Salvador Dalí, Argus in Color, 1963

(ACA Galleries)

ACA Galleries in New York will present Salvador Dalí, a solo exhibition featuring selected etchings, Aubusson tapestries and drawings from the Argillet Collection, from January 10 to March 9, 2019.

Dalí and Pierre Argillet began working together in 1959 and produced nearly 200 etchings over a 15 year period. They are noted for their attention to detail with wide-ranging themes such as mythology, Faust, bullfights, as well as the writings of Apollinaire, Chairman Mao, and Don Juan among others. The prints they produced during this fertile collaboration have been shown at museums throughout the world including Musée Boijmans, Rotterdam; Musée Pushkin, Moscow; Kunsthaus, Zurich; Staatsgalerie, Stuttgart; Isetan Museum of Art, Tokyo; and Daimaru Art Museum, Osaka, among others.

Salvador Dalí was a Spanish painter, sculptor, graphic artist and designer who joined the Surrealist movement in 1929. One of the most legendary and eccentric of the group, Dalí formulated the methodology of Critical Paranoia which encouraged artists to unlock their subconscious. He lived in the United States from 1940 – 1955 before returning to Spain. There are two art museums dedicated to Dalí: one in Figueras, Spain and the other in St. Petersburg, Florida.

Salvador Dalí, Bullfight, tapestry

ACA Galleries

This degree of fame was not accidental. Dalí was arguably the first modern artist to cultivate a personal brand in any contemporary sense and his talent for doing so proved remarkably skillful. Dalí displayed a natural knack for courting controversy and intrigue. He once duped Yoko Ono into buying a single strand of his moustache for $10,000 dollars that was, in fact, a dried blade of grass from a nearby park. It was anecdotes like this which endeared him to the fashionable set of Café Society in Europe in the 1950s.
Yet perhaps the most enduring story of Dalí’s life—and most closely tangled up with the genre-defining art he produced—is the story of his love affair with neé Elena Ivanovna Diakonova, styled more commonly by the single name: Gala.

Apollinaire Woman With Guitar

Salvador Dalí was not Gala’s first love affair with a famous Surrealist artist, nor would he be her last. When Dalí met his future wife, muse, and business manager she was already married. Her husband, Paul Éluard—a French poet and founding member of André Breton’s original Surrealism movement—had met Gala when they were seventeen and convalescing at the same sanitorium in Switzerland. They married shortly before Éluard left to fight in World War I and afterwards moved to a suburb of Paris.
It was at their house in Saint-Brice that the famous Surrealist painter Max Ernst would eventually relocate, leaving behind his wife and son to move in with Gala and Éluard and enter into a ménage-à-trois that would last three years, from 1924 to 1927.

Mythology Suite: Judgment of Paris

Gala was ten years Dalí’s senior and the age difference enraged Dalí’s father who was already incensed by a particular work of Surrealist art in which Dalí included the inscription: “Sometimes, I spit for fun on my mother’s portrait.” Dalí’s relationship with his parents had always been fraught. His birth came just nine months after his older brother’s death, who was also named Salvador, and when Dalí was five-years-old his parents had taken him to his brother’s grave and explained that Dalí was a reincarnation of the child they had lost—an idea he continued to accept throughout his adult life.
When Dalí and Gala entered into their civil partnership, Dalí was banished from his paternal house in Cadaqués and disinherited. The couple responded by renting a fisherman’s cabin in nearby Port Lligat, which they gradually expanded by buying up neighbouring cabins as well, quilting them into a much beloved villa as Gala deftly guided them away from financial insolvency. Over the next five years until their marriage in 1934, Dali would often sign his paintings not with his own name but with Gala’s, writing: “It is mostly with your blood, Gala, that I paint my pictures.”

Fantomes Magic Circle

Hippies Corridor of Katmandu

Rembrandt (Rembrandt van Rijn) ( Dutch, Leiden 1606 – 1669 Amsterdam ). Aristotle with a Bust of Homer , 1653 . Oil on canvas , 56 1/2 x 53 3/4 in. (143.5 x 136.5 cm) . The Metropolitan Museum of Art, New York, Purchase, special contributions and funds given or bequeathed by friends of the Museum, 1961 ( 61.198 ) 

•  
  Jacob van Ruisdael (Dutch, Haarlem 1628/29–1682 Amsterdam)
  Wheat Fields, ca. 1670
  Oil on canvas, 39 3/8 x 51 1/4 in. (100 x 130.2 cm)
  The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913 (14.40.623)

 Gerard de Lairesse ( Dutch, Liège 1641 – 1711 Amsterdam ). Apollo and Aurora , 1671 . Oil on canvas 80 1/2 x 76 1/8 in. (204.5 x 193.4 cm) . The Metropolitan Museum of Art, New York, Gift of Manuel E. and Ellen G. Rionda, 1943 ( 43.118 ) 

 Jan Steen (Dutch, Leiden 1626–1679 Leiden)
The Dissolute Household, ca. 1663–64
Oil on canvas, 42 1/2 x 35 1/2 in. (108 x 90.2 cm)
The Metropolitan Museum of Art, New York, The Jack and Belle Linsky Collection, 1982 (1982.60.31)

• 
   
• 
  Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam)
  Portrait of Gerard de Lairesse, 1665–67
  Oil on canvas, 44 3/8 x 34 1/2 in. (112.7 x 87.6 cm)
  The Metropolitan Museum of Art, New York, Robert Lehman Collection, 1975 (1975.1.140)
  
  
  
  
•  
  
  
   
• Johannes Vermeer (Dutch, Delft 1632–1675 Delft)
  Young Woman with a Water Pitcher, ca. 1662
  Oil on canvas, 18 x 16 in. (45.7 x 40.6 cm)
  The Metropolitan Museum of Art, New York, Marquand Collection, Gift of Henry G. Marquand, 1889 (89.15.21)
  
  
  
  

  Wall Texts  and Labels

  Over the course of eighty years of warfare, finally concluded in 1648,  the northern provinces of the Netherlands achieved independence  from Spain and established the Dutch Republic. In this officially  Protestant state, artists could not rely on church or court  commissions; instead, they developed a recognizably modern art  market that encouraged experimentation and led to the emergence  of new secular kinds of painting, such as landscape and still life.   
  
  Dutch paintings were among the first works purchased by The Met  after its founding in 1870. Subsequent gifts and purchases built one  of the world’s great collections of Dutch art, focused on three  towering figures: Rembrandt van Rijn, Frans Hals, and Johannes Vermeer. There are, of course, blind spots in the  story these  particular acquisitions tell. Colonialism, slavery, and war — major  themes in seventeenth - century Dutch history — are scarcely visible  here, and only one picture painted by an early modern Dutch woman has entered the collection over the course of nearly 150 years.   
  
