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0GLI-0001-0000-0000 | Firelight and jagged streaks of light illuminate an otherwise pitch-dark setting. The turbulent sea tosses the wrecked ship's cargo against the rocks; the strength of the gale forces the seawater to arc over a boulder and shoot up high against the cliffs, where it rains down as froth. The flames of the lighthouse, perc... | The story of Saint Paul's shipwreck on the island of Malta is described in Acts (28: 1--6), and Adam Elsheimer has taken advantage of the biblical description to portray a night scene: 'And the barbarous people shewed us no little kindness: for they kindled a fire, and received us every one, because of the present rain... | [
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013B-000B-0000-0000 | This portrait of Gainsborough's older daughter Mary was produced in 1777 around the same time as a portrait made of his youngest, Margaret Gainsborough, holding a Theorbo (NG6687), which entered the National Gallery Collection in 2019. Unusually, the artist has inscribed the work with the name of the sitter and signed ... | This portrait of Gainsborough's older daughter Mary was produced in 1777 around the same time as a portrait made of his youngest, Margaret Gainsborough, holding a Theorbo (NG6687), which entered the National Gallery Collection in 2019. Unusually, the artist has inscribed the work with the name of the sitter and signed ... | [
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013C-000B-0000-0000 | This portrait is a sensitive representation of the studio assistant who would ‘carry the artist’s materials when he went into the country to sketch’. His name is not recorded, but this painting has been named after the child’s home village in Somerset. The loose handling of the paint and unfinished nature suggest it wa... | This portrait is a sensitive representation of the studio assistant who would ‘carry the artist’s materials when he went into the country to sketch’. His name is not recorded, but this painting has been named after the child’s home village in Somerset. The loose handling of the paint and unfinished nature suggest it wa... | [
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0RHY-000A-0000-0000 | Sweerts was keen on depictions of Roman street life. Here we see a large, dimly lit room where a crowd of people — mostly women and children — have gathered. On the left, a young woman wearing a white turban and a blue skirt sits in a bright beam of light, focused on her embroidery. Her sewing box rests on a nearby sto... | Sweerts was keen on depictions of Roman street life. Here we see a large, dimly lit room where a crowd of people — mostly women and children — have gathered. On the left, a young woman wearing a white turban and a blue skirt sits in a bright beam of light, focused on her embroidery. Her sewing box rests on a nearby sto... | [
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0HGP-0001-0000-0000 | This altarpiece is one of very few paintings in our collection made by an artist working on both sides of the Adriatic -- the sea between Italy's eastern coast and an area known as Dalmatia (modern-day Croatia). These coastal regions were closely connected in the medieval and Renaissance periods through trade and artis... | This altarpiece is a unique example in the National Gallery's collection of a work made by a late medieval artist working on both sides of the Adriatic, the sea between Italy and the Balkan coast. The picture may be one of the earliest painted representations of the Virgin of the Immaculate Conception (the Virgin being... | [
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0HOB-0001-0000-0000 | These panels show Saints Mary Magdalene and Peter, and were once part of the main tier of an altarpiece. An image of the Virgin and Child was at the centre, with two images of saints on individual panels on either side. The altarpiece was eventually dismantled -- we aren't sure when -- and the panels are now housed in ... | These panels, which show Saints Mary Magdalene and Peter, were once part of the main tier of an altarpiece. The central image was of the Virgin and Child (now in the Palazzo Barberini, Rome) and two images of saints appeared on individual panels on either side.
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0HVF-0001-0000-0000 | These four pictures are from a series of paintings by Giulio Licinio showing scenes from ancient Roman history. They were made for the decoration of a room and were originally painted on panel but have since been transferred to canvas. Their size and horizontal format suggests they were probably intended to be inserted... | These four pictures are from a series of paintings of scenes from ancient Roman history. They were made for the decoration of a room and were originally painted on panel but have since been transferred to canvas. Their size and horizontal format suggests they were probably intended to be inserted into wall panelling, a... | [
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0HYI-0001-0000-0000 | These pictures show episodes from the life of Christ: the visit of the Virgin to Saint Elizabeth and the Flight into Egypt. They are perhaps the remains of a huge altarpiece, possibly made for a Spanish or Portuguese patron. Two other panels of same dimensions and similar style are believed to come from the same altarp... | These paintings show episodes from the life of Christ: the visit of the Virgin to Saint Elizabeth, and the Flight into Egypt. They are thought to be two of four surviving panels, possibly from of a huge altarpiece made for a patron in Spain or Portugal; this format was more popular there than in the Low Countries.
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0HX5-0001-0000-0000 | Peasants with Donkeys and its companion painting Musicians are intimate scenes of peasant life, observed by night as if we ourselves are part of the action. They probably date from between 1710 and 1715, shortly after Crespi's stay in Florence.
These two pictures were formerly thought to be fragments of a single comp... | Peasants with Donkeys and its companion painting Musicians are intimate scenes of peasant life, observed by night as if we ourselves are part of the action. Both make use of a warm, earthy palette and lively, loose brushwork to bring the figures they depict to life. The two pictures probably date from between 1710 and ... | [
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0HFV-0001-0000-0000 | These two heroines are part of a series of painted panels that decorated the bedchamber of Francesco di Camillo Petrucci (b. 1489), a wealthy merchant and landowner who was nephew of Pandolfo Petrucci, ruler of the republic of Siena. Celebrating themes of love, fertility, and wifely and maternal virtue, the decorations... | These two Roman heroines, Marcia and Tanaquil, are part of a series of painted panels that decorated the bedchamber of Francesco di Camillo Petrucci (b. 1489), a wealthy merchant and landowner who was nephew of Pandolfo Petrucci, ruler of the republic of Siena. Celebrating themes of love, fertility, and wifely and mate... | [
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0HYP-0001-0000-0000 | Romanino made this painting for the high altar of S. Alessandro in Brescia, which served as a parish church although it was attached to a Servite convent. It may have been commissioned by the Confraternity of Corpus Christi -- a lay brotherhood which venerated the body of Christ -- who were then responsible for the hig... | Romanino made this painting for the high altar of Sant' Alessandro in Brescia. It may have been commissioned by the Confraternity of Corpus Christi -- a lay brotherhood which venerated the body of Christ -- who were responsible for the high altar.
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0HMX-0001-0000-0000 | This pair of paintings -- A Regatta on the Grand Canal and The Basin of San Marco on Ascension Day -- captures two of the most popular annual festivals in eighteenth-century Venice: the gondola races along the Grand Canal and the Wedding of the Sea ceremony. Both fell into decline during the late eighteenth century wit... | This pair of paintings -- A Regatta on the Grand Canal and The Basin of San Marco on Ascension Day -- captures two of the most popular annual festivals in eighteenth-century Venice: the gondola races and the Wedding of the Sea ceremony. Both fell into decline during the late eighteenth century but were revived in 1965 ... | [
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0HWS-0001-0000-0000 | These five paintings -- The Virgin and Child, Saint Peter, Saint Philip, Saint John the Evangelist and Saint John the Baptist -- were once part of a large polyptych made for the high altar of the oratory of S. Pietro in Vincoli, Faenza. It was originally topped by a horizontal panel, now lost, showing the dead Christ s... | These five paintings were once part of a large multi-panel altarpiece, or polyptych, made for the high altar of the Oratory of S. Pietro in Vincoli, Faenza. It was originally topped by a horizontal panel, now lost, showing the dead Christ supported by angels.
