Permanent Collection

In the Peasant Interior with an Old Flute Player, the scene is an idealized portrayal of peasant life in which the group is still and silent but for the sound of the flute.
Peasant Interior with an Old Flute Player
Peasant Interior with an Old Flute Player
In the Peasant Interior with an Old Flute Player, the scene is an idealized portrayal of peasant life in which the group is still and silent but for the sound of the flute.

Peasant Interior with an Old Flute Player

Louis (or Antoine?) Le Nain
French (c. 1600/1603–1648)
17th century
c. 1642
Oil on canvas
21 5/16 x 24 7/16 in. (54.1 x 62.1 cm) Framed: 28 1/2 x 32 x 4 1/2 in. (72.4 x 81.3 x 11.4 cm)
AP 1984.22
The Le Nain brothers––Antoine, Louis, and Mathieu––were born in Laon and settled in the artist’s community of Saint-Germain-des-Prés, in Paris, by 1629. The brothers were founding members of the Royal Academy of Painting and Sculpture in 1648.
In Interior of the Buurkerk, Utrecht, a crisp, cool light floods the interior, enlivening it with blue and pink tones as it strikes the varied surfaces of the vaults and floor tiles, the thinly painted figures providing a sense of scale.
Interior of the Buurkerk, Utrecht
Interior of the Buurkerk, Utrecht
In Interior of the Buurkerk, Utrecht, a crisp, cool light floods the interior, enlivening it with blue and pink tones as it strikes the varied surfaces of the vaults and floor tiles, the thinly painted figures providing a sense of scale.

Interior of the Buurkerk, Utrecht

Pieter Jansz. Saenredam
Dutch (1597–1665)
17th century
1645
Oil on panel
22 7/8 x 20 in. (58.1 x 50.8 cm) Framed: 32 1/8 x 29 x 2 7/8 in. (81.6 x 73.7 x 7.3 cm)
AP 1986.09
Following a lengthy apprenticeship with a local Haarlem painter, Pieter Saenredam made a career specializing in what might be termed architectural portraiture.
The Madonna and Child with Saint Martina is a devotional painting in which the martyr gazes fervently at the Christ Child while holding the forked iron hook with which she was tortured, and accepting the palm of martyrdom.
The Madonna and Child with Saint Martina
The Madonna and Child with Saint Martina
The Madonna and Child with Saint Martina is a devotional painting in which the martyr gazes fervently at the Christ Child while holding the forked iron hook with which she was tortured, and accepting the palm of martyrdom.

The Madonna and Child with Saint Martina

Pietro da Cortona
Italian (1596–1669)
17th century
c. 1645
Oil on canvas
27 9/16 x 22 13/16 in. (70 x 58 cm) Framed: 39 x 35 1/2 x 3 1/4 in. (99.1 x 90.1 x 8.3 cm)
AP 1984.07
In this devotional painting, Saint Martina, a third-century martyr who was put to death for refusing to worship idols, gazes fervently at the Christ Child while holding the forked iron hook with which she was tortured, and accepting the palm of martyrdom.
Handled Dish is a glazed stoneware dish with handle. The simple decoration of brown floral and geometric motifs and the eye-catching splash of bright green glaze over a finely crackled, cream-colored ground.
Handled Dish
Handled Dish
Handled Dish is a glazed stoneware dish with handle. The simple decoration of brown floral and geometric motifs and the eye-catching splash of bright green glaze over a finely crackled, cream-colored ground.

Handled Dish

Japan
Edo period (1615–1868)
c. 1650
Stoneware with transparent glaze, iron oxide, and colored enamels (Oribe ware)
4 13/16 x 8 x 7 13/16 in. (12.3 x 20.3 x 19.9 cm)
AG 1983.02
The name of Oribe ware derives from the tea-ceremony practitioner and warrior of the Momoyama period, Furuta Oribe (1544–1615), the most devoted student of Sen no Rikyu (1522–1591), one of the most famous tea-ceremony masters in Japan.
Landscape is a silk hanging scroll of a vertical landscape of light tonality and linear, spare, ascetic style featuring craggy rocks and gangly trees.
Landscape
Landscape
Landscape is a silk hanging scroll of a vertical landscape of light tonality and linear, spare, ascetic style featuring craggy rocks and gangly trees.

Landscape

Gong Xian
Chinese (1618–1689)
Qing dynasty (1644–1911)
c. 1650
Hanging scroll; ink on silk
79 x 17 3/16 in. (200.7 x 43.7 cm)
AP 1985.12
The greatest individualist painter of the Qing dynasty (1644–1911), Gong Xian was well educated, an accomplished poet and calligrapher, but lived essentially as an impoverished recluse.
Mucius Scaevola Confronting King Porsenna depicts Gaius, who defiantly turns his head and dagger toward Porsenna, warning him that he is one of many youths sworn to assassinate him. Demonstrating his resolve, Gaius unflinchingly holds his hand in the hot embers.
Mucius Scaevola Confronting King Porsenna
Mucius Scaevola Confronting King Porsenna
Mucius Scaevola Confronting King Porsenna depicts Gaius, who defiantly turns his head and dagger toward Porsenna, warning him that he is one of many youths sworn to assassinate him. Demonstrating his resolve, Gaius unflinchingly holds his hand in the hot embers.