  This exhibition presents The Met’s fabled seventeenth - century  Dutch paintings in a new light. Famous works appear in dialogue with  others long kept in storage, and pictures usually shown in separate  parts of the Museum — including painting s from the Robert Lehman  Collection — are united in a thematic arrangement that emphasizes  the controversies that animated the era, whether about religion or  realistic depictions of the human body. 
  
  The exhibition title comes  from an address the Dutch artist  Philips Angel gave in 1641, in which  he promoted painting’s ability to imitate nature. Gathering together  realist and idealist works, icons of the Museum and remarkable  rediscoveries, this presentation brings back to life seventeenth - century debates about  art, faith, and consumption. 
  
  
  
  
  
  

  • Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam)
    Aristotle with a Bust of Homer, 1653
    Oil on canvas, 56 1/2 x 53 3/4 in. (143.5 x 136.5 cm)
    The Metropolitan Museum of Art, New York, Purchase, special contributions and funds given or bequeathed by friends of the Museum, 1961 (61.198)

  
  

  Among The Met’s most celebrated works of art, this painting conveys Rembrandt ’s meditation on  the meaning of fame. The richly clad Greek philosopher Aristotle  (384 – 322  b.c.) rests his hand  pensively on a bust of Homer, the epic poet who had  attained literary immortality with his Iliad and  Odyssey centuries before. Aristotle wears a gold medallion with a portrait of his powerful pupil,  Alexander the Great; perhaps the philosopher is weighing his own worldly success against  Homer ’s timeless achievement. 
  
  Although the work has come to be considered quintessentially  Dutch, it was painted for a Sicilian patron at a moment when Rembrandt’s signature style, with its dark palette and almost sculptural buildup of paint, was beginning to fall out of fashion in Amsterdam. 
  
  
  Faces of a New Nation 
  
  The Dutch Republic emerged out of a revolution against Spanish imperialism and the imposition of  the Catholic faith. In the process, the once politically and culturally unified Netherlands split into two states — the independent and officially Protestant Dutch Republic, and the Spanish  Netherlands, roughly corresponding to modern Belgium, which remained Catholic. Flooded with  refugees from war and religious persecution, the Dutch Republic was a nation of great social  mobility and diversity. Those who could afford to commission portraits used them to express their  identities and status through costume, accessories, and coats of arms. Portraiture offered artists  not only a ready source of income, but al so the chance to experiment, devising new ways to  express individuality and the ties of affection between couples and family members. 
  
  Thomas de Keyser Dutch, Amsterdam?  1596/97 – 1667  Amsterdam A Musician and His Daughter , 1629 Oil on wood Gift of Edith Neu man de Végvár, in honor of her husband, Charles Neuman de Végvár, 1964  (64.65.4) The father and daughter in this elegant interior display the wealth and confidence of the patrician  class of seventeenth - century Amsterdam. They wear luxurious black clothing  (the daughter is in  the costume of a grown woman), and the father ’ s lute is both a costly foreign import and a mark of  refinement. De Keyser excelled in the depiction of objects in perspective, such as the worn lute  case and the classically ornamented door way. Gerard ter Borch the Younger Dutch, Zwolle  1617 – 1681  Deventer The Van Moerkerken Family , ca.  1653 – 54 Oil on wood The Jack and Belle Linsky Collection, 1982 (1982.60.30) In this portrait of his cousin Hartogh van Moerkerken with his wife, Sibylla, and their son, Ter Borch  broke with convention by depicting the wife on the left — traditionally the superior, and male — side  of the panel. The composition is asymmetrical, lopsided, and dynamic, and the young husband ’ s  gesture of sho wing a pocket watch to his wife gives the portrait an element of storytelling. This  emotionally convincing depiction of a nuclear family signals a break with the dynastic imagery of  previous generations, although an older tradition persists in the three co ats of arms clustered in  the upper left - hand corner. audioguide 5243 Gerard ter Borch the Younger Dutch, Zwolle  1617 – 1681  Deventer Burgomaster Jan van Duren  (1613 – 1687) ,  ca.  1666 – 67 Margaretha van Haexbergen  (1614 – 1676) ,  ca.  1666 – 67 Oil on canvas Robert  Lehman Collection, 1975 (1975.1.142, .141) In Praise of Painting Like the artist himself, the sitters of these paired portraits were prominent citizens in the eastern  Dutch city of Deventer. Ter Borch drew on lessons he had learned as a young artist at the Spanish  court, where  he encountered portraits by Diego Velázquez that place black - clad figures in a sober  and unadorned setting. For his likenesses of Dutch burghers, Ter Borch translated these  conventions of Spanish portraiture to a much more modest and domestic scale.  Fran s Hals Dutch, Antwerp  1582/83 – 1666  Haarlem Paulus Verschuur  (1606 – 1667) ,  1643 Oil on canvas Gift of Archer M. Huntington, in memory of his father, Collis Potter Huntington, 1926 (26.101.11) This portrait of the Rotterdam merchant Paulus Verschuur, with one arm akimbo and a voluminous  cloak wrapped around his midsection, displays all the swagger that made Hals a sought - after and  influential portraitist. The artist ’ s signature rough brushwork, visible for example in the lace and  glove, fell out of fashion in  his own lifetime, but eventually exerted a great influence on  Impressionist artists of the nineteenth century. Johannes Verspronck Dutch, Haarlem, born ca.  1601 – 3,  died 1662 Haarlem Portrait of a Man , 1645 Oil on canvas Bequest of Susan P. Colgate, in mem ory of her husband, Romulus R. Colgate, 1936 (36.162.1) Like his contemporary Paulus Verschuur in the adjacent portrait by Hals, this man sports a wide - brimmed black hat, lace collar and cuffs, and a crumpled leather glove. But even working with  these shar ed elements of respectable Dutch attire, Verspronck took an individual approach,  favoring a far smoother, more illusionistic application of paint than Hals, his main rival for portrait  commissions in Haarlem. Over the course of the seventeenth century, tas tes largely shifted away  from rough and painterly styles and toward the smoother approach of artists like Verspronck. Rembrandt (Rembrandt van Rijn) Dutch, Leiden  1606 – 1669  Amsterdam Portrait of a Man , 1632 Oil on wood Gift of Mrs. Lincoln Ellsworth, in m emory of Lincoln Ellsworth, 1964 (64.126) Painted just after Rembrandt ’ s arrival in Amsterdam, this well - preserved portrait reveals the talent  that enabled the young artist to quickly make a name for himself in the Dutch Republic ’ s largest  and most artisti cally competitive city. The oval format was fashionable at the time, and the linen  folds of the man ’ s ruff offered Rembrandt the chance to display his signature vigorous brushwork.  Nothing is known about the man ’ s identity, and the inscription giving his a ge as forty  is most likely  by a later hand. Rembrandt (Rembrandt van Rijn) Dutch, Leiden  1606 – 1669  Amsterdam Herman Doomer (ca.  1595 – 1650) , 1640 In Praise of Painting Oil on wood H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (29.100.1) Herman Doomer was a successful cabinetmaker who worked with the imported ebony fashionable  in seventeenth - century Amsterdam. The exceptional care Rembrandt took with this likeness may  indicate his esteem for a fellow master artisan. At roughly the same time Rembrandt p ainted the  portrait of Doomer and a companion piece of his wife (State Hermitage Museum, St. Petersburg),  the couple ’ s son Lambert was an apprentice in the artist ’ s studio.   
  
