Dutch and Flemish Paintings

On View: West Building, Main Floor

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165 artworks on view.

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A woman, Mary, floats in the sky surrounded by eleven winged angels above fifteen men and women gathered around an open, stone coffin in this vertical painting. All the people have pale, peachy skin. Near the top center of the composition, the woman’s torso twists to our left as her knees turn to our right. She lifts her left hand, to our right, to her chest and her other arm reaches down along her body. She looks up with dark eyes, her head tipped slightly back. She has a round face, a small nose, flushed cheeks, and a heart-shaped, rose-pink mouth. Her long, golden-brown hair falls over the shoulders of her scoop-necked, powder-blue dress. A honey-brown wrap loops over one shoulder and billows up to surround her head and shoulders. A voluminous silver cloth edged with gold flows around her hips, legs, and feet. Seven of the angels gathered near Mary’s feet and legs are baby-like, pudgy children with gossamer-white or smoke-gray wings. Most of these angels are nude but the genitals of two are covered in ivory or golden yellow cloths. Four taller, so presumably older, angels float around Mary’s head and shoulders with two to each side. Two angels to our left, wearing petal pink or butterscotch yellow, hold a ring of leaves up toward her head. The angels to our right wear ruby red or bronze gold, and they look toward Mary with their arms crossed over their chests. The hair and drapery of all of the angels flutter as if in a breeze. Below this group, on the dirt earth, twelve men and three women gather around an open stone coffin set in front of an arched opening leading into a hillside. Some in the group look into the coffin, some look up, and some look toward a man standing to our left. That man has long, chestnut-brown hair and wears a red robe over a white tunic. He looks up at Mary with his head tipped back and raises both hands high, palms facing the scene in the sky. The three women are closest to the coffin, which sits on a two-stepped platform. The woman closest to us kneels on the steps wearing a golden yellow dress. Her white-blond hair has been pulled up and braided. She pulls a pale gray or white cloth from the coffin and holds what could be a small bunch of flowers or leaves in one hand. The other two women have brown hair and stand on the far side of the coffin. Some of the men have beards, and they wear robes in cardinal red, olive green, honey yellow, and tan. A sliver of landscape with water, trees, and a hill is visible in the deep distance to our left, and the sky above is filled with slate-blue clouds. A darker bank of charcoal-gray clouds sweeps around the group in the sky to our right, and bright, yellow rays emanate down from the top center. The scene is loosely painted, especially in the clothing, to create the impression of a sheen on the fabrics.

The Assumption of the Virgin

Anonymous Artist

probably mid 1620s

Oil on panel  Accession ID  1961.9.32

On View: West Building, Main Floor, Gallery M43
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More than two dozen rowboats and sailboats bustle around a waterway in this horizontal landscape painting. Beige-colored water gently ripples across the bottom of the composition and extends into the deep distance, where buildings, windmills, and a church line the low horizon. Clouds with warm white tops and cool gray bottoms tower across a pale blue sky, which takes up the top three-quarters of the composition. A few reeds poke out of the water close to us, near the lower right corner of the painting. The row- and sailboats just beyond are packed with people. Two flags fly from the masts of the largest ship, which is to our left of center. One flag has red stripes flanking a white stripe, and the other is striped with red, white, and blue. Two rowboats have pulled up to the grassy shore of a spit of land to our left. A ladder leans against the steep hill rising from the water’s edge, and a cluster of spindly trees lean toward the water from the hillock. The people all wear clothing and hats in tones of brick red, ochre yellow, sable brown, and black. More boats move through the water back to the town and waterways to either side.

