37
Portfolios%3D%22555%22%20and%20Disp_Obj_Type%3D%22Painting%22
Painting
Roman Ruins with Card Players
After Jan Both, 1618 - 1652
Both, Jan
Netherlands
1618 - 1652
Male
25 5/8 x 32 1/8 in. (65.1 x 81.6 cm)
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overall
frame
Oil
Oil
0
0
1600-1800, 17th century, children, donkeys, landscapes, leisure activities, men, paintings, ruins
Painting
As an independent subject of painting, landscape first emerged in Europe during the 1600s. Its development reflects changes in the views commonly held at that time on the universe and man’s relation to it. As landscape painting developed, the Dutch were quick to acquire a taste for Italian settings and motifs. In this painting, Both uses Italian motifs, such as ruins, as pictorial elements; he then combines them with the typical genre scene of a group of men playing cards.
Also called The Ruins of the Temple of Saturn, this painting is a version of the original Jan Both painting of the same subject that is owned by the Alte Pinakothek in Munich, Germany. It was probably painted by either Jan Both or his brother, Andries.
[Gallery label text]
Born in Utrecht, Both subsequently traveled to Rome, where he remained from 1635 until 1641, when he returned to Holland. He was among the leading “bamboccianti,” as the Dutch painters were called who assimilated their native genre tradition with the classical landscape tradition they discovered in Italy. This popular composition, an autograph version of which survives in the Alte Pinakothek, Munich, shows low-life types amusing themselves near the formidable ruins of the Temple of Saturn.
[Gallery label text]
1962.29
item
Memorial Art Gallery
11/13/2000
62.29SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
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negative
full
8 x 10
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62.29DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/62.29_A1.jpg
62.29DI2
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/62.29_A2.jpg
62.29DI#3
digital image
7/13/2007
http://127.0.0.1:5000/Media/images/62.29_A3.jpg
Painting
Child with Cherries
Jan de Bray, (Haarlem, ca. 1627 - 1697, Haarlem)
Bray, Salomon de
Netherlands
1597 - 1664
Male
Previous attribution
Bray, Jan de
Netherlands
ca. 1627 - 1697
Male
Primary
23 x 18 1/2 in. (58.4 x 47 cm)
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approximate installation dimensions
frame
Oil
Oil
0
0
1600-1800, 17th century, children, fruit in art, paintings
Painting
This painting shows a young child draped in a floral shawl and holding a wicker basket filled with ripe cherries. His attentive gaze, directed straight at the viewer, adds to the sense of immediacy conveyed by the portrait.
Jan de Bray trained as a painter with his father Salomon, a distinguished artist, architect, and urban planner in Haarlem (The Netherlands). More than half of his work consists of individual portraits.
[Forman Gallery, Summer 2015]
back of frame, Notation is on new travel frame, so inscription is new
1955.65
item
Memorial Art Gallery
11/13/2000
55.65SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
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negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.65TR1
transparency
4 x 5
00/00/00
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55.65DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/55.65_A1.jpg
55.65DI#2
digital image
3/5/2024
http://127.0.0.1:5000/Media/images/55.65_A2.jpg
Painting
View off the Dutch Coast
Jan van de Cappelle, 1624/1626 - 1679
Cappelle, Jan van de
Netherlands
1624-1626 - 1679
Male
30 1/2 x 39 1/8 in. (77.5 x 99.4 cm)
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approximate installation dimensions
horizontal
frame
Oil
Oil
after ca. 1652
1653
1662
1600-1800, 17th century, boats, George Eastman Collection, paintings, seascapes
Painting
The popularity of seascapes in seventeenth-century Holland reflected the wealth and power engendered by that nation's naval superiority. Although he was primarily a merchant and only an amateur painter, van de Cappelle is generally recognized as among the most proficient artists to specialize in this genre. The subtle color harmonies and quiet serenity of this scene are typical of his accomplishment.
[Gallery label text, 1989]
lower leftback of frameback of frameback of frame
1968.99
item
Memorial Art Gallery
11/13/2000
68.99TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.99SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
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glossy
full
8 x 10
00/00/00
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68.99DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/68.99_A1.jpg
68.99DI#2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/68.99_A2.jpg
Painting
St. Jerome in the Desert
Attributed to Jan Adriaensz. van Staveren, (ca. 1625 - after 1668)
Dou, Gerrit
Netherlands
1613 - 1675
Male
Previous attribution
Staveren, Jan Adriaensz. van
Netherlands
ca. 1625 - after 1668
Male
Primary
19 5/8 x 14 3/4 in. (49.8 x 37.4 cm)
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approximate installation dimensions
frame
Oil
Oil
1643-1647
1643
1647
1600-1800, 17th century, men, paintings, St. Jerome
Painting
After studying for three years with Rembrandt, Dou established himself as an independent painter, achieving wealth and fame in his native Leiden. He specialized in small, highly finished genre scenes that delight by their precise reproduction of everyday objects. Meticulous realism and enamel-like surfaces also typify Dou’s portraits and religious pictures, such as St. Jerome in the Desert.
This painting integrates the two most common pictorial motifs associated with this saint, who was both a scholar of the Bible and an ascetic known to have spent long sojourns in the desert.
[Gallery label text, 2005]
St. Jerome, born to a wealthy pagan family, converted to Christianity around 365 CE. A theologian by training, his major work was the Vulgate translation of the Bible, which is still in use today. He lived for years as a hermit in the Syrian desert, and, after a scandal in Rome, returned to his life of desert solitude. He lived the last 34 years of his life in the Holy Land as a semi-recluse. In this painting, St. Jerome is shown in prayer and meditation during one of his desert sojourns. The numerous books refer to his life as a scholar of the Bible; the skull symbolizes the transience of life.