  
  
  Rembrandt (Rembrandt van Rijn) Dutch, Leiden  1606 – 1669   Amsterdam Man with a Magnifying Glass , early 1660s Oil on canvas Bequest of Benjamin Altman, 1913 (14.40.621) 
  
  This portrait most likely depicts the Amsterdam auctioneer Pieter Haringh  (1609 – 1685), who once  handled the sale of a famous portrait by the Italian Renaissance master Raphael that served Rembrandt as a source of inspiration. The sitter may have used the magnifying glass in his hand to  evaluate paintings and other luxury goods circulating on the busy Amsterdam art market. Like his wife in the pendant portrait also on view he re, the sitter wears a form of fancy dress that has little  to do with Dutch clothing worn at the time. 
  Rembrandt (Rembrandt van Rijn) Dutch, Leiden  1606 – 1669  Amsterdam Woman with a Pink , early 1660s Oil on canvas Bequest of Benjamin Altman , 1913 (14.40.622) Her forehead crisscrossed with jewels, the sitter of this portrait displays a pink, or carnation, a  symbol of love and marriage. The gilt picture frame visible in the background locates her in a  luxurious interior, but her pensive expres sion elevates the portrait beyond a mere statement of  status. If scholars are correct in identifying the sitter in the pendant portrait hanging next to this  one as Pieter Haringh, then the woman who appears here must be his wife, Elisabeth Delft (ca.  1620 – 1679 ). In Praise of Painting Questions of Faith The Dutch Revolt began in 1566 with an outburst of violence that included the wholesale  destruction of religious art in churches throughout the Netherlands (events known as the  Iconoclasm). In the officially Protestant Dutch Republic that gained independen ce over the  following decades, devotion focused on scripture, ostensibly without the mediation of images, and  churches were whitewashed and stripped of paintings, sculpture, and stained glass. Nonetheless, a  substantial portion of the population, including prominent  citizens and artists such as Vermeer,  remained Catholic. The paintings gathered in this section — ranging from views of the reformed  interiors of Protestant churches to images of Catholic devotion, intended for the private  veneration of the Virgi n Mary — reflect the religious diversity of the Dutch Republic. Emanuel de Witte Dutch, Alkmaar ca.  1616 – 1692  Amsterdam Interior of the Oude Kerk, Delft , probably 1650 Oil on wood Purchase, Lila Acheson Wallace, Virgilia and Walter C. Klein, The Walter C. Klein Foundation, Edwin  Weisl Jr., and Frank E. Richardson Gifts, and Bequest of Theodore Rousseau and Gift of Lincoln  Kirstein, by exchange, 2001 (2001.403) Despite its profusion of realistic details, De Witte ’ s interio r view of Delft ’ s Oude Kerk (Old Church)  takes considerable liberties with the actual architecture of the church — omitting, for example, a  grand sculpted pulpit from the central pier. In this whitewashed interior, heraldic emblems and  civic banners have tak en the places of the religious paintings and sculpture destroyed during the  Iconoclasm. The young boys scribbling on the column and the urinating dog on the right show a  strikingly irreverent attitude toward the sacred space, while a newly dug grave in the foreground  provides a sobering reminder of mortality. audioguide 5241 Hendrick van Vliet Dutch, Delft  1611/12 – 1675  Delft Interior of the Oude Kerk , Delft, 1660 Oil on canvas Gift of Clarence Dillon, 1976 (1976.23.2) Painted from a vantage point to the west of Emmanuel de Witte ’ s depiction of the same church  hanging nearby, Van Vliet ’ s picture gives a somewhat more accurate rendering of certain  architectural motifs, such as the pulpit and the red bricks on the archway  leading into the choir.  But this image shares with De Witte ’ s the motif of a fresh grave, an unsettling reference to death  amid everyday activity. Johannes Vermeer Dutch, Delft  1632 – 1675  Delft Allegory of the Catholic Faith , ca.  1670 – 72 Oil on canvas The  Friedsam Collection, Bequest of Michael Friedsam, 1931 (32.100.18) In Praise of Painting This picture, made at a moment when public celebrations of the Mass were forbidden in the Dutch  Republic, draws on the complex language of allegory to depict the triumph of the Catholic Chu rch.  A woman, representing the Church itself, places one foot atop a globe, while, in the foreground, the  cornerstone of the Church crushes the serpent of evil. Vermeer converted to Catholicism before  his marriage, and this painting, which includes a table laden with chalice, missal, and crucifix, may  also refer to the celebration of the Mass  in  “ hidden churches ”  within private homes. The  Crucifixion scene in the background is based on a painting in Vermeer ’ s collection by the Flemish  artist Jacob Jordaens .  audioguide 5242 Samuel van Hoogstraten Dutch, Dordrecht  1627 – 1678  Dordrecht The Annunciation of the Death of the Virgin ,  ca. 1670 Oil on canvas Purchase, Rogers Fund and Joseph Pulitzer Bequest, 1992 (1992.133) This painting depicts an unusual subject, an angel ’ s visitation to the Virgin Mary to announce her  impending death. Spotlighting the Virgin as an object of veneration, the painting was destined for  the private devotions of a Catholic patron. Van Hoogstrate n was Protestant, but he shared with  many other artists of the era a readiness to cross religious boundaries in pursuit of a wide clientele. Jacob Jordaens Flemish, Antwerp  1593 – 1678  Antwerp The Holy Family with Shepherds , 1616 Oil on canvas, transferred  from wood Bequest of Miss Adelaide Milton de Groot  (1876 – 1967), 1967 (67.187.76) Working in Antwerp, the commercial center of the Spanish Netherlands, Jordaens catered to an  international audience with Catholic devotional images such as this one, centered  on the figure of  the Virgin Mary. His earthy evocation of flesh influenced Dutch artists like Hals, and his work was  collected by both Vermeer and the court at The Hague. Despite his production of Catholic  devotional images, Jordaens was taken after his de ath over the border into the Dutch Republic for  a Protestant burial. Michiel Sweerts Flemish, Brussels  1618 – 1664  Goa Clothing the Naked , ca. 1661 Oil on canvas Gift of Mr. and Mrs. Charles Wrightsman, 1984 (1984.459.1) Clothing the naked is one of the Seven Acts of Mercy traditionally promoted in Catholicism.  Sweerts, a Catholic artist from the Spanish Netherlands, reduces the theme to a fraught  confrontation between two individuals, one opulently dressed, the other nude and seemingly wary  of the garments offered to him. He painted this image, most likely for a Catholic patron, while living  in Amsterdam and engaged in regular fasting and other acts of devotion. In 1662 the artist joined a  group of missionaries bound for P ersia, although he was later dismissed from their company for his  erratic behavior. In Praise of Painting Staking a Claim The flat terrain of the Netherlands provided the unlikely inspiration for the birth of independent  landscape painting in Europe, where it had previously f unctioned as a setting for religious or  historical storytelling. Seventeenth - century Dutch painters embraced the broad vistas and  dramatic skies of their native land, transforming ordinary fields and harbors into meditations on  the relationship between peo ple and their environment. Other artists traveled abroad or used their  imaginations to conjure more exotic landscapes that appealed to a nation of traders and  colonizers. As the mercantile class increasingly adopted the trappings of the aristocracy, they  d ecorated their estates with images that expressed an ideal of land ownership and rural  abundance.  Jacob van Ruisdael Dutch, Haarlem  1628/29 – 1682  Amsterdam Wheat Fields , ca. 1670 Oil on canvas Bequest of Benjamin Altman, 1913 (14.40.623) Twenty - seven  views of fields by Ruisdael survive today. In this celebrated example, the artist used  the building blocks of land, sky, and sea to create an imposing vision of cultivated nature. On the  road before us, a man with a traveler ’ s pack approaches a woman and c hild, while the cumulus  clouds dominating the sky add their own element of drama. A glimpse of boats at sea on the far left  knits this quintessentially Dutch landscape into the wider world. audioguide 5245 Meyndert Hobbema Dutch, Amsterdam  1638 – 1709  Amste rdam Woodland Road , ca. 1670 Oil on canvas Bequest of Mary Stillman Harkness, 1950 (50.145.22) A heavily rutted road bisects the foreground of this painting, positioning us as travelers in a  landscape and dividing the marshland on the left from a farmyard  on the right. In the dense trees,  daubs of many different colors of paint evoke light on foliage, while various figures — wayfarers, a  dog, and a woman watching from the farmhouse door — add anecdotal interest to the scene.   
  
