Dutch and Flemish Paintings

On View: West Building, Main Floor

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165 artworks on view.

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Water laps at a curving shoreline in front of a steep sandy dune carpeted in grass, shrubs, and trees in this horizontal landscape painting. The dune takes up the lower right quadrant of the composition. A few broken tree trunks are overgrown with vines and plants across the top and down the sloping side of the dune facing us. A red brick wall cuts through the vegetation up the side of the dune and disappears into the shrubbery at the top. The twisting branches and canopies of three large trees reach into the upper right quadrant of the composition. The vegetation stops abruptly along the sheer edge of the dune where it faces the water. The land curves like a backward capital letter C so it almost reaches the left edge of the painting along the horizon, which comes a quarter of the way up the composition. A cow and three more animals, perhaps sheep or more cows, graze or lie on a grassy mound in the distance, and sailboats line the horizon in the deep distance. White ripples swirl in the steel-blue water. The artist signed and dated the lower center, “J Ruisdael . 1648.”

Dunes by the Sea

Jacob van Ruisdael

1648

Oil on panel  Accession ID  2017.55.1

On View: West Building, Main Floor, Gallery M47
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Gathered in a round glass vase, a tall bouquet of flowers in shades of light and deep pink, sunshine yellow, and white with pine-green leaves nearly fills this vertical still life painting. Shown against an gray background, the vase sits on a narrow ledge, perhaps made of wood. A label with looping, cursive French text painted in gold against a baby blue background is affixed to the front of the ledge, along the bottom edge of the composition. The text reads, “C'est l'Angelicq main du grad Peinctre de Flore AMBROISE, renommé jusqu' au Rivage Moré.” A few of the flowers draw the eye, including a tulip and iris at the top of the bouquet. To our left, the tulip is mauve pink with cream-colored streaks, and one petal folds down to reveal the stamen inside. Next to it, a damselfly, an insect like a delicate dragonfly, rests on the vibrant yellow iris. The petals curling down from the iris are veined in muted burgundy red. Flowers filling in the bouquet below include a shell-pink cyclamen, a white gardenia, a closed blue and white striped columbine, a slate-blue grape hyacinth, lily of the valley, pale blue forget-me-nots, and a pink peony interspersed with leaves and greenery. The round glass vase has a narrow opening. A sprig of viola rests to our left of the vase on the ledge, and an orange, black, white, and brown butterfly perches on the stem of a pink cyclamen laying to our right of the vase. The artist signed the painting with a monogram and dated it in dark paint to our right on the face of the ledge: “AB 1621.”

Bouquet of Flowers in a Glass Vase

Ambrosius Bosschaert

1621

Oil on copper  Accession ID  1996.35.1

On View: West Building, Main Floor, Gallery M50
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The head and chest of a man with pale pink skin, a honey-blond beard, and curly, mahogany-brown hair around a receding hairline fills this vertical portrait painting. His body and head are tipped to our left and he looks at or toward us with olive-green eyes. He has a long, pointed nose with lines around the nostrils leading down to his sweeping mustache. His soft beard below is trimmed to a point. His full, salmon-pink lips are closed. Faint sage green shades the inner corners of his eyes and the dips at his temples, beneath a shiny, balding head. His brown locks float around his face as if lifted by a breeze. His shoulders are enveloped by a chocolate-brown cloak, probably fur, and a swipe of vivid white paint at the back of his neck suggests a high, white collar. The background is mottled with rust-red, copper, and gold. The portrait is loosely painted in some areas, especially the fur cloak and background.

Peter Paul Rubens

Anonymous Artist

c. 1620

Oil on panel  Accession ID  1960.6.33

On View: West Building, Main Floor, Gallery M50
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We look across a sunny waterway to the opposite bank, where a line of tall, leafy trees along the canal is backed by a row of red brick buildings and rowhouses with white stone trim in this horizontal landscape painting. The far bank angles from the lower left corner into the distance to our right, where it meets the horizon line near the right edge of the panel, about a fifth of the way up the composition. The water in front of us ripples gently, reflecting the white clouds, pale blue sky, low barges or boats tied up along the edge of both sides of the canal, and the moss green of the trees. Tiny in scale, a few people walk and work under the trees along the far bank. The building closest to us, to our left, has a stepped roofline and a lantern-shaped cupola. The gray spire of a church rises above the trees farther down the canal, and more red brick buildings are visible in the gaps between the tree trunks. People and a horse cross a low, arched bridge spanning the canal in the distance to our right. The artist signed the painting as if he had inscribed his initials as a monogram on the boat closest to us to our right, “IVH.”

