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0G28-0001-0000-0000 | This small picture could be the ruined remains of a competently painted portrait -- it's in very poor condition, but the near eye has a complex catchlight consisting of at least three brushstrokes.
There are large losses of paint in the upper third, along the top edge and extending into the hat and forehead. The paint... | This small picture could be the ruined remains of a competently painted portrait -- it's in poor condition, but the near eye has a complex catchlight consisting of at least three brushstrokes. The surface is badly rubbed, much repainted and obscured by dirt and discoloured varnishes. Thin brown overpaint covers the man... | [
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0GCP-0001-0000-0000 | Saint Anthony of Padua, wearing the grey habit of the Franciscan Order to which he belonged, stands before the infant Christ. A white lily, Saint Anthony’s attribute, lies at Christ’s feet and the saint splays his hands in a gesture of adoration as Christ reaches out to embrace him.
The Christ Child’s upturned feet an... | Saint Anthony of Padua, wearing the grey habit of the Franciscan Order to which he belonged, stands before the infant Christ. A white lily, Saint Anthony’s attribute, lies at Christ’s feet and the saint splays his hands in a gesture of adoration as Christ reaches out to embrace him. The Christ Child’s upturned feet and... | [
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0GKC-0001-0000-0000 | Saint Anthony was revered for his devotion to the sick and the poor, but here we see one of the stranger episodes in his life. A young man named Leonardo confessed to the saint, who was then a Franciscan friar, that he had kicked his mother. Anthony replied, 'The foot of him who kicks his mother deserves to be cut off'... | This is a preparatory sketch for one of a series of eight frescoes that Giordano painted on the walls just below the dome of the church of San Antonio de los Alemanes in Madrid. The frescoes depict miracles performed by Saint Anthony, and this sketch represents one of the stranger episodes in his life. When a young man... | [
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0GAY-0001-0000-0000 | Willem Maris trained at the Hague Drawing Academy, as did his two older brothers, Jacob and Matthijs, who were also artists. His paintings are of traditional Dutch subjects -- particularly animals and landscapes -- but painted in a lyrical manner that, in his later work, comes close to French Impressionism. His favouri... | Willem Maris trained at the Hague Drawing Academy, as did his two older brothers, Jacob and Matthijs, who were also artists. His paintings are of traditional Dutch subjects -- particularly animals and landscapes -- but painted in a lyrical manner that, in his later work, comes close to French Impressionism. His favouri... | [
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0G7E-0001-0000-0000 | Christ carries the Cross on which he will be crucified to Golgotha, the site of his execution (John 19: 17). He is surrounded by soldiers and guards who goad him on his way as he struggles under the weight of the Cross. His body is doubled over and large teardrops fall down his face. The thorns plaited around his head ... | Christ carries the Cross on which he will be crucified to Golgotha, the site of his execution (John 19: 17). He is surrounded by soldiers and guards who goad him on his way as he struggles under the weight of the Cross. His body is doubled over and large teardrops fall down his face. The thorns plaited around his head... | [
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0GND-0001-0000-0000 | This is a view of Lake Thun, which is on the River Aare in the Bernese Oberland (Bernese Highlands), Switzerland. We are looking south from the northern shore of the lake. The sunlit snowy peak in the distance has been identified as the Blümlisalp, but it also has some resemblance to the Jungfrau.
Raised near Lake Gen... | This is a view of Lake Thun on the River Aare in the Berner Oberland (Bernese Highlands), Switzerland. The sunlit snowy peak in the distance has been identified as the Blümlisalp, but it also has some resemblance to the Jungfrau.
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0G4Y-0001-0000-0000 | Christ stands upright with the support of his mother, the Virgin Mary. He holds a transparent crystal orb and is clutching his semi-transparent drapery, which hangs over one shoulder like a Roman toga. He is intended to look like a miniature Roman emperor, a pose which conveys his spiritual authority even though he's s... | Christ stands upright with the support of his mother, the Virgin Mary. He holds a transparent crystal orb and is clutching his semi-transparent drapery, which hangs over one shoulder like a Roman toga. He is intended to look like a miniature Roman emperor, a pose which conveys his spiritual authority even though he's s... | [
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0G4I-0001-0000-0000 | Demand for Bellini's small-scale images of the Virgin Mary and Christ Child was so high that he had a large workshop of assistants who worked under his supervision, producing paintings in his style. And while they made a number of such images, each was different.
Here the child is dressed in a white tunic, a gold clot... | Demand for Bellini's small-scale images of the Virgin and Child was so high that he had a large workshop of assistants who worked under his supervision, producing paintings in his style.
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0HOK-0001-0000-0000 | Domesticity reigns in this exquisite little picture. A delightfully pretty Virgin Mary balances a squirming, curly-haired Christ Child on her knee. She herself is perched rather precariously on a laundry basket, and her nephew, the young Saint John the Baptist dressed in an animal skin, tugs at her blue mantle. On th... | Domesticity reigns in this exquisite little picture. A delightfully pretty Virgin Mary balances a squirming, curly-haired Christ Child on her knee. She herself is perched rather precariously on a laundry basket, and her nephew, the young Saint John the Baptist, tugs at her blue mantle. On the other side the elderly Sai... | [
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0G5E-0001-0000-0000 | An enormous, almost grotesque pile of fish is brilliantly illuminated amid the gloom of its surroundings. The heap seems to consist mainly of skate, and propped up against it is what may be a red mullet, its mouth open seemingly from its last gasp. A second such fish lies at an angle directly underneath, its head propp... | An enormous, almost grotesque pile of fish is brilliantly illuminated amid the gloom of its surroundings. The heap seems to consist mainly of skate, but propped up against it is what may be a red mullet. Other highlighted objects break up the gloom, from the saucepan hanging up at the right to the brass interior of the... | [
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0GA7-0001-0000-0000 | It is unusual to see these four images grouped together like this. This arrangement and the evidence of hinges at the panel's right edge suggest that it was once part of a larger work, perhaps a diptych or a triptych where -- along with another panel with multiple images -- it would have framed a central picture, now l... | It is unusual to see these four images grouped together like this. This arrangement and the evidence of hinges at the panel's right edge suggest that it was once part of a larger work made up two or more connected panels.
Clockwise from top left, we see the coronation of the Virgin (when Christ crowned his mother the ... | [
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0G3A-0001-0000-0000 | This landscape is typical of Diaz's late work, which was imbued with strong natural and dramatic effects. The view is across the desolate heathlands near the village of Barbizon, and features rocky outcrops in the scrub and a few sparse trees. A path runs through the plain, leading the eye into the composition . The c... | This landscape, imbued with strong natural and dramatic effects, is typical of Diaz’s late work. The view is across the desolate heathlands near the village of Barbizon. The combination of the dominant stormy sky with its mass of grey clouds and the bleak plain conjures up the terrors of a storm out in the open. The sk... | [
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0GA6-0001-0000-0000 | This was the last of the four battle scenes that Vernet painted for the duc d'Orléans. Completed in April 1826, Vernet received 10,000 francs for it. Along with The Battle of Jemappes, it was one of the battles in which the duke himself had fought. His involvement was so well-known that he acquired the nickname 'Monsi... | The Battle of Valmy was the French army's first major victory during the wars that followed the French Revolution of 1789. It was both a strategic and a psychological victory for the new French government and helped ensure the survival of the Revolution, which was to transform Europe. The battle took place on 20 Septem... | [
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0FYK-0001-0000-0000 | The marshy pond in the left foreground blends into land rising to a small hill on the right, where two buildings are nestled behind a row of tall trees. Coubron, which lies to the east of Paris, was the home of Corot's friends the Gratiots, and he made the first of many visits there in 1867. By the early 1870s Corot wa... | The marshy pond in the left foreground blends into land rising to a small hill on the right, where two buildings are nestled behind a row of tall trees. In 1867 Corot made the first of many visits to Coubron, which lies to the east of Paris. During a visit in April 1873 he made a sketch in the nearby woods, from which... | [
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0GF5-0001-0000-0000 | In 1750 Giovanni Battista Tiepolo travelled to Würzburg in Germany, together with his sons Lorenzo and Domenico, to paint a series of frescoes in the Residenz, the archbishop's palace. This painting is a small oil sketch after one of those scenes, probably made by his son Domenico.