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0CRX-0001-0000-0000 | Inscriptions on the reverse of the panel identify the sitter as Franz von Sickingen or, alternatively, a member of the Luther family. The left-hand coat of arms, however, closely resembles that of Johannes Feige, Chancellor of Hesse (1482?– 1543); the upper section features three figs, and ‘Feige’ is the German word fo... | The coat of arms on the left resembles that of Johann Feige, chancellor of Hesse (a state in central Germany) between 1514 and 1542, while the shield on the right may represent that of his mother. Feige moved in the same Protestant circles that employed Cranach, and is likely to have known the artist.
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0I46-0001-0000-0000 | These two paintings are modelli, or presentation pieces, for frescoes in the basilica of Santa Croce in Gerusalemme in Rome. As part of the restoration of the church, which began in 1741, Giaquinto painted canvases for the nave's ceiling and frescoes for the lower walls of the apse. Pope Benedict XIV promoted this init... | These two paintings are modelli, or presentation pieces, for frescoes in the basilica of Santa Croce in Gerusalemme in Rome. As part of the restoration of the church, which began in 1741, Giaquinto painted canvases for the nave's ceiling and frescoes for the lower walls of the apse. In preparation for the commission, G... | [
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0CQH-0001-0000-0000 | This is the central panel of the predella of the altarpiece made by Fra Angelico for his own convent church in Fiesole, just outside Florence. Christ hovers in the centre of this heavenly scene -- you can see traces of white clouds beneath his bare feet.
This is Christ after his death: there is a hole in his right han... | Christ, hovering on wispy clouds, is surrounded by angels who sing, dance and play musical instruments. He is shown triumphant over death: his red and white flag was associated with his resurrection; the wound in his right hand, caused when he was crucified, is a reminder of his physical suffering. The artist has incis... | [
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0D7H-0001-0000-0000 | For those living in Utrecht in the 1630s, this painting must have seemed like a window onto an exotic, tempting world. A crowd of naked women pose elegantly while they talk and bathe in a river. Behind them loom the overgrown tower and arches of a Roman ruin, while the bright morning sky glows behind the farmhouses, fo... | For those living in Utrecht in the 1630s, this painting must have seemed like a window onto an exotic world. A crowd of naked women pose elegantly while they talk and bathe in a river. Behind them loom the overgrown tower and arches of a Roman ruin, while the bright morning sky glows behind the farmhouses, foothills an... | [
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0EMF-0001-0000-0000 | Around 1551, Titian began producing an ambitious series of large-scale mythological paintings for Prince Philip -- later Philip II -- of Spain drawing primarily on the Roman poet Ovid’s epic poem Metamorphoses. Titian called these works 'poesie', a term that described narrative subjects taken from classical myth while... | The story of Actaeon is told in the Metamorphoses by the Roman poet Ovid. In Titian's earlier Diana and Actaeon, painted for King Philip II of Spain in 1556--9 and now jointly owned by the National Gallery and the National Galleries of Scotland, Actaeon disturbs the goddess Diana and her nymphs at a secret bathing plac... | [
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0ER3-0001-0000-0000 | Guardi's picture takes in the view across the Grand Canal, towards some of the grandest palaces in Venice: the imposing facade of the Palazzo Pesaro is in the centre and the Palazzo Corner della Regina at the far left.
A funeral boat glides along the water, carrying churchmen and ornate burning candles. It heads towar... | Guardi's picture takes in the view across the Grand Canal, towards some of the grandest palaces in Venice: the imposing facade of the Palazzo Pesaro is in the centre and the Palazzo Corner della Regina at the far left.
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0E9D-0001-0000-0000 | A bearded Saint Philip stands in a landscape, immersed in a book. A slender cross rests against his shoulder, with another cross attached to it where Christ's crucified body would have been hung, a reference to Philip's martyrdom (he was crucified upside down).
Philip was one of Christ's early disciples. He was presen... | A bearded Saint Philip stands in a landscape, immersed in a book. A slender cross rests against his shoulder, with another cross attached to it where Christ's crucified body would have been hung, a reference to Philip's martyrdom (he was crucified upside down).
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0EYK-0001-0000-0000 | Small-scale images of the Virgin and Child made for private worship were one of Bellini's specialities, and demand for them was so high that his assistants produced a large number in his style. This picture was once thought to be by members of Bellini's workshop, but infrared reflectography revealed that the underdrawi... | Small-scale images of the Virgin and Child made for private worship were a speciality of Bellini's. This picture was thought to be by the artist’s assistants, but recent technical analysis showed that it was made by Bellini. The holy figures are separated from a landscape by a cloth of honour, and from us by a marble p... | [
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0EOB-0001-0000-0000 | Panini specialised in architectural views and painted about 30 pictures of the monumental interior of St Peter's Basilica in Rome over several decades. This is a view from the left of the main entrance, looking down the nave towards the east end and high altar. At the far end is Gian Lorenzo Bernini's famous sculpted b... | Panini specialised in architectural views and painted about 30 pictures of the monumental interior of St Peter's Basilica in Rome over several decades. This is a view of the main entrance, looking down the nave towards the tomb of Saint Peter. We look out over the church from an elevated positioned, with figures scatte... | [
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0FFH-0001-0000-0000 | Christ stands in the centre of the river Jordan, naked but for a transparent loin cloth. He gazes directly at us, making a blessing gesture with the fingers of his right hand. His graceful contrapposto pose -- he rests his weight on his right leg, so his left leg is relaxed and slightly bent at the knee -- recalls clas... | It is rare to see images of the baptism of Christ at the centre of altarpieces and this is quite possibly the first example where it takes this position in Italian painting.
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0FPR-0001-0000-0000 | A thin-faced man dressed as a canon (a member of the clergy who is on the staff of a cathedral) kneels in prayer, surrounded by three saints. This is Bernardijn Salviati, illegitimate son of a Florentine merchant, and canon of the Collegiate Church of Saint Donatian in Bruges (he died in 1519). The same outfit is worn ... | A thin-faced man kneels in prayer, surrounded by three saints. This is Bernardijn Salviati, illegitimate son of a Florentine merchant, and canon of the Collegiate Church of Saint Donatian in Bruges. The saints are, from left to right: Martin of Tours, with the beggar he gave his cloak to on the road behind him; Bernard... | [
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0FE9-0001-0000-0000 | Jan van der Heyden clearly enjoyed the discipline of painting very fine details. Although this is a small picture -- 21.8 by 28.9 cm, almost exactly the same size as a piece of A4 paper set on its side -- he has delineated many of the leaves of the trees individually. If you look closely at the grey roof of the church,... | Jan van der Heyden clearly enjoyed the discipline of painting very fine details. Although this is a very small picture, he has delineated many of the leaves of the trees individually. If you look closely at the grey roof of the church, you can see that he has used incredibly fine lines of black paint to suggest the pat... | [
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0FQ7-0001-0000-0000 | The Virgin Mary and Christ Child are seated in front of a gold cloth of honour, topped with a tasselled baldachin, in this large and highly decorative altarpiece. They are surrounded by saints, in a composition known as a sacra conversazione ('holy conversation').
