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Wildenstein & Co., Inc.

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Three apples and two pears sit next to a knife and a luminous, white mug on a tan, stone surface before a muted, olive-green background in this horizontal still life painting. The objects and background are painted with blended strokes, giving the painting a soft, glowing appearance. At the center of the ledge or table, the apples are dappled with candy red and pale yellow. Two golden and moss-green pears are to our left, one upright and the other lying with its stem coming toward us. The fruit is painted with white highlights from a light source to our left. The cream-white mug sits next to the apples to our right. The mug has straight sides, a low band near the top and bottom, and the handle curves out to our right. Between the apples and mug, the black handle of a knife angles to our right, off the edge of the table. Shadows are painted in brick red on the surface of the table, which extends off both sides of the canvas. There is a vertical seam in the table under the upright pear.
Jean Siméon Chardin, Still Life with a White Mug, c. 1764, oil on canvas, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.6

Still Life with a White Mug

Jean Siméon Chardin · c. 1764 · oil on canvas ·  Accession ID  1972.9.6

Jean-Auguste-Dominique Ingres, Henri Labrouste, 1852, graphite on wove paper, Collection of Mr. and Mrs. Paul Mellon, 1995.47.52

Henri Labrouste

Jean-Auguste-Dominique Ingres · 1852 · graphite on wove paper ·  Accession ID  1995.47.52

A man with tanned skin is surrounded by animals as he reclines against a grassy slope in this horizontal landscape painting. The area close to us is darkened or in shadow, so some details are difficult to make out, but the land brightens under a golden sky as it recedes into the deep, hazy distance. In the lower left corner of the canvas, the man faces our right in profile, looking toward the grazing animals. He wears a wide-brimmed hat and a caramel-brown jacket over a knee-length garment. He leans back on his near arm with one leg bent and the other extended. His far hand lies across his torso and holds a short staff. A dark brown goat, tan-colored sheep, and brown and gray cows wander and nibble on muted green, scrubby growth that carpets the hilly ground, which stretches across the center and right side of the composition. Trees with laurel-green canopies grow up beyond the man, and extend off the top edge of the painting. A slender, almost leafless tree frames the scene on the right. Two men walk on a gently arched, stone bridge beyond the spindly tree. Low hills slope down to a misty blue-gray plain, where a river winds along a jagged bank dotted with trees. In the far distance, ghostly buildings stretch along a line of slate-blue mountains. A glowing sun in the upper left corner casts diffused light across the scene. The sky is scattered with wisps of thin clouds.
Anonymous Artist, The Herdsman, 17th or 18th century, oil on canvas, Samuel H. Kress Collection, 1946.7.12

The Herdsman

Anonymous Artist · 17th or 18th century · oil on canvas ·  Accession ID  1946.7.12

Carved from cream-white marble, a woman stands next to a hip-high, three-legged table in this free-standing sculpture. Her weight rests on her left leg, her right knee bent. She wears a flower crown over a garment that covers her head and falls in sweeping, voluminous folds to her sandaled feet. An urn is tucked into her left elbow and she holds a saucer-like dish in her right hand down by her side to pour oil onto the flames on the altar below. She looks down toward the altar, which is decorated with a ram’s head and garlands.
Clodion, A Vestal, 1770, marble, Samuel H. Kress Collection, 1952.5.99

A Vestal

Clodion · 1770 · marble ·  Accession ID  1952.5.99

Raoul Dufy, The Landing, 1928, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 2013.164.1

