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0D4D-0001-0000-0000 | An elderly man, barefoot and with an impressive grey beard, is perched on a rock, engrossed in a book. This is Saint Jerome, translator of the Bible into Latin. His only companion is an endearing lion which lies peaceably in the corner -- he had tamed it by removing a thorn from its paw.
Saint Jerome was a favourite o... | An elderly man, barefoot and with an impressive grey beard, is perched on a rock, engrossed in a book. This is Saint Jerome, translator of the Bible into Latin. His only companion is an endearing lion which lies peaceably in the corner -- he had tamed it by removing a thorn from its paw.
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0FD4-0001-0000-0000 | The events following the destruction of the sinful city of Sodom, from which Lot and his daughters are here shown fleeing, are recounted in the Old Testament (Genesis 19: 30--38). Forewarned of the city's demise by God, the trio escaped to the mountain town of Zoar. We see them in a moment of conversation, perhaps cont... | Lot and his daughters are shown fleeing the sinful city of Sodom, forewarned by God of its destruction (Genesis 19). The family are in a moment of conversation, perhaps contemplating their next move. Conspicuously absent are details typically associated with the subject, such as Sodom burning in the background or eleme... | [
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0CP2-0001-0000-0000 | This small portrait is puzzling in many ways. We don't know who this man was or why he is holding a scroll, which is -- rather strangely -- inscribed on the outside. The painting's tall, narrow shape is unusual and there are mysterious inscriptions on the large, cracked stone parapet which runs along the front.
At the... | This small portrait is puzzling in many ways. We don't know who this man was or why he is holding a scroll, which is -- rather strangely -- inscribed on the outside. The painting's tall, narrow shape is unusual and there are mysterious inscriptions carved into the very large, cracked stone parapet which runs across th... | [
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0EWH-0001-0000-0000 | These two small paintings are part of a group of four scenes, which are painted on two poplar panels. They would once have decorated a piece of furniture, perhaps the case of a musical instrument. The black borders separating the two scenes on each panel appear to be original and must relate to how they were framed.
T... | These two small paintings are part of a group of four scenes, which are painted on two wooden panels. They would once have decorated a piece of furniture, perhaps the case of a musical instrument. They illustrate key scenes from Tebaldeo's popular Second Eclogue, first printed in Modena in 1498. The first and third sce... | [
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0EHL-0001-0000-0000 | This small picture shows two episodes from the life of Saint Jerome. At the front, the saint sits under a lean-to shelter, built against a natural rock arch in a dramatic landscape, and removes a large thorn from a lion's paw. According to the Golden Legend, Saint Jerome met and healed an injured lion which then remain... | This small picture shows two episodes from the life of Saint Jerome. At the front, the saint sits under a lean-to shelter and removes a large thorn from a lion's paw. In gratitude the lion remained with him in the wilderness and after he went back to monastic life. On a rocky platform behind, the saint appears again, d... | [
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0E5I-0001-0000-0000 | Joseph-Hyacinthe-François de Paule de Rigaud, comte de Vaudreuil (1740--1817), was only eighteen when this imposing portrait was painted by Drouais in 1758. He was the son of the governor and commander-general of Saint-Domingue, at that time a French colony on the western end of the Caribbean island of Hispaniola, whic... | In this imposing portrait, designed to emphasis its sitter’s wealth and status, the eighteen-year-old comte de Vaudreuil (1740–1817) points at a map of Saint-Domingue (present-day Haiti and the Dominican Republic). His father was governor of the island, then a French colony, and the count earned substantial income from... | [
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0F79-0001-0000-0000 | A company of richly dressed saints, many with impressive beards, gaze adoringly at something on their right, or turn to talk to each other. This panel was part of a large polyptych painted by Lorenzo Monaco for the monastery of San Benedetto fuori della Porta Pinti in Florence.
They are looking at The Coronation of t... | A company of richly dressed saints, their gilded haloes stamped with elaborate patterns, gaze at something on their right, or turn to talk to each other. This painting is part of a large multi-panelled altarpiece made for the Camaldolite monastery of San Benedetto fuori della Porta Pinti in Florence and they are lookin... | [
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0F9D-0001-0000-0000 | A great throng of retainers and animals accompany the Three Kings to pay homage to the infant Christ. Reclining among angels in the heavens, God the Father blesses all those below.
