Julius Böhler

German, est. 1880

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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

North European 18th Century, German 18th Century, Christ Crucified, c. 1700, ivory, Pepita Milmore Memorial Fund, 1997.70.1

Christ Crucified

North European 18th Century, German 18th Century · c. 1700 · ivory ·  Accession ID  1997.70.1

A group of four people gather around a person in a bed, seen through an open doorway to our left, while a man and woman stand near a second doorway of a beige building in this horizontal painting. All the people have pale skin. Seen through the arched opening in the room to our left, two people with flat, plate-like gold halos offer a vessel to the person sitting up in bed. The people with the halos wear raspberry-pink and white cloaks over aquamarine-blue robes. They each also wear a cap with a red, mushroom-like top over a white band that encircles the head. The person sitting up in bed wears a white robe, and her lap is covered with a red blanket. Two more people peer over the headboard behind her. A three-legged stool and a tray with a ewer sits near the bed. In the arched opening to our right, a woman wears a lilac-purple dress with a white head covering that drapes over her shoulders. She holds out a straw-colored box, perhaps a basket, to a man with a gold halo, who also wears pink and white cloaks over a blue tunic and the red cap. He holds one hand up in front of his chest and reaches for the box with the other. The door to our right is set back and the ground in front of it is covered with paving stones. Atop the wall over the right-hand door sits a wide, rounded pot with dark green plants, in front of a sliver of topaz-blue sky. There are cracks across the surface of the panel, especially visible in the building’s flat façade.
Fra Angelico, The Healing of Palladia by Saint Cosmas and Saint Damian, c. 1438/1440, tempera and oil on poplar panel, Samuel H. Kress Collection, 1952.5.3

The Healing of Palladia by Saint Cosmas and Saint Damian

Fra Angelico · c. 1438/1440 · tempera and oil on poplar panel ·  Accession ID  1952.5.3

On the right side of this horizontal painting, two light-skinned men stand close to us on a spit of land separated from the rest of the scene by stretch of water that leads back to a town on the far shore. People gather on and around two boats floating in the water between the spit of land to our right and a copse of trees to our left. Beginning with the pair of men to our right: one man looking toward us has a broad forehead and grizzled blond beard. He wears a brick-red and canary-yellow turban, a yellow and crimson-red striped doublet with puffy sleeves, and a red codpiece. His scarlet-red hose have decorative slashes down the thigh to show yellow fabric underneath. He holds one long sword in his left hand, to our right, so the blade rests on that shoulder, and another sword hangs in a scabbard on his waist. Facing him, to our right, is the second man. He has a dark beard and a broad red hat trimmed with white feathers. He wears a doublet with wide red and white horizontal stripes and a white codpiece. His close-fitting white hose have thin, dark lines running from his waist to his feet, like pinstripes. He rests the back of his left hand, closer to us, on his hip. The tip of a long sword rests between his feet, and his far hand holds the hilt, which is as tall as his shoulder. Both men wear slipper-like shoes. Beyond this pair, near the center of the composition, a dozen men work on the wooden ships in the waterway. The trees to our left have feathery canopies of dense green foliage highlighted with butter yellow. A red pennant flutters in the wind near the left edge of the painting. About two dozen men, women, and children sit and stand closely under the trees. They wear capes, robes, turbans, and headdresses in aquamarine blue, marigold orange, burgundy red, cream white, and laurel green. Several of them are turned toward a woman dressed in blue holding an infant. Along the far shoreline, to our right, a city with tan-colored, stone towers glows under a soft topaz-blue sky, mirrored in the luminous blue water, as a ship with a billowing white sail passes by. On the distant horizon, high mountain peaks are faintly visible through a steel-blue haze.
Dosso Dossi, The Trojans Repairing Their Ships in Sicily, c. 1520, oil on canvas, Samuel H. Kress Collection, 1939.1.250

The Trojans Repairing Their Ships in Sicily

Dosso Dossi · c. 1520 · oil on canvas ·  Accession ID  1939.1.250

Shown from the waist up, a light-skinned woman sits angled slightly to our right in this vertical portrait painting. The woman has blue eyes, faint brows, and a sloping nose ending in a small bulb. Her upper lip is thin and her lower lip full over a slight double chin. Her blond hair is pulled back under a gold, cap-like headdress and a black, wide-brimmed hat with a shallow crown. She wears a high-necked white, black, and gold dress with intricate detailing, a gold chain necklace that falls to her waist, and a black belt with a gold clasp and medallions. She wears two gold rings set with gems on the pointer finger of her left hand, which is folded across her belly over the other hand. A scarlet-red wallcovering with pink floral designs fills two-thirds of the space behind her. The rightmost third of the background opens onto a landscape with a tall, spindly tree, a leaping animal, presumably a dog, and a bridge across a body of water leading to a town. Across another body of water, perhaps a lake, mountains are marine blue in the distance under a clear, celestial-blue sky.
Bernhard Strigel, Margarethe Vöhlin [obverse], 1527, oil on panel, Ralph and Mary Booth Collection, 1947.6.5.a

