Paintings on art route B
Witness dramatic candlelit moments and contemplate serene interior scenes and see paintings by artists including Caravaggio, Rubens, Velazquez, Vermeer, Rembrandt, Monet, Seurat, Turner and Van Gogh.
(Showing 30 of 372 works)
A man travelling from Jerusalem to Jericho was attacked by thieves who stole his clothes and left him for dead. A priest and a Levite saw the injured man but both passed him by. A Samaritan bound the man’s wounds, put him on his own mule, and carried him to an inn, where he left money for the man...
While carrying his cross, Christ stumbles and falls. One of Christ’s executioners raises a fist to strike him and another pulls him by a rope around his waist. In the distance is Calvary, the barren hill with two crosses where Christ will be crucified. The Virgin follows her son and wipes her tea...
El Greco has used theatrical gestures and intense colours to express the chaos and disruption of the Purification of the Temple – the moment that Christ drove out traders selling animals for sacrifice, furious that the temple was being used for commerce. Christ’s anger is shown through his body,...
On the Sunday morning after the Crucifixion Mary Magdalene visited Christ’s tomb but found it empty. The story is told in the New Testament (John 20). Mary Magdalene is here identified by the pot of ointment with which she anointed Christ’s feet and by the glimpse of her traditional red dress ben...
Saint Jerome kneels against a rocky ledge in the wilderness contemplating the crucified Christ. Savoldo was particularly admired for his depictions of dawn and dusk and the dramatic lighting effects they produced. The painting is signed on the rock below the open book: ‘Giovanni Girolamo of Bresc...
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...
At the request of Martha and Mary, Jesus visited the grave of their brother Lazarus and raised him from the dead (John 11:1–44). Sebastiano shows Christ standing with one hand raised to invoke the power of God and the other pointing to Lazarus, who is seated on the edge of his stone tomb.Christ s...
Vincenzo Morosini (1511–1588) was a powerful Venetian official from one of the oldest, proudest and richest families of Venice. He was a Knight of the Golden Stole, a Venetian order of knighthood represented by the embroidered stole he wears over his shoulder.He observes us with a shrewd and slig...
Saint George plunges his lance into the jaws of the dragon which, according to legend, inhabited the lake outside the city of Lydda in the Holy Land. He has arrived just in time to save the princess, who had been presented as a sacrifice to the creature. The dead body of one of the dragon’s earli...
The Virgin and Child are accompanied by the young Saint John the Baptist and a kneeling woman, who cannot be clearly identified. She holds the infant Christ in her arms and gazes at him in adoration.It is not clear which, if any, New Testament episode is shown here. The shepherd and herdsman in t...
The Pharisees (chief priests) ask Christ whether it is right to pay tax to the Romans, who rule Palestine. Christ, sensing a trap, asks whose likeness and name are on the coinage: ‘They say unto him, Caesar’s. Then he saith unto them, render therefore unto Caesar the things that are Caesar’s; and...
This is Titian’s largest group portrait. The man in a red robe is probably Gabriel Vendramin (1484–1552). The man holding the altar may be Gabriel’s brother, Andrea Vendramin (1481–1547), and the boys are his seven sons. On the altar is a reliquary of the True Cross that their great-great-grandfa...
The Three Kings have come to visit the infant Christ in the stable where he was born. They bring gifts of gold, frankincense and myrrh, and have journeyed from the East (Matthew 2: 10–12). The stable at Bethlehem is attached to the ruins of a great classical building with a triumphal arch in the...
Saint Nicholas lived in the fourth century and was a bishop of Myra, on the southern coast of modern Turkey. His relics were taken from Myra to Bari in Italy in 1087 and remain there today, which is why he is known as Saint Nicholas of Bari. He is the model of our ‘Santa Claus’ because of a lege...
