Dutch and Flemish Paintings

On View: West Building, Main Floor

Filter Results

165 artworks on view.

Results

The limp, dead bodies of a swan, rabbit, and three birds along with a live bird and a small dog are arranged on and near a low stone step in the bottom left corner of this horizontal painting. To our left and close to us, the white swan lies on its back on the step with its wings partly extended. Its long neck drapes toward us over the rabbit’s body, the bird’s head turned to our left. The rabbit has tawny-brown fur and lies stretched out on its side, its belly facing away from us. Tucked in the lower left corner of the painting, a fowl has a round body with cream-white and chestnut-brown feathers. The beaks of two more dead birds peek out from the shadows beyond the rabbit’s body. Behind the dead animals and taking up the left third of the painting, the square base of a fawn-brown stone column nearly reaches the top edge of the canvas. The front face is carved with a relief showing a woman and man huddled together as they look down in front of them, seemingly toward the swan. A yellow flower with narrow, tapered petals hangs over the upper left corner of the base and lavender-purple flowers, perhaps roses, peek around the base from our right. To our right of the dead animals, a bird with black, smoke-gray, and white feathers stands facing away from us with its wings flared back. Its emerald-green and gold head gleams in the stark light illuminating the scene from the lower left. It turns its head toward a small dog in the lower right corner. The dog has white and pale, honey-brown fur, a round face, blunt nose, and sable-brown floppy ears. The dog’s back half is cut off by the edge of the painting, and it seems to lean back as it looks toward the bird. A grapevine with broad, curling leaves winds into the painting behind and above the dog, ending with scrolling tendrils at the center of the composition. The leaves are fern green, some fading to a pale sage green or tan, and edged in brown. One leaf over the dog’s head is crimson red and tan, and a glistening cluster of green grapes lies on the ground near the dog’s front paws, to our left. Beyond the live bird and dog, a deep landscape opens up with statues lining a stepped walkway that leads to a rectangular reflecting pool. Several black and white birds the size of ducks stand in the shadowed background near the pool and more birds fly overhead. Backlit by the amber-gold sunset, tall trees with thin black trunks and caramel-brown leaves line the path leading to a tall narrow structure at the water’s edge. The golden sunset fades to a pale blue sky with drifting clouds over low mountains in the deep distance.

Still Life with Goose and Game before a Country Estate

Jan Weenix

c. 1685

Oil on canvas  Accession ID  2004.39.1

On View: West Building, Main Floor, Gallery M50
Download artwork
A blue and white bowl with a flaring rim is filled with small red strawberries, and the currants and cherries scattered around it are arranged along a wooden ledge or table in this horizontal still life painting. A single, ruby-red and white carnation with a short stem has been stuck down into the bowl at the back center. A few green strawberry leaves lie among the berries near the flower. A butterfly with honey-yellow and black wings perches on one leaf to our right. The top edge of the bowl’s rim is painted with geometric designs in muted azure blue between roughly oval-shaped medallions painted with stylized flowers. The base of the bowl is painted with fruit within a rounded medallion. To our left of the bowl, six vibrant red cherries and three stems of pearl-white currants sit on the table. To our right is another sprig of white currants and one of gleaming, scarlet-red currants. Between them is a trio of strawberry leaves and a pair of strawberries. A fly has landed on one of those berries, near the bottom center of the composition. Several water droplets glisten on the leaves and tabletop. The background is dark, earthen brown.

Wild Strawberries and a Carnation in a Wan-Li Bowl

Jacob van Hulsdonck

c. 1620

Oil on copper  Accession ID  2013.1.1

On View: West Building, Main Floor, Gallery M50
Download artwork
Shown from the lap up, a pale-skinned woman wearing a long gown and wide-brimmed hat sits in front of a low stone wall in this vertical portrait painting. The woman takes up the lower right quadrant of the composition. Her body faces our left, and she looks off in that direction so we see her in profile. She has large eyes, a delicate nose, round, flushed cheeks, and a pointed chin. Her blond hair is pulled back under a black covering at the back of her head. The underside of her hat brim is steel gray, and a carnation-pink feather droops over one side. The rounded, straw-yellow crown is just visible above the grim. A gold and pearl earring dangles from the ear we see, and a smoke-gray, translucent cloth is tied around her shoulders. The bodice of her dress is coral red on the upper chest and patterned with gold stripes and leaves against brown on the torso and elbow-length sleeves. The white garment she wears underneath is gathered in puffs just under the elbows, beyond the end of the brown sleeves. Her apricot-orange skirt has a sheen, suggesting satin, and a translucent white apron is tied around the waist. She holds a hoop, about the diameter of a human head, in both hands. She adds colorful flowers to the hoop and more blossoms lie in her lap. Her far elbow rests on the stone wall that spans the bottom third of the painting. The front face of the wall is carved in low relief with a sunflower, roses, and other flowers. A crack runs down through the top of the wall and curves toward the woman. A stone fountain rises from the ledge to our left. A tall base is topped by a stylized fish with water trickling from its open mouth. Also part of the carved fountain, the head of a small child standing astride the fish is cut off by the top edge of the panel. Shadowy trees nearly fill the space beyond the wall, but a clearing is visible through a small gap near the woman’s face. There, a man sitting on the grass wraps his arms around the woman sitting next to him. A dome, towers, and rooflines are nickel-gray in the deep distance beyond. The artist signed the work as if he had carved the wall near the woman to read, “G. Schalcken.”