Fragments of a ruined classical building -- perhaps a city gate or triumphal arch -- are scattered in the foreground, and the Virgin Mary ... | A great throng of retainers and animals accompany the Three Kings to pay homage to the infant Christ (Matthew 2: 2--12). Reclining among angels in the heavens, God the Father blesses all those below. The Virgin Mary holds the Christ Child, who blesses the eldest king prostrated before him and receives the gold he offer... | [
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0ECK-0001-0000-0000 | This view is of the Delaware River, which flows between Pennsylvania and New Jersey, two of the original 13 states of what was to become the United States of America. We are positioned on the Pennsylvania side of the river, below the Delaware Water Gap, an area where the river has carved a large ridge through the Appal... | This view is of the Delaware River, which flows between Pennsylvania and New Jersey, two of the original 13 states of what was to become the United States of America. We are positioned on the Pennsylvania side of the river, below the Delaware Water Gap, an area where the river has carved a large ridge through the Appal... | [
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0ESZ-0001-0000-0000 | This arched panel was originally the top of a polyptych painted for a Franciscan church at Montefiore dell'Aso near Fermo in the Italian Marche. Two sad, child-like angels hold up Jesus's lifeless body, one nestling his head sorrowfully against Christ's shoulder. Their pink cheeks and chubby arms and legs form a vivid ... | This arched panel was originally the top of a polyptych (a multi-panelled altarpiece) which Crivelli painted for the Franciscan church at Montefiore dell'Aso near Fermo in the Italian Marches.
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0F4P-0001-0000-0000 | David Teniers the Younger made his fortune painting bawdy scenes like this one. They were popular with wealthy collectors who were proud of their own good manners compared with those ascribed to peasants (they also found the pictures amusing).
In this painting, Teniers has created screened entrances and exits for the ... | David Teniers the Younger made his fortune painting bawdy scenes like this one. They were popular with wealthy collectors who were proud of their own good manners compared with those ascribed to peasants (they also found the pictures amusing).
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0F6S-0001-0000-0000 | In this scene of day-to-day life on the muddy shores of the North Sea, Jan van de Cappelle has depicted a virtually windless day. We see a smalschip (a traditional transport vessel), its helmsman doing his best to catch what wind he can by setting the sails out on both sides. But they hang almost limp and the boat make... | In this scene of day-to-day life on the muddy shores of the North Sea, Jan van de Cappelle has depicted a virtually windless day. We see a smalschip (a traditional transport vessel), its helmsman doing his best to catch what wind he can by setting the sails out on both sides. But they hang almost limp and the boat make... | [
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0ETL-0001-0000-0000 | This painting illustrates an episode described in the Old Testament (1 Samuel: 6-12), which is rarely depicted in art. The Ark -- a wooden chest covered in gold containing the Ten Commandments -- is pulled along on a cart drawn by cattle. It is being returned to the Israelites after the Philistines stole it in battle, ... | This painting illustrates an episode described in the Old Testament (1 Samuel: 6-12), which is rarely depicted in art. The Ark -- a wooden chest covered in gold containing the Ten Commandments -- is pulled along on a cart drawn by cattle. It is being returned to the Israelites after the Philistines stole it in battle, ... | [
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0FME-0001-0000-0000 | This is an early work by Jacob van Ruisdael, probably made when he was only about 20 years old, around the time that he qualified as an artist and joined the painters’ guild in his home town of Haarlem. It seems to have been influenced by the style of his uncle, Salomon van Ruysdael, who may have been one of his teache... | This is an early work by Jacob van Ruisdael, probably made when he was only about 20 years old, around the time that he qualified as an artist and joined the painters’ guild in his home town of Haarlem. He has built the composition around a stand of scrubby trees and a farmhouse on the edge of a river -- and made it al... | [
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0FRW-0001-0000-0000 | Willem Duyster was an Amsterdam painter who specialised in small interior scenes and was one of the pioneers of guardroom paintings, which show off-duty soldiers at rest. This painting of a game of tric-trac, a once-popular version of backgammon, shows his mastery at depicting materials and endowing his scenes with a ... | Two men concentrate on a game of tric-trac, a form of backgammon, while a woman chalks the score on the side of the board. Meanwhile one man sits smoking, lost in his thoughts, while another lights a pipe from a bowl of embers. None of them is speaking and nor do they look at one another; all the interaction happens on... | [
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0EXE-0001-0000-0000 | The Virgin appears lost in thought as she firmly clutches her son to her. The infant Christ holds an apple in one hand, symbolic of his role as the new Adam, born to redeem mankind from original sin after the Fall.
The red cloth hanging over the bar behind the Virgin has been drawn back to reveal a landscape of pine t... | The Virgin appears lost in thought as she firmly clutches her son to her. The infant Christ holds an apple in one hand, symbolising his role as the new Adam, born to redeem mankind from original sin after the Fall.
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0FN7-0001-0000-0000 | This small, evocative painting shows the work of Aelbert Cuyp at the peak of his maturity as an artist. It’s a picture full of light and reflections, transforming a simple view of a river at evening time into visual harmony.
Light puffy clouds, lit here and there by the evening sun, drift overhead, leaving patches of ... | This small, evocative painting shows the work of Aelbert Cuyp at the peak of his maturity as an artist. It’s a picture full of light and reflections, transforming a simple view of a river at evening time into visual harmony.
