Provenance

Frederick Mont

1894 - 1994

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This painting shows a man from the knees up, seated and facing slightly to the right. He has pale skin, short, curly dark hair, a thin moustache, and a goatee. His expression is neutral as he gazes at us. He wears a dark red garment with voluminous sleeves, with a shining, polished gray breastplate over it. Draped over his shoulder and around his back is a light green cloak, and his legs also have silvery armor. In his left hand, he holds a long wooden staff. His other hand is raised, his fingers curled. He is positioned near a stone column or wall on the left, with a background on the right depicting a distant landscape under a blue sky, with blue fields and structures in the distance.
Giovanni Girolamo Savoldo, Portrait of a Knight, c. 1525, oil on canvas, Samuel H. Kress Collection, 1952.5.74

Portrait of a Knight

Giovanni Girolamo Savoldo · c. 1525 · oil on canvas ·  Accession ID  1952.5.74

This painting depicts a rocky pass with a man, woman, and child moving up a hill towards us. In the background is a rugged rock formation rising towards the top left, leading down to a horizon with green fields and distant blue hills. In the center of the painting, a woman in a red gown and blue cloak holds a child wrapped in a white cloth. The woman rides a donkey, and a man walking left next to her on the left holds the reins. The man wears a gray garment under an orange cloak, and he walks with a crutch in one hand. Both the man and woman have halos around their heads. The hill they are on is covered in lush green grass, and green trees fill the areas between the rock formations. Far away, small white buildings are visible below. The sky above the scene is white along the horizon but blue at the top of the painting, with a few faint clouds drifting by.
Anonymous Artist, The Flight into Egypt, c. 1550/1575, oil on panel, Samuel H. Kress Collection, 1961.9.81

The Flight into Egypt

Anonymous Artist · c. 1550/1575 · oil on panel ·  Accession ID  1961.9.81

About fifty pale-skinned men, women, and children along with a giraffe, ox, and other animals gather in groups across a hilly landscape in this vertical painting. The people wear robes or dresses in shades of carnation pink, honey orange, sky blue, ruby red, leaf green, or golden brown. The people’s skin is painted pearl white or, in a few instances, tinged with gray. A crowd of eight men and women gather in the lower left quadrant behind a man who points to the right with a stick. Others sit on the ground or on rocks, stand at barrel-sized urns, or bend to the ground. A porcupine, white rabbit, black bear, cow, cheetah-like animals, and several others are spaced along the foreground, close to us. The gathering continues into the distance to the right, where a path leads to a cluster of buildings along a jagged coastline. Craggy mountains rising from water line are shaded aquamarine blue under a cloudy sky. A few tall, spindly trees grow up the center of the composition, and a tall, rocky outcropping takes up most of the upper left quadrant.
Bachiacca, The Gathering of Manna, 1540/1555, oil on panel, Samuel H. Kress Collection, 1952.5.4

The Gathering of Manna

Bachiacca · 1540/1555 · oil on panel ·  Accession ID  1952.5.4

Vincenzo Civerchio, Christ Instructing Peter and John to Prepare for the Passover, 1504, tempera on panel, Samuel H. Kress Collection, 1961.9.67

Christ Instructing Peter and John to Prepare for the Passover

Vincenzo Civerchio · 1504 · tempera on panel ·  Accession ID  1961.9.67

A woman, Mary, floats in the sky surrounded by eleven winged angels above fifteen men and women gathered around an open, stone coffin in this vertical painting. All the people have pale, peachy skin. Near the top center of the composition, the woman’s torso twists to our left as her knees turn to our right. She lifts her left hand, to our right, to her chest and her other arm reaches down along her body. She looks up with dark eyes, her head tipped slightly back. She has a round face, a small nose, flushed cheeks, and a heart-shaped, rose-pink mouth. Her long, golden-brown hair falls over the shoulders of her scoop-necked, powder-blue dress. A honey-brown wrap loops over one shoulder and billows up to surround her head and shoulders. A voluminous silver cloth edged with gold flows around her hips, legs, and feet. Seven of the angels gathered near Mary’s feet and legs are baby-like, pudgy children with gossamer-white or smoke-gray wings. Most of these angels are nude but the genitals of two are covered in ivory or golden yellow cloths. Four taller, so presumably older, angels float around Mary’s head and shoulders with two to each side. Two angels to our left, wearing petal pink or butterscotch yellow, hold a ring of leaves up toward her head. The angels to our right wear ruby red or bronze gold, and they look toward Mary with their arms crossed over their chests. The hair and drapery of all of the angels flutter as if in a breeze. Below this group, on the dirt earth, twelve men and three women gather around an open stone coffin set in front of an arched opening leading into a hillside. Some in the group look into the coffin, some look up, and some look toward a man standing to our left. That man has long, chestnut-brown hair and wears a red robe over a white tunic. He looks up at Mary with his head tipped back and raises both hands high, palms facing the scene in the sky. The three women are closest to the coffin, which sits on a two-stepped platform. The woman closest to us kneels on the steps wearing a golden yellow dress. Her white-blond hair has been pulled up and braided. She pulls a pale gray or white cloth from the coffin and holds what could be a small bunch of flowers or leaves in one hand. The other two women have brown hair and stand on the far side of the coffin. Some of the men have beards, and they wear robes in cardinal red, olive green, honey yellow, and tan. A sliver of landscape with water, trees, and a hill is visible in the deep distance to our left, and the sky above is filled with slate-blue clouds. A darker bank of charcoal-gray clouds sweeps around the group in the sky to our right, and bright, yellow rays emanate down from the top center. The scene is loosely painted, especially in the clothing, to create the impression of a sheen on the fabrics.
Anonymous Artist, The Assumption of the Virgin, probably mid 1620s, oil on panel, Samuel H. Kress Collection, 1961.9.32