On the Virgin's right is Saint John the Baptist, weari... | The Virgin and Child are seated on a throne in front of a cloth of honour in this large and highly decorative altarpiece. They are surrounded by saints, in a composition known as a sacra conversazione ('holy conversation'). On the Virgin's right are Saints John the Baptist and Gall, the patron of the church for which t... | [
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0F31-0001-0000-0000 | The picture appears to have been the central part of an altarpiece in five compartments that was in the Hercolani collection in Bologna in 1770.
It may be identical with one known to have been painted by Giovanni between 1512 and 1516 for the Chapel of Saint Thomas Aquinas in S. Andrea, Faenza. Existing panels showi... | This was the central panel of a multi-panelled altarpiece commissioned in 1512 by Clarice Manfredi, a Dominican prioress, for the chapel of Saint Thomas Aquinas in the church of S. Andrea in Vineis in Faenza. Side panels showing Saint Thomas Aquinas and Saint John the Evangelist were placed to the right and left of the... | [
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0FXW-0001-0000-0000 | Jan Fyt was an extremely successful painter of bird and animal still-life pictures, using a light, frothy style of brushwork peculiar to him. Here, he has piled up the birds' bodies -- a brace of partridges alongside a greenfinch, chaffinch, brambling, robin and quail -- in a pyramid. The evening sky casts a mellow glo... | Jan Fyt was an extremely successful painter of bird and animal still-life pictures, using a light, frothy style of brushwork peculiar to him. Here, he has piled up the birds' bodies -- a brace of partridges alongside a greenfinch, chaffinch, brambling, robin and quail -- in a pyramid. The evening sky casts a mellow glo... | [
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0FMK-0001-0000-0000 | Pale flowers glow in a soft light against the dark wall of an anonymous room. Pink hollyhocks flaunt dozens of tiny petals. Delicate white poppies face out towards us, the yellow pistil holding our gaze like a tiny eye. Above them a tall stem curves upwards, fat little buds clinging on to it, their pink tips held tight... | Pale flowers glow in a soft light against the dark wall of an anonymous room. Pink hollyhocks flaunt dozens of tiny petals. Delicate white poppies face out towards us, the yellow pistil holding our gaze like a tiny eye. Above them a tall stem curves upwards, fat little buds clinging on to it, their pink tips held tight... | [
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0FQY-0001-0000-0000 | Although it is signed with the initials 'JR', questions have been raised as to whether this is an original painting by Jacob van Ruisdael or a version made by one of his contemporaries, derived from two similar landscapes he painted around 1655. There is a larger version of the same composition in the Gemäldegalerie Al... | There is a feeling of melancholy about this composition. The sky is dark and oppressive, and the background is dominated by shadowy cliffs. In the right foreground, the fallen birch tree -- a common device to help give an impression of depth to a view -- hints at the destructive power of nature. The jagged edges of the... | [
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0FE0-0001-0000-0000 | A fresh breeze, a choppy sea. Sails billow, flags fly high and proud. These aren’t the warm, sunny waters of the Mediterranean, as the title implies -- much more the cold northern seas around Bakhuizen’s home in the Netherlands. But Dutch seaports don't have mountains in the background.
The galleys -- the slender rowi... | A fresh breeze, a choppy sea -- sails billow, flags fly high and proud. This painting is a piece of patriotic propaganda.
The man-of-war (or battleship) at anchor on the left in the Mediterranean harbour flies the Dutch flag at its stern. Only one sail is furled and the gun ports are open with the canons still protrud... | [
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0FPY-0001-0000-0000 | This painting is one of a series of panels that decorated a bedchamber in the Borgherini palace in Florence. Together, they tell the story of Joseph from the Old Testament. This panel shows Joseph visited by his brothers (Genesis 43).
Having been sold into slavery by his jealous half-brothers and falsely accused of ra... | This painting is one of a series of panels that decorated the bedchamber of the Borgherini palace in Florence. Together, they tell the life of Joseph from the Old Testament (Genesis 43).
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0FEN-0001-0000-0000 | In the seventeenth century, several Dutch artists went to Rome and brought back paintings and sketches. They, and others like van Ludick, used these works as a basis for imaginary paintings of the Italian landscape with a mountainous background and a softly lit Mediterranean sky. Such pictures proved very popular with ... | In the seventeenth century, several Dutch artists went to Rome and brought back paintings and sketches. They, and others like van Ludick, used these works as a basis for imaginary paintings of the Italian landscape with a mountainous background and a softly lit Mediterranean sky. They proved very popular with Dutch col... | [
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0G02-0001-0000-0000 | Christ stands at the top of a rocky mound, and the striations -- stripes of gold leaf -- on his clothes make him look as though he is shining. The moment shown is the Transfiguration, when Christ ascended a mountain and according to the Gospel of Matthew, 'he was transfigured before them, and his face shone like the su... | Christ stands at the centre of this small square panel. The moment shown is the Transfiguration, when Jesus ascended a mountain and became filled with heavenly light, shown here by the golden striations (stripes) on his robes. Suddenly the Old Testament prophets Moses (on his left) and Elijah (on his right) appeared an... | [
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0FMS-0001-0000-0000 | Golden hair, rosy lips and pale skin were the ideal of feminine beauty in fifteenth-century Florence, and were features of images of the Virgin Mary and pagan goddesses as well as portraits of high-status women. Here they are paired with careful observation of the sharp lines of the woman's long nose, revealing that th... | Golden hair, rosy lips and pale skin were the ideal of feminine beauty in fifteenth-century Florence. All feature in this lady’s portrait, which was probably made to celebrate her marriage.
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0FJ7-0001-0000-0000 | The Virgin Mary sits in the corner of a simple room, the Christ Child on her lap. She holds him gently with both hands as he presses his cheek to hers and reaches for her breast. He wears a gauzy shirt which contrasts with the layers of veils and garments covering his mother.
Light streaming through the open window ca... | The Virgin Mary sits in the corner of a simple room, the Christ Child on her lap. She holds him gently with both hands as he presses his cheek to hers and reaches for her breast. The gauzy shirt he wears contrasts with the layers of veils and garments covering his mother.
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0FP3-0001-0000-0000 | Nine men kneel in prayer, heads bare, hats in hands. Behind them stands a saint -- we can only see his hand -- wearing a brown garment (perhaps the habit worn by members of a religious order). It is possibly Saint Francis, who founded the Franciscan Order, presenting the men to the object of their devotion.
These are ... | Nine men kneel in prayer, heads bare, hats in hands. Behind them stands a saint -- we can only see his hand -- wearing a brown garment (perhaps the habit worn by members of a religious order). It is possibly Saint Francis, who founded the Franciscan Order, presenting the men to the object of their devotion.
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0FV9-0001-0000-0000 | Against the setting sun, three hunting dogs rest under a large tree, beside an overflowing basket of dead birds and game. The two on the right are chained up following the shoot; one sniffs the ground or laps water from an unseen bowl, while the other stares, distracted, out of the picture frame. The unchained dog look... | Against the setting sun, three hunting dogs rest beside an overflowing basket of dead birds and game. The two on the right are chained up; one sniffs the ground or laps water from an unseen bowl while the other stares, distracted, out of the picture frame. The unchained dog looks quizzically at a little owl, a type com... | [
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0FOC-0001-0000-0000 | This glorious celebration of the Virgin Mary was discovered in the nineteenth century in a wood store in the Tuscan town of Asciano, just outside Siena. The store belonged to a monastery of Augustinian monks. The painting was most probably originally made for choir of the monastery's church, Sant'Agostino.