View of Dordrecht from the North

Jan van Goyen

early 1650s

Oil on canvas  Accession ID  2014.136.34

On View: West Building, Main Floor, Gallery M49
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A basket holding a pile of several kinds of fruit and two blue and white porcelain plates nearly fills this horizontal still life painting. More fruit is scattered around the smoke-gray ledge on which the basket sits, and the background is purple-tinged gray. The basket sits near the back edge of the ledge, and it has ribbed sides so pieces of round fruit, perhaps apples, are visible inside. Green, red, and purple grapes, green and orange grape leaves, apples, plums, apricots, an orange, and a quince are piled between the two blue-painted plates, which are propped in the basket at an angle to hold the fruit like cupped hands. More fruit, including plums, quince, cherries, and medlars, cover most of the ledge around the basket. The scene is lit from our left so the fruit casts shadows to our right. The artist signed the painting near the lower right corner, “B. vander. ast.”

Basket of Fruits

Balthasar van der Ast

c. 1622

Oil on panel  Accession ID  1992.51.1

On View: West Building, Main Floor, Gallery M50
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A young man with tanned, peachy skin sits at a table pulling his mouth wide with both hands in this vertical painting. On the far side of a wooden table, he faces us with elbows splayed wide. He has hooked the first finger of each hand into the corners of his mouth to stretch his open lips into a long, goofy line. He has wide-set eyes and a wide nose. His brown hair sticks out from under a tall, fuzzy brown hat, which has a knife secured by the blade in a loop to our left. The man’s iron-gray jacket has coffee-brown sleeves with the white of his shirt showing at the cuffs. A putty-gray jug accented with washes of rust-red and a glass filled with an amber liquid sit on the table before him. Soft light from the upper left gleams white on these smooth surfaces. A dark mass visible under the table is presumably the tops of his legs. The top right corner of his wooden chair is visible over his right shoulder, on our left, and he is set against a dove-gray background. The scene is loosely painted so brushstrokes are especially visible in the man’s face and hands.

Youth Making a Face

Adriaen Brouwer

c. 1632/1635

Oil on panel  Accession ID  1994.46.1

On View: West Building, Main Floor, Gallery M50
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A young boy with pale skin and short brown hair, wearing a black and gold jerkin and breeches, white lace collar, and buttercup-yellow stockings, stands facing us with a dog at his heels in this vertical portrait painting. The boy is brightly lit so the area around and behind him are deep in shadow. His body is angled slightly to our right but he turns to look at us with green eyes under faint brows. He has a round face, a short nose, and the corners of his closed, coral-pink lips turn slightly up. His hair is parted in the middle and bangs sweep to each side of his forehead. He stands with his left fist resting on his hip so his elbow juts out. His other arm rests by his side and he holds the dog’s chain-link leash in that hand. The boy's right foot, on our left, points toward us. His close-fitting, belted jacket, breeches, and hip-length cape are embroidered with gold on black. He has a delicate lace collar at his neck, bright yellow stockings on his calves, and brown, round-toed shoes. The chain he holds connects to the collar on the brown and white dog, which could be a puppy. The dog’s collar is lined with large brass bosses like a row of buttons. The dog stands or sits with its front legs straight, and his back end is hidden by the boy’s legs. The background behind the boy is chestnut brown and the room seems to have a wooden floor. The painting is inscribed in black paint near the upper left corner: “Ao 1623 AET. 4. 7.”

Filippo Cattaneo

Sir Anthony van Dyck

1623

Oil on canvas  Accession ID  1942.9.93

On View: West Building, Main Floor, Gallery M42
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Shown from the knees up, a pale-skinned woman wearing a voluminous, gold-trimmed, white satin gown and a black overdress stands holding a closed fan in this vertical portrait painting. Her body and face are angled to our right, and she looks at us from the corners of her gray eyes. She has pale skin, a straight nose, thin lips, and a slight double chin. Chin-length brown waves frame her face, and the rest of her hair is pulled back. A pearl necklace lies at the base of her neck, though traces of another necklace, originally painted higher up on the neck like a choker, are visible. A lace-edged collar lies along her shoulders, and more lace lines a kerchief tucked into the low, straight neckline of her bodice. The gown’s puffy sleeves are tied around the elbows and end in wide lace-lined cuffs at the wrists. The sleeves and the front and bottom edges of the bodice are lined in glittery gold. A bejeweled gold brooch nestled in black lace is pinned to the front of her gown. A gold chain links the brooch to one side of the bodice before draping across her chest and lying over the other shoulder. A white satin ribbon is tied with a bow around her waist over the black overdress, which has subtle suggestions of a black-on-black pattern down the front. The fan is in her left hand, to our right, perhaps attached to a length of gold chain visible under her wrist. Her other hand rests in the folds of the black overdress. Some brushstrokes are visible in the woman’s clothing and in the walnut-brown background.