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0FEC-0001-0000-0000 | This triple portrait was intended as a model for a full-length statue of Armand-Jean du Plessis, duc de Richelieu (1585--1642). He wears the robe and skull cap of a cardinal, a position granted to him in 1622. On a blue ribbon hangs the Order of the Holy Spirit, symbolised by the dove just visible along the bottom edge... | This triple portrait was intended as a model for a full-length statue of Armand-Jean du Plessis, duc de Richelieu (1585--1642), who became Cardinal in 1622 and the Chief Minister of France in 1624. He wears a Cardinal's robe, skull cap and blue ribbon adorned with the Order of the Holy Spirit, symbolised by the dove at... | [
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0FSV-0001-0000-0000 | The date 1514 is just visible on the letter carried by the sitter, although the words are illegible. The melancholy mood of the painting is underlined by the inscription on the parapet which reads, in primitive French, 'who loves well is slow to forget'.
The unknown young man wears the Maltese Cross of the Order of Sa... | The date 1514 is just visible on the letter carried by the sitter, although the words are illegible. The inscription in the parapet reads, in primitive French, 'who loves well is slow to forget'. The sitter wears the Maltese Cross of the Order of Saint John. In 1514 Franciabigio was working for the Order painting a fre... | [
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0FSY-0001-0000-0000 | We do not know this man's identity, although he was once thought to be Martin Luther. He wears a white shirt, its collar embroidered with Xs and Os, with a purplish doublet over it. A brown garment, perhaps of fur, is tied across his chest. His black, fur-lined coat may have been overpainted; the background certainly w... | We do not know this man's identity, although he was once thought to be the sixteenth-century theologian Martin Luther, who was a leading figure of the Protestant Reformation. This was once the left wing of a folding diptych or triptych (a painting of two or three parts respectively). There are remains of red paint on t... | [
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0FFJ-0001-0000-0000 | Wybrand Hendriks has piled up his bouquet of fruit and flowers against a soft, green background of woodland trees, till it tips sideways and tumbles down the canvas on a steep diagonal, ending in the forms of the two dead birds. They are snipe, game birds to be eaten. An exotic pineapple sits at the top of the arrangem... | Wybrand Hendriks has piled up his bouquet of fruit and flowers against a soft, green background of woodland trees, till it tips sideways and tumbles down the canvas on a steep diagonal, ending in the forms of the two dead birds. They are snipe, game birds to be eaten. An exotic pineapple sits at the top of the arrangem... | [
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0FY1-0001-0000-0000 | The optical illusion created by this painting, is a powerful one. Rembrandt has used contrasts between light and dark -- for example, the blacks and whites of the sitter’s clothes, the highlights on her nose, the heavy shadow under her chin and the lighter, subtle greys of her headdress -- to create a highly convincing... | The optical illusion created by this painting is a powerful one. Rembrandt has used contrasts between light and dark -- for example, the blacks and whites of the sitter’s clothes, the highlights on her nose and the heavy shadow under her chin -- to create a highly convincing three-dimensional effect. The old lady’s hea... | [
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0FOY-0001-0000-0000 | A small, naked figure, supported in a white cloth, is being carried upwards by two angels. Below is part of a roof; above, God the Father sits on a Gothic throne, ringed by angels with multiple wings.
This is the top part of the right wing of an altarpiece that stood on the high altar of the Abbey of St Bertin in Sain... | Two angels carry a small, naked figure upwards. Below is part of a roof; above, God the Father sits on a Gothic throne, ringed by angels with multiple wings. This is the top part of the right wing of an altarpiece that stood on the high altar of the Abbey of St Bertin in Saint-Omer, northern France.
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0FJS-0001-0000-0000 | This is the main panel of the Ansidei Altarpiece that the 22-year-old Raphael painted for the Ansidei family chapel in the Servite Church of S. Fiorenzo in Perugia in 1505.
The Virgin sits in majesty on a carved wooden throne with the Christ Child upright and alert on her lap. A small book is open on her knee and she ... | This is the main panel of the altarpiece Raphael painted for the Ansidei family chapel in the Servite Church of S. Fiorenzo in Perugia in 1505.
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0FTP-0001-0000-0000 | The infant Christ stands on the lap of the Virgin Mary, reaching forward to give her a kiss. She turns her cheek to receive her son's embrace, supporting him as he seems to be a little unsteady on his feet. Strong lighting emphasises the smooth, pale skin of both figures as well as Christ's golden hair, though it leave... | The infant Christ stands on the lap of the Virgin Mary, reaching forward to give her a kiss. She turns her cheek to receive her son's embrace, supporting him as he seems to be a little unsteady on his feet. Strong lighting emphasises the smooth, pale skin of both figures as well as Christ's golden hair, though it leave... | [
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0FJZ-0001-0000-0000 | The heavy, black clouds that hang low over the castle seem to threaten snow and yet more snow. Although a fitful sun struggles through, the eerie light on the castle's yellow walls and steely tipped towers seems to come more from the moon than the sun.