Mucius Scaevola Confronting King Porsenna

Bernardo Cavallino
Italian (1616–c. 1656)
17th century
c. 1650
Oil on copper
24 1/8 x 35 1/8 in. (61.2 x 89.2 cm) Framed: 36 3/4 x 46 7/8 x 2 1/2 in. (93.4 x 119.1 x 6.4 cm)
AP 1981.02
One of the leading painters of Baroque Naples, Bernardo Cavallino was influenced by masters as diverse as Caravaggio and Rubens. He developed a distinctive manner marked by the dramatic play of light and action.
Rough Sea at a Jetty represents the approach of a violent storm. At the end of the jetty is a rustic beacon to guide distressed ships into harbor. Two men with long poles stand, ready to come to the aid of a vessel
Rough Sea at a Jetty
Rough Sea at a Jetty
Rough Sea at a Jetty represents the approach of a violent storm. At the end of the jetty is a rustic beacon to guide distressed ships into harbor. Two men with long poles stand, ready to come to the aid of a vessel

Rough Sea at a Jetty

Jacob van Ruisdael
Dutch (1628/29–1682)
17th century
1650s
Oil on canvas
38 3/4 x 51 3/4 in. (98.5 x 131.4 cm) Framed: 51 x 65 x 4 in. (129.5 x 165.1 x 10.2 cm)
AP 1989.01
Jacob van Ruisdael elevated landscape painting to the level of high art. Recording the familiar wooded hills, flat farmlands, and coastal dunes of the Netherlands, his work went beyond the topographic accuracy of earlier generations to achieve a sense of the monumental grandeur of nature.
Bamboo, Rock, and Narcissus is a painting on a paper scroll of wild narcissi and short sprigs of young bamboo growing at the base of a rock.
Bamboo, Rock, and Narcissus
Bamboo, Rock, and Narcissus
Bamboo, Rock, and Narcissus is a painting on a paper scroll of wild narcissi and short sprigs of young bamboo growing at the base of a rock.

Bamboo, Rock, and Narcissus

Chen Jiayen
Chinese (1599–c. 1685)
Qing dynasty (1644–1911)
1652
Hanging scroll; ink on paper
31 1/2 x 17 1/8 in. (80 x 43.5 cm)
AP 1984.20
This painting of wild narcissi and short sprigs of young bamboo growing at the base of a rock is a masterwork of the artist Chen Jiayen. Forcefully executed with quick, bold brushstrokes in soft, gradated tones of ink wash, the primary forms of the Kimbell painting have a remarkable solidity.
Modello for the Fountain of the Moor is a dramatic terracotta sculpture of a twisting triton (a minor sea-deity of Greek mythology) grappling with a fish atop a gigantic shell
Modello for the Fountain of the Moor
Modello for the Fountain of the Moor
Modello for the Fountain of the Moor is a dramatic terracotta sculpture of a twisting triton (a minor sea-deity of Greek mythology) grappling with a fish atop a gigantic shell

Modello for the Fountain of the Moor

Gian Lorenzo Bernini
Italian (1598–1680)
17th century
1653
Terracotta
31 11/16 in. (80.5 cm)
AP 2003.01
Bernini made this dramatic image of a triton (a minor sea-deity of Greek mythology) grappling with a fish atop a gigantic shell as a presentation model for Pope Innocent X Pamphili, who in 1651 commissioned the artist to design a new centerpiece for the fountain at the south end of the Piazza Navona
In Four Figures on a Step, a young woman beside the smiling young man twists her face into a wink as she lifts up the scarf over her head. The older woman protectively cradles the head of a boy whose torn breeches reveal his backside.
Four Figures on a Step
Four Figures on a Step
In Four Figures on a Step, a young woman beside the smiling young man twists her face into a wink as she lifts up the scarf over her head. The older woman protectively cradles the head of a boy whose torn breeches reveal his backside.

Four Figures on a Step

Bartolomé Esteban Murillo
Spanish (1617–1682)
17th century
c. 1655–60
Oil on canvas
43 1/4 x 56 1/2 in. (109.9 x 143.5 cm) Framed: 55 1/2 x 69 in. (141 x 175.3 cm)
AP 1984.18
The leading religious painter of Seville and a great master of Spain’s golden age, Murillo was one of the most celebrated of all European artists until his reputation was eclipsed by those of Velázquez and El Greco in the late nineteenth century.
Edge of a Forest with a Grainfield
Edge of a Forest with a Grainfield

Edge of a Forest with a Grainfield

Jacob van Ruisdael
Dutch (1628/29–1682)
17th century
c. 1656
Oil on canvas
41 × 57 1/2 in. (104.1 × 146.1 cm)
AP 2014.01
Jacob van Ruisdael, one of the greatest landscape painters of all time, flourished in the latter half of the seventeenth century, Holland’s “Golden Age.” Born in Haarlem in 1628 or 1629, the son of a painter and picture dealer, Ruisdael was probably tutored by his uncle Salomon van Ruysdael, another
n Dentist by Candlelight, Dou depicts a tooth-puller with long-suffering patient and concerned onlooker, here no doubt his wife.
Dentist by Candlelight
Dentist by Candlelight
n Dentist by Candlelight, Dou depicts a tooth-puller with long-suffering patient and concerned onlooker, here no doubt his wife.

