Ochre Editions
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The Netherlands

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

163 works · hang 2675 ·

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

Walk this roomRehang this room

First room, north wall

  1. Ice skaters on the Amstel in Amsterdam, by Hans Bol, 1589
    Ice skaters on the Amstel in AmsterdamHans Bol, 1589Courtesy of The Metropolitan Museum of Art
  2. Shown from about the knees up, a pale-skinned young woman stands within a stone niche, with a parrot perched on her finger as she gazes out at us in this vertical painting. The woman’s hands are raised to chest height, and she balances the spruce-blue parrot on the index finger of her far hand while her other hand holds an indistinct, white object. Her body is angled to our left, and she looks at us from the corner of her green eyes under faint brows. Her round face has a small nose, flushed cheeks, and her coral-red mouth curls up in a slight smile, her lips parted. Her honey-blond hair is gathered at the back of her head with curly tendrils framing her face and falling to her shoulders. She wears a golden-brown gown trimmed with a narrow ruffle of white fabric along the low neckline that reveals her décolletage. The bird faces the woman and lifts something, presumably a bit of food, up with one dark claw. The underside of its tail is crimson red. A light-skinned boy stands in deep shadow just to the right of the woman. He looks up at her and holds a silver tray in both hands. They stand within a light brown, arched, stone opening beyond a ledge, which comes up to about the woman’s knees. A carpet patterned with stylized flowers in ruby red, burnt orange, teal blue, white, and black is bunched up and draped over the parapet, to our right. A tall, iron-gray cage sits to our left. The rug partly covers an inscription on the front face of the niche that reads, “M. DO,” with the O cut off. A copper-colored, fringe-lined drapery hangs from the upper right of the arch and is fastened to the inner edge of the opening to create a swag. The woman is brightly lit from the upper left, and the space behind her and the boy is ink black. The artist signed and dated the lower left corner as if he had carved into the front face of the arch. It reads, “CNetscher .Ao. 16.66,” with the C and N overlapping to make a monogram.
    A Woman Feeding a Parrot, with a PageCaspar Netscher, 1666Courtesy National Gallery of Art, Washington
  3. Corridor in the Asylum, by Vincent van Gogh, September 1889
    Corridor in the AsylumVincent van Gogh, September 1889Courtesy of The Metropolitan Museum of Art
  4. The Rest on the Flight into Egypt, by Gerard David, ca. 1512–15
    The Rest on the Flight into EgyptGerard David, ca. 1512–15Courtesy of The Metropolitan Museum of Art

First room, south wall

  1. This is a drawing of two nude figures standing beneath a fruit-bearing tree surrounded by elements of nature. The drawing depicts a scene in a lush outdoor setting, featuring intricately detailed branches and leaves of the large tree as well as an eagle-like bird perched nearby. In the background are additional trees extending into a forested area, and a winding path leading into the distance. The foreground includes various plants and the ground is littered with their leaves. The figures are positioned at the center, engaged in a gesture of pointing towards the fruit in the tree. The scene is rendered in fine details with attention to the texture and flow of the natural elements surrounding the figures.
    Adam and Eve before the Tree of KnowledgeJan Saenredam, 1604Courtesy National Gallery of Art, Washington
  2. A work made of oil on canvas.
    Resurrection of ChristSamuel van Hoogstraten, c. 1665Courtesy of the Art Institute of Chicago
  3. A work made of pen and brown ink, heightened with lead white (partly discolored), over black chalk, on blue laid paper, laid down on ivory laid paper.
    ApolloJan Harmensz. Muller, c. 1600-1620Courtesy of the Art Institute of Chicago
  4. A work made of pen and brown ink, with touches of brush and brown ink wash, on cream laid paper.
    Woman Seated on Bench and Three Sketches of HeadsSchool of Rembrandt van Rijn, n.d.Courtesy of the Art Institute of Chicago

Second room, south 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. Two Poplars in the Alpilles near Saint-Rémy, by Vincent van Gogh, 1889
    Two Poplars in the Alpilles near Saint-RémyVincent van Gogh, 1889Courtesy of the Cleveland Museum of Art
  3. A woman wearing a long, royal-blue dress is surrounded by nine winged angels as she floats on a thin, bright white, downward-pointing crescent moon above a deep landscape with a town tucked into rolling hills in this vertical painting. The woman, Mary, and all the angels have pale, peachy skin and long, brown hair. Mary and the angels float against a pale yellow and pale peach field of light enclosed within a mass of steel-gray clouds. She presses her fingertips together in front of her chest and gazes down and to our right, her dark eyes almost closed. She has a delicate, straight nose, and her small mouth is closed. Her brown hair parts in the middle and flows down over her shoulders. The angels wear flowing gowns in sky or topaz blue, olive green, tangerine orange, white, or light pink, each with matching wings. Three angels place a gold crown on Mary's head. Four others hold up the edges of a silvery white cape, which is fastened across her shoulders with brooches of white pearls surrounding ruby-red stones. The final two angels hold up the downward-facing points of the crescent moon beneath her. In the landscape below, groupings of trees are dotted among the rolling hills, with a village in the distance to our left. The blue, hazy horizon comes about a sixth of the way up the composition. A brown boulder sits in the bottom left corner, closer to us. The paint is visibly cracked throughout.
    The Assumption of the VirginMichel Sittow, c. 1500Courtesy National Gallery of Art, Washington
  4. This is a drawing of multiple sheep in various poses. The full-page illustration depicts several sheep lying down. The fur of the sheep is textured with detailed pencil strokes, and there are subtle hints of shadow beneath each animal. There is a combination of different angles and poses, showing the sheep from different perspectives. The drawing also contains some rough sketches and outlines, suggesting movement and presence without complete detail. The background is plain.
    SheepNicolaes BerchemCourtesy National Gallery of Art, Washington

Second room, north wall

  1. The image shows a slightly elevated perspective of a rugged landscape with dense vegetation and rock formations. The horizon is high in the upper third of the image, with a distant building or castle on a hill. The structure is silhouetted against the sky and partially obscured by foliage. Intricate line work and hatching create detailed textures and shading, especially in the trees and clouds. The color palette is monochromatic, using varying shades of brown and sepia to give the artwork an antiquated and rustic appearance.
    Firs in the DefileAllart van Everdingen, probably c. 1645/1656Courtesy National Gallery of Art, Washington
  2. A work made of oil on panel.
    Trompe-l'Oeil Still Life with a Flower Garland and a CurtainAdriaen van der Spelt, 1658Courtesy of the Art Institute of Chicago

Third room, north wall

  1. The Annunciation, by Hans Memling, 1480–89
    The AnnunciationHans Memling, 1480–89Courtesy of The Metropolitan Museum of Art
  2. Portrait of Gerard de Lairesse, by Rembrandt van Rijn, 1665–67
    Portrait of Gerard de LairesseRembrandt van Rijn, 1665–67Courtesy of The Metropolitan Museum of Art