The tiny people skating on the ice seem insignificant against the ... | The heavy, black clouds that hang low over the castle seem to threaten snow and yet more snow. Although a fitful sun struggles through, the eerie light on the castle's yellow walls and steely tipped towers seems to come more from the moon than the sun. The tiny people skating on the ice seem insignificant against the b... | [
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0FGL-0001-0000-0000 | Barely a third of van Goyen's painting of life on the ice in seventeenth-century Dordrecht shows people; the rest is sky. But he still manages to pack the picture full of incident and humour. Some people squeeze into horse-drawn sledges -- the large one close to us is signed van Goyen and dated on the back panel -- whi... | Barely a third of van Goyen's painting of life on the ice in seventeenth-century Dordrecht shows people; the rest is sky. But he still manages to pack the picture full of incident and humour. Some people squeeze into horse-drawn sledges, while others zoom across the ice or stand and chat. Some play kolf, the forerunner... | [
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0FD8-0001-0000-0000 | Duccio was the leading artist in the Tuscan city of Siena. He developed a style known for its grace, fluid lines and harmonious colouring. He is one of the most significant artists of the fourteenth century, who animated Byzantine models to create humane depictions of holy figures.
This is a triptych, a painting made ... | Duccio was the leading artist of fourteenth-century Siena. His style is characterised by elegant, flowing lines, soft colours and tender representations of the divine. Here, the Virgin’s cloak is defined by a fluid gold hem. Mother and child share an affectionate gaze as the infant Christ plays with her white veil.
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0FN5-0001-0000-0000 | This small picture is based on an altarpiece Giovanni Battista Tiepolo made in about 1742 for a church in Padua. The altarpiece, which is still in situ, is dedicated to Saints Maximus and Oswald, though only the figure of Saint Maximus is the same in both.
These two saints don't often appear in eighteenth-century art,... | This small picture is based on an altarpiece Tiepolo made in about 1742 for a church in Padua. The altarpiece, which is still in situ, is dedicated to Saints Maximus and Oswald, though only the figure of Saint Maximus is the same in both.
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0FGC-0001-0000-0000 | This is one of a series of four paintings by Veronese that concern the trials and rewards of love, although their precise meanings remain unclear. The titles are not original and were given to the paintings in 1727. The compositions are designed to be seen from below, so we know the pictures were intended for a ceiling... | This is one of a series of four paintings by Veronese that concern the trials and rewards of love, although their precise meanings remain unclear. The compositions are designed to be seen from below, so we know the pictures were intended for a ceiling or a series of ceilings.
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0FWG-0001-0000-0000 | Two women gather sticks by a watery clearing in front of a group of trees. The trees are arranged in an arc, with the most prominent left of centre and the others set back on each side. This is a composition habitually used by Diaz in his views of the forest of Fontainebleau. As with his Common with Stormy Sunset, it ... | Two women gather sticks by a watery clearing in front of a group of trees. The trees are arranged in an arc, with the most prominent left of centre and the others set back on each side. The composition, which shows the influence of Théodore Rousseau, is typical of those used by Diaz in his views of the forest of Fontai... | [
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0FM0-0001-0000-0000 | An unidentified woman and boy kneel in prayer before the Virgin and Child with saints in a landscape. The white-bearded and bald saint on the right is Saint Joseph. The flowering rod he holds represents the staff that broke into blossom to show he was chosen to marry the Virgin Mary, as told in the Golden Legend. With ... | An unidentified woman and boy kneel in prayer before the Virgin and Child with saints in a landscape. Saint Lucy, the bearer of light, holds a martyr's palm and a burning oil lamp. The woman, wearing an ornamented dress and cloak, is probably the mother of the kneeling boy presented by Saint Joseph. The flowering rod S... | [
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0G0B-0001-0000-0000 | Frans van Mieris painted this tiny self portrait three days before he turned 39 in 1674. By this time, he was a highly successful artist in his home city of Leiden. His work was bought, sometimes for vast sums, by the wealthy of the city but also by nobility from abroad, including the Medici, the ruling family of Flore... | Frans van Mieris painted this tiny self portrait three days before he turned 39 in 1674. By this time, he was highly successful. His work was bought, sometimes for vast sums, by nobility from abroad, including the Medici, the ruling family of Florence. Perhaps for this reason, van Mieris chose to show himself in the It... | [
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0F0B-0001-0000-0000 | Mars, the god of war, is presented with a choice as he marches away from the temple of Janus, the two-headed god who presided over war and peace. Should he continue forward into war, or should he show mercy and retreat? Figures representing different aspects of war and peace surround Mars, encouraging him to follow the... | Mars, the god of war, is presented with a choice. Should he continue his march into war, or should he show mercy and retreat? Figures representing the different qualities of war and peace surround him, encouraging him to follow their example. Alecto, one of the three goddesses of vengeance (known as the Furies), pulls ... | [
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0FTE-0001-0000-0000 | The composition derives from a print of 1624 by Paulus Pontius, made after a portrait of the same date by Rubens of Prince Vladislav Sigismond, later King of Poland. We can tell that the artist has used the print as a source because some of the details -- as on the hilt of the sword -- are slightly different from the p... | The composition derives from a print of 1624 by Paulus Pontius, made after a portrait of the same date by Rubens of Prince Vladislav Sigismond, later King of Poland. We can tell that the artist has used the print as a source because some of the details -- as on the hilt of the sword -- are slightly different from the p... | [
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0F7C-0001-0000-0000 | Pictures of mysterious characters dressed in exotic clothing against a background of dangerously steep mountains and distant castles were very popular in seventeenth-century Flanders. The idea of the romantic wanderer caught the imagination, and inspired attractive narrative paintings that were open to interpretation.
