Ochre Editions
SearchSign inCart (0)

Flanders

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

53 works · hang 6667 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

First room, north wall

  1. 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
  2. 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

First room, south wall

  1. DEER HUNT WITH NETS
    Deer Hunt with NetsJan van der Straet, called Stradanus, ca. 1590 – 1599Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. A work made of engraving on paper.
    Johann Georg von Gödelmann, Law Professor, DiplomatAegidius Sadeler, II, c. 1601Courtesy of the Art Institute of Chicago
  3. A work made of engraving in black on cream laid paper.
    Christ on the CrossRaphael Sadeler, I, 1590Courtesy of the Art Institute of Chicago
  4. A work made of engraving in black on cream laid paper.
    The Carnival (or the Prodigal Son)Jan Sadeler, I, 1588Courtesy of the Art Institute of Chicago

Second room, south wall

  1. TWO GALLEYS AT SEA
    Two Galleys at SeaJan van der Straet, called Stradanus, ca. 1587 – 1590Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. A work made of oil on canvas.
    Dead Birds and Shot BagsPieter Boel, c. 1660Courtesy 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
  4. A work made of engraving on paper.
    Spes, plate 2 from The Seven VirtuesHieronymous Wierix, c. 1598Courtesy of the Art Institute of Chicago

Second room, north wall

  1. 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
  2. A work made of etching on ivory laid paper.
    St. John the EvangelistBartholomaeus Spranger, c. 1590Courtesy of the Art Institute of Chicago
  3. A work made of black chalk, with touches of white chalk, on ivory laid paper.
    The Rape of EuropaCornelis Schut, I, 1635/40Courtesy of the Art Institute of Chicago
  4. Guardroom with the Deliverance of Saint Peter, by David Teniers the Younger, ca. 1645–47
    Guardroom with the Deliverance of Saint PeterDavid Teniers the Younger, ca. 1645–47Courtesy of The Metropolitan Museum of Art

Third room, north wall

  1. Queen Henrietta Maria, by Anthony van Dyck, 1636
    Queen Henrietta MariaAnthony van Dyck, 1636Courtesy of The Metropolitan Museum of Art
  2. 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