It shows Frederick Barbarossa, Holy ... | During the early 1750s, the Venetian artist Giovanni Battista Tiepolo painted a series of frescoes (a type of wall painting made directly onto wet plaster) for the archbishop's palace in Würzburg in Germany. This picture is a small oil sketch after one of those scenes, probably made by his son Domenico.
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0GBE-0001-0000-0000 | There is a swagger, even an arrogance, in the bearing of this man who meets our eye so directly and seems so at ease with himself. This is an undated self portrait, and going by what his contemporaries said about the artist -- Jan Lievens -- we shouldn’t be surprised at his self-confident air. In the 1650s, when he wa... | There is a swagger, even an arrogance, in the bearing of this man who meets our eye so directly and seems so at ease with himself. This is a self portrait, and going by what his contemporaries said about the artist -- Jan Lievens -- we shouldn’t be surprised at his self-confident air. An English ambassador, Sir Robert ... | [
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0GCV-0001-0000-0000 | This is one of four paintings made to decorate a pair of shutters. Each of the shutters was painted with a saint on the outside and an angel on the inside. The central image they would once have flanked and protected is now missing, but it is likely to have represented the Virgin Mary crowned in the heavens. We know th... | This is one of four paintings made to decorate a pair of shutters. Each of the shutters had a saint on the outside and an angel on the inside. The central image they would once have flanked is now missing, but is likely to have represented the Virgin Mary crowned in the heavens.
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0GFY-0001-0000-0000 | Both the bridge and our position in relation to it are very similar to an oil painting by Jacob Maris’s brother, Matthijs Maris, titled The Nieuwe Haarlemse Sluis on the Singel (also known as Souvenir d’Amsterdam) (Rijksmuseum, Amsterdam). Painted in 1871 while he was living in Paris, Matthijs’s picture was based upon ... | The everyday quality of this simple functional bridge may have particularly appealed to Jacob Maris, and he paints it without embellishment or narrative incident. He also made a watercolour of the same view in 1875, but in this oil painting he emphasises the bridge's monumentality by increasing the distance between it ... | [
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0GOU-0001-0000-0000 | In this small painting, the Virgin Mary sits on an enormous and elaborately decorated throne in front of a distant landscape. The idea of raising the Virgin and Child on a vast, ornate structure was doubtless a very ancient one, but it was perhaps popularised in the Low Countries by Quinten Massys, as in The Virgin and... | In this small painting, the Virgin and Christ Child sit on an enormous and elaborately decorated throne in front of a distant landscape. Christ's outstretched arms recall the Crucifixion, as do the cross and whip he holds.
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0G9R-0001-0000-0000 | Views of the river Seine in Paris, with its many quays and bridges, were a favourite subject for Stanislas-Victor-Edmond Lépine and form a substantial part of his work. He was especially drawn to the Pont de la Tournelle, whose backdrop included wide views of the river and some of the city’s oldest areas. Made of stone... | Views of the Seine and its many bridges were a favourite subject for Stanislas-Victor-Edmond Lépine. The arched stone Pont de la Tournelle we see here connected the left bank of the river to the Ile Saint-Louis. It was constructed in 1654 and replaced in 1928 by the bridge that exists today.
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0GIH-0001-0000-0000 | Whatever the purpose of this picture, the subject -- a shabby man clutching an ale mug and pipe, his eyes cast to the ceiling as if searching in vain for a thought -- is meant to be an object of ridicule. It has been suggested that the image might be a vanitas, an allegory of the fleeting nature of life, gone like a pu... | Whatever the purpose of this picture, the subject -- a shabby man clutching an ale mug and pipe, his eyes cast to the ceiling as if searching in vain for a thought -- is meant to be an object of ridicule. It has been suggested that the image might be a vanitas, an allegory of the fleeting nature of life, gone like a pu... | [
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0EA0-0001-0000-0000 | Adam, wearing an apron of leaves, and Eve, still naked, stand between the Tree of Knowledge of Good and Evil and the Tree of Life. Adam has just tasted the apple that Eve holds, while the serpent watches from above. In the background is the Garden of Eden with the richly decorated Fountain of Life in the centre.This is... | Adam, wearing an apron of leaves, and Eve, still naked, stand between the Tree of Knowledge of Good and Evil and the Tree of Life. Adam has just tasted the apple that Eve holds, while the serpent watches from above. In the background is the Garden of Eden with the richly decorated Fountain of Life in the centre.This is... | [
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0NAK-000A-0000-0000 | Floris van Dijck was one of the most important pioneers of so-called ‘display piece’ still lifes. His works are very rare but were highly influential. Almost all his compositions centre on a stack of cheeses on a plate seen from a high viewpoint so that the various elements of the composition are seen to their best adv... | Floris van Dijck was one of the most important pioneers of so-called ‘display piece’ still lifes. His works are very rare but were highly influential. Almost all his compositions centre on a stack of cheeses on a plate seen from a high viewpoint so that the various elements of the composition are seen to their best adv... | [
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0HKE-0001-0000-0000 | These two pairs of saints were originally the side panels for an altarpiece painted by Antonio Vivarini in collaboration with his brother-in-law Giovanni d'Alemagna, whose name suggests he originally came from Germany. The Vivarinis ran a successful family workshop in Venice in the second half of the fifteenth and earl... | These two pairs of saints were originally the side panels for an altarpiece painted by the Vivarinis, a Venetian family of artists working in the second half of the fifteenth century. The central panel, showing the Virgin and Child enthroned, is now in the Museo di San Tommaso Becket Martire in Padua, although the alta... | [
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01D4-000B-0000-0000 | King Ahasuerus’s second wife, Esther, learns that the King’s chief minister is plotting to have all the Jews in the Persian Empire massacred. Esther intercedes with the King and eventually he grants her request to spare her people. The intense colours create an impression of exotic splendour, while strong light heighte... | King Ahasuerus’s second wife, Esther, learns that the King’s chief minister is plotting to have all the Jews in the Persian Empire massacred. Esther intercedes with the King and eventually he grants her request to spare her people. The intense colours create an impression of exotic splendour, while strong light heighte... | [
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0HZO-0001-0000-0000 | Venice: The Punta della Dogana and Venice: The Guidecca with the Zitelle were painted as a pair and intended to be hung together. They show views of where the Venetian Lagoon meets the mouth of the Grand Canal on the east side of Venice (the island of Guidecca is even visible on the far left of The Punta della Dogana).... | Venice: The Punta della Dogana and Venice: The Guidecca with the Zitelle were painted as a pair and intended to be hung together. They show views of where the Venetian Lagoon meets the mouth of the Grand Canal on the east side of Venice (the island of Guidecca is even visible on the far left of The Punta della Dogana).... | [
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0HHG-0001-0000-0000 | This portrait diptych shows father and son, future electors of Saxony Johann the Steadfast (1468--1532) and Johann Friedrich the Magnanimous (1503--1554). The format was traditionally used to show a husband and wife, with the man depicted on the left and the woman on the right. Johann’s wife, Sophie of Mecklenburg, die... | These joined portraits depict two future electors of Saxony, Johann the Steadfast and his son, Johann Friedrich the Magnanimous -- Cranach worked as court painter to successive electors from 1505 until his death in 1553. The coats of arms on the back of the right panel help to confirm their identities.