The bulky f... | This magnificent and imposing vision of the Virgin Mary's body and soul being taken to heaven was the central panel of a large polyptych (a multi-panelled altarpiece). It was made for the monastery of Sant'Agostino in Asciano, in the countryside near the Tuscan town of Siena.
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0EZR-0001-0000-0000 | Many seventeenth-century Dutch skating scenes raise the spirits. They tell, usually with a sense of fun, of life on the ice -- on the frozen rivers and canals during the 'Little Ice Age' that hit Europe and the Netherlands in particular. They were painted as a kind of entertainment. This doesn't appear to be one of the... | In the Dutch Republic at this time, paintings were a means of entertainment -- scenes of outdoor life were meant to hold moments of interest that had to be teased out. Although it's not immediately evident, this picture does exactly that.
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0FQS-0001-0000-0000 | Like many of the early Italian paintings in our collection, this picture is a fragment of a large altarpiece. It shows a story taken from the Golden Legend, a thirteenth-century text that is a rich source for stories about the life of the Virgin Mary before the birth of Christ, which is not described in the Bible. Thi... | This Virgin Mary's marriage to Joseph is told in the Golden Legend, a thirteenth-century compilation of the lives of the saints. Mary's suitors were invited to the temple, each armed with a wooden rod. The man whose rod bloomed would win her hand in marriage.
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0FKT-0001-0000-0000 | This is the central panel from the predella of Ugolino's altarpiece for the church of Santa Croce in Florence. The predella ran along the bottom of the entire altarpiece and was, as was usual, originally painted on one horizontal panel. It was then cut into individual scenes. There are three others in our collection: T... | This panel was the central scene of the predella (the lowest part of the altarpiece below the main level) that Ugolino made for the church of Santa Croce in Florence. It shows Christ carrying the Cross to the site of his crucifixion as described in the Gospel of John (John 19: 17). His deep pink robe and the structure ... | [
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0FHI-0001-0000-0000 | The painting has been known as The Origin of the Milky Way since about 1857 but 'The Nursing of Hercules', as it was known in the eighteenth century, would be a more accurate title. The picture is an allegory as well as a mythological narrative. What we see now is only part of the original painting: about a third of Ti... | The god Jupiter wished to immortalise his infant son Hercules, whose mother was the mortal Alcmene, so he held him to the breast of his sleeping wife, the goddess Juno, to drink her milk. However, Juno woke. The milk which spurted upwards formed the Milky Way, while that which fell downwards gave rise to lilies.
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0F5U-0001-0000-0000 | In the grey early light of morning, on a glassy sea, the boats in van de Cappelle's painting hardly seem to move. There's no wind, the sails are hardly filled, nothing disturbs the water. Even the clouds seem buoyed up in the air like balloons bouncing along gently in the vast sky.
Close to us, an old fence has collap... | In the grey early light of morning, on a glassy sea, the boats in van de Cappelle's painting hardly seem to move. There's no wind, the sails are hardly filled, nothing disturbs the water. Even the clouds seem buoyed up in the air like balloons bouncing along gently in the vast sky.
Close to us, an old fence has collap... | [
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0F0C-0001-0000-0000 | A shepherd sleeps on a bank on the edge of a wood, his dog curled up beside him and his crook laid carefully on the grass. The sun is bright but gives a cool light and seemingly little heat. The sky is cloudless -- a crisp, clear blue -- and the feathery new leaves of the trees are outlined sharply against it. The wood... | A shepherd sleeps on a bank on the edge of a wood, his dog curled up beside him and his crook laid carefully on the grass. The sun is bright but gives a cool light and seemingly little heat. The sky is cloudless -- a crisp, clear blue -- and the feathery new leaves of the trees are outlined sharply against it.
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0F7S-0001-0000-0000 | During the seventeenth century, the Dutch Republic was frequently at war, often with England. It's possible that this is a picture of a fleet preparing for battle.
The sea is quiet, but there is a sense of urgency in the scene. A crowd of small boats pull out from the shore, the men rowing powerfully as if in a hurry.... | During the seventeenth century, the Dutch Republic was frequently at war, often with England. It's possible that this is a picture of a fleet preparing for battle.
The sea is quiet, but there is a sense of urgency in the scene. A crowd of small boats pull out from the shore, the men rowing powerfully as if in a hurry.... | [
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0FLT-0001-0000-0000 | The lady in Bartholomeus van der Helst's portrait may be unknown now, but she appears to have been a woman of some status. Standing out against a severe, plain black background, her clothes announce this status, her wealth -- and little else. Although she appears modest and unassuming, her gaze is direct and steady.
W... | The lady in Bartholomeus van der Helst's portrait may be unknown now, but she appears to have been a woman of some status. Standing out against a severe, plain black background, her clothes announce her wealth and status -- and little else. Although she appears modest and unassuming her gaze is direct and steady.
With... | [
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0F0X-0001-0000-0000 | A young woman crouches in the bottom right-hand corner, trying to cover her nakedness with her cloak, while two bearded men leer at her and pull at her clothes. This is Susannah, a beautiful and virtuous Old Testament heroine. According to apocryphal additions to the Book of Daniel, Susannah was bathing in her husband'... | A young woman crouches in the bottom right-hand corner, trying to cover her nakedness with her cloak, while two bearded men leer at her and pull at her clothes. This is Susannah, an Old Testament heroine. Bathing one hot day in her husband's garden, she was seen by two elders -- senior members of the Jewish community -... | [
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0FC6-0001-0000-0000 | This work is almost a portrait of a building: the imposing facade of the Palazzo Grimani fills nearly the entire composition, towering above the surrounding houses along the Grand Canal. Boatmen emerge from the left and right just in front of us, giving the scene a sense of movement. Further back we can just make out s... | This work is almost a portrait of a building: the imposing facade of the Palazzo Grimani fills nearly the entire composition. Boatmen emerge from the left and right just in front of us, adding a sense of movement, while figures composed of dots and daubs of paint stand on the palace's steps.
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0F6X-0001-0000-0000 | This painting is very similar to but roughly half the size of another landscape by Aelbert Cuyp: A Distant View of Dordrecht, with a Milkmaid and Four Cows, and Other Figures. We don't know which was painted first, but the mood, the lighting and the focus on the cows with the city of Dordrecht in the background are imm... | This painting is very similar to but roughly half the size of another landscape by Aelbert Cuyp, also in the National Gallery's collection: A Distant View of Dordrecht, with a Milkmaid and Four Cows, and Other Figures. We don't know which was painted first but presumably one of Cuyp’s customers saw one of the paintings... | [
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0FG4-0001-0000-0000 | This graceful golden-haired princess comes from a predella, a row of scenes along the bottom of an altarpiece or from the frame of an altarpiece. She is Saint Catherine, shown with her traditional attributes of a spiked wheel and a cactus-like martyr's palm.
Crivelli liked spatial games, playing with our knowledge tha... | This graceful golden-haired princess comes from a predella, a row of scenes along the base of an altarpiece, or from the frame of an altarpiece. She is Saint Catherine, shown with her traditional attributes of a spiked wheel and a cactus-like martyr's palm.
