Floor plan

Style galleriesThe Northern Renaissance

The Northern Renaissance

A Mill with a Fortified Bridge, a Rowing Boat in the Foreground, by Roelandt Savery, 1596–1639
Saint John on Patmos, by Hans Baldung (called Hans Baldung Grien), ca. 1511
The Seed Received among the Thorns, from the Parable of the Sower, by Gerard P. van Groningen, c. 1573
Amya Petitioning Faustus for the Custody of Saint Mamas, by Jean Cousin the Elder, ca. 1543
Bacchanal, by Nicolas Poussin, ca. 1635–36

The works in this room are listed below.

Works in this room

Dürer's prints, Holbein's portraits and the art of northern Europe in the 1500s.

Section 1, north wall

  1. A Mill with a Fortified Bridge, a Rowing Boat in the Foreground, by Roelandt Savery, 1596–1639
    A Mill with a Fortified Bridge, a Rowing Boat in the ForegroundRoelandt Savery, 1596–1639Courtesy of The Metropolitan Museum of Art
  2. Saint John on Patmos, by Hans Baldung (called Hans Baldung Grien), ca. 1511
    Saint John on PatmosHans Baldung (called Hans Baldung Grien), ca. 1511Courtesy of The Metropolitan Museum of Art

Section 1, 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. Amya Petitioning Faustus for the Custody of Saint Mamas, by Jean Cousin the Elder, ca. 1543
    Amya Petitioning Faustus for the Custody of Saint MamasJean Cousin the Elder, ca. 1543Courtesy of The Metropolitan Museum of Art
  3. Bacchanal, by Nicolas Poussin, ca. 1635–36
    BacchanalNicolas Poussin, ca. 1635–36Courtesy of The Metropolitan Museum of Art

Section 2, south wall

  1. Erasmus of Rotterdam, by Hans Holbein the Younger, ca. 1532
    Erasmus of RotterdamHans Holbein the Younger, ca. 1532Courtesy of The Metropolitan Museum of Art
  2. This print features a detailed scene. In the center is a classical-style pavilion with arched openings and a domed roof adorned with intricate designs. A group of mostly-nude people is gathered around the pavilion, with one on horseback, holding a spear, and another holding a flag. In front of the pavilion, a knight on horseback appears to be falling into a dark hole in the ground. Vegetation, including trees and shrubs, is scattered throughout the landscape, and birds are seen flying in the sky above the pavilion. The horizon shows hills leading to a distant castle on a rocky formation on the right.
    Marcus Curtius Plunging into the ChasmLucas Cranach the ElderCourtesy National Gallery of Art, Washington

Section 2, north wall

  1. The image shows a profile of a person's head and partial neck within a circular laurel wreath. The individual has distinct facial features, including a prominent nose and chin. The hairstyle is tight, wavy locks pulled back, and a laurel wreath crowns the head. The background is plain, with an inscription reading "IMP. CAESAR. TRAIANVS. AVG." Below the portrait are the initials "ISB" and the year "1546". The overall style resembles a classical engraving, featuring detailed line work and traditional iconography.
    TrajanSebald Beham, 1546Courtesy National Gallery of Art, Washington
  2. Otto, Count of Nassau and his Wife Adelheid van Vianen, by Bernard van Orley, 1530–35
    Otto, Count of Nassau and his Wife Adelheid van VianenBernard van Orley, 1530–35Courtesy of The Metropolitan Museum of Art

Section 3, north wall

  1. The image features a celestial scene with multiple figures depicted from head to waist. Two central figures are engaged in a conversation amidst clouds. One figure appears seated, possibly on a throne, holding a book. Both figures have long hair and beards. The robes worn by the figures are detailed. Other figures surround them in a semi-circle, some wearing crowns, holding items like bowls. Heavenly hosts with wings are seen above. The background shows a detailed landscape with trees, a river, and castles nestled in hills.
    Saint John before God and the EldersAlbrecht Dürer, probably c. 1496/1498Courtesy National Gallery of Art, Washington
  2. The image shows a woman sitting with a child on her lap. The woman has a gentle expression and long hair, wearing a flowing robe. The child is facing her, reaching up with one hand. In the background are trees, hills, a building, and a fountain with a lion's head spouting water into a basin. The illustration is detailed, capturing textures and elements in the scene.
    Madonna and Child at a FountainMaster MZ, 1501Courtesy National Gallery of Art, Washington
  3. The image shows a landscape with a city in the distance, a castle on a cliff, fields, forests, and two figures with a dog hunting. There are sailboats on water and houses on farmland. The style is detailed with etching lines in sepia tones.
    The Rabbit HuntersPieter Bruegel, 1560Courtesy National Gallery of Art, Washington

Section 3, south wall

  1. Three insects are depicted in the image: a butterfly with dark blue and red wings on the bottom left, a larger butterfly with white, black, and blue patterns at the top center, and a dragonfly with brown and gold tones on the bottom right. The color palette includes rich blues, reds, browns, and golds against a neutral background. The central butterfly is positioned higher than the other two insects, with the left butterfly and right dragonfly symmetrically arranged below.
    Plate 13: Yellow Swallowtail and Red Admiral Butterflies with a Dragonfly (Broad-Bodied Chaser?)Joris Hoefnagel, c.1575/1590sCourtesy National Gallery of Art, Washington
  2. Hermann von Wedigh III (died 1560), by Hans Holbein the Younger, 1532
    Hermann von Wedigh III (died 1560)Hans Holbein the Younger, 1532Courtesy of The Metropolitan Museum of Art

Section 4, south wall

  1. Portrait of Alain de Coëtivy (1407–1474), by Jean Fouquet, ca. 1451–55
    Portrait of Alain de Coëtivy (1407–1474)Jean Fouquet, ca. 1451–55Courtesy of The Metropolitan Museum of Art
  2. A work made of etching on ivory laid paper.
    St. John the EvangelistBartholomaeus Spranger, c. 1590Courtesy of the Art Institute of Chicago