Floor plan

Time and placeThe 17th century

The 17th century

Drawing of god, radiating light, reaching down from clouds, touching male figure.
Prince Shreyamsa dreams of the coming of Rishabha, from a Panchakalyanaka (Five Auspicious Events), 1670–80
Our Lady of Guápulo, by Peruvian (Cuzco) Painter, 18th century
The Meeting of Christ with Martha and Mary after the Death of Lazarus, by Rembrandt van Rijn, c. 1662–65
A work made of oil on canvas.
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.”
A work made of red and black chalk, with touches of white chalk, on cream laid paper.

The works in this room are listed below.

Works in this room

Works made in the 17th century, anywhere in the world.

Section 1, north wall

  1. Drawing of god, radiating light, reaching down from clouds, touching male figure.
    The Creation of AdamGiovanni Benedetto Castiglione, c. 1645/50Courtesy of the Art Institute of Chicago
  2. Prince Shreyamsa dreams of the coming of Rishabha, from a Panchakalyanaka (Five Auspicious Events), 1670–80
    Prince Shreyamsa dreams of the coming of Rishabha, from a Panchakalyanaka (Five Auspicious Events)Unrecorded Indian maker, 1670–80Courtesy of the Cleveland Museum of Art
  3. Our Lady of Guápulo, by Peruvian (Cuzco) Painter, 18th century
    Our Lady of GuápuloPeruvian (Cuzco) Painter, 18th centuryCourtesy of The Metropolitan Museum of Art
  4. The Meeting of Christ with Martha and Mary after the Death of Lazarus, by Rembrandt van Rijn, c. 1662–65
    The Meeting of Christ with Martha and Mary after the Death of LazarusRembrandt van Rijn, c. 1662–65Courtesy of the Cleveland Museum of Art

Section 1, south wall

  1. A work made of oil on canvas.
    The Music LessonGerard ter Borch the Younger, c. 1670Courtesy of the Art Institute of Chicago
  2. 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
  3. A work made of red and black chalk, with touches of white chalk, on cream laid paper.
    Nude Old Man Seated, Leaning on His Forearm, Facing LeftJacob Jordaens, c. 1640Courtesy of the Art Institute of Chicago

Section 2, south wall

  1. A work made of oil on canvas.
    A Vanitas Still Life with a Flag, Candlestick, Musical Instruments, Books, Writing Paraphernalia, Globes, and HourglassEdwaert Collier, 1662Courtesy of the Art Institute of Chicago
  2. Pomegranates and Other Fruit in a Landscape, by Abraham Brueghel
    Pomegranates and Other Fruit in a LandscapeAbraham BrueghelCourtesy of The Metropolitan Museum of Art
  3. Queen Esther Approaching the Palace of Ahasuerus, by Claude Lorrain (Claude Gellée), 1658
    Queen Esther Approaching the Palace of AhasuerusClaude Lorrain (Claude Gellée), 1658Courtesy of The Metropolitan Museum of Art

Section 2, north wall

  1. The Dissolute Household, by Jan Steen, ca. 1663–64
    The Dissolute HouseholdJan Steen, ca. 1663–64Courtesy of The Metropolitan Museum of Art
  2. Yukihira and Two Brinemaidens at Suma, by Okumura Masanobu, 18th century
    Yukihira and Two Brinemaidens at SumaOkumura Masanobu, 18th centuryCourtesy of The Metropolitan Museum of Art
  3. Charity, by Guido Reni, ca. 1630
    CharityGuido Reni, ca. 1630Courtesy of The Metropolitan Museum of Art

Section 3, north wall

  1. Papers with Japanese text hang from a tree bearing red and gold leaves.
    Autumn Maples with Poem SlipsTosa Mitsuoki, c. 1675Courtesy of the Art Institute of Chicago
  2. Papers with Japanese text hang from a tree bearing red and gold leaves.
    Flowering Cherry and Autumn Maples with Poem SlipsTosa Mitsuoki, 1654/81Courtesy of the Art Institute of Chicago
  3. Enclosed Valley, by Hercules Seghers, c. 1623–30
    Enclosed ValleyHercules Seghers, c. 1623–30Courtesy of the Cleveland Museum of Art