Floor plan

Time and placeThe Netherlands

The Netherlands

Interior with a Young Couple, by Pieter de Hooch, probably ca. 1662–65
Diana and Actaeon, by Bartholomeus Spranger, ca. 1580–85
Aristotle with a Bust of Homer, by Rembrandt van Rijn, 1653
A work made of oil on panel.
The image shows a landscape viewed from above. The scene is oval, framed by tree branches on each side. Distant mountains form a boundary near the top. Delicate, finely executed lines create detailed foliage and landscape features. A winding path with a small figure adds scale. Lush trees climb upwards, with a muted color palette of the paper and dark brown and black lines providing contrast.
A work made of reed pen and iron-gall ink on tan laid paper.
Margaret of Austria, by Jean Hey (called Master of Moulins), ca. 1490

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. 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
  2. Diana and Actaeon, by Bartholomeus Spranger, ca. 1580–85
    Diana and ActaeonBartholomeus Spranger, ca. 1580–85Courtesy of The Metropolitan Museum of Art
  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. A work made of oil on panel.
    Still LifePieter Claesz, c. 1625Courtesy of the Art Institute of Chicago
  2. The image shows a landscape viewed from above. The scene is oval, framed by tree branches on each side. Distant mountains form a boundary near the top. Delicate, finely executed lines create detailed foliage and landscape features. A winding path with a small figure adds scale. Lush trees climb upwards, with a muted color palette of the paper and dark brown and black lines providing contrast.
    The Boulder Crowned with TreesHerman van SwaneveltCourtesy National Gallery of Art, Washington
  3. 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
  4. Margaret of Austria, by Jean Hey (called Master of Moulins), ca. 1490
    Margaret of AustriaJean Hey (called Master of Moulins), ca. 1490Courtesy of The Metropolitan Museum of Art

Second room, south wall

  1. 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
  2. Phaeton, from "The Four Disgracers", by Hendrick Goltzius, 1588
    Phaeton, from "The Four Disgracers"Hendrick Goltzius, 1588Courtesy of The Metropolitan Museum of Art
  3. A work made of soft ground etching, hard ground etching, aquatint, and roulette, printed from two plates in red-brown and black, on ivory laid paper.
    Portrait of a Man in an Armchair, from Collection d'imitations de Dessins d'après les Principaux Maîtres Hollandais et FlamandsChristian Josi, 1826Courtesy of the Art Institute of Chicago

Second room, north wall

  1. A work made of opaque and translucent watercolors, with pen and brown ink, over graphite, on cream laid paper.
    Two Old Men beside a Sled Bearing the Coats of Arms of Amsterdam and UtrechtHendric Avercamp, 1620/33Courtesy of the Art Institute of Chicago
  2. View of Heidelberg, by Jan Brueghel the Elder, ca. 1588–89
    View of HeidelbergJan Brueghel the Elder, ca. 1588–89Courtesy of The Metropolitan Museum of Art
  3. 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
  4. Shown from the chest up, a light-skinned man with a wrinkled face and a silvery gray beard and hair gazes into the distance in this oval portrait painting. His chest is angled to our right but he turns his head to look off over his other shoulder, to our left. His slate-blue eyes are a little sunken and lined with wrinkles. Shading marks the hollows of the temple and cheek we can see. His thin lips are closed and framed by his curly mustache and beard. A dark, mahogany-brown cap is pushed back on his head, and his brown jacket has gold-colored buttons down the front. The collar of a cream-colored shirt shows through at the neckline. The background is dark olive green. The artist signed the work near the man’s shoulder, to our right: “GDOV.”
    Bust of a Bearded ManGerrit Dou, c. 1642/1645Courtesy National Gallery of Art, Washington

Third room, north wall

  1. A work made of oil on canvas.
    Lady Playing with a DogEglon van der Neer, c. 1670Courtesy of the Art Institute of Chicago
  2. The Penitence of Saint Jerome, by Joachim Patinir, ca. 1515
    The Penitence of Saint JeromeJoachim Patinir, ca. 1515Courtesy of The Metropolitan Museum of Art