[Excerpted from gallery label text]
1926.73
item
Memorial Art Gallery
1/22/2001
26.73SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
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negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
26.73DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/26.73_A1.jpg
26.73DI#2
digital image
2/18/2008
http://127.0.0.1:5000/Media/images/26.73_A2.jpg
26.73TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Portrait of an Italian Nobleman
Anthony van Dyck, (Antwerp, Belgium, 1599 - 1641, London)
Dyck, Anthony van
Flanders
1599 - 1641
Male
40 x 32 1/2 in. (101.6 x 82.6 cm)
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Oil
Oil
1622-1625
1622
1625
1600-1800, 17th century, armor, George Eastman Collection, men, paintings, portraits
Painting
The Flemish artist, Anthony van Dyck, painted this portrait of an Italian nobleman while he was working in Genoa between 1622 and 1625. Supremely talented and precocious, van Dyck enjoyed considerable success in Italy, Flanders, and eventually England, where he was the favorite painter of King Charles I. He painted notable religious and mythological canvases, but remains most famous for his extraordinarily vivid portraits. The name of this sitter, with his graceful pose and penetrating glance, is unknown. He was certainly a wealthy Genoese patrician, however. To convey this to future viewers of his portrait, he donned his richest apparel for the occasion, including a finely crafted suit of armor and his most expensive wide lace collar and cuffs.
[Gallery label text]
1968.100
item
Memorial Art Gallery
1/22/2001
68.100SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
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negative
full
2.5 x 2.5
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glossy
full
2.5 x 2.5
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negative
full
8 x 10
00/00/00
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glossy
full
5 x 7
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glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.100DI1
digital image
12/1/2001
http://127.0.0.1:5000/Media/images/68.100_A4.jpg
68.100SL2
slide
full- w frame
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.100SL3
slide
detail-hand
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.100DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/68.100_A1.jpg
M2.68.100.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/68.100_A2.jpg
M3.68.100.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/68.100_A3.jpg
68.100TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.100DI5
digital image
Detail
6/16/2009
http://127.0.0.1:5000/Media/images/68.100_A5.jpg
Painting
Vertumnus and Pomona
Govaert Flinck, (Cleves, Electorate of Brandenburg, 1615 – 1660, Amsterdam, Holland)
Flinck, Govaert
Netherlands
1615 - 1660
Male
38 1/4 x 45 1/4 in. (97.2 x 114.9 cm)
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approximate installation dimensions
frame
Oil
Oil
ca. 1640
1635
1645
1600-1800, 17th century, paintings, Pomona, Vertumnus, Vertumnus & Pomona, women
Painting
This painting illustrates a myth from Ovid’s Metamorphosis. Pomona, a nymph who presided over gardens and fruit trees, had taken a vow of chastity and therefore rejected the advances of all suitors. Vertumnus, the Roman deity of orchards, persisted nonetheless. To gain her affections he disguised himself as a fisherman, a soldier, a peasant, and finally as an old woman.
Flinck was a student and follower of Rembrandt, so much so that the styles of the two artists were often confused. Flinck’s skill brought him enviable social and economic rewards and eventually he was honored with a commission to create twelve paintings for the civic hall of Amsterdam.
[Gallery label text, 2005]
back of frame, Then given to Flinck. Label says "See folder for Literature and Exhibitions."back of frameback of stretcher, Each in different handwriting, all on one piece of masking tape on cross member of stretcherback of stretcher, Under edge of tape, only half of each letter visibleback of framelower right
1983.10
item
Memorial Art Gallery
10/6/2000
83.10TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
83.10SL1
slide
full
2 x 2
00/00/00
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negative
4x5
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glossy
8x10
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83.10SL2
slide
detail
2 x 2
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83.10SL3
slide
with x-ray
2 x 2
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negative
color
1 x 1
00/00/00
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83.10DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/83.10_A1.jpg
83.10DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
83.10DI3
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/83.10_A2.jpg
83.10SL4
slide
collateral
2 x 2
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83.10DI4
digital image
Detail- hands
00/00/00
http://127.0.0.1:5000/Media/images/83.10_A4.jpg
83.10DI5
digital image
Detail- Vertumnus
00/00/00
http://127.0.0.1:5000/Media/images/83.10_A5.jpg
Painting
Portrait of a Man
Frans Hals, 1580 - 1666
Hals, Frans
Netherlands
1580 - 1666
Male
30 1/2 x 25 1/2 in. (77.5 x 64.8 cm)
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approximate installation dimensions
frame
Oil
Oil
ca. 1655-1660
1655
1660
1600-1800, 17th century, George Eastman Collection, men, paintings, portraits
Painting
back of frameback of frameback of frame
1968.101
item
Memorial Art Gallery
1/22/2001
68.101SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
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negative
detail-face
8 x 10
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glossy
full
4 x 5
00/00/00
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glossy
full
8 x 10
00/00/00
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68.101DI1
digital image
2 detail
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/68.101_A1.jpg
68.101SL2
slide
detail- face
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.101SL3
slide
detail, hands
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.101DI2
digital image
Detail
6/16/2009
http://127.0.0.1:5000/Media/images/68.101_A2.jpg
68.101DI3
digital image
Detail
6/16/2009
http://127.0.0.1:5000/Media/images/68.101_A3.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.101DI#4
digital image
12/8/2021
http://127.0.0.1:5000/Media/images/68.101_A4.jpg
Painting
Still Life
Jan Davidsz. de Heem, 1606 - ca. 1684
Heem, Jan Davidsz. de
Netherlands
1606 - ca. 1684
Male
14 1/2 x 18 in. (36.8 x 45.7 cm)
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without frame
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approximate installation dimensions
frame
Oil
Oil
ca. 1645
1640
1650
1600-1800, 17th century, fruit in art, paintings, still lifes
Painting
upper rightback of panelback of panel, Modern.