This is one of Veronese’s earliest works, painted when he was about 18, probably for a noble patron in Verona. The lighting from the right suggests that it was made for a specific location, perhaps the side wall of a chapel.The painting’s subject has been the matter of much debate but it is now b...
Helen or Helena was mother of the first Christian emperor, Constantine. She dreamed that an angel revealed to her the location of the cross on which Christ was crucified and urged her to travel to the Holy Land to find it. She dug up three crosses and, by testing their healing power, was able to...
Alexander the Great, the Macedonian emperor, visits the distraught family of King Darius III of Persia, who he has defeated in battle. Darius’s mother Sisigambis mistakes Alexander’s friend Hephaestion, who wears plate armour and an orange cloak, for the victor. Alexander comforts Sisigambis, who...
At first sight this looks like a busy sixteenth-century street scene. A man sells poultry and other produce, piled up in baskets and barrels, in the corner of a market square. He lifts up two hens by their legs, feathers from their flapping wings drifting down and settling on the coop below. On t...
An avalanche of outsize vegetables tumbles towards us on the left of this painting. On the right, glistening fruits are piled in baskets and bowls balanced rather precariously on a wheelbarrow.The two women at the front, often called stallholders, appear to be buying rather than selling. Their ro...
This large and well-stocked kitchen is a hive of industry. Four female servants prepare and cook food while a young man perches on a stool before the fire, swigging from an earthenware jug. Pots and pans litter the brick floor and every available surface seems stacked with produce.This is one of...
A plethora of piscine produce is presented to us: fish of all kinds are piled in baskets, tumble over the edges of platters or slip from the stallholder’s grasp – there are even mussel shells scattered on the floor. The two vendors ignore their prospective clients and look directly at us, as if a...
A group of men out on a lion hunt are now being hunted themselves. In this brown monochrome sketch, Rubens – famously an accomplished painter of horses – has masterfully captured the movement of the rearing horses and thrusting spears, and the terrified faces of the men as they struggle to fend o...
A crowd of people relax on a grass bank, enjoying the spectacle of a flamboyant procession celebrating the return of a great general and his army. The columns and alcoves of classical Roman buildings tower over them. Below, trumpeters and pipers blow their instruments and animals are led to the s...
Rubens made this oil sketch, along with two others, in preparation for an altarpiece commissioned for St Bavo’s Cathedral, Ghent. The central panel depicts Saint Bavo, a Roman soldier who left the military for the Christian Church, being received as a monk. This scene, in which King Clothar and h...
This picture was made for King Charles I of England and given to him by Rubens, who was acting as an envoy of Philip IV of Spain, in 1630. The two countries had been at war for five years and both sides were keen for a peace deal. The painting is an allegory, the figures representing different vi...
Thomas Howard (1585–1646), 2nd Earl of Arundel and Surrey, was a prominent political figure and a distinguished patron and connoisseur of the arts. Rubens met him on his visit to England in 1629/30, when Arundel was 44 or 45 years old. This portrait isn’t dated, but may well have been made during...
This scene makes up the central panel of an altarpiece Rubens made for St Bavo’s Cathedral, Ghent; this painting is a preliminary sketch for the work. Saints Amand and Floribert receive Saint Bavo, a former Roman soldier, on the steps of St Peter’s Church, also in Ghent.A cleric holds the black h...
Peter Paul Rubens’s Samson and Delilah portrays a tragedy of love and betrayal. Delilah, Samson’s lover, has been bribed to discover the secret of Samson’s supernatural strength. Rubens shows the moment when Delilah tells an accomplice to cut his hair, leaving him powerless. Outside, soldiers wai...
In this exuberant picture, Rubens seems to suggest that apotheosis – a person being elevated to divine status – is not a wholly majestic and dignified affair, as it is presented in many other contemporary paintings. Here, it seems that any great man taken to heaven and granted immortality by the...