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0EI4-0001-0000-0000 | Winged Father Time unveils Truth, who is dressed in white and rests her foot on a globe, symbolising the Earth from which she has sprung. With her left hand, Truth unmasks Deceit, while with her right she gestures to the four cardinal virtues: Prudence, holding a snake; Temperance, carrying a water jug; Justice, with s... | Winged Father Time unveils Truth, who is dressed in white and rests her foot on a globe, symbolising the Earth from which she has sprung. With her left hand, Truth unmasks Deceit, while with her right she gestures to the four cardinal virtues: Prudence, holding a snake; Temperance, carrying a water jug; Justice, with s... | [
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0EMB-0001-0000-0000 | The two women in this portrait, Dorothy and Elizabeth, were the eldest surviving daughters of Thomas, 1st Viscount Savage. It was once thought that the picture was painted around the time of Dorothy’s scandalous elopement in 1637, and that she was the sister seated on the right, receiving the roses that were an attribu... | Anthony van Dyck was largely responsible for introducing the double or ‘friendship’ portrait to Britain. The informal composition of this painting as well as the quantities of shimmering silk on display perfectly illustrate the appeal of Van Dyck’s new style to aristocratic British patrons eager for innovation.
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0EAB-0001-0000-0000 | This painting was the right half of a decorative panel commissioned by Jean Schopfer, a writer who published under the pen name Claude Anet. In 1935, over 30 years after its completion, Vuillard cut the panel into two and reworked it; the other half, La Terrasse at Vasouy, the Garden, is also in the National Gallery’s ... | This painting was the right half of a decorative panel commissioned by Jean Schopfer, a writer who published under the pen name Claude Anet. In 1935, over 30 years after its completion, Vuillard cut the panel into two and reworked it; the other half, La Terrasse at Vasouy, the Garden, is also in the National Gallery’s ... | [
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0ECE-0001-0000-0000 | A country track leads from the left foreground between two outcrops of tree-covered rocks, around a limpid pool and towards the distant mountains. In the foreground a man wearing a classical tunic rests by the side of the track. He looks towards a second man in the middle distance, who ties his sandal. In the backgroun... | A country track leads from the left foreground between two outcrops of tree-covered rocks, around a limpid pool and towards the distant mountains. In the foreground a man wearing a classical tunic rests by the side of the track. He looks towards a second man in the middle distance, who ties his sandal. In the backgroun... | [
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0CTX-0001-0000-0000 | A colourful hanging tapestry has been swept to one side to reveal a young woman seated at a keyboard. It appears to be dark outside this elegant room: a blue curtain covers the top part of the window, but the glass below it is black.The light which gleams on the curves of the base viol in the foreground and glints in t... | It appears to be dark outside this elegant room: a blue curtain covers the top part of the window, but the glass below it is black. The light which glints in the heavily dilated pupils of the woman seated at the keyboard comes from in front of the painting, an unusual effect for Vermeer.
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0F1P-0001-0000-0000 | This painting is part of Romanino's high altarpiece for S. Alessandro in Brescia. It is situated to the right of the main panel of the Nativity and shows the theologian, priest and historian, Saint Jerome, who lived in Constantinople and Rome. As secretary to Pope Damasus I, Jerome made the first translation of the Bib... | This painting is part of Romanino's high altarpiece for S. Alessandro in Brescia. It is situated to the right of the main panel of the Nativity and shows the theologian, priest and historian, Saint Jerome (347--420), who lived in Constantinople and Rome.
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0D3Z-0001-0000-0000 | This panel is part of a group of images that formed the predella of an altarpiece made by Fra Angelico for the church of San Domenico, Fiesole, near Florence. Its saints look towards the central panel and to Christ, who appears on it, resurrected from the dead.
The Virgin Mary kneels at the top right, a blue cloak ove... | This panel comes from the predella (the lowest part) of an altarpiece made for the church of San Domenico, Fiesole, near Florence. Its saints face right toward the central panel, which shows Christ in glory after his resurrection from the dead.
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0EU1-0001-0000-0000 | We don't know who this little girl was, but she was clearly the daughter of very rich parents. She wears a black, gold and white cap decorated with black beads, real and artificial flowers and tassels, as well as an ornament on her right ear. Her collar seems to be lace and her dark blue dress is perhaps decorated with... | We don't know who this little girl was, but she was clearly the daughter of very rich parents. She wears a black, gold and white cap decorated with black beads, real and artificial flowers and tassels, as well as an ornament on her right ear. Her collar seems to be lace and her dark blue dress is perhaps decorated with... | [
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0EF8-0001-0000-0000 | Corot left Paris in April 1871 to escape the Commune, a revolutionary government which had taken power in March following France's defeat in the Franco-Prussian war. In May he stayed with his friend and fellow artist Alfred Robaut at Douai. Robaut spent a number of years compiling a catalogue of Corot’s work, which was... | This view is one of a number painted by Corot during his stay in north-east France in the spring and summer of 1871. In May he stayed with his friend and fellow artist Alfred Robaut at Douai. Robaut later wrote that this work, painted in just a few hours, was a copy after one of his own sketches, faithful in all respec... | [
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0EAL-0001-0000-0000 | This is the interior of a brothel. On the left, three men drink with the women who work there, whose skirts are hoisted up to show their legs. On the right we see a group of entertainers: a boy is doing a headstand on a stool, a small dog has perhaps already jumped through the metal hoop on the floor. An unkempt man wi... | This is the interior of a brothel. On the left, three men drink with the women who work there, whose skirts are hoisted up to show their legs. On the right, we see a group of entertainers: a boy does a headstand on a stool; a small dog has perhaps already jumped through the hoop on the floor. An unkempt man with bagpip... | [
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0EPY-0001-0000-0000 | Andrea Gritti (1455--1538) was elected doge of Venice in 1523 and this painting was probably made soon afterwards. He wears his robes of office: a golden cap, known as a corno, and a golden silk damask robe with a red lining. The linen head cloth, called a rensa, under the corno should have a string hanging down to ti... | Andrea Gritti (1455--1538) was elected doge (head of the Venetian state) in 1523, and this painting was probably made soon afterwards. He wears his robes of office and on his left hand is a gold ring with a device representing the doge kneeling before Saint Mark, patron saint of Venice.