1949.63
item
Memorial Art Gallery
4/5/2000
49.63TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.63CPRT1
glossy
4.5 x 5.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.63SL1
slide
full
2 x 2
00/00/00
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glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.63DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/49.63_A1.jpg
negative
color
1 x 1
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.63SL2
slide
detail-oyster
2 x 2
00/00/00
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49.63SL3
slide
detail- orange
2 x 2
00/00/00
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49.63SL4
slide
detail- lemon in glass
2 x 2
00/00/00
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49.63SL5
slide
before conservation
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.63DI2
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/49.63_A2.jpg
49.63DI3
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.63DI#3
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.63_A3.jpg
49.63DI#4
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.63_A4.jpg
49.63DI#5
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.63_A5.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.63DI6
digital image
Back of panel
7/10/2007
http://127.0.0.1:5000/Media/images/Inventory pictures/49.63_I4.JPG
Painting
The Doctor's Visit
Attributed to Hendrick Heerschop, 1620 - 1672
Heerschop, Hendrick
Netherlands
1620 - 1672
Male
17 x 14 1/4 in. (43.2 x 36.2 cm)
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approximate installation dimensions
frame
Oil
Oil
ca. 1660
1655
1665
1600-1800, 17th century, doctors, health & hygiene, men, paintings, women
Painting
In this picture, a doctor dramatically examines a flask of urine as he takes his patient’s pulse. The setting is the young woman’s bedchamber; she droops with exhaustion as the physician seeks a diagnosis. A second woman, her hand placed jauntily on her hip, leans between them.
The role of the characters in this painting would have been easily understood in the prosperous world of 17th -century Holland. The satirical subject of the quack doctor (suggested here by his dramatic posturing and costume) who claimed he could identify all sorts of illnesses by looking at a patient’s urine was a favorite theme in both theater and painting. There are also moral overtones in the portrayal of the patient and the demeanor of her companion—scenes of fainting women usually referred to lovesickness, erotic melancholy or pregnancy.
[Gallery label text, 2005]
back of panelback of panel, Torn at right edge, partly illegible
1946.35
item
Memorial Art Gallery
2/20/2001
46.35TR2
transparency
3 x 4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
46.35SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
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neg
8x10
00/00/00
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neg
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
46.35DI1
digital image
5/16/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/46.35_I1.jpg
46.35DI2
digital image
3 x 4
00/00/00
http://127.0.0.1:5000/Media/images/46.35_A1.jpg
46.35DI#3
digital image
2/18/2008
http://127.0.0.1:5000/Media/images/46.35_A2.jpg
46.35TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Portrait of Elizabeth Jordaens, Daughter of the Artist
Jacob Jordaens, (Antwerp, 1593 - 1678, Antwerp)
Jordaens, Jacob
Flanders
1593 - 1678
Male
27 1/2 x 21 3/4 in. (69.9 x 55.2 cm)
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approximate installation dimensions
frame
Oil
Oil
ca. 1640
1635
1645
1600-1800, 17th century, paintings, portraits, women
Painting
1974.102
item
Memorial Art Gallery
1/22/2001
74.102SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
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74.102DI1
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/74.102_A1.jpg
74.102DI#2
digital image
3/5/2024
http://127.0.0.1:5000/Media/images/74.102_A2.jpg
Painting
Portrait of a Young Girl
Franz Kessler, ca. 1580 - 1650
Kessler, Franz
Germany
ca. 1580 - 1650
Male
27 1/16 x 22 3/4 in. (68.8 x 57.8 cm)
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approximate installation dimensions
frame
Oil
Oil
1620
1620
1620
1600-1800, 17th century, children, paintings, portraits
Painting
upper right, in imageback of frame, Written twice
1950.30
item
Memorial Art Gallery
1/19/2001
50.30SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
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negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
50.30SL2
slide
detail-necklace
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
50.30SL3
slide
detail-eye
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
50.30DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/50.30_A1.jpg
50.30DI#2
digital image
3/5/2024
http://127.0.0.1:5000/Media/images/50.30_A2.jpg
Painting
Portrait of a Gentleman
Nicolaes Maes, (Dordrecht, Netherlands, 1634 – 1693, Amsterdam)
Maes, Nicolaes
Netherlands
1634 - 1693
Male
47 x 38 1/2 in. (119.4 x 97.8 cm)
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approximate installation dimensions
frame
Oil
Oil
ca. 1670
1665
1675
1600-1800, 17th century, men, paintings, portraits
Painting
lower leftback of frame
1955.77
item
Memorial Art Gallery
1/22/2001
55.77SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.77D1
digital image
full
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/55.77_A1.jpg
55.77DI2
digital image
detail
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/55.77_A2.jpg
55.77DI3
digital image
detail
2 x 2
6/20/2002
http://127.0.0.1:5000/Media/images/55.77_A3.jpg
55.77SL2
slide
deatil-right hand close up
2x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.77SL3
slide
detail - right hand
2x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.77DI4
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.77DI#5
digital image
3/5/2024
http://127.0.0.1:5000/Media/images/55.77_A4.jpg
Painting
Landscape with Figures
Joos de Momper, (1564 - 1635)
Momper, Joos de
Flanders
1564 - 1635
Male
18 5/8 x 26 7/8 in. (47.3 x 68.3 cm)
.
.
.
Oil
Oil
ca. 1620 (?)
1615
1625
1600-1800, 17th century, castles, landscapes, paintings
Painting
1946.36
item
Memorial Art Gallery
1/22/2001
46.36SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
46.36DI1
digital image
6/28/2002
http://127.0.0.1:5000/Media/images/46.36_A1.jpg
46.36SL2
slide
detail - figures
2x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
46.36DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
46.36DI#3
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/46.36_A3.jpg
46.36DI#2
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/46.36_A2.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Portrait of a Man Holding the Frontispiece to Dürer's "Small Passion"
Pietro Paolini, 1603 - 1681/1682
Paolini, Pietro
Italy
1603 - 1681-1682
Male
49 3/4 x 40 3/4 in. (126.4 x 103.5 cm)
.
.
.
