Floor plan

Time and placeThe 17th century

The 17th century

A work made of oil on canvas.
Virgin and Child, by Bartolomé Esteban Murillo, 1670s
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.”
A work made of oil on canvas.
A View of Bracciano with the Church of S. Maria Assunta, by Bartholomeus Breenberg, c. 1619–33
Merrymakers at Shrovetide, by Frans Hals, ca. 1616–17
Sleeping Peasants near Fields (Parable of the Weeds), by Simon de Vlieger, 1650–53

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. 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. Virgin and Child, by Bartolomé Esteban Murillo, 1670s
    Virgin and ChildBartolomé Esteban Murillo, 1670sCourtesy of The Metropolitan Museum of Art
  3. 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

Section 1, south wall

  1. A work made of oil on canvas.
    Dead Birds and Shot BagsPieter Boel, c. 1660Courtesy of the Art Institute of Chicago
  2. A View of Bracciano with the Church of S. Maria Assunta, by Bartholomeus Breenberg, c. 1619–33
    A View of Bracciano with the Church of S. Maria AssuntaBartholomeus Breenberg, c. 1619–33Courtesy of the Cleveland Museum of Art
  3. Merrymakers at Shrovetide, by Frans Hals, ca. 1616–17
    Merrymakers at ShrovetideFrans Hals, ca. 1616–17Courtesy of The Metropolitan Museum of Art
  4. Sleeping Peasants near Fields (Parable of the Weeds), by Simon de Vlieger, 1650–53
    Sleeping Peasants near Fields (Parable of the Weeds)Simon de Vlieger, 1650–53Courtesy of the Cleveland Museum of Art

Section 2, south wall

  1. The Trojan Women Setting Fire to Their Fleet, by Claude Lorrain (Claude Gellée), ca. 1643
    The Trojan Women Setting Fire to Their FleetClaude Lorrain (Claude Gellée), ca. 1643Courtesy of The Metropolitan Museum of Art
  2. Interior with a Young Couple, by Pieter de Hooch, probably ca. 1662–65
    Interior with a Young CouplePieter de Hooch, probably ca. 1662–65Courtesy of The Metropolitan Museum of Art
  3. A work made of engraving and etching on ivory laid paper.
    The Wise and Foolish Virgins, plate fiveAbraham Bosse, 1635Courtesy of the Art Institute of Chicago

Section 2, north wall

  1. Wooded Mountains at Dusk, by Kuncan, dated 1666
    Wooded Mountains at DuskKuncan, dated 1666Courtesy of The Metropolitan Museum of Art
  2. Reclining Female Nude, by Rembrandt van Rijn, 1658
    Reclining Female NudeRembrandt van Rijn, 1658Courtesy of The Metropolitan Museum of Art
  3. A work made of oil on canvas.
    Portrait of a womanFerdinand Bol, c. 1655Courtesy of the Art Institute of Chicago
  4. Lute Player, by Valentin de Boulogne, ca. 1625–26
    Lute PlayerValentin de Boulogne, ca. 1625–26Courtesy of The Metropolitan Museum of Art

Section 3, north wall

  1. The Four Seasons: Autumn, by Abraham Bosse, 1635
    The Four Seasons: AutumnAbraham Bosse, 1635Courtesy of the Cleveland Museum of Art
  2. Jesus writes on the ground (folio 130 verso), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier, 1602–4
    Jesus writes on the ground (folio 130 verso), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome XavierUnrecorded Indian maker, 1602–4Courtesy of the Cleveland Museum of Art