This design for a silver basin depicts a number of episodes from classical myth. Venus, the goddess of love, steps out of the giant shell from which, according to Hesiod’s Theogony and the Homeric Hymns, she was born. The birth of Venus from the sea is a playful subject for a basin design: as the...
Moses stands on the left, his hand raised as he beckons people to gaze upon the bronze serpent coiled around the pole held by Eleazar, a priest. The scene is taken from the Old Testament: God had sent a plague of ‘fiery serpents’ to punish the Israelites for their sinfulness and lack of faith (Nu...
Eris, goddess of discord, was the only immortal not invited to an important wedding. Furious at being left out, she threw a golden apple inscribed ‘To the Fairest’ among all the goddesses at the feast. Three claimed the title – Minerva, Juno and Venus. Jupiter, chief of the gods, declared that Pa...
This painting depicts a critical moment in classical mythology. The man on the left with his back to us is Paris, who had been raised as a shepherd but was actually a prince of Troy. He has been asked to judge a beauty contest between the goddesses Venus, Juno and Minerva, and to award a golden a...
According to the Gospel of Luke (5: 1–11), Christ one day approached two fishing boats on the Sea of Galilee. After boarding one and preaching from it, he told the fishermen to cast their nets. Although they had worked all night and caught nothing, the fisherman agreed; when they hauled the nets...
The legend of the abduction of the Sabine women by the Romans is described by several classical writers. While accounts vary, key details are consistent: Romulus, founder and then king of Rome, had built an impressive city, but there was a shortage of women. He invited the Sabines, who lived in t...
This is an oil sketch Rubens made in preparation for an altarpiece for St Bavo’s Cathedral, Ghent; it shows the scene that appeared on the left panel. The two women wearing gold crowns are Saints Gertrude and Begga, the sisters of Saint Bavo (who appears in the central panel). Saint Bavo was a Ro...
The evening sun touches the sturdy cattle standing at the foot of the ruins of a Roman archway. The soft light casts shadows on the weather-worn stones, displaying the ruin’s age and former grandeur. The hills behind may have been recorded by Berchem during a possible stay in Italy, but the cows...
Jan Both was one of a group of Dutch artists that made the long and often dangerous journey across the Alps to Italy, said at the time to be the heart of great painting. He stayed for ten years, becoming a leader in the development of Dutch Italianate landscape showing hardy peasants against soft...
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 by the evening sun drift overhead, leaving patches...
The scarlet coat of the horseman catches our attention and we instinctively follow the direction of his whip, which he points away into the distance. And the concept of distance – just as much as the animals and figures in the foreground – is at the heart of this painting. Aelbert Cuyp has constr...
We're looking at a landscape in the Low Countries, probably the flatlands between Nijmegen and Cleves in the eastern part of the Netherlands, which Cuyp had visited in the early 1650s. But the golden light, and that implied heat, is more reminiscent of southern Europe than the north. It was a com...
This painting is very similar to but roughly half the size of another landscape by Aelbert Cuyp, also in the National Gallery’s collection: A Distant View of Dordrecht, with a Milkmaid and Four Cows, and Other Figures. We don't know which was painted first but presumably one of Cuyp’s customers s...
This is one of the best seventeenth-century examples of what today we might think of as a high-resolution image. The detail and brushwork are so fine that no matter how closely you look at, or zoom in on, the picture, it never quite seems to pixelate. Yet the painter has made a very strange mista...
Hobbema has created a remarkable effect in this unusual painting, using the trees of the avenue to funnel our view directly into the heart of the picture and as strong verticals to take the eye upwards. Our gaze is also drawn sideways into the landscape, through both the track which turns off to...
Hobbema was a specialist landscape painter – this is his only known city view, a depiction of the ordered and harmonious relationship between people and water. We are looking towards the Haarlem Lock at the point where two of Amsterdam’s most important waterways meet – the Singel on the right and...
This imaginary landscape in the flatlands of the Low Countries conjures a remarkably effective illusion of a vast panorama opening up before us. Koninck has used two particular techniques to create this effect. He’s made the figure in the middle ground the most prominent and painted the landscape...