Oil
Oil
1633-1637
1633
1637
1600-1800, 17th century, men, paintings, portraits
Painting
back of stretcherback of stretcherback of frameback of stretcherback of stretcherback of stretcherback of stretcherback of stretcher
1977.103
item
Memorial Art Gallery
1/22/2001
77.103TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.103SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.103DI1
digital image
full
4 x 5
6/14/2002
http://127.0.0.1:5000/Media/images/77.103_A1.jpg
77.103DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.103DI3
digital image
full
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/77.103_A2.jpg
77.103SL2
slide
detail of hand w Durer
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.103DI#3
digital image
7/10/2012
http://127.0.0.1:5000/Media/images/77.103_A3.jpg
Painting
Portrait of a Man
Attributed to Jan van Ravesteyn, (Hague, Netherlands, 1570 - 1657, Hague, Netherlands)
Ravesteyn, Jan van
Netherlands
1570 - 1657
Male
48 1/8 x 35 5/8 in. (122.2 x 90.5 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
1632
1632
1632
1600-1800, 17th century, men, paintings, portraits
Painting
lower leftcradleback of frameback of frameback of frameback of frame
1966.13
item
Memorial Art Gallery
1/30/2001
66.13SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
66.13D1
digital image
full
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/66.13_A1.jpg
66.13DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
66.13DI#3
digital image
3/5/2024
http://127.0.0.1:5000/Media/images/66.13_A2.jpg
Painting
Portrait of a Young Man in an Armchair
Rembrandt Harmensz. van Rijn, (Leiden, 1606 - 1669, Amsterdam)
Rijn, Rembrandt Harmensz. van
Netherlands
1606 - 1669
Male
41 x 33 1/2 in. (104.1 x 85.1 cm)
.
.
.
.
.
.
overall framed size
vertical
frame
Oil
Oil
ca. 1660
1655
1665
1600-1800, 17th century, George Eastman Collection, men, paintings, portraits
Painting
1968.98
item
Memorial Art Gallery
1/22/2001
68.98TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.98SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
2.5 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
2.5 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
3.75 x 4.75
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
detail of hands
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
detail of hands
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
detail of face
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
detail of face
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.98DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/68.98_A1.jpg
68.98SL2
slide
detail- head
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.98SL3
slide
detail- hands
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Color separations
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.98DI#2
digital image
9/20/2010
http://127.0.0.1:5000/Media/images/68.98_A2.jpg
68.98DI#3
digital image
Detail
9/20/2010
http://127.0.0.1:5000/Media/images/68.98_A3.jpg
68.98DI#4
digital image
Detail
9/20/2010
http://127.0.0.1:5000/Media/images/68.98_A4.jpg
68.98DI#5
digital image
9/20/2010
http://127.0.0.1:5000/Media/images/68.98_A5.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/68.98_R1.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
The Reconciliation of King Henry III and Henry of Navarre
Peter Paul Rubens, 1577 - 1640
Rubens, Peter Paul
Flanders
1577 - 1640
Male
9 3/8 x 7 5/8 in. (23.8 x 19.4 cm)
.
.
.
.
.
.
frame
Oil
Oil
1628
1628
1628
1600-1800, 17th century, men, paintings, world history
Painting
In 1622 Marie de' Medici commissioned from the internationally famous painter Rubens two series of enormous paintings to decorate the Luxembourg Palace in Paris, where she then lived. The first series, now in the Louvre, told her own life story. The second was to tell the life of her husband Henry IV, but was never completed, and most of the scenes are known only from painted sketches like this one. The event here is a 1589 meeting between King Henry III of France (Catherine de' Medici's youngest son) and King Henry of Navarre, the future King Henry IV of France.
Henry III had no heirs, and a rival faction of French nobles who wanted to usurp his throne had taken over Paris. His cousin Henry of Navarre, although Protestant and excommunicated by the Pope, was the rightful heir. At the meeting portrayed here, Henry III promised to declare Henry of Navarre his heir, if the famous warrior king would help him to recapture Paris. To symbolize the agreement, Rubens shows the two kings clasping hands around the royal French scepter and a figure behind them holding an insignia of two clasped hands. A few months later, Henry III was stabbed by an assassin. On his deathbed, he made Henry IV promise to convert to Catholicism. Henry IV's famous comment was "Paris is well worth a mass" ("Paris vaut vien une messe").
[Gallery label text, 1996]
, Removed from back of work or frame; now in curatorial file (8/07), Removed from back of work or frame; now in curatorial file (8/07)back of frameback of frameback of panel, Probably title page from the 1819 exhibition catalogueback of panelback of panelback of panel, Long text in French, describing the painting and the event depictedback of panel, Circular stamp, illegible-- possibly export stamp?back of panel, Small label with stamped blue circle; label is perforated vertically and horizontally at center
1944.24
item
Memorial Art Gallery
1/22/2001
44.24SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
1x1
00/00/00
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glossy
8x10
00/00/00
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neg
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.24DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/44.24_A1.jpg
44.24SL2
slide
detail, upper half
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.24SL3
slide
detail- dog
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.24DI2
digital image
verso
00/00/00
http://127.0.0.1:5000/Media/images/44.24_A2.jpg
44.24DI#3
digital image
3/25/2008
http://127.0.0.1:5000/Media/images/44.24_A3.jpg
44.24TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Ulysses Landing on the Island of the Phaeacians
Workshop of Peter Paul Rubens, 1577 - 1640
Rubens, Peter Paul
Flanders
1577 - 1640
Male
67 x 99 in. (170.2 x 251.5 cm)
.
.
.
Oil
Oil
after 1625
1626
1635
1600-1800, 17th century, Odysseus, Odyssey, paintings
Painting
The monumental painting “Ulysses Landing on the Island of the Phaeacians” was inspired by a passage in Book 6 of Homer’s “Odyssey” in which the shipwrecked hero swims to safety and finds refuge from the stormy sea on an unknown shore. Arriving at night, he falls asleep between two trees and at dawn is awakened by the playful shouts of the princess Nausicaa and her attendants. Rubens has depicted the moment when Odysseus emerges to ask for food and shelter. The action occurs in the foreground of the canvas; the landscape is rich in terrestrial detail and is filled with a variety of atmospheric effects.