Lady with a Fan

Sir Anthony van Dyck

c. 1628

Oil on canvas  Accession ID  1957.14.1

On View: West Building, Main Floor, Gallery M43
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Shown from the hips up, a man with pale skin and shoulder-length brown hair, wearing a long-sleeved, rose-pink satin jacket and pants, props a flagpole with a voluminous blue flag against one shoulder in this vertical portrait painting. He stands with his body facing our left in profile with his left hand on his hip, elbow jutting out at us. He turns his face to look directly at us with dark eyes. He has a straight nose, rosy cheeks, and a mustache and narrow goatee below his lips, which are slightly parted. He wears a wide-brimmed black hat generously adorned with pale blue, turquoise, pale yellow, and orange plumes. The fabric of his pink clothing reflects the light in wide patches of white, creating the impression of a satin sheen. Wide, pale gray lace lines the front opening of the jacket, the shoulders, the arms, and the sides of the trousers. His white lace collar is tied with a pale celery-green bow and a bow of the same color ties the lace cuff of the wrist we can see. A baby-blue sash wraps around his waist and is tied in a large rosette at the back. Both hands are covered with ivory-white gloves. His left wrist rests against his hip so the underside of those fingers dangle down, while the other hand supports the flag pole, which is wrapped in blue fabric. A sword hangs from his front hip. The topaz-blue fabric of the flag, or standard, drapes down from the flag pole, which extends off the top right corner of the canvas. A coat of arms, about the size of a person’s palm, hangs from a nail with a string in the upper left corner on the taupe-colored wall behind the man. The coat of arms is made up of three fleur-de-lis lined up in a diagonal band and the remaining two corners are filled with stylized lions, long tongues curling out. The artist dated the work “1640” in the lower left corner.

Andries Stilte as a Standard Bearer

Johannes Cornelisz Verspronck

1640

Oil on canvas  Accession ID  1998.13.1

On View: West Building, Main Floor, Gallery M46
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Shown from the hips up, a pale-skinned man with a Van Dyck beard stands with one hand on his hip in this vertical portrait painting. The man’s body faces our right almost in profile, but he turns his head to look at us from the corners of his brown eyes under lifted, black brows. The bridge of his nose is slightly flattened, and he has full pink lips, a pointed chin, and chin-length, wavy black hair. His mustache flares upward at the ends, and a line of hair grows down his chin. The wide brim of his hat would nearly have reached his shoulders, but it sits angled on the back of his head. Layers of white lace create a round collar resting on his chest over a black jacket. The coat is slashed over the chest and upper arms of the sleeves so the white shirt underneath is visible. The jacket is also partially unbuttoned over his torso. The cuff we can see reaches from his wrist along his forearm and is edged in lace. The back of that hand rests against that hip, and the cloth of a black cloak is bunched up around that hand. Black drapery fills most of the background but is pulled back to our right to reveal a landscape with a sunset-streaked sky.

