Floor plan

Time and placeFlanders

Flanders

A Genoese Lady with Her Child, by Anthony van Dyck, c. 1623–25
A work made of pen and brown ink, with traces of black chalk, on cream laid paper.
This horizontal painting shows a tapestry being unfurled and held up by winged, baby-like putti against a structure with gray and gold columns, seen at the edges of the composition. Taking up most of the composition, the tapestry shows two ranks of men, women, and children gathered behind two central men, who meet at the center. All the people have light or tanned skin, and the bodies we can see are muscular. In the central pair of men, the one to our left, Abraham, faces our right in profile as he holds two loaves of bread. He has a brown beard and short, wavy hair, and dark brows over a prominent nose. He looks at the other man with dark eyes and leans toward him, to our right. Abraham wears an armored breastplate over silver chainmail edged with gold, which falls to mid-thigh. A crimson-red cape wraps around his shoulders and swirls around his back. A sword hangs by his hip, and tan sandals cover his heels and shins. Behind him are seven men and one brown horse, who gnaws at its foreleg. Most of the men are bearded and five wear armored helmets. A cleanshaven man wearing a lavender-purple tunic stands with his arm slung over the horse’s neck, holding the rein between thumb and forefinger. The man to our right, Melchizedek has a long white beard and short white hair. His red cap is encircled with a wreath of dark green leaves. He wears a long-sleeved, waist-length, aquamarine-blue garment over a white skirt. A heavy, golden-yellow cape with a broad, white fur collar and lining drapes over his shoulders, and is supported by at least one attendant. Behind and around Melchizedek are eight men, women, and children, standing near stone, gray ruins. Behind Melchizedek, one portly person wearing a dark pink mantle reaches into a basket of bread held across the shoulders of a blond, bearded, bare-chested man. Closer to us, in the lower right corner of the tapestry, one man wearing a green toga and another wearing blue kneel and sit, holding oversized silver and gold urns, the size of their torsos. The man in blue, to our right, turns to look at us over his shoulder. A third large urn sits near the other man. A view into the landscape with a low, green hill and a pale blue sky is glimpsed between the groups. The tapestry showing this scene curls over at the edges where the pudgy angels lift the top edge. The top right corner of the tapestry wraps around the edge of an unseen feature of the building, next to a gray column that rises the height of the painting up along the right edge. The border of the tapestry is rose pink with stylized gold designs. One putto with brown hair holds up the left corner, and one with light gray hair holds up the middle one arm slung over the front of the tapestry. The third putto, with blond hair, hooks an arm over a leafy garland with fruit that hangs from the cornice near the top center of the composition.
The Seed Received among the Thorns, from the Parable of the Sower, by Gerard P. van Groningen, c. 1573
A work made of red and black chalk, with touches of white chalk, on cream laid paper.
The image features a detailed black and white illustration with multiple human and animal figures in a symbolic arrangement. In the foreground, two full-body figures are depicted in long robes and sandals, positioned on either side of a large draped banner with text. One figure holds an open book. Above the banner are celestial figures in dynamic poses. To the left is a winged bull-like creature and a seated male figure with a beard, next to a female figure in classical attire. They are all surrounded by flowing fabric and a lion-like animal. In the lower center foreground, there is an emblem resembling a coat of arms with an eagle and a crowned shield. The background is textured, with no natural landscape or architecture present, allowing the figures to stand out. The illustration is framed by the margins of an open book.
A work made of photogravure in dark brown retouched with soft varnish (vernis mou), roulette and blue handcoloring on thick cream wove paper.

The works in this room are listed below.

Works in this room

Works made in Flanders, from every century in the collection.