  

  Aelbert Cuyp Dutch, Dordrecht 1620 – 1691  Dordrecht Young Herdsmen with Cows , ca.  1655 – 60 Oil on canvas Bequest of Benjamin Altman, 1913 (14.40.616) 

  
  Sun - streaked clouds scudding across the sky dominate this placid landscape, a classic example of  the luminous style that made Cuyp a beloved  artist among eighteenth - and nineteenth - century  collectors. Based on studies made in nature, the painting is nonetheless a studio confection.  Resting livestock and agrarian laborers appear as timeless parts of the landscape in a reassuring  vision for the landowning collectors able to display such a monumental scene.  
  
  
  

  Aelbert Cuyp Dutch, Dordrecht  1620 – 1691  Dordrecht Equestrian Portrait of Cornelis  (1639 – 1680)  and Michiel Pompe van Meerdervoort  (1638 – 1653) with Their Tutor and Coachman , ca.  1652 – 53 Oil on canvas The Friedsam Collection, Bequest of Michael Friedsam, 1931 (32.100.20) 

  
  This portrait of two adolescent scions of an eminent family was most likely commissioned by their  widowed mother. Instead of depicting an actual country estate, Cuyp placed a ruined castle in the  background, evoking the sitters’ ancient lineage. Sitting astride horses, accompanied by retainers  and hounds, the two youths pose as propertied huntsmen, ready at any moment to depart for the  conquest of their prey. Cuyp’s skill as a lands cape painter is in tension with the relative awkwardness of the figures. 
  
  Jan van der Heyden Dutch, Gorinchem  1637 – 1712  Amsterdam 
  
  Huisten Bosch at The Hague and Its Formal Garden (View from the South) , ca.  1668 – 70 
  
  Huisten Bosch at The Hague and Its Formal Garden (View from the East) , ca.  1668 – 70 Oil on wood Gift of Edith Neuman de Végvár, in honor of her husband, Charles Neuman de Végvár, 1964  (64.65.2, .3) 
  
  Both an artist and an inventor (among other urban improve­ments, he conceived the fire pump), Van der Heyden specialized in precise and luminous cityscapes and views of country houses.  These two jewel - like paintings depict Huisten Bosch (House in the Woods), the country home of  the widowed Princess of Orange and still a residence of the Dutch royal family today. Van der Heyden shows the house amid its formal garden of hedgerows, pavilions, and obelisks, peopled by laboring gardeners and strolling aristocrats. French - style gardens like this one expressed an ideal  of nature brought entirely under hu man control, ordered and harmonious. 
  
  
  
  Jan Weenix  Dutch, Amsterdam ca.  1641? – 1719  Amsterdam Gamepiece with a Dead Heron , 1695 Oil on canvas Rogers Fund, 1950 (50.55) 
  
  Likely destined for a townhouse, this decorative painting evokes the bounty of the hunt on a  country estate. A heron and other dead birds spill out of a game bag next to a large neoclassical urn. The animal trophies figure as a natural feature of the courtly landscape, while the tumult of the  hunt remains offstage. In the background, aristocratic figures stroll at the edge of an ornamental  pond, complete with gliding swans. 
  
  
  
  Simon de Vlieger Dutch, Rotterdam? ca.  1600/1601 – 1653  Weesp Calm Sea , after 1640 Oil on woodRogers Fund, 1906 (06.1200) 
  
  On the left the horizon line dissolves into a vast becalmed sea, while fishermen ply their trade on  the right. De Vlieger influenced later marine painters by working with a limited tonal range to achieve precisely calibrated effects of light in the sky and water. His observations of northern light established him as the master of a particularly local landscape, affirmed by the Dutch flag fluttering above the boat on the right. 
  
  
  
  Salomon van Ruysdael Dutch, Naarden, born ca.  1600 – 1603,  died 1670 Haarlem Drawing the Eel , early 1650s Oil on wood Purchase, 1871  (71.75) 
  
  Against a wintry sky and bare branches, this village road becomes the setting for a cruel pastime: a  live eel strung on a line is plucked down by young people charging past on horseback. The contest  provides the pretext for a festive gathering, all owing Ruysdael to combine his eye for local color  with an evocation of limpid winter light and its reflection in the frozen skating pond below.   
  