... | Pictures of mysterious characters dressed in exotic clothing against a background of dangerously steep mountains and distant castles were very popular in seventeenth-century Flanders. The idea of the romantic wanderer caught the imagination, and inspired attractive narrative paintings that were open to interpretation.
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0F22-0001-0000-0000 | This idyllic Italian garden with its elegant figures, classical sculptures and tall, slender Mediterranean trees is a product of Frederick de Moucheron’s imagination. As far as we know he had never visited Italy, but the picture is probably based on drawings and sketches by artists who had.
Dutch garden design at this... | This idyllic Italian garden with its elegant figures, classical sculptures and tall, slender Mediterranean trees is a product of Frederick de Moucheron’s imagination. As far as we know he never visited Italy, but the picture is probably based on drawings and sketches by artists who had. De Moucheron gives the impressio... | [
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0FBO-0001-0000-0000 | This view is of the Piazzetta, an area between the Piazza San Marco and the waterfront (known as the Molo). Elegantly dressed Venetians and foreign visitors – like the trio at the bottom right – mill around the square, while government officials in black robes emerge from the Doge's Palace.
Beyond, we see the basilica... | This view is of the Piazzetta, an area between the Piazza San Marco and the waterfront (known as the Molo). Elegantly dressed Venetians and foreign visitors -- like the trio at the bottom right -- mill around the square, while government officials in black robes emerge from the Doge's Palace.
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0FWC-0001-0000-0000 | A woman with blue eyes and brown hair kneels at a prayer desk on which is an open book. She wears a black dress, trimmed and lined with brown fur. Her purplish underdress shows at the neckline and is ornamented with a round brooch; under that she wears a transparent chemise decorated in black. Her sleeves and underskir... | A woman kneels at prayer desk. We don't know who she is; she was once identified by a coat of arms -- of which little now remains -- on the side of her prayer desk. The painting is on the front of the right wing of a triptych (a painting in three parts). Her husband, possibly a member of the Bollis family of Sint-Truid... | [
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0FMG-0001-0000-0000 | The sumptuous silks worn by the woman in this painting distract from its actual subject. You might identify this as a portrait of a seventeenth-century noblewoman, until you notice the sword in her lowered right hand. The richly dressed figure is in fact Judith, the hero of one of the Old Testament’s deuterocanonical b... | A lavishly dressed young woman lights up Eglon van der Neer's picture, her sumptuous silk and brocade dress contrasting strongly with the dark background. Decorated with pearls, it seems to be the star of the show. But a longer look at the painting reveals a sword in the woman's right hand and, more gruesomely, a secon... | [
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0G4C-0001-0000-0000 | Michelangelo painted a panel picture of Leda and the swan for Alfonso I d’Este, Duke of Ferrara. The Duke had recently received the Worship of Venus (Prado, Madrid), Bacchus and Ariadne, and the Bacchanal of the Andrians (Prado, Madrid) from Titian. In accepting the commission, Michelangelo was competing directly with ... | This is an old copy, badly damaged in places, of a now lost painting that Michelangelo made for Alfonso d’Este, Duke of Ferrara, in 1530. The Duke had recently received three mythological paintings from Titian, including the National Gallery's Bacchus and Ariadne, so in accepting the commission Michelangelo was competi... | [
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0ETJ-0001-0000-0000 | This scene is based on a passage in the Gospel of Luke (2:22-40), which describes Mary and Joseph’s visit to the temple in Jerusalem for the rituals of Mary’s purification and of the infant Christ's presentation to God. In conformity with Jewish law, all women had to be ritually purified forty days after giving birth, ... | The priest Simeon is shown receiving the infant Christ from the Virgin Mary in front of an elaborate altar. The scene is based on a passage in the Gospel of Luke (2:22--40), which describes Mary and Joseph's visit to the temple in Jerusalem for the rituals of Mary’s purification and of Christ’s presentation to God.
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0F7B-0001-0000-0000 | By the time Mantegna made this picture -- at the very end of career -- he was well known for his skill in imitating sculpture in paint (a technique he himself had invented). Using just black and white paint applied with the tip of his brush, Mantegna made his figures seem as though they were carved from stone rather th... | This picture was part of a classical-style frieze made for Francesco Cornaro, a Venetian nobleman, in celebration of his ancestors, the ancient Roman Cornelia family. Mantegna painted the figures to look as though they are carved from stone, not painted, and set against colourful marble.