First room, north wall

  1. A Genoese Lady with Her Child, by Anthony van Dyck, c. 1623–25
    A Genoese Lady with Her ChildAnthony van Dyck, c. 1623–25Courtesy of the Cleveland Museum of Art
  2. A work made of pen and brown ink, with traces of black chalk, on cream laid paper.
    Head of MedusaGodfried Maes, 1680Courtesy of the Art Institute of Chicago
  3. This horizontal painting shows a tapestry being unfurled and held up by winged, baby-like putti against a structure with gray and gold columns, seen at the edges of the composition. Taking up most of the composition, the tapestry shows two ranks of men, women, and children gathered behind two central men, who meet at the center. All the people have light or tanned skin, and the bodies we can see are muscular. In the central pair of men, the one to our left, Abraham, faces our right in profile as he holds two loaves of bread. He has a brown beard and short, wavy hair, and dark brows over a prominent nose. He looks at the other man with dark eyes and leans toward him, to our right. Abraham wears an armored breastplate over silver chainmail edged with gold, which falls to mid-thigh. A crimson-red cape wraps around his shoulders and swirls around his back. A sword hangs by his hip, and tan sandals cover his heels and shins. Behind him are seven men and one brown horse, who gnaws at its foreleg. Most of the men are bearded and five wear armored helmets. A cleanshaven man wearing a lavender-purple tunic stands with his arm slung over the horse’s neck, holding the rein between thumb and forefinger. The man to our right, Melchizedek has a long white beard and short white hair. His red cap is encircled with a wreath of dark green leaves. He wears a long-sleeved, waist-length, aquamarine-blue garment over a white skirt. A heavy, golden-yellow cape with a broad, white fur collar and lining drapes over his shoulders, and is supported by at least one attendant. Behind and around Melchizedek are eight men, women, and children, standing near stone, gray ruins. Behind Melchizedek, one portly person wearing a dark pink mantle reaches into a basket of bread held across the shoulders of a blond, bearded, bare-chested man. Closer to us, in the lower right corner of the tapestry, one man wearing a green toga and another wearing blue kneel and sit, holding oversized silver and gold urns, the size of their torsos. The man in blue, to our right, turns to look at us over his shoulder. A third large urn sits near the other man. A view into the landscape with a low, green hill and a pale blue sky is glimpsed between the groups. The tapestry showing this scene curls over at the edges where the pudgy angels lift the top edge. The top right corner of the tapestry wraps around the edge of an unseen feature of the building, next to a gray column that rises the height of the painting up along the right edge. The border of the tapestry is rose pink with stylized gold designs. One putto with brown hair holds up the left corner, and one with light gray hair holds up the middle one arm slung over the front of the tapestry. The third putto, with blond hair, hooks an arm over a leafy garland with fruit that hangs from the cornice near the top center of the composition.
    The Meeting of Abraham and MelchizedekPeter Paul Rubens, c. 1626Courtesy National Gallery of Art, Washington

First room, south wall

  1. The Seed Received among the Thorns, from the Parable of the Sower, by Gerard P. van Groningen, c. 1573
    The Seed Received among the Thorns, from the Parable of the SowerGerard P. van Groningen, c. 1573Courtesy of the Cleveland Museum of Art
  2. 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
  3. The image features a detailed black and white illustration with multiple human and animal figures in a symbolic arrangement. In the foreground, two full-body figures are depicted in long robes and sandals, positioned on either side of a large draped banner with text. One figure holds an open book. Above the banner are celestial figures in dynamic poses. To the left is a winged bull-like creature and a seated male figure with a beard, next to a female figure in classical attire. They are all surrounded by flowing fabric and a lion-like animal. In the lower center foreground, there is an emblem resembling a coat of arms with an eagle and a crowned shield. The background is textured, with no natural landscape or architecture present, allowing the figures to stand out. The illustration is framed by the margins of an open book.
    Title Page for Balthasar Cordier, Catena Sexaginta Qvinqve Graecorvm Patrvm in S. Lvcam...Cornelis Galle I, 1628Courtesy National Gallery of Art, Washington
  4. A work made of photogravure in dark brown retouched with soft varnish (vernis mou), roulette and blue handcoloring on thick cream wove paper.
    Modern MasksFélicien Rops, 1889Courtesy of the Art Institute of Chicago

Second room, south wall

  1. 1901-39-151-a: DEER HUNT WITH HOUNDS [ABOVE]; SKYLARK HUNT WITH FALCONS [BELOW]; 1901-39-151-b: GOOSE AND DUCK HUNT WITH FALCONS [ABOVE RIGHT]; GOOSE HUNT [BELOW RIGHT]
    Goose and Duck Hunt with Falcons [above right]; Goose Hunt [below right]Jan van der Straet, called Stradanus, ca. 1596-99Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. Painted dark colored portrait of man, hands in prayer.
    Portrait of Jean Gros (recto); Coat of Arms of Jean Gros (verso)Rogier van der Weyden, 1460–64Courtesy of the Art Institute of Chicago
  3. Rubens, Helena Fourment (1614–1673), and Their Son Frans (1633–1678), by Peter Paul Rubens, ca. 1635
    Rubens, Helena Fourment (1614–1673), and Their Son Frans (1633–1678)Peter Paul Rubens, ca. 1635Courtesy of The Metropolitan Museum of Art
  4. A work made of oil on panel.
    The Flight into EgyptAbraham Jansz. van Diepenbeeck, c. 1650Courtesy of the Art Institute of Chicago