Rubens is often considered the most versatile and influential Baroque artist of 17th century northern Europe. Highly educated, his knowledge of Classical art and literature was thorough and complex. In order to fulfill innumerable private commissions, he collaborated on many works with other artists and students in his studio. Although Rubens provided designs and oversaw production, his personal involvement with individual paintings varied. Replicas were frequently painted by assistants. A smaller version of this painting, attributed to Rubens rather than his studio, is today in the Pitti Palace in Florence, Italy.
[Gallery label text]
1961.27
item
Memorial Art Gallery
2/20/2001
61.27SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
61.27DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/61.27_A13.jpg
61.27DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
61.27DI4
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
61.27DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/61.27_A1.jpg
M10.61.27.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/61.27_A3.jpg
M7.61.27.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/61.27_A2.jpg
P3.61.27.tif
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/61.27_A3.jpg
P4.61.27.tif
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/61.27_A4.jpg
61.27TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Floral Still Life
Rachel Ruysch, 1664/1665 - 1750
Ruysch, Rachel
Netherlands
1664-1665 - 1750
Female
45 1/8 x 34 3/8 in. (114.6 x 87.3 cm)
.
.
.
without frame
.
.
.
approximate installation dimensions
frame
.
.
.
approximate installation dimensions
frame
Oil
Oil
1686
1686
1686
1600-1800, 17th century, flowers in art, paintings, still lifes
Painting
lower left, on stoneback of stretcherback of stretcherback of stretcher, On cross-member of stretcher. See photo attached hereback of stretcher, See photo attached to Marks-->Surrogatesback of frameback of stretcherside of stretcher, Very modern
1982.9
item
Memorial Art Gallery
4/5/2000
82.9TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
82.9SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
82.9SL2
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
82.9SL3
slide
detail signature
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
82.9DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/82.9_A1.jpg
82.9DI2
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/82.9_A2.jpg
82.9DI4
digital image
Detail- artist signature
00/00/00
http://127.0.0.1:5000/Media/images/82.9_A4.jpg
82.9DI7
digital image
Detail Butterflies
00/00/00
http://127.0.0.1:5000/Media/images/82.9_A7.jpg
82.9DI#8
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/82.9_A8.jpg
Painting
Eva Bicker
Dirck van Santvoort, 1610 - 1680
Santvoort, Dirck van
Netherlands
1610 - 1680
Male
27 x 23 1/2 in. (68.6 x 59.7 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1640
1635
1645
1600-1800, 17th century, paintings, portraits, women
Painting
, Removed from backing or frame, now in curatorial fileu.r. of cradleu.r. of cradlecradle, Partial label, torn away at left sidecradle, [old paper label, darkened, no text visible]back of panelcradlecradlecradle
1955.72
item
Memorial Art Gallery
1/22/2001
55.72SL1
slide
post treatment
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.72DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/55.72_A1.jpg
55.72SL2
slide
before conservation
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.72DI2
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/55.72_A2.jpg
55.72DI#3
digital image
3/5/2024
http://127.0.0.1:5000/Media/images/55.72_A3.jpg
Painting
The Fox and the Heron
Frans Snyders and workshop, (Antwerp, 1579 - 1657, Antwerp)
Snyders, Frans
Flanders
1579 - 1657
Male
Artist
Workshop of Frans Snyders
Flanders
Male
Artist
47 1/8 x 61 1/4 in. (119.7 x 155.6 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1630-1640
1630
1640
1600-1800, 17th century, birds, fables & fairy tales, foxes, paintings
Painting
Monumental and decorative animal painting developed in Antwerp in the 17th century in the immediate circle of Rubens. Snyders, whose workshop was famous for this type of work, often also collaborated on the animals, flowers, and fruit in his friend Rubens's paintings. The rendering of materials such as the fur of the fox, the plumage of the bird, and the transparency of the glass jar add to the interest in texture.
"The Fox and the Heron" is a story from Aesop's Fables. In the background, the fox invites the heron for dinner and offers only a bowl of soup, impossible for the heron to eat. In the foreground, the heron in turn invites the fox. Dinner is served in a long-necked glass jar and the fox can only lick the outside.
Moral: One bad turn deserves another!
[Gallery label text, August 1996]
lower corners
1972.75
item
Memorial Art Gallery
1/22/2001
72.75TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.75SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.75DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/72.75_A1.jpg
72.75DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/72.75_A2.jpg
72.75DI#3
digital image
4/7/2009
http://127.0.0.1:5000/Media/images/72.75_A3.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/72.75_R1.jpg
Painting
The Pancake Woman
Jan Steen, (1626 - 1679)
Steen, Jan
Netherlands
1626 - 1679
Male
26 1/4 x 20 7/16 in. (66.7 x 51.9 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1661-1669
1661
1669
1600-1800, 17th century, children, genre scenes, jobs & work, men, paintings, women
Painting
Pancake vendors, much like outdoor food vendors today, were a common sight on Dutch streets during the 1600s. Originally a delicacy prepared on the festival day of Shrove Tuesday, the last day of Carnival and the day before the beginning of Lent, pancakes were associated with feasting and wild behavior. Images of pancake makers were initially moralistic in nature, symbolizing gluttony and lust. By the 17th century, pancakes were eaten every day and the theme lost some of its allegorical significance. The scene retained its popularity among painters and printmakers of “low-life” genre scenes, or scenes of everyday peasant and street life.
[Gallery label text]
Steen was a prolific artist who specialized in low-life genre scenes, such as the popular subject of the pancake maker. A delicacy prepared especially on Vastenavond, or Shrove Tuesday, which was the last day of Carnival, the pancake had become associated with feasting and riotous behavior. It was therefore identified with overindulgence and became a symbol of gluttony or lust. During the seventeenth century, however, pancakes began to be enjoyed at any time, which reduced the allegorical potency of the theme.