The Assumption of the Virgin

Anonymous Artist · probably mid 1620s · oil on panel ·  Accession ID  1961.9.32

A pale-skinned woman stands holding a spoon and egg, and bracing a long-handled pan in one elbow, in front of a wooden table near a fireplace mantle in this vertical painting. The scene is brightly lit from our left, and the background falls into shadow. To the right of center, the woman wears a hip-length, white jacket patterned with large, rose-pink dots over a long skirt with vertical stripes of peach, shell and carnation pink, white, and tawny brown. A knee-length, petal-pink apron is pinned to the front of her dress. A frilled white bonnet covers her hair, and she wears fern-green, high-heeled, slip-on shoes. Her body faces our left almost in profile. She holds a silver spoon in her right hand as she peels the egg she holds in the other. A white cloth with a powder-blue stripe is draped over her left arm, which is bent to cradle the long handle of a pot. She stands in front of the table, which angles away from us. The end of the table closest to us is covered with a white cloth under a round loaf of bread, a tall, sky-blue pitcher, a shallow bowl with another egg and a pewter egg cup inside, and a large knife with a wooden handle. A mahogany-red pot with its cover askew sits at her feet. Behind the woman and to our right, the mantle and fireplace is cut off by the right edge of the canvas. A wooden ladderback chair peeks out from beyond the mantle, and a tall, covered, olive-green pitcher sits on the floor in front of it. A stoppered flagon and two bowls sit on the corner of the mantle. The wall and floor are fawn brown, darkening in shadow toward the back and left of the room.
Jean Siméon Chardin, The Attentive Nurse, 1747, oil on canvas, Samuel H. Kress Collection, 1952.5.37

The Attentive Nurse

Jean Siméon Chardin · 1747 · oil on canvas ·  Accession ID  1952.5.37

A winged angel strides toward a young woman who kneels at the foot of a bed, while an older, bearded man, surrounded by several winged babies and a dove, hover overhead in this vertical painting. All the people have pale skin. To our left, the blond angel steps forward on his right, sandaled foot. He holds a long stem with a white lily in his left hand, farther from us, and raises his other hand to the sky. His charcoal-gray wings are partly extended, and he wears long, flowing, goldenrod-yellow and sage-green garments with a green and blue striped sash wrapped around his chest. His lips are parted, and he looks toward the woman to our right. The woman, Mary, kneels at a wooden lectern that holds an open book near the foot of the bed. Pillows and a moss-green bed curtain are visible behind her. A cobalt-blue mantle drapes across her shoulders and wraps around her rust-red gown and caramel-brown shawl. Mary’s brown hair is partially covered by a golden brown cloth, and her dark eyes are lowered, looking down to our left. Her body is angled to our right, hands crossed over her chest, but her shoulders and head have begun to turn to look back at the angel. Almost lost in shadow, a translucent glass vase with a single stem of rose-red buds sits on the ground next to her. The floor is covered with geometric patterns in tones of brown, gray, and black. A balustrade under arched openings encloses the room beyond the bed. At the foot of one column, a striped cat laps from a saucer. Floating above the pair the bearded man looks down toward Mary, his hands and arms extended in front of him. He also wears a cobalt-blue robe over rose-pink sleeves. Two winged, nude babies cling to his outstretched arms, and also look down at Mary. A trio of three blond baby heads float around the white dove, which flies in a starburst of light. Midnight-blue wings frame each baby’s head. The entire group is surrounded by puffy, golden clouds. The landscape beyond the balustrade has lush green trees under a sapphire-blue sky sprinkled with clouds.
Veronese, Italian 16th Century, The Annunciation, c. 1583/1584, oil on canvas, Samuel H. Kress Collection, 1959.9.6