  Willem van de Velde II Dutch, Leiden  1633 – 1707  London Entrance to a Dutch Port , ca. 1665 Oil on canvas Bequest of William K. Vanderbilt, 1920 (20.155.6) 
  
  Van de Velde received his first training from his father, a celebrated draftsman of ships. This view  of a port combines nautical accuracy with the tonal painting he learned from another teacher,  Simon de Vlieger,  whose work hangs nearby. The vessels depicted range from small cargo and  fishing boats to a state barge and East Indiamen destined for long voyages of trade and  imperialism. Two humble figures wade ashore, connecting the maritime panorama to the  beholder ’ s space on solid ground.   
  
  Jan van Goyen Dutch, Leiden  1596 – 1656  The Hague Castle by a River , 1647 Oil on wood Gift of Edith Neuman de Végvár, in honor of her husband, Charles Neuman de Végvár, 1964  (64.65.1) 
  
  This scene of fishermen casting their net in front of a moated fortress catered to a taste for  picturesque and ancient architecture. Working on the smooth surface of an oak panel allowed Van Goyen to achieve a variety of painterly effects and enliven a limited color palette as he evoked  crumbling masonr y, rippling water, or cottony clouds. Although the artist studied medieval  monuments in preparing such scenes, the castle shown here is imaginary, pieced together from  both observation and fantasy.             
  
   Contested Bodies 
  
  [Rembrandt] chose no Greek Venus as his model / But rather a washerwoman or a treader of  peat from a barn / And called this whim  “ imitation of nature. ” — Andries Pels, 1681 
  
  History painting, depicting episodes from classical myth and the Bible, was the most prestigious  ategory of art by seventeenth - century standards. It required artists to master the depiction of the  human form, considered to be the basic building block of visual storytelling. Nonetheless, Dutch  painters took divergent approaches to depicting the body. Some assimilated their figures to a  classical ideal, based more on ancient sculpture than on close observation of live models. Others,  most notoriously Rembrandt, populated their history paintings with ordinary - looking people who  seemed to have stepped right off the street and into the artist’s studio. 
  
  
  
  Abraham Bloemaert Dutch, Gorinchem  1566 – 1651  Utrecht Moses Striking the Rock , 1596 Oil on canvas Purchase, Gift of Mary V. T. Eberstadt, by exchange, 1972 (1972.171) 
  
  Extended, contorted, and preternaturally muscled bodies are a hallmark of Bloemaert’s style,  which art historians refer to as Mannerism. In the middle ground at left, nearly hidden in shadow,  Moses strikes a rock to provide water for the Israelites during their flight from Egypt. But other figures such as the monumental bare - breasted woman with a water pitcher on her back  overshadow the ostensible subject, revealing the painter’s priority  to be the depiction of a variety of idealized bodies inspired by a dialogue with contemporary Italian art. 
  
  
  
  Paulus Bor Dutch, Amersfoort ca.  1601 – 1669  Amersfoort The Disillusioned Medea , ca. 1640 Oil on canvas Gift of Ben Heller, 1972 (1972.261) 
  
  In ancient myth, the sorceress Medea fell in love with the hero Jason and helped him to steal the  fleece of a golden ram from her father. After having two sons with her, Jason abandoned Medea,  driving her to murder their children as well as his new bride. Bor shows  Medea before this dreadful  act, slumped in melancholy. The artist devoted careful antiquarian attention to the backdrop of a  pagan altar adorned with garlands, an ox skull, and a smoldering lamp, but his Medea resembles an  ordinary young woman, prompting e mpathy and identification on the part of beholders. 
  
  
  
  Rembrandt (Rembrandt van Rijn) Dutch, Leiden  1606 – 1669  Amsterdam Bellona , 1633 Oil on canvas The Friedsam Collection, Bequest of Michael Friedsam, 1931 (32.100.23) 
  
  Typical of Rembrandt’s domestication of ancient myth, this depiction of the Roman goddess of war  may have reflected the Dutch readiness for conflict during the Eighty Years ’  War with Spain.  In Praise of Painting Rather than reaching for an idealized source in ancient sculpture, Rembrandt based his depiction  of the deity on a contemporary woman. The glittering surfaces of Bellona ’ s armor and fearsome  shield allowed the young painter to give a bravura display of his skill. 
  
  
  
  Rembrandt (Rembrandt van Rijn) Dutch, Leiden  1606 – 1669  Amsterdam The Toilet of Bathsheba , 1643 Oil on wood Bequest of Benjamin Altman, 1913 (14.40.651) 
  
  Rembrandt shows the biblical figure Bathsheba completely nude, lost in a moment of  contemplation and unaware that she is being observed by King David in the dist ant tower in the  background. Classicist critics particularly objected to Rembrandt’s realistic representation of the female body, declaring that the marks of garters could be seen on the legs of his figures from  history or myth — see Bathsheba’s left calf here. Like much of the picture, the attendant arranging  Bathsheba’s hair is badly abraded from past cleaning, but she may have been intended to  represent a woman of African origin.  The diminutive scale indicates it was destined for a collector’s cabinet, meant to be  pored over by a single viewer. 
  
   
  
  Willem Kalf Dutch, Rotterdam  1619 – 1693  Amsterdam Still Life with Fruit, Glassware, and a Wanli Bowl , 1659 Oil on canvas Maria DeWitt Jesup Fund, 1953 (53.111) 
  
  The Chinese porcelain bowl and Turkish carpet in this still life would both have been luxurious  imports, here nonchalantly placed with wine and fruit on a wooden table. The bow l, a lemon peel  spilling over its lip, balances on a piece of bread, animating the static arrangement of the objects.  According to Gerard de Lairesse, a painter and writer of the next generation, Kalf  “ surpassed  others in still life, ”  although  “ he never .  . . knew how to explain his images, why he depicted this or  that, but simply [painted] whatever took his fancy. ” 
  
  
  
  Hendrick Sorgh Dutch, Rotterdam  1609/11 – 1670  Rotterdam A Kitchen , ca. 1643 Oil on wood Marquand Collection, Gift of Henry G. Marquand, 1889 (8 9.15.7) 
  
  In this painting, Sorgh inflects a domestic scene with the art of still life. Two maids clean fish and  peel vegetables in the foreground, surrounded by gleaming brass and earthenware. A closer look  reveals a mischievous cat, an open birdcage, and, barely visible between the two servants, a couple  caressing in the shadows. Even such seemingly innocuous elements as the earthenware pots  would have carried an erotic connotation for seventeenth - century viewers. 
  