[Gallery label text]
1955.71
item
Memorial Art Gallery
1/22/2001
55.71TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.71SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.71DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/55.71_A1.jpg
55.71SL2
slide
full with frame
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.71SL3
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.71DI2
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.71DI#3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/55.71_A2.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Two Musicians
Bernardo Strozzi, (Genoa, 1581 - 1644, Venice)
Strozzi, Bernardo
Italy
1581 - 1644
Male
45 5/8 x 47 7/8 in. (115.9 x 121.6 cm)
.
.
.
Oil
Oil
1630-1635
1630
1635
1600-1800, 17th century, musical instruments (depictions), musicians, paintings
Painting
This scene of a middle-aged lute player and young violinist illustrates many qualities of Baroque art. Both musicians look directly out from the painting, their eye contact and lively expressions establishing a sympathetic psychological relationship with their audience. A parapet that separates performer from spectator links imaginary and actual space; dramatic lighting, naturalistic details and richly saturated colors all merge to intensify the viewer’s visual experience.
The meaning of Two Musicians leaves much to the imagination. The two figures here could suggest a contrast between naïve youth and experienced age; the violin and the lute both refer to ideas of balance and harmony. Concert scenes sometimes symbolize the sense of hearing or the idea of harmony and love. Whatever the interpretation, these paintings of concerts were, like the music they represent, extremely popular with their public during the Baroque period.
As a young man, Strozzi entered a monastery where he painted religious subjects. After his father’s death, he was allowed to leave the monastery to support his mother; he refused, though, to return after she died and was forced to flee his native Genoa. In 1631, he settled in Venice, where he became a Roman Catholic prelate, or church official. He enjoyed continuous success as a painter for the rest of his life.
[Gallery label text]
back of stretcher, Presumably MAG incoming receipt number?back of stretcherback of stretcher, Circular stamp, stamped twice: Swiss export stamp.back of stretcherback of stretcher, On crossbar of stretcher
1953.8
item
Memorial Art Gallery
1/22/2001
53.8TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8SL2
slide
detail-older man hands
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/53.8_A1.jpg
53.8SL3
slide
detail-man's head
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8SL4
slide
detail- boy's head
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8SL5
slide
detail-boy's hand
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8DI#2
digital image
4/7/2009
http://127.0.0.1:5000/Media/images/53.8_A2.jpg
53.8DI#3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A3.jpg
53.8DI#4
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A4.jpg
53.8DI#5
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A5.jpg
53.8DI#6
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A6.jpg
53.8DI#7
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A7.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Tavern Scene
David Teniers the Younger, (Antwerp, 1610 - 1690, Brussels)
Teniers the Younger, David
Flanders
1610 - 1690
Male
18 3/8 x 24 in. (46.7 x 61 cm)
.
.
.
.
.
.
.
.
.
overall framed size
horizontal
frame
Oil
Oil
1680
1680
1680
1600-1800, 17th century, dogs, genre scenes, leisure activities, men, paintings
Painting
The son-in-law of Jan Brueghel and a friend of Peter Paul Rubens, Teniers achieved success in Antwerp and then moved to Brussels, where he served as court painter to the archduke Leopold Wilhelm and later to Don Juan of Austria. Tavern Scene is one of numerous genre paintings in which rustics carouse, uninhibited by notions of propriety or temperance. Such subjects frequently served a moralizing purpose, indicated here by the drawing tacked to the wall above the laughing drunkard. The bird flanked by eyeglasses and candlestick may illustrate the proverb, “What use candle and spectacles if the owl cannot and will not see?”
[Gallery label text]
lower left
1955.70
item
Memorial Art Gallery
1/22/2001
55.70TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.70SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.70SL2
slide
detail- dog
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.70DI1
digital image
Memorial Art Gallery
Imaging complete
4 x 5
10/30/2001
http://127.0.0.1:5000/Media/images/55.70_A1.jpg
55.70SL3
slide
detail-bkground right
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.70SL4
slide
detail bkground left
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.70DI#2
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/55.70_A2.jpg
Painting
The Apparition of the Virgin to St. Hyacinth
Domenikos Theotocopoulos, ca. 1541 - 1614
Theotocopoulos, Domenikos
Spain
ca. 1541 - 1614
Male
39 3/8 x 24 3/8 in. (100 x 61.9 cm)
.
.
.
Oil
Oil
ca. 1605 - 1610
1605
1610
1600-1800, 17th century, paintings, St. Hyacinth
Painting
In this painting, El Greco expresses spiritual drama by his distinctive use of line, light and color. St. Hyacinth kneels in awed wonder before a mystical vision of the Virgin and Child. The scene takes place in a church interior with pillars and a patterned floor; a shadowy, monochrome figure or statue of a bishop, identifiable by his hooked staff, stands behind the enraptured saint.
According to Christian legend, Hyacinth, a Polish Dominican priest who lived from 1185-1287, witnessed a miraculous apparition of the Virgin Mary on the feast day of her Assumption—the day she was “taken up body and soul into heavenly glory.” In 1594, shortly before El Greco painted this work, Hyacinth was granted sainthood by Pope Clement VIII.
El Greco (“The Greek”) is the popular name of Domenikos Theotokopoulos, an artist born in Crete but who lived and studied in Venice and Rome. In 1575, he moved to Toledo, Spain, the center of the Catholic Church’s Counter-Reformation activities. During his career, El Greco developed a unique and dramatically spiritual style of painting that is often considered the forerunner of Baroque art.