Second room, north wall

  1. Ceres and Bacchus, by Bartholomaeus Spranger, 1600s
    Ceres and BacchusBartholomaeus Spranger, 1600sCourtesy of the Cleveland Museum of Art
  2. We look slightly down onto a scene with people gathering in small groups in a cobblestone town square lined with rows of brick, wood, and stone buildings, many with stepped rooflines, in this horizontal painting. Singly or in pairs or trios, men, women, and children walk across the square, move goods around, or talk to merchants. All the people have light skin. Many of the men have mustaches and wear hats, and some carry swords. In tones of black, olive green, brick red, and plum purple, they wear hip-length cloaks over jackets, with white collars or ruffs and brass buttons, and knee-length breeches over yellow or black stockings. The women all wear long dresses in salmon pink, coral red, or golden yellow, with white collars or ruffs, and many wear black, ankle-length cloaks, some with hoods. Closest to us, a sumptuously dressed man and woman walk toward us while another similarly elegant couple walks away. Also facing away from us, to our left, a man wearing a large drum strapped around his waist raises one drumstick as he looks over his left shoulder. Nearby, a woman peers up out of a cellar door that opens on an angle to the street. More couples gather around a well across the square, and two women and a child talk to a third woman selling wares at a wooden table to our right. A pair of hooded priests or monks walk near a man blowing on a trumpet on horseback. The buildings are mostly shades of brick red and brown, and most have three or four stories with steeply pitched roofs. More people walk along side streets leading off the main square. One gap in the buildings across from us leads to a nickel-gray stone church with a pointed spire and square tower. A grassy, green hill rises steeply beyond the buildings to our right, leading down to a waterway that extends up and away into the distance. A few boats float in the water, which reflects the leaden-gray sky. Beyond the town square, a brown stone structure like a fortress with turret towers and crenellated walls looms along the ridge of the hill to our right. Tiny in scale, people on horseback and tending sheep dot the hillside below. The date “1590” is painted on the front of one of the buildings across from us while another date, “1597,” is painted on the end of a short wall near the lower left corner.
    The Marketplace in Bergen op ZoomAbel Grimmer, probably 1590 and 1597Courtesy National Gallery of Art, Washington

Third room, north wall

  1. An older man at left in red raises his hat toward a central table chaotically overflowing with dead game, fruits, and vegetables. The wings of dead birds and limbs of animals are splayed out at dramatic angles; a deer at center is suspended by his back legs. Live birds and a cat animate the scene.
    Still Life with Dead Game, Fruits, and Vegetables in a MarketFrans Snyders, 1614Courtesy of the Art Institute of Chicago
  2. Self-Portrait, from "The Iconography", by Anthony van Dyck, ca. 1640
    Self-Portrait, from "The Iconography"Anthony van Dyck, ca. 1640Courtesy of The Metropolitan Museum of Art
  3. Three pale-skinned people gather around a wooden table in a dimly lit tavern as a fourth person urinates against a wall in a back room in this horizontal painting. The table is a square board resting on a broken barrel. All three men at the table have prominent, reddened noses set in wide faces, and they wear clothing and hats in tones of spruce blue, olive green, muted purple, gray, or brown. One man sits on the left side of the table, holding a glass of beer with both hands. He wears what might be a furry cap. His face is turned slightly toward us but he looks down and to our right. The other seated man is across from us. He grins widely as he hunches over one forearm and holds the neck of a lidded ceramic jug with his other hand. He has a long, chunky chin and stares out at us from under a prominent brow ridge. The third man here stands behind, holding up a white clay pipe. His mouth is open, his eyes slitted, possibly crossed, and he hunches down. One foot rests on a low wooden box, a foot warmer. Another white clay pipe and the broken bowl of a pipe sit on the table, and another pipe lies by the first man’s feet. Also across the floor are two pots and a stubby broom, the long handle of which lies against a table holding a brass candlestick. A wisp of smoke rises from the wick in the candle stub. A shelf hung on the wall near the upper left corner of the painting holds a glass vessel and perhaps a plate. Two wooden beams line the left edge of the composition, and a cloth is draped over a nail there. The floor and wall are nearly uniform taupe gray. A rectangular doorway opens into the next room, in the top right corner of the painting. There a man stands facing the wall with both hands down in front of his torso. A window is set high in the wall there and the timbered ceiling is visible. The artist signed the lower left corner the painting, “D Teniers f.” The first two digits of the date read “16.”
    Peasants in a TavernDavid Teniers the Younger, c. 1633Courtesy National Gallery of Art, Washington