Dentist by Candlelight

Gerrit Dou
Dutch (1613–1675)
17th century
c. 1660–65
Oil on oak panel
14 5/8 x 10 7/8 in. (37.2 x 27.7 cm) Framed: 22 3/4 x 19 x 2 3/8 in. (57.8 x 48.3 x 6 cm)
AP 2002.01
The contemporary of Johannes Vermeer and Pieter de Hooch, Gerrit Dou was the founder of the so-called fijnschilders (“fine painters”) of his native Leiden, notable for the miniaturistic detail and polished surface of their work.
In Pythagoras Emerging from the Underworld, Rosa depicts the ancient story of Pythagoras who convinced his followers that he descended to Hades and seen the tortured souls of poets tormented for betraying the secrets of the gods
Pythagoras Emerging from the Underworld
Pythagoras Emerging from the Underworld
In Pythagoras Emerging from the Underworld, Rosa depicts the ancient story of Pythagoras who convinced his followers that he descended to Hades and seen the tortured souls of poets tormented for betraying the secrets of the gods

Pythagoras Emerging from the Underworld

Salvator Rosa
Italian (1615–1673)
17th century
1662
Oil on canvas
51 5/8 x 74 7/16 in. (131.2 x 189 cm) Framed: 65 x 88 x 4 in. (165.1 x 223.5 x 10.2 cm)
AP 1970.22
Born and educated in Naples, Rosa lived for more than eight years in Florence before settling in Rome in 1649. He was impressed by both the naturalism of Ribera and the classicism of Poussin, but, being extremely independent of spirit and confident of his own genius, he allied himself with no one.
Bust of a Young Jew is Rembrandt's dramatic character study of a young jew with a full beard, curly hair-style, and black skullcap
Bust of a Young Jew
Bust of a Young Jew
Bust of a Young Jew is Rembrandt's dramatic character study of a young jew with a full beard, curly hair-style, and black skullcap

Bust of a Young Jew

Rembrandt van Rijn
Dutch (1606–1669)
17th century
1663
Oil on canvas
25 7/8 x 22 5/8 in. (65.8 x 57.5 cm)
AP 1977.04
Rembrandt van Rijn is recognized as the greatest Dutch painter of the seventeenth century, famed for his versatility in all genres: portraits, landscapes, and history painting, including secular, religious, and mythological subjects.
Angel with the Superscription and Angel with the Crown of Thorns is a pair of Bernini's ten angels commissioned to stand on the Ponte Sant’Angelo bridge’s balustrades. Each angel carried an instrument of Christ’s Passion
Angel with the Superscription and Angel with the Crown of Thorns
Angel with the Superscription and Angel with the Crown of Thorns
Angel with the Superscription and Angel with the Crown of Thorns is a pair of Bernini's ten angels commissioned to stand on the Ponte Sant’Angelo bridge’s balustrades. Each angel carried an instrument of Christ’s Passion

Angel with the Superscription and Angel with the Crown of Thorns

Gian Lorenzo Bernini
Italian (1598–1680)
17th century
1668
Terracotta
a: 11 1/2 x 6 3/8 x 5 1/8 in. (29.2 x 16.2 x 13 cm) b: 11 7/8 x 6 x 6 in. (30.2 x 15.2 x 15.2 cm)
AP 1987.02 a,b
The leading sculptor of Baroque Italy, Gianlorenzo Bernini, reshaped the ancient city of Rome in a series of brilliant architectural and sculptural projects that affirmed its identity as the seat of the Roman Catholic Church.
Arhat and Deer is a painting on silk of a holy man. The sparsely bearded figure of an old man holding a walking staff resembles conventional depictions of San Shin, the Mountain Spirit, however, his bald head surrounded by a halo, and monk’s robes, suggests a Buddhist holy man, or arhat.
Arhat and Deer
Arhat and Deer
Arhat and Deer is a painting on silk of a holy man. The sparsely bearded figure of an old man holding a walking staff resembles conventional depictions of San Shin, the Mountain Spirit, however, his bald head surrounded by a halo, and monk’s robes, suggests a Buddhist holy man, or arhat.

Arhat and Deer

Korean
Joseon dynasty (1392–1910)
Late 17th century
Ink, mineral pigments, and gold on silk
31 x 35 in. (78.7 x 88.9 cm)
AP 1995.06
The blending of Korean Shamanist and traditional Buddhist iconographies can be seen in this painting of an arhat and deer.

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