Provenance

Galerie Charpentier

French

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See all 21 works of art
Jean-Baptiste Greuze, The Angry Mother, black and gray wash over graphite on laid paper, Gift of Arthur L. Liebman, 1992.87.29

The Angry Mother

Jean-Baptiste Greuze · · black and gray wash over graphite on laid paper ·  Accession ID  1992.87.29

A young man with tanned, peachy skin sits at a table pulling his mouth wide with both hands in this vertical painting. On the far side of a wooden table, he faces us with elbows splayed wide. He has hooked the first finger of each hand into the corners of his mouth to stretch his open lips into a long, goofy line. He has wide-set eyes and a wide nose. His brown hair sticks out from under a tall, fuzzy brown hat, which has a knife secured by the blade in a loop to our left. The man’s iron-gray jacket has coffee-brown sleeves with the white of his shirt showing at the cuffs. A putty-gray jug accented with washes of rust-red and a glass filled with an amber liquid sit on the table before him. Soft light from the upper left gleams white on these smooth surfaces. A dark mass visible under the table is presumably the tops of his legs. The top right corner of his wooden chair is visible over his right shoulder, on our left, and he is set against a dove-gray background. The scene is loosely painted so brushstrokes are especially visible in the man’s face and hands.
Adriaen Brouwer, Youth Making a Face, c. 1632/1635, oil on panel, New Century Fund, 1994.46.1

Youth Making a Face

Adriaen Brouwer · c. 1632/1635 · oil on panel ·  Accession ID  1994.46.1

A nude, muscular, pale-skinned man sits on a rock in front of a deep, shadowy landscape in this vertical painting. Most of the man’s body is silhouetted against the sky, and he nearly fills the picture. His body faces our right almost in profile, and he turns his head to look away. He has short black hair and a moustache and beard. The rest of his face is in shadow. He rests his left arm, farther from us, along a spear that spans the composition from the lower right corner to the upper left. He grips the spear with the other hand. One knee is bent so his foot is propped on the stone just below his seat. The other leg, closer to us, stretches long. He sits on a pine-green cloth draped over the rock. Bands of brown and then blue rocky hills line the horizon, which comes a quarter of the way up this composition. Steel-gray and white clouds fill the sky above.
Théodore Gericault, Nude Warrior with a Spear, c. 1816, oil on canvas, Chester Dale Collection, 1963.10.29

Nude Warrior with a Spear

Théodore Gericault · c. 1816 · oil on canvas ·  Accession ID  1963.10.29

Hubert Robert, The Peasant Dance, c. 1770/1775, pen and black ink with gray and brown wash and black chalk over a black chalk counterproof, on laid paper, Samuel H. Kress Collection, 1963.15.26

The Peasant Dance

Hubert Robert · c. 1770/1775 · pen and black ink with gray and brown wash and black chalk over a black chalk counterproof, on laid paper ·  Accession ID  1963.15.26

Clodion, Monumental Urn, c. 1860, marble, Andrew W. Mellon Collection, 1940.2.3

Monumental Urn

Clodion · c. 1860 · marble ·  Accession ID  1940.2.3

Clodion, Monumental Urn, c. 1860, marble, Andrew W. Mellon Collection, 1940.2.2

Monumental Urn

Clodion · c. 1860 · marble ·  Accession ID  1940.2.2

In a room filled with easels, white plaster heads and statuettes, a box of paints, books, and papers, a young woman stands looking at a sketch and a young girl looks on, seated in an armchair, in this vertical painting. The scene is lit from the upper left, presumably from a window out of our view. Both women have smooth, pale skin, and their hair is swept up with curls framing their faces. They face our right in profile so their faces are in gentle shadow. They have straight noses, and their rose-pink lips are closed. They wear gowns with short sleeves, low, scooped necks, and floor-length skirts cinched under the bust. In the center of the painting, the young woman has chestnut-brown hair and wears a white gown tied with a sky-blue ribbon. She stands in front of a portfolio propped up against a tall easel. The portfolio is made of two stiff boards that tie together with pale blue ribbon to secure large sheets of paper. She rests her right hand, closer to us, on the front board of the portfolio and looks down at the sketch on a gray piece of paper she holds with her other hand. Next to her and closer to us, the younger girl sits in a gold chair upholstered with olive-green velvet. She faces our right almost in profile, and she looks up toward the drawing the other woman holds. The girl in the chair has blond hair and a gold-colored dress. Her feet are propped on a gold footstool, and she holds another portfolio on her lap. She supports the portfolio and holds a piece of paper with one hand, and a stylus or brush in the other hand, up by her chin. To the right of the easel, a wooden table holds a collection of plaster casts of faces, a hand, and small-scale bodies along with a glass vessel and a few other tools. Two translucent green bottles, boxes, a book, and a terracotta vase are collected on the footstool and the floor around the base of the easel. Garnet-red cloths are draped down the front of the table to our right and behind the girl on the chair. Next to her chair, in the lower left corner of the composition, is a wooden box with a paint palette and a handful of thin paintbrushes. A scroll of paper lies next to the box. A shelf at the standing girl’s shoulder height and behind the pair, to our left, is piled with white busts of a man, child, and woman, more figurines, and a brush in a small cup, all arranged across a moss-green cloth. The space with the girls and artist’s tools is enclosed by a large, dark brown form, presumably a canvas in shadow, that leans against the tall easels and mostly cuts off a view into the rest of the room. A glimpse of shadowy capitals is seen over the board, across the top of the painting, to suggest that a row of columns recedes into the space beyond. The artist signed the work as if he had painted his name on the floor next to the scroll, “L. Boilly.”
Louis-Léopold Boilly, A Painter's Studio, c. 1800, oil on canvas, Chester Dale Collection, 1943.7.1