The Annunciation

Veronese, Italian 16th Century · c. 1583/1584 · oil on canvas ·  Accession ID  1959.9.6

A young woman, holding a knife and vegetable in her lap and wearing a clay-brown jacket over a long, poppy-red skirt, sits on a wooden ladderback chair angled to our right in the center of this vertical painting. She has pale skin with cheeks and lips flushed deep pink. A white cap covers her upswept hair, and a sea-blue and tan neckerchief drapes around her neck. She hunches forward slightly and gazes to our right with parted lips. Her hands rest in her lap, and she holds a knife in her right hand and a white root vegetable in her left. Her lap is draped with an ivory-white cloth, speckled with tan spots that continue onto the hem of her red skirt and the floor. A copper-brown bowl with a flaring lip and a peacock-blue interior sits on the floor at her feet with several irregular white shapes lying inside, presumably peeled vegetables. To her left, our right, is a log-like section of a thick tree trunk with a cleaver embedded in it. The handle of a copper pan leans against the block. The bottom of that pan is propped up against a deep blue-gray bowl with a gold-colored interior. Light coming from the upper left gleams on the edges of the cookware and illuminates a spatter of tomato red on the surface of the chopping block. In the lower left, a handful of dirt-brown tubers are piled near an orange pumpkin or gourd, which is cut off by the edge of the painting. The floor and wall behind the woman are peanut brown washed with thin layers of slate blue. The artist signed and dated the painting in black on the wall above the chopping block, “Chardin 1738.”
Jean Siméon Chardin, The Kitchen Maid, 1738, oil on canvas, Samuel H. Kress Collection, 1952.5.38

The Kitchen Maid

Jean Siméon Chardin · 1738 · oil on canvas ·  Accession ID  1952.5.38

A half-peeled pomegranate, a few nuts, a bunch of purple grapes, and a glass of pale yellow wine sit on the corner of a stone ledge against a dark background in this vertical still life painting. The corner of the chipped gray ledge is close to and lines up with the lower left corner of the painting. Two hazelnuts sit near the front of the ledge, and a twig with three more nuts in papery husks are attached to a twig. Behind that, the flaring cup of the wineglass is made up of flat panels, which are inwardly scalloped along the upper edge, like an upside-down badminton shuttlecock. The stem is made of intertwining ropes of clear and black glass. At the lower center of the composition, the glistening, scarlet-red seeds of the pomegranate contrast with the rust-orange rind. Another twig of hazelnuts is between the pomegranate and the bunch of frosty purple grapes. The vine and a broad, dark green leaf arches over the grapes and pomegranate. The objects are brightly lit from our left against a charcoal-gray background. Molding under the ledge can be made out in the shadows across the bottom edge of the painting. Closer inspection reveals tiny water droplets on the stone ledge and the pomegranate. The artist signed and dated the painting in cursive text on the front face of the ledge, near the lower right corner: “J: Walscappel 1675.”
Jacob van Walscapelle, Still Life with Fruit, 1675, oil on panel, Juliet and Lee Folger/The Folger Fund, 2001.71.1

Still Life with Fruit

Jacob van Walscapelle · 1675 · oil on panel ·  Accession ID  2001.71.1

A young, bearded man wearing only a white loincloth stands facing us in a pale blue river with a man to one side and a winged angel to the other in this vertical painting. They all have pale or tanned skin and tawny-brown hair. The man at the center, Jesus, stands knee-deep in the placid water with his hands together in prayer. He looks off to our left, his hollow eyes set above a drooping mouth. To our left, a man kneels on the rocky riverbank and trickles water from his hand onto Jesus’s head. That man wears a fawn-brown robe under a raspberry-red cloak. He is bearded with curly brown hair, and he has dark circles under his eyes and a downturned mouth. The winged angel stands to our right on a flat stone, closer to us. Gold and pink wings rise vertically along the right edge of the composition. The angel wears voluminous white robes and holds a marine-blue garment in both hands. A white dove hovering over Jesus’s head is surrounded by a halo edged with teal, pea-green, and pink rings. A bearded man wearing a tiered, jeweled crown looks down from a round opening in the ice-blue sky above the dove. He holds one hand up in blessing and holds an orb topped by a cross in the other. About ten fish nibble at the rocks near Jesus’s feet in the river, which winds through a pale green field to a town of turrets and towers in the distance.
Juan de Flandes, The Baptism of Christ, c. 1508/1519, oil on panel, Samuel H. Kress Collection, 1961.9.25

The Baptism of Christ

Juan de Flandes · c. 1508/1519 · oil on panel ·  Accession ID  1961.9.25