Woman Weaving a Crown of Flowers

Godefridus Schalcken

c. 1675/1680

Oil on panel  Accession ID  2005.26.1

On View: West Building, Main Floor, Gallery M50
Download artwork
Painted in tones of beige, cream white, and pecan brown with hints of shell pink and faint blue, a few sailboats float in a calm body of water with a harbor and a town deep in the distance along the horizon, which comes about a quarter of the way up this painting. Rippling gently across the foreground, the water reflects the pale blue sky and blush pink of clouds above. To our left, two masted ships with sails furled have pulled up alongside each other. A smaller boat sails to our right and a few more are spaced sparsely along the waterway leading to the town. Painted as a dense forest of spiky masts, the harbor in the far distance is full of boats along a town that stretches nearly the width of the panel. Tiny in scale, there are a few windmills and slate-gray towers for churches, town halls, and other buildings.

View of Hoorn

Abraham de Verwer

c. 1650

Oil on panel  Accession ID  2008.32.1

On View: West Building, Main Floor, Gallery M49
Download artwork
A bundle of pale green, thick asparagus stalks bound by twine and a bunch of glistening ruby-red currants sit on the edge of a stone table or ledge against a deeply shadowed background in this vertical still life painting. The asparagus is situated with the jagged, broken edges facing our left and the pointed tips angled away from us to our right. The base of the stalks are nearly cream-white, and the tips are faint green and muted purple. To our right, one the two stems of the red currant berries and leaves dangles off the front edge of the table. Light spills onto the scene from our upper left giving the currants a glassy sheen. The stone ledge or table is cracked in a couple of places. The artist signed this work as if he had inscribed his name and the date on the front surface of the table: “A. Coorte. 1696.”

Still Life with Asparagus and Red Currants

Adriaen Coorte

1696

Oil on canvas  Accession ID  2002.122.1

On View: West Building, Main Floor, Gallery M50
Download artwork
A man and woman greet each other at the center of a group of about a dozen people set within a landscape in this horizontal painting. All the people have pale, peachy skin. In the middle of the crowd, a woman, Abigail, kneels to our left while a man to our right, David, reaches out to her. Abigail’s blond hair is tied back under a white veil that drapes over her shoulders, and she wears a slate-blue dress and a string of pearls around her neck. She holds her left hand, on our right, to her chest and her other hand gestures down to a basket of bread held by a man in the lower left corner of the painting. David stands and bends toward Abigail as he cups her bent elbow with his left hand. His other hand rests on a walking stick near her head, and his index finger is extended as if to brush her cheek. He has short, curly blond hair and beard, and he wears a thigh-length tunic under a breastplate. Crimson-red fabric drapes around his shoulders and over his armor, and a dagger or short sword hangs at his hip. Three women, three men, and a donkey gather to our left, behind Abigail. Two of the men hold large baskets of bread, and they all look toward Abigail and David. Six armored men, two younger people, and two horses make up the group to the right. Trees line a hill behind the people to our left and dark gray and amber-colored clouds fill the sky.

The Meeting of David and Abigail

Sir Peter Paul Rubens

c. 1630

Oil on panel  Accession ID  1997.57.8

On View: West Building, Main Floor, Gallery M44
Download artwork
Sixteen men, women, and children sit on or walk among seven horses against a landscape with tall, narrow trees, buildings, and distant mountains under a vivid blue sky in this horizontal painting. In the lower left corner, a man and woman approach the group, which are arrayed across a dirt ground. The man carries a large basket with chickens over one arm and doffs his hat with his other hand. Just behind him, the woman carries a flat-bottomed, wide basket of fruit and vegetables balanced on her head. Some of the men in the main group wear wide-brimmed, feathered hats, long coats in shades of peanut brown, black, and scarlet red, and knee-length pants over stockings. The two other women wear gold-trimmed dresses in shimmering orchid pink or sapphire blue. Several of the men and women ride or prepare to ride horses, which range in shades of brown, gray, white, and black. Nine dogs with brown, white, or black fur frolic, stand, or lie among the horses. One boy pours from a jug into a stemmed glass with a flaring bowl, held by a man holding a curling hunting horn. Just beyond this pair, another man, wearing black and sitting on a horse, blows into a curving horn held up in one hand, while his other hand is planted on his hip. All the people have pale pink skin except for two men. One, to our right, is possibly of short stature and he has an olive complexion. He wears a crimson-red jacket and holds a falcon on one gloved hand. The second man has brown skin and holds the reins of a gray horse near the right edge of the composition. Near the lower right corner of the painting, a potted miniature orange tree sits on a ledge next to a peacock who perches nearby. A second peacock’s head peers out from behind the ledge. A fountain just behind the group at the center has water pouring from a stylized fish’s mouth. A sculpted woman riding the fish holds up a long object while water spouts in thin streams from her breasts. Another statue stands between two tall, spear-like trees to our left. To our right, about two dozen people look onto the scene below from a rooftop terrace on a section of the building rising up along the right edge of the painting. There, a band of musicians plays while guests dine at a small table with a peacock-shaped pie, as two more people bring out trays of food. On the front face of that structure, a man and woman talk on a balcony, as a monkey eating an orange perches on the banister. A grassy lawn or garden stretches back to a large manor house, which is hazy in the distance to our right. The horizon comes about a quarter of the way up this composition, and the sky above has bright white and flint-gray clouds against a brilliant blue sky. The overlapping letters “DG” are inscribed on the rump of a horse to our left, near the fountain. Painted in red in the lower right corner, the letters “PHILS” are entwined in a monogram next to a “W.”