A Painter's Studio

Louis-Léopold Boilly · c. 1800 · oil on canvas ·  Accession ID  1943.7.1

This painting is a portrait of a man. His body is turned towards the right, but he looks directly at us. He has fair skin and dark brown hair with two curling pieces falling onto his forehead. He has well-defined eyebrows, brown eyes, a straight nose, a cleft chin, and light red lips in a neutral expression. He is wearing a dark coat with a high collar that is edged in a yellow and green pattern. Under the coat, he wears a white cravat tied in a voluminous knot. The background is a plain brown color.
Pierre Paul Prud'hon, David Johnston, 1808, oil on canvas, Samuel H. Kress Collection, 1961.9.84

David Johnston

Pierre Paul Prud'hon · 1808 · oil on canvas ·  Accession ID  1961.9.84

Three men on horseback wearing elaborate military uniforms in cream white, crimson red, and gold almost fill this vertical painting. Lit dramatically from the upper left, the men all have peachy, tanned skin. Their red and white uniforms are trimmed liberally with gold. Each man wears a red sash across his chest, cream-white gloves that reach back to mid-forearm, and a tall hat topped with a single, stiff, white feather. At the center of the composition, the man closest to us rides a horse dappled with silver, steel gray, and black, which raises a front hoof as if in mid-stride. The horse and rider’s bodies are angled to our right, but the horse looks back to our left as the man looks directly at us with small brown eyes. His slender nose slopes to a brown handlebar moustache that curves over his pale peach mouth. He leans slightly back in the saddle, which is draped with a scarlet-red blanket with gold trim. The leg we see, to our left, is extended straight in the stirrup, and the man braces a brass trumpet adorned with gold tassels against that thigh. His helmet has a high, square, white crown that comes to points to each side and in front. The boxy shape is outlined in red and has the stiff, bushy feather at the top front and a red tassel hanging along one side. An arched brass plaque with a capital N is affixed to the front of the helmet over a narrow brim. Though held in place with a chin strap, the helmet is slightly askew. To our left and behind the central man, a white horse and rider face away from us. This rider’s upper body is turned back slightly to our right so we see him in profile as he holds a brass horn to his lips. To our right and set father back, the third rider and his gray horse are very loosely painted so features of his face and costume are not clear. All three stand on a ground painted with swipes of caramel brown, mustard yellow, and pine green. The background is slightly darker, in smoky tones of brown, gray, and black with flicks of red. A dark mass, perhaps a deep shadow, rises to the right, behind the third horseman.
Théodore Gericault, Mounted Trumpeters of Napoleon's Imperial Guard, 1813/1814, oil on canvas, Chester Dale Fund, 1972.25.1

Mounted Trumpeters of Napoleon's Imperial Guard

Théodore Gericault · 1813/1814 · oil on canvas ·  Accession ID  1972.25.1

This drawing shows a woman's upper body and head in profile, tilted back and turned towards the left. Her features include fair skin, high cheekbones, pale eyebrows, a pointed nose, and thin lips slightly open to reveal her teeth. Her dark, curly hair is styled back, partially covered by a white headpiece. She is wearing a light-colored garment with ruffles around the neckline. The background is a solid gray-brown shade.
Jean-Baptiste Greuze, The Well-Loved Mother, 1765, pastel with colored chalks and stumping on light golden-brown laid paper, New Century Fund, 2000.15.1

The Well-Loved Mother

Jean-Baptiste Greuze · 1765 · pastel with colored chalks and stumping on light golden-brown laid paper ·  Accession ID  2000.15.1