Provenance

The State Hermitage Museum

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Jean-Baptiste Greuze, Head of a Woman Looking Back Over Her Shoulder, red chalk on laid paper, Ailsa Mellon Bruce Fund, 1981.50.1

Head of a Woman Looking Back Over Her Shoulder

Jean-Baptiste Greuze · · red chalk on laid paper ·  Accession ID  1981.50.1

Shown from the hips up, a man with peachy skin and long, brown curly hair and goatee stands in front of a window opening onto a moonlit sky in this vertical portrait painting. His body faces our right and his right fist, closer to us, rests on his hip so his elbow juts toward us. Wearing a dark, wide brimmed hat, he turns his head to look over his right shoulder directly at us. His eyebrows are slightly raised over brown eyes, and he has a bumpy nose, a slight double chin, and pale pink lips that curve in the suggestion of a smile. He wears a golden yellow jacket with buttons along the sleeve we can see. The wrist of the jacket is trimmed with a wide, lace-edged cuff and a similarly wide, lace-trimmed collar lies over the armor breastplate that covers his chest. A marigold-orange sash is tied around the breastplate as well near the waist, and the goldenrod-yellow jacket drapes from a portly belly over his hips. He stands in front of a gray wall pierced with a rectangular window. The view has a veil of dark gray clouds over the moonlit sky.
Frans Hals, Portrait of a Member of the Haarlem Civic Guard, c. 1636/1638, oil on canvas, Andrew W. Mellon Collection, 1937.1.68

Portrait of a Member of the Haarlem Civic Guard

Frans Hals · c. 1636/1638 · oil on canvas ·  Accession ID  1937.1.68

Gabriel de Saint-Aubin, Draftsmen Outdoors, c. 1760, black chalk and stumping on laid paper, Gift of Ian Woodner, 1982.81.1

Draftsmen Outdoors

Gabriel de Saint-Aubin · c. 1760 · black chalk and stumping on laid paper ·  Accession ID  1982.81.1

Shown from the hips up, a boy with pale, peachy skin and copper-brown hair stands in front of a rocky outcropping with a narrow view into a distant landscape to our left in this vertical portrait painting. His body faces our left almost in profile, and he turns his face to look at us with dark brown eyes under faint brows. He has a long, straight nose, a pointed chin, flushed cheeks, and his full, rose-pink lips are slightly parted. His dark hair falls in waves to the wide, flat, white collar at his neck. He wears a golden yellow doublet brocaded with shimmering threads, possibly silver and gold. The sleeves split along the inner arm to reveal a white shirt with voluminous, puffy sleeves that end with wide, transparent cuffs like floppy saucers around each wrist. Over the jacket, he wears a gleaming, pewter-colored breastplate with a topaz-blue sash crossing his chest. His peanut-brown pants are also sewn or woven with metallic thread in stripes down the side of the leg. The boy rests his right hand, farther from us, on a staff or walking stick propped in front of him. His other hand rests around the gold hilt of a rapier, a thin sword at his left hip, closer to us. Behind the boy, the view is almost entirely taken up with a slate-gray boulder, or it could be the entrance of a cave. A view onto the landscape along the left edge of the composition has a few treetops beneath pale yellow clouds against an ice-blue sky.
Adriaen Hanneman, Henry, Duke of Gloucester, c. 1653, oil on canvas, Andrew W. Mellon Collection, 1937.1.51

Henry, Duke of Gloucester

Adriaen Hanneman · c. 1653 · oil on canvas ·  Accession ID  1937.1.51

We look slightly down onto a panorama with dozens of pale-skinned men, women, and children skating and standing on a frozen river in this horizontal landscape painting. Most of the men wear black hats and suits, some with white collars and hip-length capes. The women all wear ankle- or floor-length skirts, and some are covered with black cloaks that drape over their heads to their feet. Many people wear black but some of the clothing is scarlet red, sage green, celestial blue, beige, or slate gray. A few people draw the eye, like the man standing with his back to us, wearing dark gray and holding a tall pole in the lower left corner. To the right, a man kneels to tie a skate with a brown and black dog nearby. A woman wearing a crimson-red skirt and a couple clad entirely in fur-lined black clothing look toward a man and woman riding a horse-drawn sled on the ice, at the lower center of the painting. Another black-draped form in the sleigh could be a second woman wearing a cloak. A pair of boys play a game like hockey in the lower right corner. People gather and skate in pairs and small groups, or ride in sledges into the deep distance. The buildings and boats lining the horizon, which comes about halfway up the composition, are painted in shimmering grays. The sky above is the same cool white as the ice below. A few birds fly across the scene.
Hendrick Avercamp, A Scene on the Ice, c. 1625, oil on panel, Ailsa Mellon Bruce Fund, 1967.3.1

