Julius H. Weitzner

1896 - 1984

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See all 16 works of art
Odilon Redon, Saint Sebastian, 1910/1912, oil on canvas, Chester Dale Collection, 1963.10.57

Saint Sebastian

Odilon Redon · 1910/1912 · oil on canvas ·  Accession ID  1963.10.57

Master of the Starck Triptych, Saint Barbara [left wing exterior], c. 1480/1490, oil on panel, Patrons' Permanent Fund, 1997.100.1.c

Saint Barbara [left wing exterior]

Master of the Starck Triptych · c. 1480/1490 · oil on panel ·  Accession ID  1997.100.1.c

Master of the Starck Triptych, Saint Catherine [right wing exterior], c. 1480/1490, oil on panel, Patrons' Permanent Fund, 1997.100.1.b

Saint Catherine [right wing exterior]

Master of the Starck Triptych · c. 1480/1490 · oil on panel ·  Accession ID  1997.100.1.b

A wooden, T-shaped cross, with a man nailed to its crossbeam, is raised so it stands vertically as men and women look on against a grassy, hilly landscape in this horizonal painting. The painting is made up of three parts: a vertical rectangular panel at the center and a tall, narrow rectangular panel to each side. The people all have pale, ruddy, or tanned skin. The cross is being pushed up from behind by two men with poles and pulled up on the front side by three men pulling on two ropes. The man on the cross, Jesus, is nude except for a white cloth across his hips. Blood trickles from nails holding his hands in place, the single nail driven through both feet, and a ring of thorns across his forehead. His long brown hair hangs down over his shoulder, and he has a full, trimmed beard. His red-rimmed eyes slope downward as he looks down to the crowd below. His mouth is closed. The people in the crowd at the base of the cross wear dresses, robes, and turbans in shades of ruby red, grass green, lapis blue, pale yellow, carnation pink, and bright white. Three men push and pull on the base of the cross, driving it into a hole dug in the dirt ground. Eleven men and one child look on from our left, some with gaping mouths. One of the two men pulling on one of the ropes to our right wears tattered blue clothing, and his toes poke out of the shoe we can see. The other man there is barefoot and has a prominent hooked, red nose and a pointed beard. A red cowl covers his head over a tunic striped with lemon yellow and brown. An inscription on that man’s sleeve reads, “OHAIR.” Two men stand in the lower left corner of this panel. One looks at the cross and the other looks out at us, while pointing up to Jesus. Two human skulls and other bones litter the ground around the cross. Two more wooden crosses and some rope lie on the ground near us. Two dogs romp together nearby, next to a coat of arms showing a crowned man wearing a red robe and holding two pointed staffs. In the panel to our left, a woman wearing an azure-blue robe, Mary, interlaces her fingers and flips her hands palm-down, as she looks at the ground. Another woman in front of her kneels and holds her interlaced hands up by her face, elbows high. A woman and a cleanshaven man stand near Mary, and to our left, a woman wearing emerald green holds a cloth with Jesus’s face on it. Four more men and women look on, the women crying. In the panel to our right, a man in a red robe and a man wearing armor sit on horses. The armored man gestures up at Jesus. Two more men sit on horses behind this pair, and six stand among and in front of the group. Two men sit, one with his hands tied behind his back, near the lower right corner of this panel. The bound man is bald and looks down. The man behind him has a brown beard and hair, and looks up at Jesus. Across all three panels, the scene takes place on a smooth, dirt ground. Grassy hills rise beyond the cross to higher peaks in the left and right panels. Paths or roads wind into the distance to a town on the horizon, which comes about two-thirds of the way up the composition. Hazy in the distance, a city wall encloses steeples and buildings, and a bridge spans a body of water leading up to the city. Gray clouds begin to tumble across the sky from our right. The sky is nearly white along the horizon and deepens to watery blue along the top edges of the panels.
Master of the Starck Triptych, The Raising of the Cross [center, left, and right panels], c. 1480/1490, oil on panel, Patrons' Permanent Fund, 1997.100.1.a