View Down a Dutch Canal

Jan van der Heyden

c. 1670

Oil on panel  Accession ID  2012.73.2

On View: West Building, Main Floor, Gallery M50
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Shown from the knees up, a pale-skinned man wearing armor stands with his body facing our left in profile but he turns his head to look up and over our right shoulder in front of a distant, gray landscape in this vertical portrait painting. He looks into the distance with brown eyes under dark, arched eyebrows. Chestnut-brown hair flows around his ears and to the back of his neck. His straight nose is slightly hooked at the end, and his pink lips are closed under a wispy mustache. He has plump, lightly flushed cheeks, and sagging jowls lead to a double chin. Light from our left glints off the suit of armor that covers his arms and round belly. He stands with his left hand, closer to us, resting on the hilt of a sword hanging at his side so his elbow points toward us. His other hand rests on the top of a cane. A leather strap crosses his chest, and a thin layer of lace encircles his neck. A ruby-red sash is tied around his upper left arm in a bow and billows around and behind him. The landscape beyond has a dark blue sky with charcoal-gray clouds above a low, sunlit horizon. The painting is inscribed with dark capital letters in the upper right corner: “MDV RAPHAEL RACIVS. H REIP. TRIREMIVM PRAEFE.”

The Prefect Raffaele Raggi

Sir Anthony van Dyck

c. 1625

Oil on canvas  Accession ID  1942.9.90

On View: West Building, Main Floor, Gallery M42
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A basket overflowing with flowers sits on a table alongside fruit, berries, and seashells in this horizontal still life painting. The wide, low straw-colored basket has a woven base and more open, rib-like sides. The bouquet is made up of white and pink roses, a sky-blue iris and another with pale yellow and lavender-purple leaves. There are also a carnation striped with red and white, flame-orange poppies, and at least three tulips, including one that is scarlet red, a white tulip veined with red, and one with red petals streaked with yellow. Other flowers and dark green stems and leaves fill out the arrangement. The basket sits on a slate-gray tabletop that extends off both sides of the painting. Four shells sit to our left of the basket. These include a woodcock murex shell with a spiraling head with spikes and a long, spiny tail; an elongated, smooth conch shell with an ivory-white and brown calico surface; and light blue snail shell. Finally, closest to us, the largest, spiraling triton shell is occupied by a hermit crab. A sprig of glowing red berries sits at the front center of the composition. To our right, a cluster of fruit includes purple and green grapes on the vines, red cherries, a red plum, and two pieces of yellow and blush-pink fruit. The scene is lit from our left against a darkened background, so a dragonfly in the upper right corner is nearly lost in shadow. The artist signed the painting in the lower left corner, “B.vander.ast.”

Basket of Flowers

Balthasar van der Ast

c. 1622

Oil on panel  Accession ID  1992.51.2

On View: West Building, Main Floor, Gallery M50
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Shown from the knees up, a pale-skinned man wears a tall, black hat, wide white ruffs at the neck and cuffs, and a voluminous black garment in this vertical portrait painting. The dark costume nearly blends into the brown background in some places, so details are difficult to make out. The man sits in a chair so his body and knees are angled to our left. His face is also turned in that direction, but he looks at us from the corners of his brown eyes under dark, heavy brows. He has a thin face with a long, bumped nose. His brown mustache flicks up at the outer ends, and a thin line of hair down his chin creates his beard. His black hat has a high, rounded top and is draped with black fabric and a rosette. The ruffs at his neck and cuffs are pleated into tall, narrow figure eights. His black garment appears to puff widely at the shoulders and fold back over his lap. He wears a ring on the pinky finger of his left hand, which holds a piece of paper. The other hand hangs limp from where his arm rests on the chair, which appears to be upholstered in dark maroon-red fabric and is topped at the back with gold finials. A square window pierces the brown wall behind the man in the top left quadrant of the canvas. A few gold lines glint on the fringed brown curtain pulled up over the window, which opens onto a dark, perhaps nighttime landscape. A coat of arms hangs on the wall behind the chair, to our right of the man’s head. A shield is vertically striped with white to either side of a red stripe with a bird of prey silhouetted in black beneath a gold crown. Gold lettering on the wall below reads, “IO: VINSS: IMPS. ANN: SAL: 1626 AET: SVAE: 44.”