1938.28
item
Memorial Art Gallery
6/9/2000
38.28TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
38.28SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
3 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
3 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
1x1
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
38.28SL2
slide
detail- Chirst
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
38.28SL3
slide
detail- St.'s hand
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
38.28SL4
slide
detail- St.'s head
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
38.28SL5
slide
detail- St.'s garment
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
38.28DI1
digital image
6/28/2002
http://127.0.0.1:5000/Media/images/38.28_A1.jpg
38.28SL6
slide
detail- bkgr. figure
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
38.28SL7
slide
detail- Virgin
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
38.28DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
38.28DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/38.28_A2.jpg
38.28_A3.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/38.28_A3.jpg
38.28DI5
digital image
with frame
00/00/00
http://127.0.0.1:5000/Media/images/38.28_A4.jpg
38.28DI5
digital image
with frame
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
38.28DI5
digital image
Detail Virgin and Child
00/00/00
http://127.0.0.1:5000/Media/images/38.28_A5.jpg
38.28DI6
digital image
Detail Child
00/00/00
http://127.0.0.1:5000/Media/images/38.28_A6.jpg
38.28DI6
digital image
Detail background apparition
00/00/00
http://127.0.0.1:5000/Media/images/38.28_A7.jpg
38.28DI5
digital image
Detail At. Hyacinth
00/00/00
http://127.0.0.1:5000/Media/images/38.28_A8.jpg
38.28DI5
digital image
Detail St. Hyacinth's hand
00/00/00
http://127.0.0.1:5000/Media/images/38.28_A9.jpg
00/00/00
http://127.0.0.1:5000/Media/images/surrogates/pdf/38.28_R1.pdf
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Portrait of a Child with a Dog
Spanish artist, (active )
Spanish artist
Spain
Primary
29 1/2 x 25 in. (74.9 x 63.5 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
probably mid-1600s
1600-1800, 17th century, children, dogs, paintings, portraits
Painting
Portraits often include visual elements similar to those used by other painters of the period. The landscape and the rich drapery behind the child suggest a Spanish origin. Based on these elements as well as the treatment of the child’s face, one scholar has suggested that MAG’s Child with a Dog could be the work of Juan Battista Martinez del Mazo, the son-in-law of the most famous Spanish painter of the mid-1600s, Diego Velázquez. After his father-in-law’s death, Mazo succeeded Velázquez as the official painter to the royal family; many of his portraits were of children, and many made use of similar background landscapes and drapery. We believe now that this work is by a painter active among the Spanish nobility during the mid-17th century, a period marked by prosperity and a flourishing of the arts known as Spain’s Golden Age.
[Label text from It Came From the Vault exhibition, 2013]
1964.51
item
Memorial Art Gallery
1/30/2001
64.51SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.51D1
digital image
full
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/64.51_A1.jpg
64.51DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.51DI#2
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/64.51_A2.jpg
Painting
Young Man with a Dog
Cornelis de Vos, 1584 - 1651
Vos, Cornelis de
Flanders
1584 - 1651
Male
57 x 39 1/2 in. (144.8 x 100.3 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
0
0
1600-1800, 17th century, children, dogs, men, paintings, portraits
Painting
1955.83
item
Memorial Art Gallery
2/20/2001
55.83SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.83DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/55.83_A1.jpg
55.83DI2
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/55.83_A2.jpg
55.83SL2
slide
full in exhibit
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.83DI3
digital image
11/1/2018
http://127.0.0.1:5000/Media/images/Inventory pictures/55.83_I3.jpg
Painting
Mystic Marriage of St. Catherine
Roman artist
Roman artist
Italy
Primary
5 3/8 x 4 in. (13.7 x 10.2 cm)
.
.
.
Oil
Oil
0
0
1600-1800, 17th century, angels, Christ, paintings, St. Catherine
Painting
verso, On fabric taperemoved from backing, now in donor file
1955.167
item
Memorial Art Gallery
2/20/2001
55.167DI#1
digital image
6/9/2008
http://127.0.0.1:5000/Media/images/55.167_A1.jpg
Painting
Bouquet of Flowers in a Glass Vase with Butterflies
Attributed to Jean-Baptiste Monnoyer, 1636 - 1699
Monnoyer, Jean-Baptiste
France
1636 - 1699
Male
Primary
19 3/4 x 15 3/4 in. (50.2 x 40 cm)
.
.
.
panel
vertical
.
.
.
.
.
.
overall
frame
Oil
Oil
0
0
Painting
back of cradle, From Mortimer Brandt Gallery?back of cradle, Mostly torn away, very little left. The text that remains is part of Mortimer Brandt's gallery phone number, MU8-1720 [ca. 1960]back of panel
2005.273
item
Memorial Art Gallery
3/3/2006
2005.273DI#1
digital image
full
6/7/2006
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.273_I1.jpg
2005.273DI#2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2005.273_A1.jpg
2005.273DI#3
digital image
8/2/2012
http://127.0.0.1:5000/Media/images/2005.273_A2.jpg
2005.273DI#4
digital image
1/9/2022
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.273_I2.JPG
2005.273DI#5
digital image
Back
1/9/2022
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.273_I3.JPG
2005.273DI#6
digital image
1/28/2022
http://127.0.0.1:5000/Media/images/2005.273_A3.jpg
Painting
Still Life of Flowers in an Elaborate Urn
Attributed to Gaspar Peeter de Verbrugghen, (1664 - 1734)
Verbrugghen, Gaspar Peeter de
Flanders
1664 - 1734
Male
Primary
26 3/4 x 31 1/2 in. (67.9 x 80 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
0
0
Painting
back of frameback of stretcherback of stretcher, These are not stretcher dimensions (stretcher is 84 x 71cm). 7 has line thru, Euro-styleback of stretcherback of stretcherback of stretcher, Circular stamp with crown, partly illegible. Stamped on stretcher in two placesback of stretcher
2005.276
item
Memorial Art Gallery
3/3/2006
2005.276DI#1
digital image
full
6/7/2006
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.276_I1.jpg
2005.276DI#2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2005.276_A1.jpg
2005.276DI#3
digital image
8/2/2012
http://127.0.0.1:5000/Media/images/2005.276_A2.jpg
2005.276DI#5
digital image
Back
1/9/2022
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.276_I3.JPG
2005.276DI#4
digital image
1/9/2022
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.276_I2.JPG
2005.276DI#6
digital image
1/28/2022
http://127.0.0.1:5000/Media/images/2005.276_A3.jpg
Painting
The Fiery Ascent of Elijah
Russian artist, (active )
Russian artist
Russia
Primary
30 7/8 x 33 1/4 x 1 3/8 in. (78.5 x 84.4 x 3.5 cm)
.