A Scene on the Ice

Hendrick Avercamp · c. 1625 · oil on panel ·  Accession ID  1967.3.1

Shown from the shoulders up, a man with a flushed complexion, wearing a crimson-red cap and garment, looks at us from the corners of his eyes in this vertical portrait painting. He is brightly lit from behind us and the mahogany-brown background is deep in shadow. The man’s shoulders angle to our right, and he turns his head slightly to look at us with brown, deep-set eyes under arched brows. His wispy, auburn-brown goatee is tinged in silvery gray. His nose is slightly bulbous, and his thin lips are tightly closed in a straight line. Wrinkles and jowls give his face a paunchy look. His tall, flat-topped, fez-shaped hat covers his hair. A white, nearly translucent collar curls up along his neck and flares out to points at his collar. Rose-pink highlights on his red cape suggest it is a shiny material, like silk, and it is fastened with several small, dark buttons down the front.
Anonymous Artist, Pope Innocent X, c. 1650, oil on canvas, Andrew W. Mellon Collection, 1937.1.80

Pope Innocent X

Anonymous Artist · c. 1650 · oil on canvas ·  Accession ID  1937.1.80

A pale-skinned young girl leaning over a low fence and holding a broom gazes in our direction in this vertical painting. Her red hair is pulled back from her round face, and she has large hazel eyes under thin brows, a petite nose, and her coral-red mouth is slightly open. She is shown from the chest up, behind a wooden partition that spans the width of the painting. She wears a loose, ivory-white shirt under a garment with pumpkin-orange straps on the shoulders and chest. She leans forward with her elbows hooked over the partition as she holds a long-handled broom to her chest. A wooden pail with a bronze handle is overturned to the right of the broom. A blocky brown object to our left is difficult to make out. A dark brown semicircular object close to us in the center of the composition resembles the mouth of a well. Soft light from the upper left illuminates the girl and the left side of the caramel-brown wall behind her and throws the right side into shadow. A signature near the lower left looks like it had been painted on the inner edge of the well. It reads, “Rembrandt f. 1651.”
Dutch 17th Century, Carel Fabritius, A Girl with a Broom, probably begun 1646/1648 and completed 1651, oil on canvas, Andrew W. Mellon Collection, 1937.1.74

A Girl with a Broom

Dutch 17th Century, Carel Fabritius · probably begun 1646/1648 and completed 1651 · oil on canvas ·  Accession ID  1937.1.74

A man wearing armor, sitting astride a cream-white horse, drives a long lance down at a lizard-like dragon as a woman kneels with her hands in prayer in the landscape beyond in this vertical painting. Both people have pale skin and thin, gold halos floating above their heads. At the center of the composition, the man faces our left in profile as he looks down at the creature. The man has a straight nose and honey-brown hair under his gold-trimmed, pewter-gray helmet. Armor covers his entire body, and a celestial-blue cape billows behind him from where it fastens around his neck. A narrow, indigo-blue and gold band is tied around his left calf, and is inscribed with the word “HONI.” A black sword hangs from his left side. The horse is white with a silvery-white mane and tail. It rears on its hind legs as it turns its head to look at us with hazel-brown eyes. The horse wears a blue saddle and bridle, the same color as the man’s cape, trimmed with gold. A strap around the horse’s neck is painted in gold with the name, “RAPHELLO.” The rider thrusts his foot into the stirrup we can see as he plunges a lance down at the dragon under the horse’s front feet. The dragon has tawny brown skin with a mint green, dog-like head. It grips the earth with clawed feet as at pushes at the lance with one front foot. It twists its long, snake-like neck to look at the man with dark eyes. The dragon opens its pointed snout to show its teeth, and bat-like wings splay out. A tall outcropping over a cave rises along the left edge of the composition, behind the dragon. In a field a little farther back, to our right, the woman kneels with her body angled to our left. She tilts her head away from us and gazes past the man and horse. She has a straight nose, pale pink, bow-shaped lips, and her blond hair is pulled back in a bun. She wears a ruby-red dress and a sheer white wrap around her shoulders and across her arms. Around the woman, straw-yellow hills with bands of pine-green trees roll into the distance. Two terracotta-orange towers rise from a row of trees along the horizon. A few taller trees are outlined against the baby-blue sky, which lightens toward the horizon.
Raphael, Saint George and the Dragon, c. 1506, oil on panel, Andrew W. Mellon Collection, 1937.1.26

