Floor plan

Time and place17th-century Netherlands

17th-century Netherlands

A work made of oil on canvas.
A work made of oil on panel.
A work made of oil on panel.
Leisure Time in an Elegant Setting, by Pieter de Hooch, ca. 1663–65
Gathered in a round glass vase, a tall bouquet of flowers in shades of light and deep pink, sunshine yellow, and white with pine-green leaves nearly fills this vertical still life painting. Shown against an gray background, the vase sits on a narrow ledge, perhaps made of wood. A label with looping, cursive French text painted in gold against a baby blue background is affixed to the front of the ledge, along the bottom edge of the composition. The text reads, “C'est l'Angelicq main du grad Peinctre de Flore AMBROISE, renommé jusqu' au Rivage Moré.” A few of the flowers draw the eye, including a tulip and iris at the top of the bouquet. To our left, the tulip is mauve pink with cream-colored streaks, and one petal folds down to reveal the stamen inside. Next to it, a damselfly, an insect like a delicate dragonfly, rests on the vibrant yellow iris. The petals curling down from the iris are veined in muted burgundy red. Flowers filling in the bouquet below include a shell-pink cyclamen, a white gardenia, a closed blue and white striped columbine, a slate-blue grape hyacinth, lily of the valley, pale blue forget-me-nots, and a pink peony interspersed with leaves and greenery. The round glass vase has a narrow opening. A sprig of viola rests to our left of the vase on the ledge, and an orange, black, white, and brown butterfly perches on the stem of a pink cyclamen laying to our right of the vase. The artist signed the painting with a monogram and dated it in dark paint to our right on the face of the ledge: “AB 1621.”
In the center of this painting, a large animal carcass is hanging upside down from a wooden frame, with several people attending to it. The carcass is light pink and has been cut open to reveal white ribs, red muscles, and purple organs. On the far left, a young boy stands next to a barrel and a basket, holding several small knives. To the right, a man in a red cap and white apron observes the carcass while holding a drink. An older man in a furred cap and dark clothing looks towards him and holds one edge of the carcass. On the other side of the animal, a young boy blows up a round object. Two women peer out from the doorway of a wooden building in the background, one holding a basket full of what looks like meat. Behind this group of people are several brown structures and a bare tree against a light pink sky.
A work made of engraving in black on cream laid paper.
A work made of etching, burin, and drypoint on ivory laid paper.

The works in this room are listed below.

Works in this room

Works made in the Netherlands in the 17th century.

First room, north wall

  1. A work made of oil on canvas.
    The Music LessonJacob Ochtervelt, 1671Courtesy of the Art Institute of Chicago
  2. A work made of oil on panel.
    Girl Standing before a MirrorCaspar Netscher, 1668Courtesy of the Art Institute of Chicago
  3. A work made of oil on panel.
    Trompe-l'Oeil Still Life with a Flower Garland and a CurtainAdriaen van der Spelt, 1658Courtesy of the Art Institute of Chicago
  4. Leisure Time in an Elegant Setting, by Pieter de Hooch, ca. 1663–65
    Leisure Time in an Elegant SettingPieter de Hooch, ca. 1663–65Courtesy of The Metropolitan Museum of Art

First room, south wall

  1. Gathered in a round glass vase, a tall bouquet of flowers in shades of light and deep pink, sunshine yellow, and white with pine-green leaves nearly fills this vertical still life painting. Shown against an gray background, the vase sits on a narrow ledge, perhaps made of wood. A label with looping, cursive French text painted in gold against a baby blue background is affixed to the front of the ledge, along the bottom edge of the composition. The text reads, “C'est l'Angelicq main du grad Peinctre de Flore AMBROISE, renommé jusqu' au Rivage Moré.” A few of the flowers draw the eye, including a tulip and iris at the top of the bouquet. To our left, the tulip is mauve pink with cream-colored streaks, and one petal folds down to reveal the stamen inside. Next to it, a damselfly, an insect like a delicate dragonfly, rests on the vibrant yellow iris. The petals curling down from the iris are veined in muted burgundy red. Flowers filling in the bouquet below include a shell-pink cyclamen, a white gardenia, a closed blue and white striped columbine, a slate-blue grape hyacinth, lily of the valley, pale blue forget-me-nots, and a pink peony interspersed with leaves and greenery. The round glass vase has a narrow opening. A sprig of viola rests to our left of the vase on the ledge, and an orange, black, white, and brown butterfly perches on the stem of a pink cyclamen laying to our right of the vase. The artist signed the painting with a monogram and dated it in dark paint to our right on the face of the ledge: “AB 1621.”
    Bouquet of Flowers in a Glass VaseAmbrosius Bosschaert, 1621Courtesy National Gallery of Art, Washington
  2. In the center of this painting, a large animal carcass is hanging upside down from a wooden frame, with several people attending to it. The carcass is light pink and has been cut open to reveal white ribs, red muscles, and purple organs. On the far left, a young boy stands next to a barrel and a basket, holding several small knives. To the right, a man in a red cap and white apron observes the carcass while holding a drink. An older man in a furred cap and dark clothing looks towards him and holds one edge of the carcass. On the other side of the animal, a young boy blows up a round object. Two women peer out from the doorway of a wooden building in the background, one holding a basket full of what looks like meat. Behind this group of people are several brown structures and a bare tree against a light pink sky.
    The Slaughtered HogJan Victors, 1653Courtesy National Gallery of Art, Washington
  3. A work made of engraving in black on cream laid paper.
    Drunken SilenusJonas Suyderhoef, 1642Courtesy of the Art Institute of Chicago
  4. A work made of etching, burin, and drypoint on ivory laid paper.
    Saint Jerome Reading in an Italian LandscapeRembrandt van Rijn, c. 1653Courtesy of the Art Institute of Chicago