Portrait of a Man in a Wide-Brimmed Hat

Flemish 17th century, Jan Cossiers

early 1630s

Oil on panel  Accession ID  1969.2.1

On View: West Building, Main Floor, Gallery M46
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Beyond several craggy boulders that loom in the lower left corner of this horizontal painting, three sailing ships pitch wildly in crashing waves beneath towering clouds. At the center, a large ship tips sharply to our right with billowing ivory sails and two red, white, and blue striped flags whipping in the wind. White spray kicks up against the side of the boat and in the waves surrounding it. The sails of the second ship, to our right, are furled except for one that crashes down onto the deck. Tiny people scurry around inside the ship, which tilts steeply up on a high wave. The third ship floats beyond this, its sails also tied up. The top of a tall wooden mast along with a broken wooden pole poke up from emerald-green waves in the lower right corner, near a barrel and two bundles wrapped in cloth and tied with rope that bob nearby. One of the brown, jagged rocks to our left nearly spans the height of the painting while others jut from the water like crooked teeth. A bank of billowing, slate-gray clouds at the center of the sky separates a fog-gray sky and puffy clouds to our right from a patch of golden sunlight to our left, in the upper corner of the canvas. The artist signed and dated the work as if written on a rock at the bottom center of the canvas, “LBackh 1667.”

Ships in Distress off a Rocky Coast

Ludolf Backhuysen

1667

Oil on canvas  Accession ID  1985.29.1

On View: West Building, Main Floor, Gallery M49
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Shown from the waist up, a woman looks at us steadily from behind an oval opening in this vertical portrait, which is painted entirely in tones of sepia and golden brown. The woman’s shoulders and face are angled to our left, but she looks at us with large, dark eyes. She has a narrow face with a slightly bumped nose, high cheekbones, a dimple under her lower lip, and her mouth is closed. Her dark hair is pulled back, and curls fall to her shoulders. The bodice of her dress and the voluminous sleeves glint with highlights, suggesting satin or silk. A sheer cloth covering her chest may be lined with pearls, and bows are tied at her shoulders and over her breastbone. She holds one long-fingered hand up to touch the ribbon at her chest, and she wears a ring on that pinky. She holds a closed book by the spine with her other hand down by her waist. A curtain fills most of the background within the oval opening but is pulled aside to show a church tower to the left. The oval opening appears to be ornamented on our side with carved, chubby babies in the lower corners holding a blank banner, paint palette, brushes, maulstick, and books. At the upper corners are a drawing, drafting tools, globe, lute, and caduceus. The artist signed and dated the painting near the woman’s right elbow, to our left: “Cornelius Ionson Van Ceulen fecit 1657.”

Anna Maria van Schurman

Cornelis Jonson van Ceulen

1657

Oil on panel  Accession ID  2002.35.1

On View: West Building, Main Floor, Gallery M50
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Woman with a Pearl Necklace

Cornelis Bisschop

1650s

Oil on canvas  Accession ID  2025.11.2

On View: West Building, Main Floor, Gallery M51
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A man with pale skin, wearing a gold-embroidered amber-yellow jacket and tomato-red pants, stands in front of a rocky outcropping with a distant view beyond in this vertical portrait painting. At the center of the composition and taking up most of it, the man stands with his body facing us, but he turns his head slightly to our left and looks off in that direction with slate-blue eyes under curving brows. His smooth cheeks are lightly flushed in his oval face. His full pink lips are closed and are framed by a mustache and small, pointed goatee under his lower lip. His wavy brown hair falls in bangs across his forehead and down to his shoulders. One longer lock has been braided and tied with a yellow and red bow, which rests on the front of his left shoulder, to our right. A wide, lace collar extends from his neck to drape over his shoulders, overlapping a piece of metal armor around the neck, called a gorget. His yellow jacket, a doublet, is embroidered with gold along the hems and where it hangs open down the front to show a white shirt beneath. The silver sleeve we can see is cut with a long slit along the forearm to also show the white linen beneath, and both cuffs have layers of lace at the wrists. A crimson-red coat or cape hangs over his left arm, on our right. His red pants are covered all over with gold stitching above ivory-white, calf-high boots. He holds a wide-brimmed, black hat adorned with plumes of red, white, and marigold-orange feathers in his right hand, on our left. An armored breastplate rests at his feet. He stands on a dirt ground with a tall boulder immediately behind him to our right. The landscape in the distance to our left has a sky filled with steel-gray clouds above trees and hills.

Henri II de Lorraine

Sir Anthony van Dyck

c. 1634

Oil on canvas  Accession ID  1947.14.1

On View: West Building, Main Floor, Gallery M42
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