body faces us and she looks off to our left with brown eyes. She has slight jowls at her chin and her eyes, mouth, and forehead are lined. Her hair is pulled back under a close-fitting black cap. Extending straight from around her neck, her white collar is pleated into narrow figure-eights and nearly reaches her shoulders. She wears a brown stole over her velvety black dress, and both nearly blend with the dark background. She holds a pair of pince-nez spectacles in her right hand, which rests on a thick book in her lap. The spine faces her right, and the opposite edge is fastened with metal clasps. A braided cord affixed to the narrow end of the book near us creates a loop.

An Old Lady with a Book

Rembrandt van Rijn, Dutch 17th Century

1637

Oil on canvas  Accession ID  1937.1.73

On View: West Building Main Floor, Gallery M51
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Shown from the about the thighs up, a man, a woman holding a swaddled baby, and a satyr, which has a man’s torso and goat’s legs, sit and stand around a table in a deeply shadowed room, filling this horizontal painting. All the people have light skin and dark hair, and are lit dramatically from our left. To our left, the bare-chested satyr faces our right in profile as he leans toward the table, looking up at the woman. He wears a crown of leaves and has a dark goatee. Almost lost in shadow, a sable-brown horn juts up from his temple. Light falls across his bare shoulders, and his hands and neck are ruddy. Another ring of leaves encircles his waist over the silvery-gray fur of his goat’s legs. He holds his left hand, farther from us, in front of his chest with his open palm facing the couple to our right. His other hand rests at the top of a wooden staff behind his right hip, closer to us. The staff disappears behind a wood plank resting across at least one barrel, which presumably acts as the bench on which he sits on or hovers slightly over. The second man sits at the table to our right, his back mostly to us as he looks over his left shoulder, up toward the satyr, with his face in profile. One brow is cocked over the dark eye we can see, and he has a prominent nose and a mustache. He wears a loose-fitting, long-sleeved, white garment tied around the waist. He blows across a soup spoon held to his lips, his cheeks puffed. He leans on his other arm, which rests on the tabletop near a blue bowl. Across the table, behind the seated man, a woman looks back at the satyr from the corners of her eyes, her coral-red lips curled up in a smile. Her body faces our left and she tilts her head to her left, our right, as she turns her face down toward that shoulder. Her dark brown hair is pulled up and back, and she wears an olive-green wrap over a white shirt. The baby she holds leans away from her chest to twist and look back at the satyr as well. A few details eventually emerge from the deeply shadowed background, including a fourth person tucked into the lower left corner, who looks back over a shoulder at us or the group. Light rims the corner of a window cut from a stone wall, and a few ceramic dishes and cups line two shelves to our right behind the woman.

The Satyr and the Peasant

Johann Liss

possibly c. 1623/1626

Oil on canvas  Accession ID  1942.9.39

On View: West Building Main Floor, Gallery M45
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Several people sit, stand, or stroll along a dirt road that winds from the lower left corner of this horizontal landscape painting into the distance, past trees and cottages under a vivid blue sky. The horizon line comes about a third of the way up the canvas, and the cloud studded, azure-blue sky fills the space above. Sunlight filtered through puffy white and steel-gray clouds illuminates the scene from the upper right, creating patches of light and shadow throughout. The road meanders through the center of the composition and is lined with dark and sage-green shrubs, scrubby growth, and gnarled, crooked trees. Closest to us and to our left, two tan cottages are tucked into deep shade created by a grove of several tall trees. The cottages have steeply pitched roofs and windows flanked by gray or brick-red shutters. Three people sit and stand near the path outside the closest building. A short distance to our right, a man sitting on a fallen log carries walking stick and a bundle on his back. His body faces us but his head is turned to our right to gaze toward the man and woman about to stroll past him, headed in our direction. The woman wears a black dress over a white skirt, and a white head covering and shawl. The man wears a brimmed hat with a red decoration, a brown coat with gold buttons down the front and a wide white collar, and heeled shoes. Beyond them, the road curves to our left around a small pond in front of the second cottage. Two people crouch to set a toy sailboat afloat by the edge of the pond, and a brown dog sniffs the ground nearby. Two more people stand talking at the doorway to the second cottage and another dog leaps up at the half-door. Further along the road, the light becomes stronger, illuminating a horse, rider, and another person walking alongside the horse. The road continues to curve around a butter-yellow cottage nestled in a grove of trees on the right. A sunny field is visible in the far distance.

A View on a High Road

Meindert Hobbema

1665

Oil on canvas  Accession ID  1937.1.62

On View: West Building Main Floor, Gallery M47
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The lifeless body of a bearded young man partly wrapped in an ivory cloth is being lowered from a cross to a group of people at its foot in this vertical painting. All the people have peachy or pale skin, and most are dressed in cream white and shades of brown. The body and head of the dead man, Jesus, slump to our left, eyes closed and mouth hanging open. His arms and hands are streaked with red, and drips of blood dot his head. Two men on ladders propped against the back of the cross reach over the top crossbar, and one man on our right holds Jesus’s left wrist. A long white cloth is draped over the crossbar and falls to wrap around Jesus’s hips. Two more men stand on the ladders on either side of the cross, one with his arm around Jesus’s torso while the other reaches forward to hold a torch that dramatically lights the cluster of bodies. An older man with white hair and beard, wearing a scarlet-red tunic, stands in front and cradles the hips and legs of Jesus as he is lowered. Six people stand to the right of the old man and the cross. A strong light falls on the face of a pale, older woman. Her eyes are closed, her mouth open, and her arms limp as she is caught by the people around her. The men in the group wear hats and the women’s heads are covered with scarves. From the shadows to the left of the cross, near the edge of the painting, the pale face of a woman peers onto the scene. The landscape behind the cross and group is deep in shadow, but rust-red streaks line the horizon in the distance.

The Descent from the Cross

Dutch 17th Century, Constantijn van Renesse

1650/1652

Oil on canvas  Accession ID  1942.9.61

On View: West Building Main Floor, Gallery M48
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