French, Italian, and Spanish Paintings

On View: West Building, Main Floor

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86 artworks on view.

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This is a painting of a scene with a suffering man surrounded by five angels. The man is kneeling in the center of the painting, facing the left, with thin, dark red wounds visible on the pale skin of his back and arms. He is nude except for a white cloth tied around his waist, and he reaches towards a black robe or cloth on the ground. On the floor in front of him are a discarded whip and bundle of thorny twigs. In a semi-circle around him, the angels display different poses of lament and compassion. They have light skin and are dressed in green, red, pink, teal, and gold garments, with wide, feathered wings stretching behind them. The floor appears to be checkered in shades of light red, and the background is dark, with one white, square column visible to the left of center.

Christ Gathering His Garments after the Flagellation

Juan Correa

c. 1670s

Oil on canvas  Accession ID  2024.4.1

On View: West Building Main Floor, Gallery M29
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Shown from the knees up, a young woman sits nuzzling a baby in her lap in this vertical painting. They both have pale skin tinged with pink. The woman’s body is angled to our right with her head in profile. A narrow, white scarf ties around her dark brown hair, leaving soft tendrils brushing the side of her face and neck. Her eyes are lowered, and her pursed, rose-pink lips almost touch the infant’s upturned face. A sea-blue mantle is draped across her back and one shoulder, and wraps around to lie across her lap. Ivory-white fabric drapes across her neckline over a voluminous, coral-red robe. The nude, plump child faces away from us, perched on the woman’s knee. He turns to reach fir the woman, so we see a sliver of his flushed, left cheek and the tip of his nose. He has curly blond hair. One pudgy hand rests on her neck while the other cradles her chin. A mustard-yellow cloth wraps around his hips and under his dimpled bottom. The woman’s left hand, on our right, delicately embraces his hip. She leans onto her other arm, propped on a stone ledge to our left, and that hand loosely holds one end of the baby’s yellow drapery. The scene is lit from the upper left, and they are set against a background that transitions from earth brown on the left to cinnamon brown on the right. The artist signed the work as if he had written his name and the date on the face of the ledge, just under the woman’s elbow: “Simon Vovet Pinxit.1633.”

Madonna and Child

Simon Vouet

1633

Oil on canvas  Accession ID  2016.20.1

On View: West Building Main Floor, Gallery M37
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