On View

Christ and the Woman of Samaria depicts an episode from the Gospel of John in which Jesus at Jacob's well asks a Samarian for water. Guercino's lifelike figures are intensified by a rich palette, emotional composition,  and strong effect of light.
Christ and the Woman of Samaria
Christ and the Woman of Samaria
Christ and the Woman of Samaria depicts an episode from the Gospel of John in which Jesus at Jacob's well asks a Samarian for water. Guercino's lifelike figures are intensified by a rich palette, emotional composition,  and strong effect of light.

Christ and the Woman of Samaria

Guercino (Giovanni Francesco Barbieri)
Italian (1591–1666)
17th century
c. 1619-20
Oil on canvas
38 1/4 x 49 1/8 in. (97.2 x 124.8 cm) Framed: 52 3/16 x 62 5/8 in. (132.5 x 159 cm)
AP 2010.01
Guercino was one of the foremost painters of the seventeenth century.
Country Road by a House is purely a landscape painting that records the effects of warm light bathing a country road at the close of day.
Country Road by a House
Country Road by a House
Country Road by a House is purely a landscape painting that records the effects of warm light bathing a country road at the close of day.

Country Road by a House

Goffredo (Gottfried) Wals
German (c. 1590/95–1638/40)
17th century
1620s
Oil on copper
9 1/4 in. diameter (23.5 cm diameter) Framed: 13 3/4 x 13 3/4 x 1 1/2 in. (34.9 x 34.9 x 3.8 cm)
AP 1991.02
An early example of pure landscape painting, without historical, religious, or literary content, this rare copper panel records the effects of warm light bathing a country road at the close of day.
Equestrian Portrait of the Duke of Buckingham is Peter Paul Reuben's oil sketch of the duke. The duke lifts his baton as his horse rears on command with the sea below him and winged allegory of Fame with a trumpet above him.
Equestrian Portrait of the Duke of Buckingham
Equestrian Portrait of the Duke of Buckingham
Equestrian Portrait of the Duke of Buckingham is Peter Paul Reuben's oil sketch of the duke. The duke lifts his baton as his horse rears on command with the sea below him and winged allegory of Fame with a trumpet above him.

Equestrian Portrait of the Duke of Buckingham

Peter Paul Rubens
Flemish (1577–1640)
17th century
1625
Oil on panel
18 3/8 x 20 3/8 in. (46.6 x 51.7 cm) Framed: 27 1/2 x 29 3/8 x 2 3/8 in. (69.9 x 74.6 x 6 cm)
AP 1976.08
Peter Paul Rubens was a towering figure in the age of the Baroque, and his influence on later generations of artists was immense. His special position as both painter and diplomat brought him commissions from princely patrons, high-ranking statesmen, and noblemen.
Venus and Adonis is Poussin's allegorical oil painting of Venus and Adonis. The lovers recline under a tree while a pair of reclining putti, along with a couple of billing doves, mimic the lovers’ postures.
Venus and Adonis
Venus and Adonis
Venus and Adonis is Poussin's allegorical oil painting of Venus and Adonis. The lovers recline under a tree while a pair of reclining putti, along with a couple of billing doves, mimic the lovers’ postures.

Venus and Adonis

Nicolas Poussin
French (1594–1665)
17th century
c. 1628–29
Oil on canvas
38 3/4 x 53 in. (98.5 x 134.6 cm) Framed: 53 5/8 x 67 3/4 x 5 in. (136.2 x 172.1 x 12.7 cm)
AP 1985.01
Early in his career Poussin traveled to Italy and was introduced to a circle of important Roman patrons including the antiquarian Cassiano dal Pozzo. Poussin’s classicism, nurtured by his knowledge of antique literature and art, was warmed by his study of Venetian painting.
The Cheat with the Ace of Clubs is Georges de la Tour's masterpiece in which the cheat at the left of the composition tips his cards toward the viewer, who thereby becomes complicit in the scheme, knowing that in the next moment, the conniving trio of cheat, maidservant, and courtesan (identified by her low-cut bodice) will prevail.
The Cheat with the Ace of Clubs
The Cheat with the Ace of Clubs
The Cheat with the Ace of Clubs is Georges de la Tour's masterpiece in which the cheat at the left of the composition tips his cards toward the viewer, who thereby becomes complicit in the scheme, knowing that in the next moment, the conniving trio of cheat, maidservant, and courtesan (identified by her low-cut bodice) will prevail.