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0F2X-0001-0000-0000 | There is a cold grey dawn, but a promise of winter sun as the wind sweeps away the clouds on a Dutch seashore. A young horseman leans down towards a woman kneeling in the shadow of his mount -- she holds a large fish up towards him. In front of her a man kneels, gutting more fish. Patches of light pick out the rider's ... | There is a cold grey dawn, but a promise of winter sun as the wind sweeps away the clouds on a Dutch seashore. A young horseman leans down towards a woman kneeling in the shadow of his mount -- she holds a large fish up towards him. A patch of light picks out the white apron of a red-cheeked woman smiling up at him and... | [
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0FAY-0001-0000-0000 | The enchantress Armida and her bewitched lover, Rinaldo, a Christian knight, recline in a beautiful landscape, surrounded by attendant cupids and luxury goods. The scene shows a tender moment: from his position on her lap, Rinaldo looks up adoringly at Armida, who tends to her long golden hair and glances toward an uph... | The enchantress Armida and her bewitched lover, Rinaldo, a Christian knight, recline in a beautiful landscape, surrounded by attendant cupids. The scene shows a tender moment between the couple before Rinaldo’s comrades, whose helmets are visible behind the bush on the left, disturb their idyll and compel Rinaldo to re... | [
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0FEB-0001-0000-0000 | This is one of the most perfectly preserved paintings in the National Gallery. It is also one of the only small paintings by Correggio whose original patron is known. In his Lives of the Artists, Vasari records a painting by Correggio in which ‘Our Lady puts a shirt on the Christ Child’ in the collection of Cavaliere F... | The Virgin Mary sits under a tree in a simple gown of faded rose, her work basket with its iron shears and ball of grey wool at her side. She is trying a grey jacket she has just made on the Christ Child, which may be the seamless coat that legend claims grew with him and for which the soldiers cast lots at the foot of... | [
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0FUP-0001-0000-0000 | Although damaged, we can tell that this is an original work by Anthonis Mor. His sitters are usually lit from above and the left; their noses are narrow but have deep shadows and the eyes are too widely spaced.
We don't know the identity of the sitter, although the painting was once thought to be a self portrait. Alth... | Although damaged, we can tell that this is an original work by Anthonis Mor. His sitters are usually lit from above and the left; their noses are narrow but have deep shadows and the eyes are too widely spaced. We don't know the identity of the sitter, but the cut of his hair, and the long beard with very long moustach... | [
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0EYU-0001-0000-0000 | Philips Wouwerman was famous in his time for his skill at depicting horses in many different situations -- at rest in the stable, being shod in the forge, out hunting or, as here, in the frenzy of battle. In what is a relatively small painting -- not by Wouwerman himself but produced in his studio -- the artist has cra... | Philips Wouwerman was famous in his time for his skill at depicting horses in many different situations -- at rest in the stable, being shod in the forge, out hunting or, as here, in the frenzy of battle. In what is a relatively small painting -- not by Wouwerman himself but produced in his studio -- the artist has cra... | [
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0F6F-0001-0000-0000 | The story of the rape -- or abduction -- of the Sabine women would have been well known to Rubens and his clients. It was a famous moment in the legends surrounding the founding of Rome, referred to by several classical writers, including Plutarch, Ovid, Virgil and Livy. The accounts vary, but key details are consisten... | The legend of the abduction of the Sabine women by the Romans is described by several classical writers. While accounts vary, key details are consistent: Romulus, founder and then king of Rome, had built an impressive city, but there was a shortage of women. He invited the Sabines, who lived in the mountains nearby, to... | [
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0FK5-0001-0000-0000 | This is one of four paintings of saints and angels made to decorate a pair of shutters. It was quite common at the time for altarpieces to have shutters to embellish and protect them. Each of this pair of shutters had a saint on the outside and an angel on the inside. The central image they would once have flanked is n... | This is one of four paintings of saints and angels made to decorate a pair of shutters. It was common at the time for altarpieces to have shutters to embellish and protect them. The central image these shutters would once have flanked is now missing.
The Latin inscription on the plinth beneath the angel's feet says 'C... | [
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0FB5-0001-0000-0000 | This is a portrait of Cosimo I de' Medici, Grand Duke of Tuscany, at the age of 40. It is based on Bronzino's official portrait of the Duke of 1559, but is unlikely to have been painted by Bronzino or his assistants.
Prior to Medici rule, Florence had been a republic. Cosimo was Duke of Florence from 1537 until 1569, ... | This is a portrait of Cosimo I de' Medici, Grand Duke of Tuscany, at the age of 40. It is based on Bronzino's official portrait of the Duke of 1559, but is unlikely to have been painted by Bronzino or his assistants.
Prior to Medici rule, Florence had been a republic. Cosimo was Duke of Florence from 1537 until 1569, ... | [
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0FRL-0001-0000-0000 | This is one of five paintings intended to hang together, each of which denotes one of the five senses -- a common theme for painting in the Low Countries in the seventeenth century. In each of these paintings Gonzales Coques used a traditional activity to represent the relevant sense.
Here Taste is depicted as a smili... | This is one of five paintings intended to hang together, each of which denotes one of the five senses -- a common theme for painting in the Low Countries in the seventeenth century. In each of these paintings Gonzales Coques used a traditional activity to represent the relevant sense.
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0FTJ-0001-0000-0000 | This is a nineteenth-century copy of a much larger painting Murillo made for Seville Cathedral in 1660 (Louvre, Paris). Murillo's original was displayed in a lunette, a semi-circular wall surface, in the chapel of the Immaculate Conception. Sevillians were especially devoted to the Immaculate Conception -- the belief t... | This is a nineteenth-century copy of a much larger painting made by Murillo for Seville Cathedral in 1660 (Louvre, Paris). During the French occupation of Seville, Murillo's painting was moved to Paris, where this copy was probably produced around 1810.
In his painting, Murillo explored the theme of the Virgin Mary's ... | [
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0FLN-0001-0000-0000 | This panel formed the centre of a predella -- the lowest part of an altarpiece -- which was probably made for the church of San Domenico, Ferrara. It was positioned beneath a large image of the dead Christ lying on his mother's lap, and to its right was The Israelites gathering Manna.
The bread, which Christ holds in ... | Jesus sits at the head of the table, surrounded by his disciples, holding up a piece of bread, which he blesses: this is the Last Supper. Ercole’s skill at painting detail on a small scale is clear: each disciple has a different facial expression, and the transparent glasses, the carafes and the morsels of bread on the... | [
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0FNW-0001-0000-0000 | Philip IV, King of Spain, was normally shown in fairly sombre clothing, so the unusual splendour of his costume here suggests that this work was made to celebrate something particular. Philip stands beside a plain wooden table covered in a red velvet cloth, matching the draped curtain behind him. His expression is impa... | Philip IV, King of Spain, was normally shown in fairly sombre clothing, so the unusual splendour of his costume here suggests that this work was made to celebrate something particular. In 1632, he wore a similar outfit for an important ceremony in which the Cortes of Castile pledged an oath of allegiance to his son and... | [
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0FPG-0001-0000-0000 | The Virgin Mary stands behind a parapet on which the Christ Child is seated. She rests her hand on a book, and Christ holds an apple -- it symbolises the Fall of Man, from which he was believed to offer redemption. With the other, he twists to reach out for the flower his mother offers him.