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0F98-0001-0000-0000 | Alexander the Great (356--323 BC) drinks medicine given to him by Philip, his doctor. Philip has been accused of treachery in a letter, which he is reading aloud to Alexander. Hands raised in horror, eyes widened, their companions wait to discover the truth. Alexander gazes towards Philip to acknowledge his innocence a... | Alexander the Great (356–323 BC) lies on a bed drinking medicine given to him by Philip, his doctor. Philip has been accused of treachery against his leader in a letter, which he is reading aloud to Alexander. Hands raised in horror, eyes widened, their companions wait to discover the truth. Alexander gazes towards Phi... | [
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0D5V-0001-0000-0000 | A young woman in armour, her horse tied to a tree behind her, has wandered into a kind of rustic concert. A shepherd and his family are sitting outside their cottage -- you can see the thatch of the roof in the top left corner and their sheep are in a pen in the middle of the picture. The elderly father is weaving ba... | A young woman in armour, her horse tied to a tree behind her, has wandered into a kind of rustic concert. A shepherd and his family are sitting outside their cottage; the elderly father weaves baskets out of reeds and his sons hold musical instruments.
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0F0S-0001-0000-0000 | Bartholomeus Breenbergh was an artist blessed with a vivid imagination and great skills in the painting of Antique monuments. He shows us an Old Testament story taking place in a completely imaginary Egypt, with luxuriant European foliage under a grey Northern sky and includes as many exquisitely detailed portrayals of... | Breenbergh shows us an Old Testament story taking place in an imaginary Egypt, with luxuriant European foliage under a grey Northern sky and exquisitely detailed portrayals of antiquities: obelisks, a column, a pyramid and a stela (a carved commemorative slab of stone). Not all these antique objects are Egyptian but Br... | [
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0F39-0001-0000-0000 | An elderly but muscular man with an impressive beard sits in a rocky landscape. Beside him is a pile of books, on top of which sits a skull wearing a cardinal's hat. He leans on a second pile, and points to the text of an open volume resting on a rocky ledge.
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0FLH-0001-0000-0000 | This isn’t a portrait of a person, it is an allegory -- an attempt to represent an idea or, perhaps more accurately, an ideal. We see a young man, upright and slightly aloof as he turns his head to look us directly in the eye.
Much of the painting is in gloom, but his face is bathed in the glow from a window high on t... | This isn’t a portrait -- it is an allegory, an attempt to represent an idea or ideal. Interpreting the symbolism, however, is difficult. We see a young man, upright and slightly aloof as he turns his head to look us directly in the eye.
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0FVZ-0001-0000-0000 | Christ's body hangs limply on the Cross, his head bowed and his eyes closed. A trickle of congealing blood seeps from the wound at his right rib. Just beyond the Cross, in the distance, we can see the figures of the Three Marys, Christ's female followers, on their way home, leaving only the Virgin Mary and John the Eva... | Christ's body hangs limply on the Cross; the torment of his crucifixion is almost over. He is supported in his final moments by the Virgin Mary and his disciple John the Evangelist. Antonello has composed the picture with a low viewpoint; it is as if we are looking up at a Crucifix placed upon an altar. This associatio... | [
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0EV8-0001-0000-0000 | Cows often feature in pastoral landscapes, especially in seventeenth-century Dutch painting. But it is rare for them to be given quite such heroic status as the four monumental beasts which dominate the foreground here. They relegate the shepherd to the hill and the milkmaid, who funnels the results of her labour into ... | Cows often feature in pastoral landscapes, but it is rare for them to be given quite such heroic status as the four monumental brown beasts which dominate the foreground of this large canvas. They relegate the shepherd to the hill and the milkmaid, who funnels the results of her labour into a brass flask, to the sideli... | [
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0FH7-0001-0000-0000 | The Virgin Mary and Christ Child are seated in a leafy grove, accompanied by an angel and the young Saint John the Baptist, Christ's cousin. Saint John wears his traditional camel-skin robe and holds a cross wound with a scroll inscribed ‘ECCE AGNUS DEI’ ('Behold the Lamb of God'), referring to Christ’s future sacrific... | The Virgin Mary and Christ Child are seated in a leafy grove, accompanied by an angel and the young Saint John the Baptist, Christ's cousin. Saint John holds a cross wound with a scroll inscribed ‘ECCE AGNUS DEI’ ('Behold the Lamb of God'), referring to Christ’s future sacrifice for humankind, and presents a lemon to t... | [
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0F2W-0001-0000-0000 | Something -- or someone -- has interrupted the Virgin Mary's reading. The pages of the small Bible on her knee flap as she moves; she appears to recoil from whatever she can see over her right shoulder. The painting has been cut down on all four sides -- Mary's halo has been cut in half -- and was probably part of a la... | Something -- or someone -- has interrupted the Virgin Mary's reading. This panel was probably part of a large image which included the angel Gabriel, the cause of her surprise. Gabriel brought her the news that she would conceive a child by the Holy Ghost, and that he would be the son of God (Luke 1: 26--38). She is se... | [
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0FKL-0001-0000-0000 | This portrait is probably of Francesco Albani, from one of the leading families of Bergamo; the initials 'FA' are painted in reverse on his signet ring. During the sixteenth century Italy was not a unified country, but a series of city states, duchies and republics, under their own or under Spanish or French rule. The ... | This portrait is probably of Francesco Albani, one of the leading citizens of Bergamo; the initials 'FA' are painted in reverse on his signet ring. The Albani supported Venetian rule in Bergamo, and Francesco was created a Knight of San Marco by the Venetians in 1516. This portrait may have been painted in 1517 when he... | [
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0F7X-0001-0000-0000 | The holy family rest as they flee from Bethlehem to Egypt, trying to escape King Herod's order that all boys under two be killed. The Virgin Mary sits on a low wall that encloses a courtyard and a fountain. She has opened her dress and chemise to reveal her right breast, evidently to feed her son. Saint Joseph stands b... | The holy family rest as they flee from Bethlehem to Egypt, trying to escape King Herod's order that all boys under two be killed. Mary sits on a low wall that encloses a courtyard and a fountain. She has opened her dress and chemise to reveal her right breast, evidently to feed her son. Saint Joseph stands behind the w... | [
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0FI8-0001-0000-0000 | The Virgin Mary turns to gaze down at a kneeling male donor and extends a protective arm around his shoulder. The infant Christ looks out directly at the viewer as he rises to his feet on his mother’s lap. Saint John the Baptist holds his attribute of a simple reed cross and points at the lively Christ Child, while Sai... | The Virgin Mary turns to look down at the kneeling man beside her and extends a protective arm around his shoulder. Saint John the Baptist points at the lively Christ Child, while Saint Joseph sleeps with his head on his arm. The diagonals in the composition draw the viewer’s eye to Christ's gaze, which is directed bac... | [
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0FE6-0001-0000-0000 | An old man playing a lute and wearing a bright blue and yellow minstrel’s outfit is the focus of this gloomy tavern scene. He hunches over in concentration as he tunes the strings, one leg propped up on a slab for support and the other stretched out, continuing the diagonal line created by the neck of the instrument. T... | An old man playing a lute and wearing a bright blue and yellow minstrel’s outfit is the focus of this gloomy tavern scene by a follower of David Teniers the Younger. He hunches over in concentration as he tunes the strings; to the left, an old woman holds up sheet music, her mouth slightly open as if ready to sing.
