A triptych with the Lamentation. On the central panel Christ is mourned in a landscape, his body resting against the knee of Mary, surrounded by the holy women, John, Joseph and a monk. The Lamentation is a free copy after the painting by Geertgen tot Sint Jans in Vienna. On the inside of the left w
A Calvary crowded with figures and several episodes of the Passion. In the center Christ hangs on the cross while four angels catch his blood. In the foreground are Mary Magdalene, Mary, John and Saint Veronica with her veil; on the edge of her mantle is written Salve Sancta Facies Nostri Redemptori
Christ on the cross with angels on either side. Beneath the cross at left stand John, Mary, Mary Magdalene and the holy women. In the background are Longinus and the centurion who is healed of his blindness, with two horsemen at right. Medium: Oil on panel.
Christ on the cross. To the left of the cross Saint John supports Mary, and Mary Magdalene kneels at the foot of the cross. At left stand Saint Cecilia and Saint Barbara, and at right Saint Peter, Saint Francis and Saint Jerome. The panel comes from the convent of Marienwater at Koudewater near 's-H
Apostle figures such as this were made in large numbers in the eastern Netherlands during the early 1500s. This figure of Saint Andrew, identified by his X-shaped cross, was undoubtedly a single figure from an apostle series. It may have been used above a choir stall in a church, or else part of an
A triptych with the Adoration of the Magi on the central panel, where the kings kneel on either side of Mary and the Child. On the inside of the left wing the kneeling male donor appears with his six sons and Saint Jerome, with the family arms of Heereman, Vanolles, Zeller and Baerland above. On the
The Annunciation to Mary. On the left, Mary kneels behind a lectern with a book, and on the right the kneeling angel holds a lily branch. The painting was formerly considered a preliminary study for the Annunciation compositions in Amsterdam (SK-A-282) and Seville. Medium: Oil on panel.
A triptych whose central panel shows Mary seated with the Christ Child on her lap in the walled garden of a castle. In the foreground two sibyls hold a book and a basket of flowers, three angels make music at the back left, and Joseph stands at the right. In the sky, God appears in a halo of light,
The annunciation to the shepherds. Two shepherds kneel beside their livestock, and behind them an angel appears. Medium: Oil on canvas. Measurements: 111.9 x 154.8 cm.
The first drawing purchased by the museum as a Rembrandt is now considered by experts to have been made by a follower of the Dutch artist. The scene depicts Christ being led to his first interrogation after his capture in Gethsemane (John 18:12–14), an unusual subject that may be paraphrasing the tr
This standing Virgin now lacks the child she once cradled in her left arm. The sculpture may have been damaged in the French Revolution by falling onto its face. It was carved from soft white limestone of a type known to be quarried at Asnières-lès-Dijon, near Champmol. The figure recalls many of th
In the early 1600s, artists from Northern Europe began to take long trips to Italy as part of their artistic training. Bartholomeus Breenberg traveled to Italy around 1620 and probably stayed for at least 12 years. While there, he sketched ancient ruins and the countryside, features he would use in
Scholars now consider this drawing a rare, late work by Rembrandt. Here, Christ meets with Martha and Mary after the death of their brother, Lazarus (John 11:30–36). The composed dignity of Christ's face and his calm compassion contrast with the prostrate figure of Mary and the agitated drawing of t
This painting shows a Carthusian monk kneeling in devotion and prayer before the Crucifixion. It is likely that this panel was intended for the cell of a monk in an unknown monastery. The Carthusians were particularly devoted to the Passion and Crucifixion of Christ, and devotional images were provi
This panel shows the Resurrection of Christ, who steps from the tomb bearing a cross-staff with a banner and gives a blessing with his right hand, while the soldiers guarding the tomb startle awake or continue sleeping. In the background are further scenes, from left to right: Christ in Limbo, the A
This silver plaquette depicts the Resurrection of Christ, with three soldiers sleeping in the foreground and an archer looking up in alarm behind them. It was made in 1605 by the Dutch goldsmith Paulus van Vianen, renowned for his refined figurative relief work.
This panel shows Christ stepping from the tomb holding a banner of victory and raising his right hand in blessing, while soldiers startle awake or sleep on around him. It is attributed to the circle of the Master of the Amsterdam Death of the Virgin, active around 1485-1500.
The ornamental frame of this domestic altar, richly decorated with grotesques, garlands, satyrs and putti, is based on prints by the Antwerp sculptor Cornelis Floris. Its style is a distinctive south Netherlandish variant of Italian Renaissance ornament, dating from around 1550.
This painting shows Christ seated with his disciples around a table in a room lit by candlelight. It is by the Dutch Golden Age painter Gerbrand van den Eeckhout, a pupil of Rembrandt who developed his own successful career as a history painter in Amsterdam.
More than fifteen years after his etched Annunciation to the Shepherds, Rembrandt revisited the theme in this drawing around 1650. It is considerably more austere than the earlier etching, but the emotions remain intense as people and animals are startled by the heavenly apparition.
This prayer nut, carved from boxwood with silver and gold fittings, opens to reveal miniature scenes of the Nativity and the Adoration of the Magi carved in astonishing detail. It is only 48mm in diameter and comes from the workshop of Adam Dircksz, active in the early 16th century.
For his depiction of Golgotha, the mountain on which Christ was crucified, the artist chose a high viewpoint. In doing so, he created a vast landscape in which to represent successive episodes of the Passion of Christ simultaneously. This narrative convention was often used in medieval painting.
Pen and gray ink drawing with watercolor by Gerardus Gossen, after a work by Jacopo Negretti, called Palma il Giovane. It measures 32.1 x 26.4 cm (12 11/16 x 10 7/16 in.).
Wtewael depicts when Peter denies knowing Jesus. Few works by this artist are known, and he draws on an unusual combination of styles.