This scene of rural tranquillity is typical of the work of Paulus Potter, who was famous in his lifetime for his paintings of domestic animals. The hilly terrain and summer light are more reminiscent of Italy than Holland, but these are most definitely Dutch cows. Potter has observed them with gr...
This, one of van Ruisdael’s most famous paintings, is a bigger version of his An Extensive Landscape with Ruins, also in the National Gallery’s collection. This sizeable picture was almost certainly painted on commission and was designed to hang in a very large room. Its size is matched by the se...
This is a picture of calm. The gleaming water is flat and the reflections are perfect. Even the billowing clouds seem to pause overhead to cast shadows on the river. No wind stirs the sails, no flags lift in a breeze and the men in the boat are crouched and still.The painting could be seen as pur...
Three small boats head up river, towards the rising sun. Their taut, curved sails are outlined against a cool, luminous sky as they lean with the wind. Moving clouds reveal a patch of intense blue that is reflected silvery grey on the translucent water below. Cattle wade up to their knees by the...
An unidentified young man looks out at us with a direct gaze. Painted by an unknown artist, he is shown leaning against a stone archway covered with a swathe of white satin curtain. His expensive lace collar and cuffs are well displayed. His youth is emphasised by his sparse moustache and wisp of...
The infant Christ is the central figure in this painting, but he is the only one who doesn't look at us directly. Gripping his rosary (the Catholic prayer beads used to keep count of devotions), he gazes beyond the frame in contemplation, while Joseph, the Virgin Mary and the young John the Bapti...
We are watching an intimate family moment, apparently unnoticed. Two children are being introduced – they are the Christ Child and his cousin, Saint John the Baptist. Although this meeting is not mentioned in the Bible, it prefigures the Gospel moment when Christ comes to John to be baptised.The...
The serious young boy in this portrait turns away from us to gaze into the distance. The artist has signed the picture but he hasn’t named the sitter. Only his age, 11 years old, and the date, 1660, are given. The boy is pale, but the deep brown background, the warm shade and delicate texture of...
Although we know the name and approximate date of birth of the sitter of this portrait, he has not yet been fully identified. His robes suggest he was a Benedictine, or possibly Augustinian, canon. The coat of arms in the upper right corner – that of the Boulengé de la Hainière family – is the sa...
Rubens has created the impression of a wide-open space by depicting a point of interest in the right foreground – the shepherd watching over his sheep – then using the strong diagonal lines of the river, the road, the edges of the clouds and the raking light to trick our eye. Like the shepherd, w...
We look down from a height on a rocky outcrop of ground surrounded by trees, their reflection caught in the tranquil stream drifting past. The woods are dark and dense but unthreatening. There’s a pathway through the undergrowth towards the light.A shepherd leans on his crook, his flock beside hi...
On a crisp autumn morning, the rising sun casts a cool light on the manor house. Shadows are long and there’s a suggestion of dew on the grass of the meadows. The windows of the manor house and the stream meandering past it twinkle, and the few feathery clouds are tinged with gold. We are high up...
A lone driver steers his horses and wagon down a steep bank into what seems like a deep ford. It’s an idyllic scene evoking afternoon light filtering through woodland, and the subject is typical of Rubens’s burst of interest in landscape painting in the last five years of his life. Rather than pa...
The aged antiquarian and doctor Ludovicus Nonnius meets our gaze with watery eyes. With his slightly parted lips, he appears to engage us in discussing a passage from the book he holds, which is most likely his recently published text, Diaeteticon sive de recibaria, Libri IV. In this he argues fo...
This is almost certainly a portrait of Susanna Lunden (1599–1643), daughter of the Antwerp merchant Daniel Fourment, an old friend and client of Rubens. The portrait was probably made soon after her marriage to Arnold Lunden.It’s a highly distinctive painting – the sitter’s dark, oversized eyes a...