  
  
  Abraham van Beyeren Dutch, The Hague  1620/21 – 1690  Overschie Still Life with Lobster and Fruit , probably early 1650s Oil on wood Gift of E dith Neuman de Végvár, in honor of her husband, Charles Neuman de Végvár, 1971  (1971.254) 
  
  Brilliant surfaces of metalwork and glass reflect lush fruits and a lobster in this still life. Heavily  laden tables like this one, boasting both foodstuffs and impor ted luxuries such as the blue - and - white porcelain bowl from China, typify Dutch still life in the second half of the seventeenth  century. Such paintings represent a shift away from the reminders of immortality and vanity in  earlier still lifes and toward a wholehearted embrace of earthly pleasures.   
  
  
  
  Otto Marseus van Schrieck Dutch, Nijmegen  1619/20 – 1678  Amsterdam Still Life with Poppy, Insects, and Reptiles , ca. 1670 Oil on canvas Rogers Fund, 1953 (53.155)  
  
  Known to contemporaries as  “ The Snuffler ”  due to his apparent penchant for rooting around in the  undergrowth, Marseus van Schrieck had close ties with the seventeenth - century culture of  scientific investigation. This picture of the forest floor bristles with interactions between a lizard,  snake, snails, and butterflies, all in the shadow of a poppy. Rather than painting flowers elegantly  arranged in a vase, Marseus locates his blooms in a natural setting touched with an element of  menace. 
  
  
  
  Margareta Haverman Dutch, active  1716 – 22  A Vase of Flowers , 1716 Oil on wood Purchase, 1871 (71.6) 
  
  Because hardly any women artists had access to nude models, a number of them became still life  specialists. Haverman studied with the notoriously secretive flower painter Jan van Huysum and  later g ained admission to the Royal Academy in Paris, from which she was soon expelled for  unknown reasons. The artist’s skill is on full display in this magnificent arrangement of flowers and  fruit, in which she used innovative pigments such as Prussian blue. Over time, the organic yellow  lake pigment has faded, resulting in the present blue appearance of the leaves. Acquired in 1871,  this is the sole painting in the collection by an early modern Dutch woman. 
  
  
  
  Johannes Vermeer Dutch, Delft  1632 – 1675  Delft Study of a Young Woman , ca.  1665 – 67 Oil on canvas Gift of Mr. and Mrs. Charles Wrightsman, in memory of Theodore Rousseau Jr., 1979 (1979.396.1) 
  
  Soft light illuminates the face of a young woman dressed in exotic clothing and costume jewelry.  Like Vermeer ’s famous  Girl with a Pearl Earring (ca. 1665; Mauritshuis, The Hague), this painting  was most likely not a commissioned portrait, but rather a so - called  tronie , a portrayal of an intriguing individual, often in fanciful costume.   
  
  
  
  Johannes Vermeer Dutch, Delft  1632 – 1675  Delft Young Woman with a Water Pitcher , ca. 1662 Oil on canvas Marquand Collection, Gift of Henry G. Marquand, 1889 (89.15.21) 
  
  Standing at an open window, a woman begins her day with ablutions from a gilt - silver pitcher and  basin, with linen coverings protecting her dress and hair. The first work by Vermeer to enter an  American collection, this painting embodies the artist ’ s inter est in domestic themes, giving an  almost voyeuristic glimpse into the private life of a woman before she presents her public face to  the world. 
  
  
  
  
  Pieter de Hooch Dutch, Rotterdam  1629 – 1684  Amsterdam Interior with a Young Couple , probably  ca.  1662 – 65 Oil on canvas Bequest of Benjamin Altman, 1913 (14.40.613) 
  
  De Hooch was particularly skilled at interior scenes that capture the fall of light into rooms  constructed from elaborately interlocking rectangular forms. These spaces provide the back drop  for a glimpse into the private lives of prosperous families. Here we see a young couple sharing an  intimate moment in their bedroom; the woman gazes into a mirror on the wall, while the man plays with their dog. 
  
  
  Pieter de Hooch Dutch, Rotterdam  1629 – 1684 Amsterdam The Visit , ca. 1657 Oil on wood H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (29.100.7) 
  
  De Hooch situated this scene in a  voorhuis , the street - facing room in a narrow Dutch row house  that received the best light. The pla cement of the window and construction of the space reveal the  close dialogue that De Hooch had with Vermeer at the time. But elements such as the plate of  aphrodisiac oysters and canopied bed suggest that De Hooch most likely intended this particular  scene to represent a brothel rather than a respectable home.  
  
  
  
  Pieter de Hooch Dutch, Rotterdam  1629 – 1684  Amsterdam Leisure Time in an Elegant Setting , ca.  1663 – 65 Oil on canvas Robert Lehman Collection, 1975 (1975.1.144) 
  
  De Hooch depicts a family in a luxurious interior with gilt - leather wallpaper, Chinese porcelain, and  a suggestive painting of naked lovers above the cabinet. But the family ’ s ease and prosperity exist  in tension with another scene, glimpsed through the open door on the far right. There, a young man confronts a bearded figure on the threshold, perhaps a wayfarer seeking alms.  

  
   
  

  Johannes Vermeer ( Dutch, Delft 1632 – 1675 Delft ). Young Woman with a Water Pitcher , ca. 1662 . Oil on canvas , 18 x 16 in. (45.7 x 40.6 cm) . The Metropolitan Museum of Art, New York, Marquand Collection, Gift of Henry G. Marquand, 1889 ( 89.15.21 ) 
  
  Abraham van Beyeren ( Dutch, The Hague 1620/21 – 1690 Overschie ). Still Life with Lobster and Fruit , probably early 1650s . Oil on wood , 38 x 31 in. (96.5 x 78.7 cm) . The Metropolitan Museum of Art, New York, Gift of Edith Neuman de Végvár, in honor of her husband, Charles Neuman de Végvár, 1971 ( 1971.254 ) 
  
  

  Gerard ter Borch the Younger ( Dutch, Zwolle 1617 – 1681 Deventer ). A Woman Playing the Theorbo - Lute and a Cavalier , ca. 1658 . Oil on wood . 14 1/2 x 12 3/4 in. (36 .8 x 32.4 cm) . The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913 ( 14.40.617 ) 
  
  Pieter Claesz (Dutch, Berchem? 1596/97 – 1660 Haarlem ). Still Life with a Skull and a Writing Quill , 1628 . Oil on wood . 9 1/2 x 14 1/8 in. (24.1 x 35.9 cm) . The Metropolitan Museum of Art, New York, Rogers Fund, 1949 ( 49.107 ) 
  
  
  