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0FJX-0001-0000-0000 | This panel once formed part of a large polyptych (multi-panelled altarpiece) probably painted in Paris in around 1500. In it, a frightened deer cowers in the arms of an elderly man who wears a black cowl. An arrow -- intended for the animal -- sticks out of his hand, which rests on the deer's back. A richly dressed man... | A deer cowers in the protective arms of an elderly man; an arrow sticks out of his hand, which rests on the deer's back. A richly dressed man and a cleric kneel before him; a group of hunters crowd behind them. The wounded man is Saint Giles, a popular French saint who was mistakenly shot when hunters pursued his tame ... | [
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0FD0-0001-0000-0000 | Previtali shows Christ as Salvator Mundi, or 'Saviour of the World', with a crystal orb in his left hand and his right hand raised in blessing. The orb, surmounted by a golden cross, symbolises Christ's rule on earth. His frontal pose and direct gaze are intended to appeal directly to the worshipper on a personal level... | Christ appears as Salvator Mundi, or 'Saviour of the World', with a crystal orb in his left hand and his right hand raised in blessing, its shadow falling across his breast. The orb, surmounted by a golden cross, symbolises Christ's rule on earth. His direct gaze and frontal pose engage the worshipper on a personal lev... | [
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0G7W-0001-0000-0000 | The Virgin Mary holds the infant Christ close to her, drawing his cheek to her face. The pair are flanked by four saints, but as none of them have specific attributes we can't be sure who they are meant to be. The one holding a book is probably a Franciscan, because he wears their uniform of a brown habit. To the right... | The Virgin holds the infant Christ close to her, drawing his cheek to her face. The pair are flanked by four saints. We can't be sure of their identities, but the one holding a book wears the brown robes of the Franciscans, a religious order of friars.
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0FXN-0001-0000-0000 | In this painting intended for private devotion, Fra Bartolommeo emphasises the humble circumstances of Christ’s birth. The Virgin, in a simple robe and veil, kneels on the ground before the newborn Christ, her arms crossed over her chest in reverence. The baby lies naked on a cloth over a simple bolster, while barefoot... | In this painting intended for private devotion, Fra Bartolommeo emphasises the humble circumstances of Christ’s birth. The Virgin kneels on the ground before the newborn Christ, while barefoot Saint Joseph watches over the baby. The makeshift stable made from the ruins of a classical building stands behind them, outsid... | [
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0GBA-0001-0000-0000 | This small panel painting of the Virgin and Child was, until its theft in the 1970s, one of the earliest pictures in the National Gallery. Only The Virgin and Child Enthroned, with Scenes of the Nativity and the Lives of the Saints -- a large altarpiece -- is of a similar date.
Probably painted in Tuscany in the thirt... | This small panel painting of the Virgin and Child was, until its theft in the 1970s, one of the earliest pictures in the National Gallery. Probably painted in Tuscany in the thirteenth century, it was inspired by Byzantine (Eastern Christian) painting.
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0GDR-0001-0000-0000 | Against a grey sky threatening snow, the people of Dordrecht are out on the ice. In the foreground, a man with a barrel organ chats to a woman. The sharp pink of her jacket is echoed on the saddle cloth of one of the horses on the left, the vivid colour enlivening the muted browns and greys of the rest of the picture. ... | Against a grey sky threatening snow, the people of Dordrecht are out on the ice. In the foreground, a man chats to a woman with a laden basket. The sharp pink of her jacket is echoed on the saddle cloth of one of the horses on the left, the vivid colour enlivening the muted browns and greys of the rest of the picture.
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0GFT-0001-0000-0000 | Jacob Maris was known primarily as a highly successful painter of Dutch landscapes, but he also painted interiors with people and genre subjects. This small intimate picture was painted in Paris, where he lived from 1865 until he returned to the Netherlands in 1871 following the outbreak of the Franco-Prussian War the ... | Jacob Maris was a highly successful painter of Dutch landscapes, but he also painted interiors with people and genre subjects. This small intimate picture was painted in Paris, where he lived from 1865 until 1871.
The woman is almost certainly Maris’s wife. Their first child, Guillaume, was born in April 1868, but die... | [
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0G0W-0001-0000-0000 | Despite the presence of a village in the background, it is not possible to be certain about the location of this pastoral scene. However, the composition is similar to a view of the village of Gisors in Normandy, which Corot painted in October 1873. This picture may be a pared-down view of Gisors, perhaps painted at th... | Despite the presence of a village in the background, it is not possible to be certain about the location of this pastoral scene. However, the composition is similar to a view of the village of Gisors in Normandy, which Corot painted in October 1873. This picture may be a pared-down view of Gisors, perhaps painted at th... | [
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0G1M-0001-0000-0000 | Images of men and bulls have been found as early as Palaeolithic rock art, including cave paintings in Spain. More recently, bullfights have been a staple of Spanish painting since Goya, whose album of 33 etchings of bullfights, the Tauromaquia (1816), became an important source for Gérôme and Manet in the nineteenth c... | Fortuny painted this picture of a victorious bullfighter saluting the crowd while he and his family were living in Granada in southern Spain from 1870 to 1872. Aside from the visual spectacle of bullfights, he was attracted to traditions that survived in contemporary Spain.
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0G6L-0001-0000-0000 | The 4th-century Saint Catherine of Alexandria is shown here with a martyr's palm and her traditional attribute of a wheel on which she was tortured.
The painting is close in style to Garofalo, but the detailing of woodgrain in the wheel, the raised paint on the knuckles and the rounded finger tips are atypical of hi... | This painting was once a portrait, but it was altered to represent a saint. The hair of the figure was originally completely different, her hand was resting on a different object and her dress was decorated with gold around the edges. Later, after the dress and background had been completed, she was given loose hair, a... | [
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0G7N-0001-0000-0000 | The church we are looking into here -- the Cunerakerk -- still towers above the small town of Rhenen in the Netherlands. Bartholomeus van Bassen was an expert in painting church interiors. He signed ‘B. Van. Bassen’ on the bottom of the wooden enclosure around the column on the far left, together with the year he paint... | The church we are looking into here -- the Cunerakerk -- still towers above the small town of Rhenen in the Netherlands. Bartholomeus van Bassen was an expert in painting church interiors such as these, often adding inventive details, though he employed other artists to paint the figures.
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0HT4-0001-0000-0000 | A glorious, glowing company of saints and angels surround Christ and his mother, watching as he delicately places a golden crown on her head. This is heaven seen through fifteenth-century eyes. Crowns and haloes shimmer with burnished gold; angels with multi-coloured wings swing censers and make music; ranks of saints ... | A glorious, glowing, multi-coloured company of saints and angels surround Christ and his mother as he delicately places a golden crown on her head, making her Queen of Heaven. This huge polyptych (multi-panelled altarpiece) was painted for the high altar of the monastery of San Benedetto fuori della Porta Pinti in Flor... | [
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0HO9-0001-0000-0000 | These are two panels from a multi-panelled altarpiece (known as a polyptych) painted by Gaudenzio Ferrari between 1508—9 for the church of Sant’ Anna in Vercelli. It was commissioned by the local confraternity dedicated to Saint Anne for the altar of their oratory. The document recording the commission says that Gauden... | These are two panels from an altarpiece painted by Gaudenzio Ferrari between 1508—9 for the church of Sant’ Anna in Vercelli. It was commissioned by the local confraternity dedicated to Saint Anne for the altar of their oratory.