Giovanni Vincenzo Imperiale

Sir Anthony van Dyck

1626

Oil on canvas  Accession ID  1942.9.89

On View: West Building, Main Floor, Gallery M42
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From our place on a dirt road, a row of buildings and houses extends from the right edge of this painting, into the distance and to our left in this vertical composition. People, all with light skin, come and go through doorways and hatches, work unloading goods next to a horse, and gather under a tattered awning down the road. Most of the people wear hats and dark clothing in tones of brown, black, and golden yellow, with a few touches of brick red. A jumble of objects, including a barrel, a wooden trap, and a ceramic vessel, and some chickens are gathered in the lower right corner of the panel, closest to us. A boy holding a long-necked vessel stands at an open hatch leading to an underground level of the structure nearby. That building has a large, steeply pitched, thatched dormer on a red tile roof. Green vines grow over parts of the peanut-brown stone and brick façade. A white stork with long legs and a long beak stands at a nest built on top of the chimney. A sign hangs above an open door, through which a person leans, and a birdcage hangs below the sign. In front of the open door, two men, one wearing a golden yellow vest and one wearing teal blue, unload large wooden barrels from a horse-drawn sled. The brown horse lifts one back foot off the ground, and the side of his hide is marked, perhaps with a sore. A tall tree with dark green leaves separates the building closest to us from its neighbor. A group of people and children are gathered under an awning there. One boy in the group pets a white, long-haired dog. Nearby, a man using crutches makes his way down the road toward us. A pair of dogs, one black and one brown and white, tussle over something in the lower left corner. The row of buildings extends in a line into the distance with steeply pitched, pointed rooflines. A tower, perhaps for a church, appears in the hazy distance to our left, near the left edge of the panel. Clouds with pale peach tops and lilac-gray undersides sweep across the sky above, parting to reveal on a couple slivers of blue sky beyond. The artist signed and dated the panel with black paint in the lower right corner: “Isack van Ostade 1645.”

Workmen before an Inn

Isack van Ostade

1645

Oil on panel  Accession ID  1991.64.1

On View: West Building, Main Floor, Gallery M50
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Shown from the chest up, a man with peach-colored skin sits in profile facing our left with downcast eyes in this vertical painting. He has a chestnut-brown beard and hair, brown eyes under thick brows, a slightly bumped nose, and pale, coral-pink lips. His nose and cheeks are tinged with pink. His robe is vibrant rose pink over the shoulders and scarlet red over his arms. The two colors are separated by a band of gold fringe. A bright, zigzagging line along the neckline could be a necklace or the edge of a white collar. He holds a lidded vessel near his left shoulder, closer to us. One hand tips the lid off the rounded bowl held in his other hand, which is cut off by the bottom edge of the canvas. The cup and lid are embellished with a row of bulging bosses around their edges. Inside the vessel is a glimpse of rounded, dark brown objects. The man is lit from the upper left, and the background is a mottled olive green and ginger brown.

Head of One of the Three Kings: Melchior, The Assyrian King

Sir Peter Paul Rubens

c. 1618

Oil on panel transferred to canvas  Accession ID  1943.7.9

On View: West Building, Main Floor, Gallery M45
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Eight cows bathed in warm sunlight stand and lie on a riverbank carpeted in mossy green in this horizontal painting. The cows are amber, ginger, or tawny brown, bone white, or black, and all have short, curving horns. Seven are clustered closely together, at the bottom center of the painting. There, one tawny red cow with a white face looks at or toward us as it lies at the middle of the grouping, legs tucked under her big body. The eighth cow is black with a white face, and lies just to our left of the group. Behind the cows, to our right, a hill rises about halfway up the right side of the composition. Three men meet at the top. One man is on horseback with his back to us, while the other two stand to the right holding tall staffs. They are dressed in sage-green, tan, or peanut-brown tunics and knee-length pants, and they all wear hats. Beyond the cows, the silvery-blue river extends back to a row of low trees in the deep distance on the horizon, which comes about a quarter of the way up the composition. A few sailboats with white sails navigate the waterway. The sky, which takes up about three-quarters of the composition, is filled with puffy white, pale gray, and shell-pink clouds. A shaft of sunlight breaks through the clouds near the top center of the composition and falls toward the men on the hill. Birds flying in a loose band are painted with a few swipes of brown, tiny in the distance. The artist signed the lower right, “A:Cuijp.”