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"High Renaissance"
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"id": "CC0",
"labels": "CC0",
"labels_text": "CC0",
"long_text": "CC BY 4.0",
"short_text": "CC BY 4.0",
"style": "CC0",
"terms_of_use": "https://www.nationalgallery.org.uk/terms-of-use"
} |
0F77-0001-0000-0000 | This altarpiece was painted for the high altar of the Francesco de Strata chapel in the church of S. Paolo in Vercelli, a town in northern Italy between Milan and Turin. It was commissioned by Francesco de Strata in 1540 and is signed and dated 1543. The altar was dedicated to Saint Mary Magdalene, who appears twice in... | This altarpiece was commissioned by Francesco de Strata for the high altar of his chapel in the church of S. Paolo in Vercelli. The altar was dedicated to Saint Mary Magdalene, who appears twice in the painting. She stands in the place of honour on the right-hand side of the Virgin and Child, holding the jar of perfume... | [
"high Renaissance"
] | [
"High Renaissance"
] | [
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"labels_text": "CC0",
"long_text": "CC BY 4.0",
"short_text": "CC BY 4.0",
"style": "CC0",
"terms_of_use": "https://www.nationalgallery.org.uk/terms-of-use"
} |
0EWS-0001-0000-0000 | Pintoricchio painted a number of images of the Virgin and Child of a similar size to this one. Their scale, high level of detail and decoration, and the sweetness of the figures made them highly desirable as beautiful objects and as aids for worship in the home.
This one offers a view through an arched stone window in... | Pintoricchio painted a number of images of the Virgin and Child of a similar size to this one. Their scale, high level of detail and decoration, and the sweetness of the figures made them highly desirable as beautiful objects and as aids for worship in the home.
This one offers a view through an arched stone window i... | [
"Gothic",
"early Renaissance"
] | [
"Gothic",
"Early Renaissance"
] | [
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"labels_text": "CC0",
"long_text": "CC BY 4.0",
"short_text": "CC BY 4.0",
"style": "CC0",
"terms_of_use": "https://www.nationalgallery.org.uk/terms-of-use"
} |
0FTX-0001-0000-0000 | This portrait was made to hang with one of a woman by the same artist (Oscar Reinhart Collection, Winterthur). They may have been joined together with hinges at the centre, forming a folding set known as a diptych, and were possibly made to commemorate the couple's engagement or marriage. This seems likely as both have... | This portrait was made to hang with one of a woman by the same artist (Oscar Reinhart Collection, Winterthur), possibly to commemorate the couple's engagement or marriage. This seems likely as both are shown with flowers associated with marriage: the carnation or pink held by the man was part of a northern European wed... | [
"high Renaissance"
] | [
"High Renaissance"
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"labels_text": "CC0",
"long_text": "CC BY 4.0",
"short_text": "CC BY 4.0",
"style": "CC0",
"terms_of_use": "https://www.nationalgallery.org.uk/terms-of-use"
} |
0F8N-0001-0000-0000 | Two figures stand and sit in the shadows at the edge of a wood and contemplate an ancient church almost shrouded in trees. Light filters down a pathway between them, giving an eerie feeling to the image. The picture has lost some of its colour and vibrancy, but even so it brings the imagination into play: the atmospher... | Two figures stand and sit in the shadows at the edge of a wood and contemplate an ancient church almost shrouded in trees. Light filters down a pathway between them, giving an eerie feeling to the image. The picture has lost some of its colour and vibrancy, but even so it brings the imagination into play: the atmospher... | [
"baroque"
] | [
"Baroque"
] | [
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0
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"id": "CC0",
"labels": "CC0",
"labels_text": "CC0",
"long_text": "CC BY 4.0",
"short_text": "CC BY 4.0",
"style": "CC0",
"terms_of_use": "https://www.nationalgallery.org.uk/terms-of-use"
} |
0FJE-0001-0000-0000 | This vast vision of heaven and earth was created for the funeral chapel of the Florentine apothecary, writer and politician Matteo Palmieri, who died in 1475. Palmieri and his wife, Niccolosa de' Serragli, are shown kneeling in prayer as they gaze towards the heavenly scene.
Christ sits at the centre of a gilded dome ... | Heaven and earth are united in this vast, dramatic scene. A dome-shaped vault has opened up in the sky to reveal Christ blessing the Virgin Mary. She kneels before him, her hands together in prayer. They are surrounded by ranks of neatly ordered angelic beings, saints and Old Testament figures: the ageing couple beneat... | [
"early Renaissance"
] | [
"Early Renaissance"
] | [
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"id": "CC0",
"labels": "CC0",
"labels_text": "CC0",
"long_text": "CC BY 4.0",
"short_text": "CC BY 4.0",
"style": "CC0",
"terms_of_use": "https://www.nationalgallery.org.uk/terms-of-use"
} |
0FSJ-0001-0000-0000 | When this small still life was given to the National Gallery in 1888, it was believed to have been painted by Chardin. However, within 20 years there were already doubts about its authenticity.
