Floor plan

Time and placeThe Netherlands

The Netherlands

Painting of Judith, naked, holding sword, with head of Holophernes.
Painting of the Annunciation, dove flying above Mary with angel.
Aristotle with a Bust of Homer, by Rembrandt van Rijn, 1653
Standing Officer Holding a Boar's Spear, by Hendrick Goltzius, 1586
Landscape painting featuring a wavy tree tree in the foreground and a watermill with a red roof adjacent to a river at right. Colors are subdued earth tones, the foliage a dark green and the river a muddy brown. Water flows through the mill wheel under a cloudy sky of gray and blue. Three individuals can be seen in the distance at left.
Cottage among Trees, by Rembrandt van Rijn, ca. 1650
Diana and Actaeon, by Bartholomeus Spranger, ca. 1580–85

The works in this room are listed below.

Works in this room

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

First room, north wall

  1. Painting of Judith, naked, holding sword, with head of Holophernes.
    JudithJan Sanders van Hemessen, c. 1540Courtesy of the Art Institute of Chicago
  2. Painting of the Annunciation, dove flying above Mary with angel.
    The AnnunciationJean Hey (called Master of Moulins), 1490–95Courtesy of the Art Institute of Chicago
  3. Aristotle with a Bust of Homer, by Rembrandt van Rijn, 1653
    Aristotle with a Bust of HomerRembrandt van Rijn, 1653Courtesy of The Metropolitan Museum of Art

First room, south wall

  1. Standing Officer Holding a Boar's Spear, by Hendrick Goltzius, 1586
    Standing Officer Holding a Boar's SpearHendrick Goltzius, 1586Courtesy of the Cleveland Museum of Art
  2. Landscape painting featuring a wavy tree tree in the foreground and a watermill with a red roof adjacent to a river at right. Colors are subdued earth tones, the foliage a dark green and the river a muddy brown. Water flows through the mill wheel under a cloudy sky of gray and blue. Three individuals can be seen in the distance at left.
    The Watermill with the Great Red RoofMeindert Hobbema, c. 1665Courtesy of the Art Institute of Chicago
  3. Cottage among Trees, by Rembrandt van Rijn, ca. 1650
    Cottage among TreesRembrandt van Rijn, ca. 1650Courtesy of The Metropolitan Museum of Art
  4. Diana and Actaeon, by Bartholomeus Spranger, ca. 1580–85
    Diana and ActaeonBartholomeus Spranger, ca. 1580–85Courtesy of The Metropolitan Museum of Art

Second room, south wall

  1. Francesco d'Este (born ca. 1429, died after 1486), by Rogier van der Weyden, ca. 1460
    Francesco d'Este (born ca. 1429, died after 1486)Rogier van der Weyden, ca. 1460Courtesy of The Metropolitan Museum of Art
  2. Water laps at a curving shoreline in front of a steep sandy dune carpeted in grass, shrubs, and trees in this horizontal landscape painting. The dune takes up the lower right quadrant of the composition. A few broken tree trunks are overgrown with vines and plants across the top and down the sloping side of the dune facing us. A red brick wall cuts through the vegetation up the side of the dune and disappears into the shrubbery at the top. The twisting branches and canopies of three large trees reach into the upper right quadrant of the composition. The vegetation stops abruptly along the sheer edge of the dune where it faces the water. The land curves like a backward capital letter C so it almost reaches the left edge of the painting along the horizon, which comes a quarter of the way up the composition. A cow and three more animals, perhaps sheep or more cows, graze or lie on a grassy mound in the distance, and sailboats line the horizon in the deep distance. White ripples swirl in the steel-blue water. The artist signed and dated the lower center, “J Ruisdael . 1648.”
    Dunes by the SeaJacob van Ruisdael, 1648Courtesy National Gallery of Art, Washington
  3. A work made of oil on canvas.
    Resurrection of ChristSamuel van Hoogstraten, c. 1665Courtesy of the Art Institute of Chicago
  4. Landscape with Travelers, by Herman van Swanevelt, 1630s
    Landscape with TravelersHerman van Swanevelt, 1630sCourtesy of the Cleveland Museum of Art

Second room, north wall

  1. A work made of reed pen and iron-gall ink on tan laid paper.
    Avenue of Pollard Birches and PoplarsVincent van Gogh, March 1884Courtesy 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. This is a drawing of a mythological or allegorical scene. The scene features various figures of different ages engaged in activities around a central structure resembling an ornate draped curtain held up by columns. There is a celestial element shining down from the top, and an emblem or coat of arms held by winged figures at the very top. The figures are dressed in flowing robes and interact with each other and objects such as a globe and a staff. The composition is rich with symbolism, typical of artwork focused on narrative depth and storytelling.
    Title Page for G. de St. Vincent, Opus Geometricum Quadraturae CirculiCornelis Galle II, 1647Courtesy National Gallery of Art, Washington

Third room, north wall

  1. The Crucifixion; The Last Judgment, by Jan van Eyck, ca. 1436–38
    The Crucifixion; The Last JudgmentJan van Eyck, ca. 1436–38Courtesy of The Metropolitan Museum of Art
  2. The Lovesick Maiden, by Jan Steen, ca. 1660
    The Lovesick MaidenJan Steen, ca. 1660Courtesy of The Metropolitan Museum of Art