Saint George and the Dragon

Raphael · c. 1506 · oil on panel ·  Accession ID  1937.1.26

Six elegantly dressed, light-skinned women, a man with dark brown skin, and a person of short stature gather around a nude baby boy in front of a landscape with a town in the distance in this vertical painting. Attention is focused on the baby, held by a woman kneeling to our lower left, and on a woman wearing a silver and gold-colored brocade dress standing near the center of the painting. The central woman's dress is trimmed with gold and jewels. She wears a pearl necklace, and her blond hair is wrapped with pearls around a gold, jeweled tiara. She leans to our right, toward another woman with blond, pearl-adorned hair wearing a blue and white stripped dress with puffed sleeves. In front of that pair, and along the right edge of the painting, another woman with pearls in her hair bends over a person of short stature and gestures toward the baby. The person of short stature has brown hair over a high forehead and a tan complexion. He holds an instrument like a recorder and wears a navy-blue and crimson-red jester’s costume. Seen from the waist up in the lower left corner of the painting, the man with brown skin has close-cropped black hair and wears a marigold-orange garment. Looking onto the scene from the sunken riverbed, he gazes to our right in profile and holds a basket. Above him, the woman holding the baby looks at the woman wearing silver and gold. An older woman holds up a cloth, presumably to wrap the baby. Another person looks on over that woman’s shoulder, and two more women stand farther back to our left, apart from this group. Behind the main scene, a few spindly trees with feathery pine-green or harvest-yellow leaves extend off the top edge of the canvas. An arched bridge spans the river in the distance to the left and beyond a town is painted in blue and gray against rocky hills. Blue sky above is strewn with white clouds.
Veronese, The Finding of Moses, c. 1581/1582, oil on canvas, Andrew W. Mellon Collection, 1937.1.38

The Finding of Moses

Veronese · c. 1581/1582 · oil on canvas ·  Accession ID  1937.1.38

Shown from about the hips up, a young, pale-skinned man with curly brown hair stands facing and looking at us, wearing a plum-purple coat under a golden yellow cape in this vertical portrait painting. The man’s oval face is angled a little to our left so he looks out from the corners of his gray eyes. His left eyebrow, on our right, is slightly arched. His skin is smooth and his cheeks lightly flushed. He has a long, straight nose, his pink lips are closed, and there is a faintly painted suggestion of a goatee. Wavy bangs fall across his forehead, and he has curly, chin-length hair. He stands with his right hand, on our left, on his hip, and in his other arm, he holds a wooden staff with a pewter-gray, metal, scoop-like hook at the top. White lace trims the high neck of his garment and the cuffs of his sleeves. Light reflecting off the plum-purple coat suggests a soft material, possibly velvet. Crisp reflections on the deep, butter-yellow cape fastened over one shoulder suggest satin. An emerald-green cloth hanging from the top right corner of the painting falls behind the man’s shoulder. Behind the cloth and to our left, a craggy, rocky outcropping opens to a view of a landscape with a green valley and topaz-blue mountains in the distance. Bands of golden light illuminate the cloudy sky above. The work is inscribed with yellow lettering in the lower right corner to read, “Philip Lord Wharton 1632 about ye age of 19.” The artist’s name is painted in the lower left: “P. Sr Ant: vandike.”
Sir Anthony van Dyck, Philip, Lord Wharton, 1632, oil on canvas, Andrew W. Mellon Collection, 1937.1.50

Philip, Lord Wharton

Sir Anthony van Dyck · 1632 · oil on canvas ·  Accession ID  1937.1.50