The Raising of the Cross [center, left, and right panels]

Master of the Starck Triptych · c. 1480/1490 · oil on panel ·  Accession ID  1997.100.1.a

Pierre Puget, Ornamental Sketches with Grotesque Masks, black chalk on laid paper, Ailsa Mellon Bruce Fund, 1974.2.2

Ornamental Sketches with Grotesque Masks

Pierre Puget · · black chalk on laid paper ·  Accession ID  1974.2.2

George Romney, Lady Hamilton Playing a Lyre, c. 1785, pen and brown ink with brown wash over black chalk on wove paper, Julius S. Held Collection, Ailsa Mellon Bruce Fund, 1984.3.55

Lady Hamilton Playing a Lyre

George Romney · c. 1785 · pen and brown ink with brown wash over black chalk on wove paper ·  Accession ID  1984.3.55

A nude, muscular, pale-skinned man sits on a rock in front of a deep, shadowy landscape in this vertical painting. Most of the man’s body is silhouetted against the sky, and he nearly fills the picture. His body faces our right almost in profile, and he turns his head to look away. He has short black hair and a moustache and beard. The rest of his face is in shadow. He rests his left arm, farther from us, along a spear that spans the composition from the lower right corner to the upper left. He grips the spear with the other hand. One knee is bent so his foot is propped on the stone just below his seat. The other leg, closer to us, stretches long. He sits on a pine-green cloth draped over the rock. Bands of brown and then blue rocky hills line the horizon, which comes a quarter of the way up this composition. Steel-gray and white clouds fill the sky above.
Théodore Gericault, Nude Warrior with a Spear, c. 1816, oil on canvas, Chester Dale Collection, 1963.10.29

Nude Warrior with a Spear

Théodore Gericault · c. 1816 · oil on canvas ·  Accession ID  1963.10.29

A young woman with long blond hair kneels in front of a crowd of about two dozen people, mostly men, under a heavenly group on cloudbanks overhead in this vertical painting. They all have pale or tanned skin. At the bottom center, the young woman, Saint Margaret, kneels facing us as she tips her head down and to our right, her fingertips pressed together in prayer. Her cloak shimmers from pale yellow to coral red over an olive-green gown edged with sapphire blue. A thin gold halo floats over her loose, waist-length hair. A muscular, bare-chested man to our right unsheathes a sword as he twists toward Saint Margaret. An armored man to our right rests one hand on a white and gold shield, which pins dragon to the ground. Another man is on horseback in the crowd beyond, and the rest appear to stand. Some hold halberds and spears. A rocky outcropping rises to our left, and a gray building is in the distance to our right. A woman holding a baby, Mary and Jesus, and two bearded men sit in a cloud bank in the top half of the picture. One man holds an oversized key and the other a sword. They and the people below wear robes and cloaks in tones of golden yellow, royal blue, dark rose pink, or shades of gray and brown. A winged angel holding a crown of leaves and a palm frond flies between the two groups, and more blond-haired angels hover above. Two baby-like putti scatter flowers over Mary. The artist signed the work in the lower left corner as if he had written his name on a rock. It reads, “IOSEPHVS CAESAR ARPINAS.”
Giuseppe Cesari, Martyrdom of Saint Margaret, c. 1608/1611, oil on panel, Gift of David Edward Finley and Margaret Eustis Finley, 1984.4.1

Martyrdom of Saint Margaret

Giuseppe Cesari · c. 1608/1611 · oil on panel ·  Accession ID  1984.4.1

Pierre Paul Prud'hon, David Johnston, 1808, oil on canvas, Samuel H. Kress Collection, 1961.9.84

David Johnston

Pierre Paul Prud'hon · 1808 · oil on canvas ·  Accession ID  1961.9.84

American 19th Century, Portrait of a Lady, c. 1825, oil on canvas, Chester Dale Collection, 1943.1.6

Portrait of a Lady

American 19th Century · c. 1825 · oil on canvas ·  Accession ID  1943.1.6