Level 2
Explore the collection room by room
-
Central HallImage and Identity: Full-Length Portraits 1550–1900 -
Main Vestibule -
Room 1Room closed -
Room 2Power, Patronage and Politics: Painting in Florence and Rome 1500–1600 -
Room 4The Spectacle of Portraiture: European Painting 1500–1600 -
Room 5City and Court: Northern Italian Painting 1500–1600 -
Room 6Design, Colour and Invention: Central Italian Painting 1500–1575 -
Room 7Paintings for the Home: Italian Painting 1510–1525 -
Room 8Titian (active about 1506–died 1576) -
Room 9Radical Innovation and Rivalry: Painting in Venice 1500–1600 -
Room 10Devotion by Design: Italian Altarpieces around 1500 -
Room 11Portraits of Women -
Room 12The Triumphs of Caesar -
Room 13 -
Room 13 Stairs -
Room 14Intellectual Pursuits: Painting at the Northern Italian Courts 1450–1550 -
Room 15Artists Inspiring Artists -
Room 15 Stairs -
Room 15a'Fine Painters' -
Room 16A New Art for a New Nation: Dutch Painting 1600–1700 -
Room 17Modern Subjects: Dutch Painting 1600–1700 -
Room 17aDeceiving the Eye: Dutch Perspectives around 1650 -
Room 18Peter Paul Rubens (1577–1640) -
Room 19Land and Water: Dutch Painting 1600–1700 -
Room 20A Different View of Flanders: Flemish Painting 1600‒1650 -
Room 21Anthony van Dyck (1599–1641) -
Room 22Rembrandt (1606–1669) -
Room 23The Cradle of Dutch Painting: Haarlem 1600–1700 -
Room 24International Ambitions: Dutch and Flemish History Painting 1600–1700 -
Room 25Still Life: European Painting 1600–1900 -
Room 26Intimate Baroque: European Painting 1600–1700 -
Room 27The Italianate Landscape: European Painting 1600–1700 -
Room 28Flowers: Dutch and Flemish Painting 1600–1700 -
Room 29Making Paris a New Rome: French Painting 1600–1700 -
Room 30Power and Piety: Spanish Painting 1600–1700 -
Room 31Charles I and Henrietta Maria: A Royal Collection 1625–1649 -
Room 32Baroque Splendour: Italian Painting 1600–1700 -
Room 33City of Pleasure: Painting in Venice 1700–1800 -
Room 34A Distinct Style: British Painting 1740–1800 -
Room 35Rococo to Revolution: French Painting 1700–1800 -
Room 36Claude and Turner -
Room 37The International 18th Century -
Room 38The Academy: European Painting 1800–1850 -
Room 39Capturing the Landscape: European Painting 1650–1850 -
Room 40Turner, Constable and Corot: British and French Landscape Painting 1800–1860 -
Room 41Early Impressionism: French Painting 1860–1880 -
Room 42Pastels -
Room 43Van Gogh, Gauguin and Post-Impressionism: French Painting 1880–1905 -
Room 44Post-Impressionism: French Painting 1850–1900 -
Room 45New Energies: Painting around 1900 -
Room 46Claude Monet (1840–1926) -
Room 51The Wonder of Art: What Painting Can Do -
Room 51aThe Burlington House Cartoon -
Room 52Creating Illusion: Netherlandish Painting 1420–1480 -
Room 53Divine Encounters: Netherlandish Painting 1480–1520 -
Room 54Northern European Painting -
Room 55Lines of Expression: German Painting 1400–1520 -
Room 56Looking at Nature: European Painting 1430–1540 -
Room 57Wonders of Design: Altarpieces in Florence 1400–1450 -
Room 58Lyrical Narrative: Painting in Siena 1300–1500 -
Room 59Architecture and Illusion: Painting in Ferrara, Lombardy and the Veneto 1450–1500 -
Room 60Ambition and Innovation: Painting in Florence 1450–1500 -
Room 61Shaping the Renaissance Ideal: Raphael in Central Italy 1450–1500 -
Room 62The Family Palace: Painting in Florence 1400‒1500 -
Room 63La Serenissima: Painting in Venice 1450–1500 -
Room 64Gold: European Painting 1260–1550 -
Room 65Piety and Passion: Italian Painting 1260–1350 -
Room 66Piero della Francesca (1415/20–1492) -
Sunley RoomRoom closed -
Portico Entrance