The panels of the altarpiece were arranged in two horizontal rows of three and contained i... | [
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0HJ3-0001-0000-0000 | These two panels of Saint Louis of Toulouse and Saint Bonaventure are said to have come from a ceiling in the Scuola di S. Francesco ai Frari at Venice. The Venetian Scuole, or confraternities, were charitable and religious organisations for the laity and were important patrons of the arts, commissioning cycles of pain... | These two panels are said to have come from a ceiling in the Scuola di S. Francesco ai Frari at Venice. The ceiling originally featured the Four Evangelists on square panels at the corners, with Saints Bonaventure, Louis, Bernardino and Anthony of Padua in separate octagonal compartments around a central full length im... | [
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0HK6-0001-0000-0000 | Two small saints -- Saint Paul, with a sword and book, and a bishop saint, perhaps Saint Ambrose, in richly coloured and gilded robes -- stand against dark backgrounds. The angle at which they are shown makes it clear they were intended to be seen from below: both probably came from top row of a polyptych.
This kind o... | Two small saints -- Saint Paul, with a sword and book, and a bishop saint, perhaps Saint Ambrose, in richly coloured and gilded robes -- stand against dark backgrounds. The angle at which they are shown makes it clear they were intended to be seen from below: both probably came from the top row of a polyptych (a multi-... | [
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0HX2-0001-0000-0000 | These paintings once formed the shutters of an altarpiece made for the Benedictine abbey at Werden, near Cologne in Germany. The shutters were decorated on both sides, and could be closed to protect the central part of the altarpiece, which has not been traced.
The inner and outer faces have been separated, creating f... | These paintings once formed the shutters of an altarpiece made for the Benedictine abbey at Werden, near Cologne in Germany. The shutters were decorated on both sides, and could be closed to protect the central part of the altarpiece, which has not been traced.
The inner and outer faces have been separated, creating f... | [
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0HKS-0001-0000-0000 | These small square panels come from one of the largest and most ambitious altarpieces ever made. It is the only signed work by Duccio di Buoninsegna, the leading artist of medieval Siena, who created it with the help of a workshop of assistants. The entire work measured five square metres, was painted on both sides an... | These three small panels come from the altarpiece known as the Maestà ('Majesty'), made for Siena Cathedral. It is the only surviving signed work by the city's leading artist, Duccio di Buoninsegna. These paintings formed part of the predella, the lowest part of the altarpiece.
The Maestà was painted on both sides: Th... | [
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0HPB-0001-0000-0000 | Two of the most popular late medieval saints -- Francis, who died in 1226, and Bernardino of Siena, who died in 1444 -- present a young man to the Virgin and Child and a choir of angels: he is the altarpiece's patron. In the outer panels stand Saints John the Baptist and Bartholomew.
This kind of altarpiece -- a tript... | Two of the most popular late medieval saints -- Francis, who died in 1226, and Bernardino of Siena, who died in 1444 -- present a young man to the Virgin and Child and a choir of angels; he's the altarpiece's patron. In the outer panels stand Saints John the Baptist and Bartholomew.
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0HW3-0001-0000-0000 | These three panels entered our collection attached to the top of Niccolò di Pietro Gerini's altarpiece featuring the baptism of Christ. While they would have appeared at the top of an altarpiece, as the crowning pinnacle panels, they did not originally belong to that work.
These three panels share an apocalyptic theme... | The three panels belonged to an altarpiece that was possibly made for the church of San Salvatore al Vescovo, the Bishop of Florence's church, located within the Palazzo Arcivescovile. They are pinnacle panels -- those appearing at the top, crowning the altarpiece. At some point before they entered the National Gallery... | [
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0HXK-0001-0000-0000 | These two paintings, known as capricci, combine reality and fantasy: set in the Venetian lagoon, they show people, buildings and boats surrounded by invented ruins. The paintings were given to the National Gallery as genuine works by Guardi, but are now thought to be by a nineteenth-century imitator.
The varnish on bo... | These two paintings, known as capricci, combine reality and fantasy: set in the Venetian lagoon, they show people, buildings and boats surrounded by invented ruins. The paintings were given to the National Gallery as genuine works by Guardi, but are now thought to be by a nineteenth-century imitator.
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0HKY-0001-0000-0000 | We do not know whether somone commissioned Lancret to paint this series of pictures on copper of The Four Times of Day: Morning, Midday, Afternoon and Evening. He began them sometime before September 1739, when Morning was exhibited at the Salon. Painting series of pictures was something of a speciality for Lancret – h... | We do not know whether someone commissioned The Four Times of Day: Morning, Midday, Afternoon and Evening or whether Lancret produced them speculatively in the hope of making money from the engravings, since series of prints were popular with the public. Painting series of pictures was something of a speciality for Lan... | [
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0HK7-0001-0000-0000 | Lot and his Daughters Leaving Sodom and Susannah and the Elders are two works by Guido Reni, both of which depict biblical scenes containing three figures. They are of similar size, and are painted in a horizontal format with dark backgrounds. The two were first recorded in the Palazzo Lancellotti, Rome, in 1640, where... | Lot and his Daughters Leaving Sodom and Susannah and the Elders are two works by Guido Reni, both of which depict biblical scenes containing three figures. They are of similar size, and are painted in a horizontal format with dark backgrounds. The two were first recorded in the Palazzo Lancellotti, Rome, in 1640, where... | [
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0HK2-0001-0000-0000 | This series of four small paintings is an allegory of the seasons: spring, summer, autumn and winter have been given human forms that embody the essence of each. Spring is a gardener carrying a tree to plant in a formal garden; Summer is a peasant tying up a sheaf of corn; Autumn is a drinker who raises a glass of wine... | This series of four small paintings is an allegory of the seasons: spring, summer, autumn and winter have been given human forms that embody the essence of each. Spring is a gardener carrying a tree to plant in a formal garden; Summer is a peasant tying up a sheaf of corn; Autumn is a drinker who raises a glass of wine... | [
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0HNO-0001-0000-0000 | Lancret treats the traditional subject of The Four Ages of Man as a series of contemporary genre scenes. The paintings represent Childhood, Adolescence, Youth and Old Age. Lancret certainly knew the series of The Four Ages of Man painted by Jean Raoux for Philippe de Vendôme around 1714--15, and although it has been su... | Lancret treats the traditional subject of The Four Ages of Man as a series of contemporary genre scenes -- Childhood, Adolescence, Youth and Old Age.
In Childhood (L'Enfance), a group of wealthy children play boisterous games in an open-air loggia watched by their nurse and governess. In Adolescence (L’Adolescence), ... | [
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0HH0-0001-0000-0000 | These two paintings, which were made as companion works to hang together, show the moments during and after a gallant hunt for wild animals. The Boar Hunt, a scene of suspense, drama and movement is paired with The Return from the Hunt which is altogether more peaceful and romantic.