Second room, south wall

  1. Paying the Hostess, by Pieter de Hooch, ca. 1670
    Paying the HostessPieter de Hooch, ca. 1670Courtesy of The Metropolitan Museum of Art
  2. This is a drawing of two nude figures standing beneath a fruit-bearing tree surrounded by elements of nature. The drawing depicts a scene in a lush outdoor setting, featuring intricately detailed branches and leaves of the large tree as well as an eagle-like bird perched nearby. In the background are additional trees extending into a forested area, and a winding path leading into the distance. The foreground includes various plants and the ground is littered with their leaves. The figures are positioned at the center, engaged in a gesture of pointing towards the fruit in the tree. The scene is rendered in fine details with attention to the texture and flow of the natural elements surrounding the figures.
    Adam and Eve before the Tree of KnowledgeJan Saenredam, 1604Courtesy National Gallery of Art, Washington
  3. An elegantly dressed man and woman ride horses toward us and to our right in a landscape with low, rolling hills, stone buildings, and trees in this horizontal painting. The two horses and riders take up the right half of the composition. Both people have pale skin and look at us. The woman has a high forehead, a straight nose, a round face, and curly blond hair falling to her shoulders. She wears a sapphire-blue dress with slashed sleeves to reveal a white garment beneath. Her hat is adorned with blue and white feathers, and she wears a string of pearls around her neck. The legs of her white horse darken to black below the knees, and the bridle is tied with blue bows near the horse’s ears. The sidesaddle sits on a woven, rug-like blanket. Next to her, to our right, the man rides a larger chestnut-brown horse with a white triangle between its eyes. The man looks at us out of the corners of his dark eyes under gathered brows. He has a long, straight nose and is cleanshaven, though a hint of a five o’clock shadow slightly darkens his cleft chin. His light brown hair falls in curls down past his shoulders, and he wears a dark brown coat with voluminous white fabric rippling out above tan-colored gloves. He holds a riding crop in his right hand, on our left, resting against his hip. Near the white horse’s feet, to our left, a dark brown dog with a white nose sniffs at a plant. Behind it, another reddish-brown dog sniffs the ground near the horse’s back hoof. A third dog stands beyond, partially obscured by bushes and plants growing in the lower left corner of the canvas. A man wearing a tall black, wide-brimmed hat and carrying a long staff leads two slender dogs resembling grayhounds on leashes along the path, a little behind the riders. Two more elegantly dressed men ride horses toward us father back on the path. Sand-colored stone buildings, hazy in the distance, are clustered around a squared tower, possibly a bell tower, to our left. The land dips gently to the horizon line in the deep distance. The riders are silhouetted against a swirling slate-blue cloud that fills most of the sky in the top two-thirds of the painting. The sky clears to pale blue to our left and then warms to golden yellow along the horizon, beyond the buildings. The artist signed the painting near the lower left corner: “A. Cuijp.”
    Lady and Gentleman on HorsebackAelbert Cuyp, c. 1655, reworked 1660/1665Courtesy National Gallery of Art, Washington

Second room, north wall

  1. Cow, Bull and Calf, by Karel Dujardin
    Cow, Bull and CalfKarel DujardinCourtesy National Gallery of Art, Washington
  2. The image shows a landscape with figures near a body of water. There are buildings made of logs, people gathered near a structure, and trees in the background. The style is detailed with precise linework, shading, and hatching. The color palette is monochrome, emphasizing light and shadow.
    Boat at a River Bank with Three GoatsAllart van Everdingen, probably c. 1645/1656Courtesy National Gallery of Art, Washington
  3. A work made of oil on canvas.
    Portrait of a womanFerdinand Bol, c. 1655Courtesy of the Art Institute of Chicago

Third room, north wall

  1. English Warship Firing a Salute, 1690
    English Warship Firing a SaluteUnrecorded Dutch maker, 1690Courtesy of the Cleveland Museum of Art
  2. A work made of pen and brown ink and brush and brown wash, with traces of black chalk and opaque white watercolor, on cream laid paper, laid down on cream laid paper.
    Seated Female NudeSamuel van Hoogstraten, 1647/78Courtesy of the Art Institute of Chicago