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30 of 2,659 paintings
This painting, which has suffered extensive damage and is currently undergoing conservation, is signed and dated on the paper on the marble ledge. The writing translates as: ‘Andrea thread and needle follower of Giovanni Bellini painted this in 1504.’ Andrea Previtali signed himself ‘thread and n...
Not on display
Christ, bound and crowned with thorns, is condemned to be crucified by Pontius Pilate. ‘Ecce Homo’ (‘Behold the man’) were the words used by Pilate when he presented Christ to the people before the Crucifixion (John 19: 2–5). Pilate, wearing a turban, raises his hand to indicate that he is speaki...
Not on display
Van Gogh painted several versions of A Wheatfield, with Cypresses during the summer of 1889, while he was a patient in the psychiatric hospital of Saint-Paul de Mausole, in the village of St-Rémy in the south of France. A first version, which he described as a study, was painted on site in late J...
According to the legend, Saint Ursula, a Christian princess from Britain or Brittany, made a holy pilgrimage to Rome with 11,000 virgins. Dressed in yellow and holding a flag with a red cross, Ursula watches her companions embark on their return voyage. They carry bows and arrows, weapons that re...
Not on display
The unusual horn-shaped cap and sumptuous silk robes identify this man as a doge, the elected ruler of Venice. We can‘t be sure who he is, but he has been identified in the past as Doge Niccolò Marcello, who was in power briefly from 1473 to 1474. A medal (Bode Museum, Berlin) inscribed with Marc...
A bearded man in a hair robe is being violently threatened by a horde of demonic creatures. He has cast aside his book and is gazing up at the heavens for help, where Christ has appeared reclining on a cloud.This very small picture is one of a number of works on copper that Annibale Carracci pain...
Not on display
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...
Not on display
A boy sits in a dark room, but a glimmer of light through the window reveals his face and the dead mouse he holds in one hand. The other hand covers the mousetrap. This is not a portrait but an imaginary situation, intended as an entertainment and, possibly, a moral lesson.The boy lifts his chin...
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 h...
Sisley painted this winter scene in the small village of Marly-le-Roi in early 1875, soon after he moved there. The village was the site of the Château de Marly, which had been built in the late seventeenth century for Louis XIV, King of France, as a retreat from Versailles. It was later demolish...
Not on display
Teniers brings the cycle of the seasons full circle – and his series of paintings of the seasons to an end – with an old man representing Winter. Wrapped in velvet and fur, he hunches over to warm his hands at a brazier. His face is lined and wrinkled, his beard long and frosted with white. But h...
Not on display
A bright yellow sun rises in the centre of the picture, beside a tree. Its vibrant colour stands out against the rest of the composition, which is darker in tone than its companion piece, Sunset, also in the National Gallery’s collection.Both Cézanne and Van Gogh were admirers of Monticelli’s use...
Not on display
This bearded saint is one of four in the upper tier of a polyptych (a multi-panelled altarpiece) which Crivelli painted in 1476 for the high altar of the Dominican Church in Ascoli Piceno in the Italian Marche. He is Saint Andrew, the first Apostle, and a particular favourite of the Dominican Ord...
Barent Fabritius’s bleak, shadowy stable is coldly lit. The rays radiating from the Christ Child in the manger light up the people close to him, but even they bring little comfort. Only the deep, dusty pink of Mary’s gown and the shepherd’s extraordinary red hat bring a touch of warmth to the sce...
Not on display
A young woman sits on a stone bench in a garden. She leans on a plinth as if trying to be at ease but her bodice, stiffened with whalebone, forbids her to relax. She sits upright, her eyes alert as if expecting someone. Who she might be expecting remains a mystery, since we don't know her identit...
Not on display
Threatened with marriage to a monster Psyche, a mortal, is blown away by the West Wind. She awakens near a magical palace and falls in love with Cupid. He makes Psyche promise not to look at his divine face, but she breaks this promise and Cupid abandons her. The subject of this painting is taken...
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. This is the fourth-century scholar an...
Not on display
Christ’s body, wrapped in a white shroud, is being placed in a tomb by his grief-stricken family and followers. His mother Mary, clasping his wrist, seems on the edge of collapse; John the Evangelist holds her up. Behind them are Mary’s sisters, one wiping tears from her eyes, the other holding h...
Four women dressed in colourful Renaissance-style costumes are shown standing below what may be a vine. On the reverse of the panel is another image of a standing woman. The exact subject of this picture has not been identified. This is not surprising, since in Monticelli’s late career his techni...
Not on display
A group of cheerful young people crowd around a small table in an elegant room. The fashionable clothing they wear, some of which is very colourful, differs from the sombre black costumes we can see in many Dutch portraits of the time.Dirck Hals specialised in scenes of people feasting and enjoyi...
Not on display
A young woman gazes provocatively at us. A long gold necklace lies on her flushed chest and loops between her breasts. A red carnation, sprig of thyme and frond of white jasmine are tucked into her chemise, which has slipped from her shoulder to reveal her left breast.Carnations were popular in b...
Not on display
A number of costumed figures on horseback and on foot, distributed in different groups in the foreground, are seen beside a fountain near a forest. On the left, four women wearing long dresses seem to be busy chatting and observing the two horsemen next to them. On the right-hand side of the pain...
Not on display
A man carries a pink, or carnation, in his right hand. It was the custom for a bride to hide a pink in her clothes on her wedding day. Its presence here, along with the large blue and gold ring on the man’s left thumb, suggests that the portrait commemorates his marriage.Solario was from Milan t...
Not on display
Two saints, Peter and Paul, are deep in conversation over an open book, one pointing out a particular passage to the other. This painting comes from a polyptych – an altarpiece made of a number of panels – painted for the high altar of parish church of Porto Saint Georgio, the harbour of the city...
Not on display
This playful scene celebrates Silenus, Greek god of wine and drunkenness, and companion to the god Bacchus. Silenus, a fat naked old man with a bald head, sits slumped on a throne to the left, supported by two men. Too drunk to stand, he balances one leg precariously on a tiger. The partygoers re...
Not on display
An old man sits in a window, a glass in his hand, a pile of plump, pink shrimps on the table in front of him. Vine leaves hang down overhead, and on the windowsill is a violin. Carved into the wooden panel beneath the sill are the Latin letters for 1660, ‘MDCLX’ – the year the original picture wa...
Not on display
The Virgin is seated on a marble seat, intricately carved and decorated with multi-coloured inlay, outlined in gold. It resembles a Roman tomb, perhaps as a reminder of Christ’s future sacrifice at his Crucifixion. Here, Christ is shown as an infant, tenderly reaching to touch his mother’s face,...
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 M...
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