Parrocel mainly painted battle scen... | These two paintings, which were made as companion works to hang together, show the moments during and after a gallant hunt for wild animals. The Boar Hunt, a scene of suspense, drama and movement, can be seen as a nod to the aristocratic hunting scenes painted by Dutch artists in the second half of the seventeenth cent... | [
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0EIA-0001-0000-0000 | Three male heads at different stages of life are paired with three animal heads: the elderly bearded man in the red cap with a wolf; the middle-aged man with a lion; and the young man with a dog. A Latin inscription divided to correspond to the three heads is written above them. It translates as: ‘Learning from Yesterd... | Three male heads at different stages of life are paired with the heads of three animals: a wolf, a lion and a dog. The Latin inscription divided to correspond to the three heads translates as: ‘Learning from Yesterday, Today acts prudently lest by his action he spoil Tomorrow.’ The meaning and purpose of this painting ... | [
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0D89-0001-0000-0000 | This is a very small and very unusual painting, showing a view of the Nieuwe Kerk in Delft as though through a wide-angle lens. We look roughly north-west over a canal from the corner of two streets, the Oude Langendijk and Oosteinde. The grey shape just to the left of the church is the town hall. Both these buildings ... | This very small and very unusual painting shows the view of the Nieuwe Kerk in Delft as though through a wide-angle lens. The effect is emphasised by two musical instruments, set out on a table by the man -- probably a maker of, or dealer in, such instruments.
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0E5Y-0001-0000-0000 | A man sits at a table, leaning forward slightly as he writes on a document. He pauses, as if to think for a moment or to acknowledge someone, his subdued but intense gaze producing an effect of great presence. He is elegantly dressed, but his plain clothes are not ostentatious. Unlike an aristocrat, he does not wear a ... | The Dutch patriot, Jacobus Blauw (1756--1829), played an important role in the foundation of the Batavian Republic in 1795. Although short-lived, it significantly contributed to the transformation of the Netherlands from a confederated structure into a democratic unitary state.
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0D6B-0001-0000-0000 | We are looking at a miraculous event. An elegantly dressed huntsman has been stopped in this tracks by an apparition: a large stag with a Crucifix between its antlers. This is Saint Eustace, whose story was told in the Golden Legend, the famous medieval collection of saints' lives. A Roman soldier named Placidus was ou... | We are looking at a miraculous event. An elegantly dressed huntsman has been stopped in his tracks by an apparition: a large stag with a Crucifix between its antlers. This is Saint Eustace, a Roman soldier who, while out hunting one day, had a vision of a stag with Christ on a shining cross between its antlers. He conv... | [
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0EA4-0001-0000-0000 | Scholderer made several portraits of Luise Steurwaldt, whom he married in London on 11 February 1872. Here he has portrayed her almost in profile, leaning back against a shawl draped over her chair. She holds a Japanese fan on her lap but looks straight ahead of her as though lost in thought and unaware of our presence... | Scholderer made several portraits of Luise Steurwaldt, whom he married in London in 1872. Here he has portrayed her almost in profile, leaning back against a shawl draped over her chair. She holds a Japanese fan on her lap but looks straight ahead as though lost in thought. The palette is almost monochrome, consisting ... | [
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0EF1-0001-0000-0000 | The Virgin Mary appears to the patron saint of Spain, Saint James the Greater, who wears red and green and wears a barely visible pilgrim's shell on his left shoulder. He extends his arms ready to receive the statuette of the Virgin and Child and the column of jasper on which to place it. These objects are carried by a... | The Virgin Mary appears to the patron saint of Spain, Saint James the Greater, as he prays beside the Ebro River. He extends his arms ready to receive the statuette of the Virgin and Child and the column of jasper being carried by a swirling mass of putti (winged infants). The Virgin instructed Saint James to build an ... | [
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0EPK-0001-0000-0000 | A man looks out at us with his shirt opened to reveal his neck, disfigured by a goitre (a swelling caused by an enlarged thyroid gland). Despite suffering this medical condition, he has an amused expression and the artist has portrayed him sympathetically. He is evidently poor, as can be seen by his ragged clothes – th... | A man looks out at us with his shirt opened to reveal his neck, disfigured by a goitre (a swelling caused by an enlarged thyroid gland). Despite suffering this medical condition, he has an amused expression and the artist has portrayed him sympathetically. He is evidently poor, as can be seen by his ragged clothes -- t... | [
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0EHK-0001-0000-0000 | This scene is rare in Italian art. The kneeling figure on the left is the Blessed Clare, a holy woman who lived in Rimini from the late thirteenth to early fourteenth centuries. According to her biography, she saw Christ enthroned and surrounded by the apostles and John the Baptist (shown holding on to Christ and weari... | This painting shows Clare, a holy woman who lived in Rimini from the late thirteenth to early fourteenth centuries. According to her biography she had a vision of Christ enthroned and surrounded by the apostles and John the Baptist. Christ -- the largest figure in this scene -- showed her the wound on his side where he... | [
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0ECD-0001-0000-0000 | Looking across the basin of San Marco, this vast view captures the scale and splendour of a ceremony taking place along the waterfront. In the foreground, boats carrying animated figures in colourful outfits have been carefully arranged to lead the eye into the painting towards the impressive state barge or Bucintoro, ... | Looking across the basin of San Marco, this vast view captures the scale and splendour of a ceremony taking place along the waterfront. Boats carrying spectators and animated gondoliers surround the gold and red state barge or Bucintoro, its upper deck crowded with figures. Every year on Ascension Day, the Bucintoro wa... | [
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0D78-0001-0000-0000 | Christ’s birth is celebrated as the glorious revelation of God on Earth in this unique and colourful image by Botticelli. No fewer than 20 angels -- all carrying leafy olive branches, a symbol of peace -- preside over the revelry.
The event takes place in a glade within a forest; the stable where, according to the Gos... | The infant Christ reaches up towards the Virgin Mary, oblivious of his visitors -- the Three Kings on the left and the shepherds on the right. The golden dome of heaven has opened up and is circled by 12 angels holding olive branches entwined with scrolls and hung with crowns. In the foreground, three pairs of angels a... | [
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0EUA-0001-0000-0000 | Three dashing young boys stand on the steps of an impressive building, with classical columns behind them and velvet drapery looped up like a curtain drawn up to reveal them in all their finery. During the six years Anthony van Dyck spent in Italy (1621–27) he frequently stayed in Genoa, where he received many portrait... | Three dashing young boys stand on the steps of an impressive building. They were long believed to represent the Balbi children because the painting was once in the collection of the wealthy Balbi family in Genoa. But new research suggests these boys belonged to another prominent Genoese family; they are in fact Aless... | [
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0ELL-0001-0000-0000 | This panel comes from the uppermost part of a large multi-panelled altarpiece made for the high altar of the church of Santa Croce, Florence. There were originally six of these pinnacle panels, four of which survive. There are two others in our collection, of Isaiah and Moses; one, showing the prophet Daniel, is in the... | This is part of a large multi-panelled altarpiece made for the high altar of the church of Santa Croce, Florence. It is a pinnacle panel (from the uppermost section of the altarpiece). There are two other pinnacle panels in our collection, as well as panels from other tiers.