For a while it was thought that François Bonvin, or one of his contemporaries, had painted the picture, as there had been a r... | When this small still life was given to the National Gallery in 1888, it was believed to have been painted by Chardin. However, within 20 years there were already doubts about its authenticity.
For a while it was thought that François Bonvin, or one of his contemporaries, had painted the picture, as there had been a r... | [
"neoclassical"
] | [
"Neoclassical"
] | [
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0
] | {
"id": "CC0",
"labels": "CC0",
"labels_text": "CC0",
"long_text": "CC BY 4.0",
"short_text": "CC BY 4.0",
"style": "CC0",
"terms_of_use": "https://www.nationalgallery.org.uk/terms-of-use"
} |
0F3X-0001-0000-0000 | Dughet's storm paintings were among his most admired works during his lifetime and in the eighteenth century. Two shepherds tending their flock struggle against the wind, their arms raised in alarm as they encourage their sheep to move down the path.
Tree branches bend and twist with the force of the storm. In the cen... | Dughet's storm paintings were among his most admired works during his lifetime and in the eighteenth century. Two shepherds tending their flock struggle against the wind, their arms raised in alarm as they encourage their sheep to move down the path. The tree branches bend and twist against the force of the storm. In t... | [
"baroque",
"academic"
] | [
"Baroque",
"Academic"
] | [
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0
] | {
"id": "CC0",
"labels": "CC0",
"labels_text": "CC0",
"long_text": "CC BY 4.0",
"short_text": "CC BY 4.0",
"style": "CC0",
"terms_of_use": "https://www.nationalgallery.org.uk/terms-of-use"
} |
0F9W-0001-0000-0000 | The tall chimneys of the house hidden among the trees seem the most stable things in van Ruisdael's picture, holding on to the steep hillside that slides down towards the river. The slender trunks of the birch trees on the right are twisted and crooked, and the leaves turning yellow are ready to fall and be swept away ... | The tall chimneys of the house hidden among the trees seem the most stable things in van Ruisdael's picture, holding on to the steep hillside that slides down towards the river. The slender trunks of the birch trees on the right are twisted and crooked, and the leaves turning yellow are ready to fall and be swept away ... | [
"baroque"
] | [
"Baroque"
] | [
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] | {
"id": "CC0",
"labels": "CC0",
"labels_text": "CC0",
"long_text": "CC BY 4.0",
"short_text": "CC BY 4.0",
"style": "CC0",
"terms_of_use": "https://www.nationalgallery.org.uk/terms-of-use"
} |
0FN1-0001-0000-0000 | Formerly titled A Village Green in France, this is a view near Verberie, between Senlis and Compiègne, in the north-eastern department of Oise. We see a large flat field, in which cows are grazing, beneath a pale blue sky, which fills most of the picture. A row of trees with full foliage on the right of the picture cas... | Formerly titled A Village Green in France, this is a view near Verberie, between Senlis and Compiègne, in the north-eastern department of Oise. We see a large flat field, in which cows are grazing, beneath a pale blue sky, which fills most of the picture. A row of trees with full foliage on the right of the picture cas... | [
"realist"
] | [
"Realist"
] | [
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"id": "CC0",
"labels": "CC0",
"labels_text": "CC0",
"long_text": "CC BY 4.0",
"short_text": "CC BY 4.0",
"style": "CC0",
"terms_of_use": "https://www.nationalgallery.org.uk/terms-of-use"
} |
0FHX-0001-0000-0000 | Previously dismissed as a nineteenth-century forgery, this painting is now known to be a seventeenth-century copy of a panel by Pietro Perugino for the Benedictine Abbey of San Pietro in Perugia, Italy. It is one of two almost identical versions of a Baptism of Christ which were offered to the National Gallery in the ... | This scene shows Christ being baptised by John the Baptist in the River Jordan. The composition is directly based on a panel painted by Perugino for the Benedictine Abbey of San Pietro in Perugia, Italy. When the work was acquired by the National Gallery in the nineteenth century it was thought to be an authentic Renai... | [
"high Renaissance",
"baroque",
"academic"
] | [
"High Renaissance",
"Baroque",
"Academic"
] | [
1,
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] | {
"id": "CC0",
"labels": "CC0",
"labels_text": "CC0",
"long_text": "CC BY 4.0",
"short_text": "CC BY 4.0",
"style": "CC0",
"terms_of_use": "https://www.nationalgallery.org.uk/terms-of-use"
} |
0FI1-0001-0000-0000 | The Virgin Mary and Saint John the Evangelist stand with Christ in his red marble tomb supporting his lifeless body. He is partially covered by a burial shroud, but the spear wound on his side is visible. Streaks of blood on his chest have run down from the cuts on his forehead caused by the crown of thorns.