  Aelbert Cuyp ( Dutch, Dordrecht 1620 – 1691 Dordrecht ). Young Herdsmen with Cows , ca. 1655 – 60 . Oil on canvas . 44 1/8 x 52 1/8 in. (112.1 x 132.4 cm) . The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913 ( 14.40.616 ) 
  
  Gerrit Dou ( Dutch, Leiden 1613 – 1675 Leiden ). Self - Portrait , ca. 1665 . O il on wood , 19 1/4 x 15 3/8 in. (48.9 x 39.1 cm) . The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913 ( 14.40.607 ) I
  
   Frans Hals ( Dutch, Antwerp 1582/83 – 1666 Haarlem ) Young Man and Woman in an Inn ("Yonker Ramp and His Sweetheart") , 1623 . Oil on canvas . 41 1/2 x 31 1/4 in. (105.4 x 79.4 cm) . The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913 ( 14.40.602 ) 
  
  Frans Hals ( Dutch, Antwerp 1582/83 – 1666 Haarlem ). Merrymakers at Shrovetide , ca. 1616 – 17 . Oil on canvas . 51 3/4 x 39 1/4 in. (131.4 x 99.7 cm) . The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913 (14.40.605) 
  
  Margareta Haverman ( Dutch, active by 1716 – died 1722 or later ). A Vase of Flowers , 1716 . Oil on wood , 31 1/4 x 23 3/4 in. (79.4 x 60.3 cm) . The Metropolitan Museum of Art, New York, Purchase, 1871 ( 71.6 ) 
  
  Meyndert Hobbema ( Dutch, Amsterdam 1638 – 1709 Amsterdam ). Woodland Road , ca. 1670 . Oil on canvas . 37 1/4 x 51 in. (94.6 x 129.5 cm) . The Metropolitan Museum of Art, New York, Bequest of Mary Stillman Harkness, 1950 ( 50.145.22 ) I
  
  
  Nicolaes Maes ( Dutch, Dordrecht 1634 – 1693 Amsterdam ). Young Woman Peeling Apples , ca. 1655 . Oil on wood . 21 1/2 x 18 in. (54.6 x 45.7 cm) . The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913 ( 14.40.612 ) 
  
  Rembrandt (Rembrandt van Rijn) ( Dutch, Leiden 1606 – 1669 Amsterdam ). Self - Portrait , 1660 . Oil on canvas . 31 5/8 x 26 1/2 in. (80.3 x 67.3 cm) . The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913 ( 14.40.61 8 ) 
  
  
  
  Rembrandt (Rembrandt van Rijn) ( Dutch, Leiden 1606 – 1669 Amsterdam ). Woman with a Pink , early 1660s . Oil on canvas . 36 1/4 x 29 3/8 in. (92.1 x 74.6 cm) . The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913 ( 14.40.622 ) 
  
  
  Jacob van Ruisdael ( Dutch, Haarlem 1628/29 – 1682 Amsterdam ). Wheat Fields , ca. 1670 . Oil on canvas , 39 3/8 x 51 1/4 in. (100 x 130.2 cm) . The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913 ( 14.40.623 ) 
  
  
  Jan Steen ( Dutch, Leiden 1626 – 1679 Leiden ). The Dissolute Household , ca. 1663 – 64 . Oil on canvas , 42 1/2 x 35 1/2 in. (108 x 90.2 cm) . The Metropolitan Museum of Art, New York, The Jack and Belle Linsky Collection, 1982 ( 1982.60.31 ) 
  
  
   Johannes Vermeer ( Dutch, Delft 1632 – 1675 Del ft A Maid Asleep , ca. 1656 – 57 . Oil on canvas . 34 1/2 x 30 1/8 in. (87.6 x 76.5 cm) . The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913 ( 14.40.611 ) 
  
  
  Johannes Vermeer ( Dutch, Delft 1632 – 1675 Delft ). Study of a Young Woman , ca. 1665 – 67 . O il on canvas . 17 1/2 x 15 3/4 in. (44.5 x 40 cm) . The Metropolitan Museum of Art, New York, Gift of Mr. and Mrs. Charles Wrightsman, in memory of Theodore Rousseau Jr., 1979 ( 1979.396.1 ) 
  
  Emanuel de Witte ( Dutch, Alkmaar ca. 1616 – 1692 Amsterdam ). Interior of the Oude Kerk, Delft , probably 1650 . Oil on wood . 19 x 13 5/8 in. (48. 3 x 34.6 cm) . The Metropolitan Museum of Art, New York, Purchase, Lila Acheson Wallace, Virgilia and Walter C. Klein, The Walter C. Klein Foundation, Edwin Weisl Jr., and Frank E. Richardson Gifts, and Bequest of Theodore Rousseau and Gift of Lincoln Kirstein, by exchange, 2001 ( 2001.403 ) 
  
  Peter Wtewael ( Dutch, Utrecht 1596 – 1660 Utrecht ). Kitchen Scene , 1620s . Oil on canvas . 44 3/4 x 63 in. (113.7 x 160 cm) . The Metropolitan Museum of Art, New York, Rogers Fund, 1906 ( 06.288 )

Thomas Moran (American, 1837−1926) Shoshone Falls, Snake River, Idaho, 1875, Watercolor on paper board, Gift of Hugh Gordon Miller, 60.52.47

Bundeskunsthalle, BONN

28 September 2018 to 27 January 2019

 

Friedrich August von Kaulbach, Kaulbach’s Daughters in a Garland of Fruit, 1904. Mixed media on canvas, 96 x 126 cm Ohlstadt, Villa Kaulbach / Würzburg, Deutsche Rentenversicherung Nordbayern © Würzburg, Deutsche Rentenversicherung Nordbayern.

Mihály Munkácsy
The Apotheosis of the Renaissance
(Study for 



a ceiling decoration of the Kunsthistorisches Museum in Vienna)1889
Oil on canvas
393 x 393 cm
Szépművészeti Múzeum, Budapest
© Szépművészeti Múzeum / Museum of Fine Arts, 2018

 


Friedrich August von Kaulbach
Geraldine Farrar
1906
Oil on canvas
116.5 x 92.5 cm
Landesmuseum Hannover
© Landesmuseum Hannover - ARTOTHEK



Franz von Lenbach
Portrait of Hans Makart
1875–1883
Oil on paper, mounted on cardboard
63,3 x 53 cm
Hessisches Landesmuseum Darmstadt
©Hessisches Landesmuseum Darmstadt, Foto: Wolfgang Fuhrmannek

J. M. W. Turner (1775-1851), Bell Rock Lighthouse, 1819. Watercolour and gouache with scratching out on paper, 30.60 x 45.50 cm. Collection: National Galleries of Scotland. Purchased by Private Treaty Sale 1989 with the aid of funds from the National Heritage Memorial Fund and the Pilgrim Trust.