Painted in around 1500, thi... | The Virgin Mary stands behind a parapet on which the Christ Child is seated. In one hand Christ holds an apple -- it symbolises the Fall of Man, from which he was believed to offer redemption. With the other, he twists to reach out for the flower his mother offers him.
Painted in around 1500, this small panel is one o... | [
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0F9V-0001-0000-0000 | William Holwell was born in 1758, the son of an Exeter apothecary. At Exeter College, Oxford, first as a student and then as a Fellow, he is said to have 'employed much of his Time in Painting'. In 1781, aged 23, he went to Italy where he studied art and began to buy pictures.
An opportunity to acquire virtually effor... | The Reverend William Holwell Carr (1758--1830) was the son of an Exeter apothecary. In 1797 he married Lady Charlotte Hay, eldest daughter of the 15th Earl of Erroll and his wife Isabella Carr. The following year Lady Charlotte inherited large Carr estates in Northumberland.
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0FH8-0001-0000-0000 | Two gondoliers wearing traditional carnival costumes propel their boat across the Venetian lagoon, their oars stirring the water, their passengers sheltered by a canopy. On the horizon, sails catch the breeze.
In the distance is the tower of Malghera, near Mestre on the mainland (Guardi's larger View of the Venetian L... | Two gondoliers wearing traditional carnival costumes propel their boat across the Venetian lagoon, their oars stirring the water, their passengers sheltered by a canopy. On the horizon, sails catch the breeze.
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0FF3-0001-0000-0000 | The leader of a troop of horsemen lowers his hat to salute Philippe-François, 1st Duke of Arenberg and Duke of Arschot and Croy, who doffs his own feathered hat in response. Arenberg was an important figure at the court of Brussels: he served in the army of the Southern Netherlands, where he distinguished himself at th... | The leader of a troop of horsemen lowers his hat to salute Philippe-François, 1st Duke of Arenberg and Duke of Arschot and Croy, who doffs his own feathered hat in response. Arenberg was an important figure at the court of Brussels: he served in the army of the Southern Netherlands, where he distinguished himself at th... | [
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0EU8-0001-0000-0000 | Filippo Fasanini, who died in 1531, instructed the executors of his will to commission this altarpiece for his chapel dedicated to Saint Philip and Saint James in S. Domenico, Bologna. It is signed on the throne's plinth: IERONIMVS. TREVISIVS. P.[INXIT] ('Girolamo of Treviso painted this').
Filippo Fasanini was a prof... | Filippo Fasanini, who died in 1531, instructed the executors of his will to commission this altarpiece for his chapel dedicated to Saint Philip and Saint James in S. Domenico, Bologna. It is signed on the throne's plinth: IERONIMVS. TREVISIVS. P.[INXIT] ('Girolamo of Treviso painted this').
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0F2D-0001-0000-0000 | In this scene inspired by Ovid's Metamorphoses (Book IV, 783--960), Andromeda, daughter of the Ethiopian queen Cassiope, is about to be sacrificed to placate a monster summoned by Neptune, god of the sea. The hero Perseus appears at top left on his winged horse Pegasus, preparing to kill the monster and rescue the dist... | In this scene inspired by Ovid's Metamorphoses, Andromeda, daughter of the Ethiopian queen Cassiope, is about to be sacrificed to placate a monster summoned by Neptune, god of the sea. The hero Perseus appears at top left on his winged horse Pegasus, preparing to kill the monster and rescue the distressed princess. And... | [
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0FZ5-0001-0000-0000 | Antonello painted his image of Saint Jerome when he was at the height of his technical and artistic ability. Paying homage to Netherlandish painters of the fifteenth century, he has constructed a broad, multi-layered stage set for the saint to inhabit, bursting with props. Every detail is painted with precision, his sk... | Born in the fourth century, Saint Jerome was a scholar and a monk. His translation of the Bible from Greek into Latin is known as the Vulgate, and it is still used by the Catholic Church today.
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0FDU-0001-0000-0000 | According to the Gospel of Matthew (2: 1--12), wise men came from the East to worship the infant Christ. By the Middle Ages, they had been reimagined as the Three Kings, each assigned a name, an origin and an age -- and also one of the three precious gifts mentioned in the Gospel. Caspar, King of Tarsus, aged 60, prese... | Guided by a star, the Three Kings journeyed from the East to Bethlehem to honour the newborn Christ. Caspar, Melchior and Balthasar brought gifts of gold, frankincense and myrrh.
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0FX3-0001-0000-0000 | Two women sit on a bed playing with a baby -- one of them holds out an apple for the little boy to grasp in his chubby fingers. With an encouraging smile, the other points it out to him. The baby is Christ’s cousin, John. This is his naming day and he will grow up to be known as John the Baptist.
The old man sitting b... | Two women sit on a bed playing with a baby -- one of them holds out an apple for the little boy to grasp in his chubby fingers. With an encouraging smile, the other points it out to him. The baby is Christ’s cousin, John. This is his naming day and he will grow up to be known as John the Baptist.
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0FM3-0001-0000-0000 | Martin Archer Shee painted this portrait of the actor William Thomas Lewis for himself. It was one of seven works that he exhibited at the Royal Academy in 1792 when he was just 22. Shee loved the theatre and many of the portraits he exhibited over the years were of actors and actresses. He was proud enough of this por... | Martin Archer Shee painted this portrait of the actor William Thomas Lewis for himself. It was one of seven works that he exhibited at the Royal Academy in 1792 when he was just 22. Shee loved the theatre and many of the portraits he exhibited over the years were of actors and actresses.
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0FXT-0001-0000-0000 | This fragment comes from the border decoration of a large painting in fresco -- a technique that involves painting directly onto wet plaster -- which showed the fall of Lucifer, the rebel angel who was cast out of heaven. It once decorated a wall of the church of the confraternity of Sant' Angelo in Arezzo. There are t... | This fragment comes from the border decoration of a large painting in fresco -- a technique that involves painting directly onto wet plaster -- which showed the fall of Lucifer, the rebel angel who was cast out of heaven. It once decorated a wall of the church of the confraternity of Sant' Angelo in Arezzo.
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0F5N-0001-0000-0000 | According to legend, Saint Christopher was a giant, twelve feet tall. He was called Christophoros, Greek for 'the bearer of Christ'. When he converted to Christianity he was assigned the Christian service of helping travellers across a river. One day a child asked to be carried across but Saint Christopher found him so... | According to legend, Saint Christopher was a giant, who was given the task of helping travellers across a river after he converted to Christianity. One day a child asked to be carried across, but Saint Christopher found him so heavy that he was bowed down with the weight. The child revealed that he was Christ and that... | [
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0FPL-0001-0000-0000 | In the past this painting was believed to be a portrait of Raphael as the sitter slightly resembles his self portrait in The School of Athens of 1509--11 (Vatican). It is not, however, by Raphael and is probably not a portrait of him either. It was previously described as Umbrian and possibly Bolognese. At one time it ... | In the past this painting was believed to be a portrait of Raphael as the sitter slightly resembles his self portrait in The School of Athens of 1509--11 (Vatican). It is not, however, by Raphael and is probably not a portrait of him either. It was previously described as Umbrian and possibly Bolognese. At one time it ... | [
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0FAX-0001-0000-0000 | The coronation of the Virgin is an episode related in biblical apocrypha, occurring upon her arrival in heaven following the Assumption (when angels carried her body and soul to heaven three days after her death). The subject gained popularity in the thirteenth and fourteenth centuries, and depictions of it typically s... | Paintings of the coronation of the Virgin Mary typically show her being crowned by Christ and God the Father, often accompanied by the Holy Ghost in the form of a dove. This work, however, mixes elements of the coronation with those of Mary's assumption (when angels carried her body and soul to heaven three days after ... | [
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0FCI-0001-0000-0000 | In 1621, at the age of ten, Ferdinand II de' Medici succeeded his father Cosimo II as Grand Duke of Tuscany, assuming power in 1627. He is shown here with Vittoria della Rovere, his wife; the couple had married in 1634.