Margarethe Vöhlin [obverse]

Bernhard Strigel · 1527 · oil on panel ·  Accession ID  1947.6.5.a

Bernhard Strigel, Margarethe Vöhlin [reverse], 1527, oil on panel, Ralph and Mary Booth Collection, 1947.6.5.b

Margarethe Vöhlin [reverse]

Bernhard Strigel · 1527 · oil on panel ·  Accession ID  1947.6.5.b

Adolph Menzel, The Artist's Sister Emilie, 1851, pastel and black chalk on brown wove paper, Wolfgang Ratjen Collection, Purchased as the Gift of Ladislaus and Beatrix von Hoffmann, 2007.111.19

The Artist's Sister Emilie

Adolph Menzel · 1851 · pastel and black chalk on brown wove paper ·  Accession ID  2007.111.19

A woman and baby are modeled with papier mâché and stucco in low relief and then painted and gilded in this vertical panel. The woman and child both have peachy, pale skin and dark brown, wavy hair. To the left, the woman looks in profile at the baby she holds to our right. The woman has large, dark eyes, a delicate nose, and her lips are closed. Her head is covered by gold fabric, which falls over her shoulders. A burgundy-red dress is edged in gold under a navy-blue cloak. More gold cloth covers her lap along the bottom edge of the panel. She cradles the baby in both hands. One of the child’s shoulders and his hips are draped with pale gray fabric. He has pudgy arms and legs but a slightly muscular torso. He also has delicate features in a round, pudgy face, and he looks up at the woman. One hand grips the gray fabric and the other hooks onto a strap holding the woman’s gold cloak closed. The background is a muted greenish-brown.
Jacopo Sansovino, Madonna and Child, c. 1550, papier mache and stucco, painted and gilded, Samuel H. Kress Collection, 1961.1.6

Madonna and Child

Jacopo Sansovino · c. 1550 · papier mache and stucco, painted and gilded ·  Accession ID  1961.1.6

Shown from the hips up, a woman to our left wears a sapphire-blue robe over a petal-pink dress, and she supports a pudgy, nude infant to our right in this vertical painting. Both have marble-white skin faintly tinged with green, wavy blond hair, and shiny gold halos. Their heads tilt toward each other so the woman’s cheek brushes the top of the baby’s head. She holds his body with one hand nearly flat against his torso and the other, covered with her robe, bracing his back. The baby holds the pinky of her hand against his chest with his left hand, on our right, and wraps his other arm around her heck. The woman looks down to our right with olive-green eyes under faint brows. She has a delicate nose and her pale, pink lips are parted. Her hair is covered by a sheer white cloth that falls over the shoulders of her blue robe, which is lined with golden yellow where it turns back around her neck. Her pink dress is trimmed with a band of moss green along the curving, sweetheart neckline and around the cuffs of her sleeves, and is ornamented with pearls and red, white, and blue orbs, possibly jewels. The baby looks at or toward us, his pink lips also parted and his rounded cheeks slightly blushed. He stands on his left foot, to our right, and raises his other foot, knee bent. Stylized white and pink roses with mint-green stems and leaves grow up against a royal-blue background behind the pair.
Domenico Veneziano, Madonna and Child, c. 1445/1450, tempera on poplar panel, Samuel H. Kress Collection, 1939.1.221

Madonna and Child

Domenico Veneziano · c. 1445/1450 · tempera on poplar panel ·  Accession ID  1939.1.221

A nude man holding a book in one hand and a rock down by his other side kneels at the opening of a rocky cave in this vertical painting. The man’s body and the shadowy cave opening nearly fill the composition. The man’s torso and limbs are elongated and sinewy, and his skin is painted in tones of ivory white and pale peach with smoky gray shadows. His body is squared to us as he turns his long face to look up and off to our left. He has dark brows over deep-set eyes, a prominent nose, hollow cheeks, and his thin lips are closed. He has short white hair and a frost-white beard. His skin pulls tightly over the tendons in his neck, across his collarbone, and over his ladder-like ribcage. He is nude except for a loosely painted, light-colored cloth across his hips. His left arm, to our right, lies along an open book, which rests against his hip or on a rock in the cave. A few touches of red line the hand that grips the rock, which he holds away from his body with his other hand. The craggy face of the cave opening is loosely painted, and the interior is swallowed in complete darkness. The man raises his face toward rays of canary yellow and cotton white against a turquoise-blue sky in the upper left corner of the canvas.
El Greco, Saint Jerome, c. 1610/1614, oil on canvas, Chester Dale Collection, 1943.7.6

Saint Jerome

El Greco · c. 1610/1614 · oil on canvas ·  Accession ID  1943.7.6