The crowned figure in an ermine-lined cloak... | [
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0E7L-0001-0000-0000 | Alexandrine-Emilie Brongniart (1780--1847) was most likely eight years old when this engaging portrait of her was painted by the celebrated artist Elisabeth Louise Vigée Le Brun. Wearing an informal knotted scarf on her head, matching white dress and a translucent shawl around her shoulders, Emilie looks directly at us... | Alexandrine-Emilie Brongniart (1780--1847) was most likely eight years old when this engaging portrait of her was painted by the celebrated artist Elisabeth Louise Vigée Le Brun. Wearing an informal knotted scarf on her head, matching white dress and a translucent shawl around her shoulders, Emilie looks directly at us... | [
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0EP9-0001-0000-0000 | The Christ Child sits on his mother’s lap holding her hand and smiling at us. His cousin, the young Saint John the Baptist, stands grinning behind the Virgin. The group is seen slightly from below. The happy, exuberant expressions of the children contrast with the pensive mood of the Virgin, who holds her son in her ar... | The Christ Child sits on his mother’s lap holding her hand and smiling at us. His cousin, the young Saint John the Baptist, stands grinning behind the Virgin. The happy, exuberant expressions of the children contrast with the pensive mood of the Virgin. Christ’s right hand is raised in an implied gesture of blessing.
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0E8Q-0001-0000-0000 | This is an affectionate portrayal by Murillo of one of his most devoted patrons, Don Justino de Neve. The inscribed tablet on the pilaster reveals that the portrait was made in 1665, when Justino was 40 years old, and that it was a gift from the artist -- a gesture of friendship.
Justino was born in Seville in 1625, t... | This is an affectionate portrayal of one of Murillo's most devoted patrons, Don Justino de Neve. The inscribed tablet on the wall reveals that the portrait was made in 1665 and was a gift from the artist -- a gesture of friendship.
Murillo's regard for his friend is obvious in the way he presents him: Justino appears ... | [
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0EG3-0001-0000-0000 | This grand country house has been identified as Kasteel d’Ursel in Hingene on the border between the old Duchy of Brabant and the County of Flanders. It was the private summer residence of the Duke of Ursel, a powerful aristocrat from nearby Antwerp and it still exists, though it has changed significantly through modi... | This grand country house has been identified as Kasteel d’Ursel in Hingene on the border between the old Duchy of Brabant and the County of Flanders. It was the private summer residence of the Duke of Ursel, a powerful aristocrat from nearby Antwerp and it still exists, though it has changed significantly through modi... | [
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0EXJ-0001-0000-0000 | The Three Kings have arrived to worship the newborn Christ and offer him gifts -- according to the Gospel of Matthew (2: 1--12), they followed a star to find him. The Virgin Mary presents the baby, who has a bright halo of light around his tiny head, to the kneeling king, who takes the child's small foot in his hand in... | The Three Kings have arrived to worship the newborn Christ. The Virgin Mary presents the baby, who has a bright halo of light around his tiny head, to the kneeling king, who takes the child's small foot in his hand in order to kiss it. Spranger has positioned the two other kings around the mother and child; both proudl... | [
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0F5T-0001-0000-0000 | This portrait was once attributed to Rembrandt, whose false signature it bears. The predominantly brown colours, the neutral background, the thick brushstrokes on the cuffs and handkerchief and the way that the artist has used layers of paint to depict, for example, flesh tones, are reminiscent of Rembrandt’s style. Th... | This portrait was once attributed to Rembrandt, whose false signature it bears. The predominantly brown colours, the neutral background, the thick brushstrokes on the cuffs and handkerchief and the way that the artist has used layers of paint to depict, for example, flesh tones, are reminiscent of Rembrandt’s style. Th... | [
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0EJF-0001-0000-0000 | This painting and Portrait of a Woman aged about 45, both painted in oil on board, were designed to hang together as portraits of a husband and wife. They are said to have been given by the painter Sir William Boxall RA, director of the National Gallery from 1865 to 1874, to his friend, the architect James Wyatt RA (17... | This painting and Portrait of a Woman aged about 45, also in the National Gallery, were designed to hang together as portraits of a husband and wife. They are said to have been given by the painter Sir William Boxall RA, director of the National Gallery from 1865 to 1874, to his friend, the architect James Wyatt RA (17... | [
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} |
0CVU-0001-0000-0000 | This panel, which shows Saints Christina and Ottilia, was originally the outer face of one of the shutters of a multi-panelled altarpiece made by Cranach in 1506, one of his first and most important commissions for the electors of Saxony. The painting has since been separated from the inner face of the shutter.
Little... | This painting, which shows Saints Christina and Ottilia, was part of a multi-panelled altarpiece made by Cranach in 1506, shortly after he was appointed court painter to the Elector of Saxony, Friedrich the Wise.
Saint Christina of Bolsena was a third-century virgin martyr. When she renounced her pagan faith and conve... | [
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} |
0EZH-0001-0000-0000 | Two women retrieve a baby from a basket floating in a river, while three others look on from the bank and a fourth peers around a dead tree. This is the story of Moses in the bulrushes. According to the Old Testament (Exodus 2: 5), Moses was born in Egypt, where the Israelites were enslaved. The Egyptian Pharaoh ordere... | Two women retrieve a baby from a basket floating in a river, while four others look on from the bank. According to the Old Testament story (Exodus 2: 5), the infant Moses was hidden by his mother in a reed basket on the River Nile to save him from Pharaoh's order that all the male children of the Israelites should be k... | [
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0DDR-0001-0000-0000 | Still life compositions were one of the most popular genres of Dutch painting in the seventeenth century. A painter's ability to create a picture with what we now think of as almost photographic realism was highly valued, and the objects depicted were selected partly to demonstrate artistic skill in showing different s... | Here Jan Jansz. Treck has risen to the challenge of evoking the lustre of and distorted reflections in silver, pewter, glass, porcelain and eggshells as well as the complex shadows in a crumpled linen cloth. It was a highly valued skill in Dutch still-life painting and this rather beautiful example of the genre has a p... | [
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"terms_of_use": "https://www.nationalgallery.org.uk/terms-of-use"
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0CYZ-0001-0000-0000 | A young man with very dark hair and brown eyes seems to be reading a paper covered in elaborate writing. He wears a purplish-grey robe trimmed with brown fur, and the black scarf over his shoulder is attached to his hat, which is hanging down his back. The paper he holds is out of perspective. It has been folded and u... | A young man seems to be reading a paper covered in elaborate writing. The document is almost certainly a letter, although the places where the name of the recipient would have appeared are concealed.
A lost inscription named the figure as Saint Ivo, patron of lawyers and known as the advocate of the poor, but he lacks... | [
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0FA8-0001-0000-0000 | This view is taken from the west bank of the Tiber looking towards the Castel Sant’Angelo. The projecting stone platform on which the uniformed musicians play appears in paintings by other artists, so probably existed, whereas the arcaded building with the canopied balcony over it has not been identified and may have b... | This view is taken from the west bank of the Tiber looking towards the Castel Sant’Angelo. The specific event depicted has not been identified but river jousts were a popular official form of entertainment, and attracted large crowds of spectators.
The flag at the stern of the boat at the left bears the arms of the th... | [
"Romantic"
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"Romantic"
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"terms_of_use": "https://www.nationalgallery.org.uk/terms-of-use"
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