Ferdinand wears a commander’s sash and the cross of the military order of San Stefano. In his right... | In 1621, at the age of ten, Ferdinand II de' Medici succeeded his father Cosimo II as Grand Duke of Tuscany, assuming power in 1627. He is shown here with Vittoria della Rovere, his wife; the couple had married in 1634.
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0FEU-0001-0000-0000 | This picture was made for King Charles I of England and given to him by Rubens in 1630. The most famous artist in the world at the time, Rubens was also a skilled negotiator and he had come to London as more than just a painter -- he was an envoy of Philip IV of Spain. The two countries had been at war for five years a... | This picture was made for King Charles I of England and given to him by Rubens, who was acting as an envoy of Philip IV of Spain, in 1630. The two countries had been at war for five years and both sides were keen for a peace deal. The painting is an allegory, the figures representing different virtues and other abstrac... | [
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0FOW-0001-0000-0000 | The sitter, wearing a lynx-lined coat, holds up a medal showing a bearded man dressed as a cardinal; the Latin inscription identifies him as Mercurio Arbono di Gattinara, Grand Chancellor to Emperor Charles V. The sitter is probably Alfonso de Valdés, one of Gattinara's closest associates.
Judging from the costume, th... | The sitter, wearing a lynx-lined coat, holds up a medal showing a bearded man dressed as a cardinal; the Latin inscription identifies him as Mercurio Arbono di Gattinara, Grand Chancellor to Emperor Charles V. The sitter is probably Alfonso de Valdés, one of Gattinara's closest associates.
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0FK8-0001-0000-0000 | Giovanni da Milano, as his name suggests, came from a town near Milan but spent much of his working life in Tuscany. His name first appears in records in Florence in 1346. It has been suggested that he also spent some time during the 1340s in the nearby town of Siena. Giovanni painted large altarpieces, wall paintings ... | Giovanni da Milano spent much of his career in Tuscany, and may have painted this small panel in Siena. Christ and the Virgin are shown as King and Queen of Heaven, carrying orbs and sceptres. Images of them seated on a double throne are rare, though there are a few examples by Sienese painters that Giovanni may have s... | [
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0FRV-0001-0000-0000 | The objects in this still life appear simple and modest, but in the artist's own time they would have been recognised as costly and luxurious. Luscious strawberries spill from an expensive Wanli bowl, imported from China. Olives glisten in a pewter dish and a salmon is cradled in its own crisp skin and sprinkled with c... | The objects in this still life appear simple and modest, but in the artist's own time they would have been recognised as costly and luxurious. Luscious strawberries spill from an expensive Wanli bowl, imported from China. Olives glisten in a pewter dish and a salmon is cradled in its own crisp skin and sprinkled with c... | [
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0FJN-0001-0000-0000 | This is one of a pair of panels from a piece of painted furniture, a cassone (large chest). The panels show a story from the life of the Roman Emperor Trajan, widely known from Jacopo da Voragine’s Golden Legend of about 1260 and retold by Dante in the Divine Comedy in the early fourteenth century.
Trajan was preparin... | This is the second of a pair of panels from a piece of painted furniture, a cassone (large chest). The panels show a story from the life of the Roman Emperor Trajan, widely known from Jacopo da Voragine’s Golden Legend of about 1260 and retold by Dante in the Divine Comedy in the early fourteenth century.
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0IJC-0001-0000-0000 | The Lottery in Piazza di Montecitorio shows Panini's gift as both a master of architectural perspective and a painter of picturesque scenes of everyday life. In this monumental painting, a large crowd awaits the results of a lottery draw, which is taking place on the balcony of the Palazzo di Montecitorio, Rome. The lo... | This monumental painting shows a large crowd awaiting the results of a lottery draw, which is taking place on the balcony of the Palazzo di Montecitorio in Rome. A man has released the winning ticket into the air -- you can just make out a small piece of paper fluttering towards the excited group beneath.
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0JRO-0001-0000-0000 | A mountain massif in central Switzerland, Mount Rigi rises above the waters of Lakes Lucerne, Zug and Lauerz, its main summit reaching some 1,800 metres above sea level. Turner had painted a series of iconic watercolours of its majestic profile under varying light conditions during a series of visits to Lucerne in the ... | A mountain massif in central Switzerland, Mount Rigi rises above the waters of Lakes Lucerne, Zug and Lauerz, its main summit reaching some 1,800 metres above sea level. This view is from Mount Rigi itself, looking west over Lake Lucerne to Mount Pilatus. To the left stands the Bürgenstock, with the Stanserhorn behind.... | [
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0GB8-0001-0000-0000 | This portrait by Jean-Léon Gérôme is of his younger brother, Claude-Armand. It is related to an almost full-length portrait that was exhibited at the Paris Salon of 1848 (Fitzwilliam Museum in Cambridge), and it is possible that it is a preparatory study. Born in 1827, Claude-Armand was 21 when the portrait was painted... | This portrait by Jean-Léon Gérôme is of his younger brother, Claude-Armand, who is dressed in the uniform of the École Polytechnique, a prestigious school of higher education in Paris. It is related to an almost full-length portrait that was exhibited at the Paris Salon of 1848 and which is now in the Fitzwilliam Muse... | [
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0G25-0001-0000-0000 | Knees apart and hand placed confidently on her knee, this imperious lady looks down -- but not at us. Her twisted pose is tense and defensive: she looks as though she is clasping an imaginary shield while showing off the luxurious fabric of her sleeve, woven with gold. Six dolphin-like creatures adorned with spikes and... | This imperious lady once looked down from the walls of the studiolo (study) at Belfiore, the hunting retreat belonging to the dukes of Ferrara, part of a decorative scheme showing the nine Muses. The theme was chosen by Leonello d’Este, Duke of Ferrara, and was begun by a painter called Angelo da Siena. After Leonello'... | [
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0GN5-0001-0000-0000 | A bearded saint stands in a scalloped niche in this small painting. This is Saint Paul, the so-called Apostle to the Gentiles (non-Jews), holding his usual emblems of a book and a sword. Paul was a Jewish convert to Christianity. He was originally hostile to the new faith -- he took part in the stoning of Saint Stephen... | A bearded saint stands in a scalloped niche in this small painting. This is Saint Paul, the so-called Apostle to the Gentiles (non-Jews), holding his usual emblems of a book and a sword. Paul was a Jewish convert to Christianity. He was originally hostile to the new faith but experienced a dramatic conversion on the ro... | [
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0GFC-0001-0000-0000 | The theme of this painting goes back to the early sixteenth century and derives from the earlier idea of the danse macabre (dance of death), in which the figure of Death summons people from all stations of life and dances them towards the grave. It symbolised the fact that no one, king or commoner, could escape death. ... | This oil sketch was painted in preparation for a large picture of 1872 (now in the Clark Art Institute, Williamstown, Massachusetts). Puvis de Chavannes used it to work out the composition and colour harmonies for a scene in which a group of girls pick flowers in a meadow, oblivious to the sleeping figure of Death.