The Virgi... | The Virgin Mary and Saint John the Evangelist stand in Christ’s red marble tomb supporting his lifeless body. He is partially covered by a burial shroud, but the spear wound on his side is visible. The Virgin mourns her son, wiping her eyes with her veil. John the Evangelist places his hand to his breast, an agonised e... | [
"high Renaissance"
] | [
"High Renaissance"
] | [
0,
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0
] | {
"id": "CC0",
"labels": "CC0",
"labels_text": "CC0",
"long_text": "CC BY 4.0",
"short_text": "CC BY 4.0",
"style": "CC0",
"terms_of_use": "https://www.nationalgallery.org.uk/terms-of-use"
} |
End of preview. Expand in Data Studio
National Gallery Artwork Style Classification
This dataset is one of a collection of datasets, derived from the National Gallery Elasticsearch endpoint (https://data.ng.ac.uk/es/public/_search). Each row comprises the long- and short-text descriptions, found on the Gallery's website (e.g. Sunflowers - Vincent van Gogh). From this textual-description alone, the model must predict the one or more style classifications, designated by art historical experts at the National Gallery.
The output from the Elasticsearch endpoint is first flattened and unwanted keys discarded using Proteus. Rows with null or empty short- or long-texts are removed. A style label must have a minimum frequency of 5 occurences across the collection to be kept. After filtering out low-frequency labels, rows with a null or empty style field are removed from the dataset.
The following labels are included for classification:
| Style | Frequency | ||||
|---|---|---|---|---|---|
| Baroque | 900 | Impressionist | 125 | Stuart | 19 |
| High Renaissance | 623 | Barbizon | 76 | Pointillist | 12 |
| Early Renaissance | 534 | Georgian | 75 | International Gothic | 10 |
| Gothic | 336 | Romantic | 75 | Symbolist | 10 |
| Neoclassical | 240 | Post-Impressionist | 35 | Nabi | 9 |
| Academic | 215 | Caravaggist | 33 | Regency | 8 |
| Rococo | 162 | Mannerist | 27 | Modernist | 6 |
| Realist | 134 | Victorian | 26 |
Label Mapping
The following code can be used to convert predictions back into text labels:
import numpy as np
ordered_label_text = np.array([
'Academic', 'Barbizon', 'Baroque', 'Caravaggist', 'Early Renaissance', 'Georgian', 'Gothic', 'High Renaissance',
'Impressionist', 'International Gothic', 'Mannerist', 'Modernist', 'Nabi', 'Neoclassical', 'Pointillist',
'Post-Impressionist', 'Realist', 'Regency', 'Rococo', 'Romantic', 'Stuart', 'Symbolist', 'Victorian'
])
# Single example
label = np.array([0, 0, 0, 0, 1, 0, 0, 0, 0, 0, 1, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0, 0])
ordered_text_labels[label == 1]
# Apply to dataframe column
df["predictions"].apply(lambda pred: ordered_label_text[pred == 1])
Limitations and Biases
Reflecting the collecting priorities of the National Gallery itself, this dataset exclusively represents European art, specifically that of Western Europe. The collection spans from the 13th to the early 20th century, therefore excluding many entire movements in more recent art-history (e.g. dadaism, surrealism) and those before approximately 1200 (e.g. Early Christian, Pre-Romanesque). Furthermore, the works in the collection are predominantly by well-established artists in the Western art historical canon.
The distribution of labels is also heavily imbalanced: 14 labels only appear once across the collection (Wan-Li, Medieval, Cubist, Fauve, Pre-Raphaelite, Expressionist, Plantagenet, Viennese Secessionist, Die Brücke, Surrealist, Ottoman, Edwardian, Classical, Aesthetic Movement); and a further 4 are also excluded due to low frequency (Renaissance, Antique, Nazarene, Tudor). As these labels were assigned over an extended period and among many individuals, different degrees of granularity were adopted, creating groups of labels that form hierarchies of generality (e.g. Renaissance ⊇ {High Renaissance, Early Renaissance}). A future version of this dataset will try to make use of these hierarchies.
Users should be aware that this dataset encodes particular art-historical perspectives that:
- Reflect Western/European art historical frameworks
- May perpetuate canonical hierarchies in art history
- Represent institutional collecting practices of a single organisation
License & Copyright Statement
To encourage the use and reuse of the National Gallery's collection data, they are released under the following dedications and licences:
Structured data (as opposed to narrative texts) are released under a Creative Commons Zero dedication (CC0):
https://creativecommons.org/publicdomain/zero/1.0/.
Descriptions, notes and all other narrative text content are licensed under a Creative Commons Attribution 4.0 licence (CC BY):
https://creativecommons.org/licenses/by/4.0/.
Images are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 4.0 licence (CC BY-NC-ND):
https://creativecommons.org/licenses/by-nc-nd/4.0/.
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