The Departure for the Hunt

Philips Wouwerman

c. 1665/1668

Oil on panel  Accession ID  2019.2.1

On View: West Building, Main Floor, Gallery M47
Download artwork
Against a dark background, an abundant, colorful arrangement of flowers and fruit fills this vertical still life painting. Set on a stone ledge, a barely visible terracotta vase contains the overflowing bouquet of flowers and greenery. Carnations, tulips, peonies, roses, tuberoses, hops, and other flowers create swirling, circular patterns that sweep across the panel. A delicate stalk of wheat and a few long, thin stems create bright, sinuous lines that span the composition. Peaches and green and purple grapes are piled on the ledge to our right, and an orange butterfly perches below. Barely noticeable, small, pale blue, yellow, white, and orange butterflies hover around the arrangement, while small insects and flies crawl on a few of the flowers and pieces of fruit. Drops of water reflect the light on some of the greenery, fruit, and tulip petals. The flowers are strongly lit across the face of the arrangement, which creates deep shadows to the sides and back.

Still Life with Flowers and Fruit

Jan van Huysum

c. 1715

Oil on panel  Accession ID  1996.80.1

On View: West Building, Main Floor, Gallery M50
Download artwork
This round portrait painting shows the head, face, and the top of the shoulders of a young, blond boy with pale, peachy skin and flushed cheeks, facing our right in profile against a tan background. Light comes from behind us and to our left, so the boy’s cheek, jawline, and ear are brightly lit as he looks straight ahead, to our left. He has long, dark eyelashes, a turned-up nose, and his full, coral-pink lips are closed. The cheek we see is deeply flushed along the curve, near the nose and mouth. His short, light brown hair is highlighted with gold strands where it catches the light. A long tendril falls down past his chin on the far side of his face. He wears a fitted jacket, perhaps of brown velvet, stitched along the seams in a lighter golden color. The narrow, white ruff encircling his neck above the jacket is pleated to create a pattern of figure-eights. The background is lighter to our right and deepens to a brownish olive green to our left. The portrait is somewhat loosely painted with visible brushstrokes.

Young Boy in Profile

Judith Leyster

c. 1630

Oil on panel  Accession ID  2009.113.1

On View: West Building, Main Floor, Gallery M50
Download artwork
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
Download artwork
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
Download artwork
A sprig of flowering rosemary lying against an ivory-white background and the twelve insects that surround it fills this horizontal painting. Stretching nearly the length of the composition with the cut end to our left, the rosemary has blunted, needle-like, gently curling teal-green leaves and small periwinkle-blue flowers along the ash-brown stem. Several insects perch on the sprig while others are seen as if looking from overhead, resting on the white background. The three largest insects perch along the top of the sprig, with an ivory-white butterfly with moss-green and black markings to the left, a black and golden, fuzzy bumblebee near the center, and a lemon-yellow butterfly with red antennae to our right. A tiny red insect, perhaps a ladybug without spots, sits on a leaf between the bee and yellow butterfly, and a small wasp-like insect rests on a leaf in at the lower left. Another mosquito-like insect alights on the surface nearby, next to a beetle with a honey-orange body with black, almost tiger-like stripes. A large cockroach sitting near the lower right corner has six spindly legs, a mahogany-colored abdomen, a black thorax, and tiny, black head. Spaced somewhat evenly across the top of the panel are a brick-red, winged insect to the left, a mint-green, beetle-like bug near a moth patterned with bone white and black, and a black, fly-like insect to our right. Lit from the upper left, the rosemary and insects cast shadows on the surface. The artist signed and dated the work with gray in the lower left corner: “J v. kessel . . f. Ao 1653.”

Insects and a Sprig of Rosemary

Jan van Kessel the Elder

1653

Oil on copper  Accession ID  2018.41.1

On View: West Building, Main Floor, Gallery M50
Download artwork

Loading Results