Th... | [
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0GOL-0001-0000-0000 | This is the lunette, or upper panel, of the altarpiece painted by Francesco Zaganelli for the chapel of the Visitation in the church of S. Andrea in Vineis, Faenza (the church was rebuilt in the eighteenth century and rededicated as S. Domenico, Faenza).
The dead Christ sits on the lid of his stone tomb, supported by ... | This is the lunette, or upper panel, of an altarpiece for the chapel of the Visitation in S. Andrea in Vineis, Faenza. The dead Christ sits on the lid of his stone tomb supported by two angels. The lid is placed obliquely so that it appears to project into our space, as do Christ's legs. Zaganelli has painted Christ's ... | [
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0FZZ-0001-0000-0000 | Boltraffio is known as Leonardo's best student, and was particularly praised for his portraiture. Isabella Sforza, the wife of Leonardo's patron in Milan, the Duke of Sforza, wrote that Boltraffio was 'highly skilled' in this area.
The profile view was a formal pose derived from medals, which themselves resembled anci... | The man in this portrait was once thought to be Gerolamo Casio, a poet from Bologna. He and Boltraffio knew one another and Casio even mentioned Boltraffio's skill at painting in his sonnets.
This attractive idea is now doubted, but there's no question that the work is by Boltraffio. One of Leonardo's apprentices in M... | [
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0GE4-0001-0000-0000 | The Virgin Mary supports her son’s head with one hand and his chubby leg with the other, laying him down on her deep blue cloak. The child's raised leg lifted to one side shows his genitals, proving this is a human child -- the son of man and the son of God, as had been promised in the scriptures. Christ sleeps, but ho... | The Virgin Mary supports her son's head with one hand and his chubby leg with the other, laying him down on her deep blue cloak. Her husband, Joseph, lies asleep behind them. Christ's raised leg lifted to one side shows his genitals, proving that he is a human child -- the son of man and the son of God, as had been pro... | [
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0G11-0001-0000-0000 | This unknown lady stands beside a table covered with an Ottoman carpet on which her small dog is lying. During the sixteenth century, Turkish carpets such as this one were luxury items and it was usual for them to be displayed on a table rather than placed on the floor.
The lady’s hands rest affectionately on the litt... | This unknown lady stands beside a table covered with an expensive Ottoman carpet on which her small dog is lying. Her hands rest affectionately on the little dog’s back, while its paw lies on the inside of her arm. Dogs were often included in portraits to symbolise the sitter’s faithfulness, which may be the case here.... | [
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0GJ0-0001-0000-0000 | Buildings crumble and collapse along a seashore harshly illuminated against a dark sky. These unstable structures are probably assembled from elements of ancient and modern architecture familiar to the artist. The domed building beside a Gothic church-like tower with damaged stained glass windows is based on the ancien... | Buildings crumble and collapse along a seashore harshly illuminated against a dark sky. These unstable structures are probably assembled from elements of ancient and modern architecture familiar to the artist. The domed building beside a Gothic church-like tower is based on the ancient Temple of Vesta at Tivoli, near R... | [
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"short_text": "CC BY 4.0",
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"terms_of_use": "https://www.nationalgallery.org.uk/terms-of-use"
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0G1L-0001-0000-0000 | It is the end of the day, and a fishing boat heads into a secluded inlet, guided by a lone figure in a distinctive red cap. To the right is a wooded promontory, the branches of the trees stretching out over the water. The far shore of the lake is indicated with a series of brushstrokes in light green paint, and misty h... | It is the end of the day, and a fishing boat heads into a secluded inlet, guided by a lone figure. To the right is a wooded promontory, the branches of the trees stretching out over the water. The sun’s last rays are caught by one or two of the clouds, but the overall light is pearly, and the blue sky fades to creams a... | [
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0GH0-0001-0000-0000 | Christ’s body has been taken down from the Cross and brought to be entombed by his grief-stricken mourners. His lifeless corpse rests against his mother’s knees. His forehead, still crowned with thorns, seeps blood that trickles along his neck. The Virgin Mary looks down at her son and gently touches his hair and face.... | Christ’s body has been taken down from the Cross and brought to be entombed by his grieving mourners. The Virgin Mary gently touches her son's hair and face. Mary Magdalene, her long hair uncovered, takes Christ’s hand tenderly in her own. Beside her, one of the holy women present at the Crucifixion wipes her eyes. Sai... | [
"high Renaissance"
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0GKH-0001-0000-0000 | The Virgin Mary sits in the countryside outside a distant town, holding the naked, wriggling Christ Child on her lap. Archangel Michael is identified by his name inscribed on the neckline of his robes. Saint Veronica holds the veil on which the image of Christ’s face was miraculously imprinted when he passed her on his... | The Virgin Mary sits in the countryside outside a distant town, holding the naked, wriggling Christ Child on her lap. Archangel Michael is identified by his name inscribed on the neckline of his robes. Saint Veronica holds the veil on which the image of Christ’s face was miraculously imprinted when he passed her on his... | [
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"short_text": "CC BY 4.0",
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"terms_of_use": "https://www.nationalgallery.org.uk/terms-of-use"
} |
0FZJ-0001-0000-0000 | This small oil sketch on paper, mounted on canvas at a later date, shows a dense mass of trees in a deep ravine. At the bottom of the picture you can just see the tops of some pale pink flowering plants, suggesting that we are at the edge of a cliff (which continues on the left of the painting) looking across a gully t... | This small oil sketch on paper, mounted on canvas, shows a dense mass of trees in a deep ravine. At the bottom of the picture some pale pink flowering plants suggest that we are at the edge of a cliff looking across a gully that drops steeply below us. Including these flowers and the tall tree on the right increases th... | [
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"terms_of_use": "https://www.nationalgallery.org.uk/terms-of-use"
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0G92-0001-0000-0000 | The Virgin Mary looks away, seemingly deep in thought, as the infant Christ leans forward from her lap to touch his cousin Saint John the Baptist beneath the chin. Christ’s pose and gesture are extremely unusual in Italian art of this time. He supports himself by holding on to his mother’s neck with his left hand, whil... | The Virgin looks away as the infant Christ leans forward to touch his cousin Saint John the Baptist under the chin. The presence of the infant Saint John suggests the influence of Florentine art, as he is rare in Venetian art before this date. There are several versions of this design which may date from around 1506, w... | [
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"style": "CC0",
"terms_of_use": "https://www.nationalgallery.org.uk/terms-of-use"
} |
0G7K-0001-0000-0000 | A young man is shown in half length, his body turned slightly but with his gaze fixed firmly on us. His black jacket, buttoned down the front, and ribbon tied around his white shirt cuff imply that he is a man of some means. His features are quite particular – a wide mouth, long and prominent nose, dark wavy hair and b... | A young man is shown in half length, his body turned slightly but with his gaze fixed firmly on us. His features are quite particular – a wide mouth, long and prominent nose, dark wavy hair and brown eyes – but his identity remains a mystery. He is clearly a painter: he holds a brush in one hand, with which he is mixin... | [
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} |
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