.
.
overall
overall
Oil
Oil
Russian; made in Moscow
17th Century
1600
1699
icons
Painting
This icon depicts events in the life of the prophet Elijah as told in the Old Testament book of II Kings. According to the story, God commanded Elijah to seek refuge from King Ahab and Queen Jezebel. He was protected by ravens, or, in this picture, an angel, who brought him food every morning and evening. At God’s instruction, Elijah chose the prophet Elisha as his successor. Elisha walked across the Jordan River with Elijah, and was on the ground on the eastern bank of the river when Elijah ascended to heaven in a whirlwind, or, as tradition has it, a chariot or great ball of fire. Elijah threw his cloak down as he ascended; Elisha picked it up and used it to separate the waters of the Jordan as he crossed back to begin his prophetic mission.
At the lower left of this icon, Elijah is represented in the desert being fed by an angel. To the right, Elisha washes Elijah’s coat in the river Jordan. The focal point of the image is the ascent of Elijah in a horse-drawn chariot within a ball of fire.
In the Christian tradition, the story of Elijah was often seen as a herald to that of Jesus Christ; Elijah’s ascent to heaven foretold Christ’s Resurrection.
[Gallery label text, June 2013]
verso of panelverso of panel
1933.1
item
Memorial Art Gallery
3/6/2001
33.1SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
33.1DI1
digital image
6/28/2002
http://127.0.0.1:5000/Media/images/33.1_A1.jpg
33.1DI3
digital image
10/6/2011
http://127.0.0.1:5000/Media/images/33.1 _A3.jpg
Painting
Portrait of a Woman (one of a pair)
Attributed to Thomas de Keyser, (ca. 1596 - 1667)
Keyser, Thomas de
Netherlands
ca. 1596 - 1667
Male
6 x 4 1/2 in. (15.2 x 11.4 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
1625
1625
1625
1600-1800, 17th century, paintings, portrait, portraits, women
Painting
center left, Her inscription presumably matches 55.81.2 but is less legible
1955.81.1
item
Memorial Art Gallery
7/1/2002
55.81.1D1
digital image
full
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/55.81.1_A1.jpg
55.81.1SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.81.1DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.81.1DI#3
digital image
2/18/2008
http://127.0.0.1:5000/Media/images/55.81.1_A2.jpg
55.81.1DI#4
digital image
2/18/2008
http://127.0.0.1:5000/Media/images/55.81.1_A3.jpg
55.81.1DI#4
digital image
detail
2/18/2008
http://127.0.0.1:5000/Media/images/55.81.1_A4.jpg
55.81.1TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Portrait of a Man (one of a pair)
Attributed to Thomas de Keyser, (ca. 1596 - 1667)
Keyser, Thomas de
Netherlands
ca. 1596 - 1667
Male
6 x 4 1/2 in. (15.2 x 11.4 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
1625
1625
1625
1600-1800, 17th century, men, paintings, portrait, portraits
Painting
center right
1955.81.2
item
Memorial Art Gallery
7/1/2002
55.81.1DI#1
digital image
Front
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/55.81.2_A1.jpg
55.81.2DI#2
digital image
2/18/2008
http://127.0.0.1:5000/Media/images/55.81.2_A2.jpg
55.81.2DI#A3
digital image
2/18/2008
http://127.0.0.1:5000/Media/images/55.81.2_A3.jpg
55.81.2DI#4
digital image
detail
2/18/2008
http://127.0.0.1:5000/Media/images/55.81.2_A4.jpg
55.81.2TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Saint Anthony Abbot
Jusepe de Ribera, (Xativa, Spain, 1591 - 1652, Naples, Italy)
Ribera, Jusepe de
Spain
1591 - 1652
Male
Oil
Oil
0
0
St. Anthony
Painting
6.2005L
item
Memorial Art Gallery
8/29/2005
6.2005LDI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/6.2005L_A1.jpg
Painting
St. Stephen
Domenico Feti, (ca. 1589 - 1623)
Feti, Domenico
Italy
ca. 1589 - 1623
Male
37 1/2 x 45 in. (95.3 x 114.3 cm)
.
.
.
Oil
Oil
0
0
17th century, paintings, plants & animals, portraits, St. Stephen
Painting
1929.61
item
Memorial Art Gallery
3/5/2001
29.61SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
29.61DI1
digital image
5/16/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/29.61_I1.jpg
29.61SL2
slide
robe detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
29.61DI1
digital image
9/20/2005
http://127.0.0.1:5000/Media/images/29.61_A1.jpg
29.61TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
An Old Woman
Dutch artist, (active )
Ostade, Isack van
Netherlands
1621 - 1649
Male
Previous attribution
Dutch artist
Netherlands
Primary
25 5/8 x 20 5/8 x 3/4 in. (65.1 x 52.4 x 1.9 cm)
.
.
.
without frame
.
.
.
approximate installation dimensions
frame
Oil
Oil
Dutch; made in Leiden
ca. 1628-1630
1628
1630
1600-1800, 17th century, paintings, portrait, portraits, shadow, women
Painting
back of stretcherback of stretcher, Over two other labels, obscured
1955.66
item
Memorial Art Gallery
2/20/2001
55.66SL!
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3x4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.66DI1
digital image
5/16/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/55.66_I1.jpg
55.66DI#2
digital image
2/18/2008
http://127.0.0.1:5000/Media/images/55.66_A1.jpg
55.66TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Portrait of a Lady
Frans van Mieris the Elder, 1635 - 1681
Mieris the Elder, Frans van
Netherlands
1635 - 1681
Male
5 x 4 in. (12.7 x 10.2 cm)
.
.
.
Oil
Oil
0
0
1600-1800, 17th century, paintings, portrait, portraits, women
Painting
1955.69
item
Memorial Art Gallery
2/20/2001
55.69SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.69SL2
slide
with frame
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.69DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/55.69_A1.jpg