River Landscape with Cows

Aelbert Cuyp

1645/1650

Oil on panel  Accession ID  1986.70.1

On View: West Building, Main Floor, Gallery M47
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Two roosters, a rabbit, and three small birds hang from the top of this vertical still life painting, so the heads of one white rooster and the rabbit come to rest on a dark stone ledge, about a third of the way up the composition. To our left, the tawny-brown rabbit’s nose faces us as the head rests on an azure-blue purse with silver lining. A pair of scissors is tucked behind the strap, which falls down over the ledge. To our right, the head of the rooster curves away with its red coxcomb coming toward us. A black fly rests on the rooster’s comb. The black tail feathers of another rooster arc out behind it, near the upper right corner of the painting. In front of the rabbit's bound, hind legs is a small bird with puffed, silvery-gray feathers, and one black leg tied up with a dark cord. To our left are two more small birds, one with gray, cream, and tan feathers, the other with cream, golden orange, and lapis blue. These two are secured with their beaks pointing upward. Two white and scarlet-red caps, falcon’s hoods, are strung up by white ribbon near the pair of birds. Below the ledge is a carved scene with nude or nearly nude people, but this area is mostly in shadow. Behind the animals is a dark, nearly black wall.

Still Life with Dead Game

Willem van Aelst

1661

Oil on canvas  Accession ID  1982.36.1

On View: West Building, Main Floor, Gallery M50
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A nude man and woman, both with pale, luminous skin, recline together under an apple tree in front of a deep landscape in this horizontal painting. Their bodies entwined, Adam and Eve gaze into each other’s eyes. To our left, Adam’s muscular torso faces us as his slightly bent knees, resting along the ground, come toward us. He braces his upper body on his elbow, which rests on a low, mossy rock, and he holds a small green fruit in that hand. A sprig of rounded leaves covers his genitals. He has short, tousled, copper-brown hair, dark eyes, a straight nose, and his parted lips curl in a slight smile. A wispy, ginger-brown beard lines his jaw. He looks at Eve in profile as she leans against his chest. Her torso faces away from us, and her legs are tucked under her body, so their feet nearly touch. She lightly touches his chest with the fingertips of her left hand, and she holds up a small green and red apple in her other hand. A bite has been taken from the apple. Eve’s honey-brown hair is gathered at the back of her head, and she has dark eyes, a delicate nose, rosy, rounded cheeks, and full, coral-pink lips. In the lower left corner of the painting, a brown and white cat sits near Adam’s hip and looks out at us with gold-colored eyes. A tree rises behind the pair, along the left edge of the composition, and branches with oblong, sage-green leaves and red fruit frame the couple. Upon closer inspection, a snake winds around the trunk. The snake’s body is mustard yellow and dark teal, and it has a human face with flushed cheeks and blond hair. The snake’s face looms just above Eve’s head, and it looks at or toward us. To our right of Adam and Eve, the scene opens up onto a landscape with a grassy expanse leading back to rocky mountains in the distance. Closer to us and near the right edge of the painting, a goat with almond-colored fur stands facing away from us as it turns its head back to look at the people, munching a tuft of vegetation. The head of a black goat peeks in from the right edge, also looking toward the center of the painting. Tiny in scale, an elephant, two camels, and several other animals move through the landscape near the base of the mountain. A streak of ruby red appears in the otherwise hazy blue sky, near the snake’s head. The artist signed and dated the painting as if he had inscribed the rock on which Adam rests his elbow: “HG AE 1616,” with the HG conjoined to make a monogram.

The Fall of Man

Hendrick Goltzius

1616

Oil on canvas  Accession ID  1996.34.1

On View: West Building, Main Floor, Gallery M45
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