The Landing

Raoul Dufy · 1928 · oil on canvas ·  Accession ID  2013.164.1

Sitting on a rock and shown from the lap up, an elegantly dressed, light-skinned man holds up a partridge by one leg and sits next to a dog, all against a landscape with trees and a stone manor house in this vertical portrait painting. On the far side of the rock, the man’s legs angle away from us to our right, but he turns his torso to look at us with brown eyes under dark brows. His nose has a bump near the bridge, and his full, pink lips are closed. His rounded cheeks are slightly flushed, and he has a bit of a double chin. His hair curls around his face from a widow’s peak on his forehead, and locks are tied back with a black silk bow. His white shirt is pleated vertically across the front below a high collar, which wraps around his neck. Lace lines the front of the shirt down the chest and the cuffs at the end of puffy sleeves. His camel-brown jacket is lined with topaz blue and edged with silvery lace down the front and at the unbuttoned cuffs. His brown pants are lost in shadow beyond the rock on which he sits. In his raised left hand, on our right, the partridge dangles from one red leg, its brown wings spread and its head hanging back. By the man’s right side and closer to us, the dog is white with a few black spots. It has large floppy ears and a short tail. It crouches on its hind legs, angled to our left, and braces itself on its front paws, looking up at the bird. A second dead bird lies on the rock under the dog’s poised body. A few tufts of plants and grasses grow out of the rock next to the dog’s front feet, and behind the dog and man is a fawn-brown sack and a cylindrical vessel with a spout, a powder horn. Two trees grow beyond the rock, up the left edge of the canvas. To our right, in the distance, two women talk near a low wall. One wears an aquamarine-blue dress and gestures with arm outstretched to our left, and the other, in pale pink, sits looking up at her companion. Beyond, trees line the drive up to the three-story manor house. The middle story is lined with notably tall windows, like a series of French doors. Steel-gray clouds against a few glimpses of turquoise-blue sky fill the top half of the painting above the house. The painting is signed and dated in the lower right corner: “peint par JB. Oudry 1722.”
Jean-Baptiste Oudry, Henri Camille, Chevalier de Beringhen, 1722, oil on canvas, Eugene L. and Marie-Louise Garbáty Fund, Patrons' Permanent Fund, and Chester Dale Fund, 1994.14.1

Henri Camille, Chevalier de Beringhen

Jean-Baptiste Oudry · 1722 · oil on canvas ·  Accession ID  1994.14.1

Shown from the chest up, a pale-skinned, clean-shaven man wearing a cloth wrapped around his head looks at us in this vertical painting. The man’s shoulders are angled to our right, but he turns his round face to us to gaze out of the corners of his blue eyes under furrowed brows. His head tips slightly to our right, and his pink lips are parted. He has a rounded nose, full checks, and a slight double chin. The cloth wrapped around his head is white striped with pale blue. He wears a coral-orange and white neckerchief tied in a knot at his throat and a slate-blue collarless jacket. The background is pale, asparagus-green near his face and deepens to moss green at the edges. There are some white or light blue streaks and spots where paint has been lost or damaged.
Anonymous Artist, Portrait of a Man, 18th century, oil on canvas, Chester Dale Collection, 1943.7.3

Portrait of a Man

Anonymous Artist · 18th century · oil on canvas ·  Accession ID  1943.7.3

Georges Seurat, The Stone Breaker, c. 1882, oil on wood, Collection of Mr. and Mrs. Paul Mellon, 2014.18.50

The Stone Breaker

Georges Seurat · c. 1882 · oil on wood ·  Accession ID  2014.18.50

French 19th Century, Bacchante, 19th century, marble, Samuel H. Kress Collection, 1952.5.96

Bacchante

French 19th Century · 19th century · marble ·  Accession ID  1952.5.96

Painted almost entirely in shades of cool blues, a little girl stands at a table holding a bowl and spoon in this vertical painting. The table comes into the scene from our left, and she faces it in profile facing our left. The table is covered with a cloth and comes up to her chest. She looks down into the bowl, which she tips toward her with the hand closer to us, and she holds a spoon inside, as if stirring, with the other. She has a high forehead, a snub nose, and a rounded chin. The vivid pink of her lips and cheeks and the tawny brown of her shoulder-length hair contrast with the icy blues of the rest of the picture. She wears a knee-length dress with a wide cloth wound around her neck with the ends trailing down her chest and back. Marine-blue socks come halfway up her otherwise bare calves, and she wears dark shoes. There are two more objects on the table: a mug, painted with a coral-orange and blue design, and a flax-yellow object that could be a piece of food. The girl's dress, the cloth around her neck, and the tablecloth are painted in shades of turquoise, sky, and cobalt blue. A brown wooden leg emerges from under the tablecloth. The floor around the girl is pale blue with a darker blue area indicating the shadow cast by the table. The shadow is streaked with a few lines of orange and light brown. Blue fields on the back wall behind the girl could be blue curtains next to a patch of brown wall, in the upper left corner. All of the objects and the girl’s features are outlined in royal blue. The artist signed the upper left corner, “Picasso.”
Pablo Picasso, Le gourmet, 1901, oil on canvas, Chester Dale Collection, 1963.10.52

Le gourmet

Pablo Picasso · 1901 · oil on canvas ·  Accession ID  1963.10.52