The Cheat with the Ace of Clubs

Georges de La Tour
French (1593–1652)
17th century
c. 1630-34
Oil on canvas
38 1/2 x 61 1/2 in. (97.8 x 156.2 cm) Framed: 49 x 72 x 5 in. (124.5 x 182.9 x 12.7 cm)
AP 1981.06
One of the greatest masterpieces of seventeenth-century French art, Georges de La Tour’s Cheat with the Ace of Clubs takes as its subject the danger of indulgence in wine, women, and gambling.
Saint Matthew is Ribera's devotional painting of Saint Matthew in which the saint is intensely lit in a dark background with a naturalism and characterization reminiscent of Caravaggio.
Saint Matthew
Saint Matthew
Saint Matthew is Ribera's devotional painting of Saint Matthew in which the saint is intensely lit in a dark background with a naturalism and characterization reminiscent of Caravaggio.

Saint Matthew

Jusepe de Ribera
Spanish (1591–1652)
17th century
1632
Oil on canvas
50 1/2 x 38 1/2 in. (128.2 x 97.8 cm) Framed: 61 1/2 x 49 1/2 x 3 3/4 in. (156.2 x 125.7 x 9.5 cm)
AP 1966.10
Jusepe de Ribera left his native Spain for Italy as a young man. He is recorded living in Rome by 1612, one of many talented young artists who were held in thrall by Caravaggio’s revolutionary paintings.
Coast Scene with Europa and the Bull is an oil painting of a scene from Ovid’s Metamorphoses in a landscape including ruins.
Coast Scene with Europa and the Bull
Coast Scene with Europa and the Bull
Coast Scene with Europa and the Bull is an oil painting of a scene from Ovid’s Metamorphoses in a landscape including ruins.

Coast Scene with Europa and the Bull

Claude Lorrain
French (c. 1604/5–1682)
17th century
1634
Oil on canvas
67 1/4 x 78 5/8 in. (170.8 x 199.7 cm) Framed: 80 5/8 x 91 1/2 x 6 in. (204.8 x 232.4 x 15.2 cm)
AP 1981.08
Claude Lorrain, the greatest artist of the classical school of European landscape painting, raised this previously secondary genre to a new level of sophistication and prestige.
The Sacrament of Ordination (Christ Presenting the Keys to Saint Peter) is Poussin's oil painting depicting the gospel account of Christ giving the keys of heaven and earth to the kneeling apostle Peter, showing the authority vested in him as head of the Roman church
The Sacrament of Ordination (Christ Presenting the Keys to Saint Peter)
The Sacrament of Ordination (Christ Presenting the Keys to Saint Peter)
The Sacrament of Ordination (Christ Presenting the Keys to Saint Peter) is Poussin's oil painting depicting the gospel account of Christ giving the keys of heaven and earth to the kneeling apostle Peter, showing the authority vested in him as head of the Roman church

The Sacrament of Ordination (Christ Presenting the Keys to Saint Peter)

Nicolas Poussin
French (1594–1665)
17th century
c. 1636-40
Oil on canvas
37 3/4 x 47 7/8 in. (95.9 x 121.6 cm) Framed: 53 1/2 × 63 1/2 × 5 1/2 in. (135.9 × 161.3 × 14 cm)
AP 2011.01
The Sacrament of Ordination is from one of the most celebrated groups of paintings in the entire history of art. The set depicting each of the Seven Sacraments was commissioned from Poussin by the antiquarian Cassiano dal Pozzo, secretary to Cardinal Francesco Barberini.
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.
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.
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 is van Ruisdael's acclaimed landscape of a grove of old oak and elm trees stands beside a pool or a stream, at the intersection of a sandy road or path. Tall timbers reach towards a cloudy sky.
Edge of a Forest with a Grainfield
Edge of a Forest with a Grainfield
Edge of a Forest with a Grainfield is van Ruisdael's acclaimed landscape of a grove of old oak and elm trees stands beside a pool or a stream, at the intersection of a sandy road or path. Tall timbers reach towards a cloudy sky.

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

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