“Every January we are delighted to display Turner’s spectacular watercolours, donated with great generosity by the distinguished collector Henry Vaughan. This wonderful tradition has become the longest running single artist exhibition in the world. In 2019 it will be enriched with Turner’s splendid Bell Rock Lighthouse – an extraordinary depiction of Scotland’s seafaring past. Turner in January is the perfect antidote to the darkness of Edinburgh in winter.”

Moroni, Giovanni Gerolamo Grumelli, called The Man in Pink, dated 1560, oil on canvas, Fondazione Museo di Palazzo Moroni, Bergamo–Lucretia Moroni Collection; photo: Mauro Magliani

After brief periods in Trent during the late 1540s and early 1550s, Moroni worked from the mid-1550s predominantly in his native Albino and Bergamo, providing local clientele with religious paintings and breathtakingly lifelike portraits. He achieved his characteristic naturalism through exacting attention to detail, psychologically potent and vivid expressions, and a “warts and all” approach that, at times, resulted in seemingly unidealized portrayals.

Moroni, Lucrezia Agliardi Vertova, dated 1557, oil on canvas, The Metropolitan Museum of Art, New York, Theodore M. Davis Collection, Bequest of Theodore M. Davis, 1915

Giovanni Battista Moroni

Isotta Brembati,

ca. 1555–56

Oil on canvas

63 x 45 1/4 inches

Fondazione Museo di Palazzo Moroni, Bergamo

- Lucretia

Moroni Collection

Photo: Fondazione Museo di Palazzo Moroni, Bergamo

Giovanni Battista Moroni

Portrait of a Young Woman,

ca. 1575

Oil on canvas

20 3/8 x 16 3/8 inches

Private collection

Photo: Michael Bodycomb

Giovanni Battista Moroni

Giovanni Gerolamo Grumelli,

called

Il Cavaliere in Rosa (The

Man in Pink),

dated 1560

Oil on canvas

85 x 48 3/8 inches

Fondazione Museo di Palazzo Moroni, Bergamo- Lucretia

Moroni Collection

Photo: Mauro Magliani

 

Giovanni Battista Moroni

The Tailor (Il Sarto,

or Il Tagliapanni),

ca. 1570

Oil on canvas

39 1/8 x 30 1/4 inches

The National Gallery, London

Photo: © The National Gallery, London

Giovanni Battista Moroni

Lucia Albani Avogadro,

called

La Dama in Rosso (The Lady in

Red),

ca. 1554–57

Oil on canvas

61 x 42 inches

The National Gallery, London

Photo: © The National Gallery, London

Giovanni Battista Moroni

Faustino Avogadro,

called

Il Cavaliere dal Piede Ferito (The

Knight with the Wounded Foot),

ca. 1555–60

Oil on canvas

79 5/8 x 41 7/8 inches

The National Gallery, London

Photo: © The National Gallery, London

Giovanni Battista Moroni

Bernardo Spini,

ca.1573-

75

Oil on

canvas

77 1/2 x 38 5/8 inches

Accademia Carrara, Bergamo

Photo: Fondazione Accademia Carrara, Bergamo

Giovanni Battista Moroni

Pace Rivola Spini,

ca. 1573

-75

Oil on canvas

77 1/2

x 38 5/8 inches

Accademia Carrara, Bergamo

Photo: Fondazione Accademia Carrara, Bergamo

Giovanni Battista Moroni

Gian Ludovico Madruzzo,

ca. 1551-

52

Oil on canvas

78 5/8 x 45 5/8 inches

Art Institute of Chicago; Charles H. and Mary F. S. Worcester

Collection

Photo:

The Art Institute of Chicago / Art Resource, NY

Giovanni Battista Moroni

Gabriele Albani (?),

1572–73

Oil on canvas

43 1/4 x 30 1/4 inches

Private collection

Giovanni Battista Moroni

Portrait of a Gentleman and His Two Children,

ca.1572-

1575

Oil on canvas

49 3/8 x 38 5/8 inches

National Gallery of Ireland Collection; Purchased, 1866

Photo: National Gallery of Ireland

Giovanni Battista Moroni

Alessandro Vittoria,

ca. 1551

Oil on canvas

32 1/2 x 25 5/8 inches

Gemäldegalerie, Kunsthistorisches

Museum, Vienna

Photo: KHM-Museumsverband

Giovanni Battista Moroni

Gabriel de la Cueva,

dated

1560

Oil on canvas

44 1/8 x 33 1/8 inches

Gemäldegalerie, Staatliche Museen zu Berlin

Photo: Bildagentur / Staatliche Museen, Berlin / Jörg

P.Anders / Art Resource, NY

Giovanni Battista Moroni

Bearded Man with a Letter,

dated 1561

Oil on canvas

37 5/8 x 29 1/8 inches

Private collection, courtesy of Fabrizio Moretti

Photo: Courtesy of Alberto Sangalli/

© Gianni Canali

Giovanni Battista Moroni

Giovanni Bressani,

dated 1562

Oil on canvas

45 3/4 x 35 inches

National Galleries of Scotland, Edinburgh; Purchased by

Private Treaty, 1977

Photo: National Galleries of Scotland

Giovanni Battista Moroni

Bust of Isotta Brembati,

ca. 1550

Oil on canvas

21 5/8 x 18 1/2 inches

Accademia Carrara, Bergamo

Photo: Fondazione Accademia Carrara, Bergamo

Giovanni Battista Moroni

Portrait of a Woman,

ca. 1575–79

Oil on canvas

19 1/4 x 16 1/2 inches

Private collection

Photo: Michael Bodycomb

Giovanni Battista Moroni

Lay Brother with Fictive Frame,

ca. 1557

Oil on canvas

21 3/4 x 19 7/8 inches

Städel

Museum, Frankfurt

am Main

Giovanni Battista Moroni

Bust Portrait of a Young Man with an Inscription

, ca. 1560

Oil on canvas

18 5/8 x 15 5/8 inches

The National Gallery, London; Layard Bequest, 1916

Photo: © The National Gallery, London

Giovanni Battista Moroni

Two Donors in Adoration before the Madonna and Child and

Saint Michael,

ca. 1557-60

Oil on canvas,

35 1/4 x 38 1/2 inches

Virginia Museum of Fine Arts, Richmond; Adolph D. andWilkins C. Williams Fund

Photo: ©Virginia Museum of Fine Arts, Richmond / Katherine

Wetzel

Giovanni Battista Moroni

Gentleman in Adoration before the Madonna and Child,

ca. 1555

Oil on canvas

23 1/2 x 25 1/2 inches

National Gallery of Art, Washington; Samuel H. Kress

Collection

Photo: Courtesy National Gallery of Art, Washington