Against a deep red background, the Archduke Albert of Austria turns towards us with a direct but gentle gaze. His left hand is on the pommel of his sword but his pose is relaxed and unintimidating. His right arm is turned towards us, showing off the delicate pattern of his sleeve and the lace ruf...
Isabella Clara Eugenia, Archduchess of Austria, was the daughter of King Philip II of Spain. She is shown sumptuously dressed in black and gold, with a spectacularly large ruff and spiky lace cuffs. She looks out at us with a hint of a smile in her eyes and around her mouth.In 1599 Isabella marri...
A young milkmaid with a brass pitcher on her head and a bucket in her hand leads her herd of cattle away for milking. The rising sun reflects in a pool and reaches through the trees to catch the sleek white hides of some of the cows. It’s an idyllic, rustic scene, yet there is energy: people are...
In his first letter to the Corinthians, Saint Paul outlines the importance of faith, hope and charity, naming charity as the greatest of the three. At the time this picture was painted, charity meant combining the love of god with love of one’s neighbour.From the sixteenth century onward, charity...
A man sits on a muscular horse, towering above a servant who passes him a helmet to complete his suit of armour. A Latin inscription on the tablet hanging from a tree identifies him as ‘King of Great Britain’ – this is Charles I, surveying his kingdom. Anthony van Dyck painted several portraits o...
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...
This life-size double portrait shows the youngest sons of the 3rd Duke of Lennox: Lord John Stuart, on the left, with his brother Lord Bernard Stuart. They were only about 17 and 18 but they ooze aristocratic superiority and are dressed in extravagant fashion.Van Dyck’s ability to evoke the textu...
The glorious colours in this portrait are equalled by the delicacy and sensitivity with which Van Dyck has captured an intimate moment between us and an unknown woman and her little boy. She wears the formal clothing of an affluent bourgeois wife: a black silk dress with an elaborate gold stomach...
Cornelis van der Geest was one of the most prominent art collectors of his day, so this commission must have been extremely important to Anthony van Dyck, who was only 21 at the time.He has taken a relatively conservative approach, using a traditional format: a close up of just the sitter’s face,...
The Abbé Scaglia (1592–1641), whose full name was Cesare Alessandro Scaglia di Verrua, was a cleric and diplomat well known in Rome, Madrid, London and Paris for his service to the House of Savoy and Philip IV of Spain. Scaglia was also an art collector of renown who knew, among others, Rubens, V...
In this painting, Saint Ambrose (about 340–398), Bishop of Milan, stops the Emperor Theodosius (about 346–395) and his retinue from entering the city’s cathedral. This was a punishment for Theodosius‘ massacre of the people of Thessalonica, who had murdered his general, Butheric.This story was re...
Abbé Scaglia (1592–1641), cleric, diplomat, spy and one of Van Dyck’s most important patrons, commissioned this painting while suffering from ill health and in a reflective state of mind. It was meant for the church of the Recollect order of Augustinians in Antwerp; within a few years Scaglia wou...
Three dashing young boys stand on the steps of an impressive building. They are known as the Balbi children because the painting was once in the collection of the wealthy Balbi family in Genoa, but we don‘t know who they are. Some have suggested they were members of the Franchi family because t...
William Feilding, 1st Earl of Denbigh steps forward, gun in hand. He is shown life-size. We look up at him from below, which emphasises his commanding pose, but the elegance and urbanity usually present in Anthony van Dyck’s formal portraits seems to be missing. This is partly because of the Earl...
We can sense the confidence and energy of the man in this portrait. He is positioned slightly higher than the viewer, so we have to look up at him; he returns our gaze with a direct, rather aloof look in his eyes. His pose seems to reflect his vitality and a sense of self-belief: there is a suren...
This portrait is one of Carel Fabritius’s final works, made in the last year of his short life. He was apprenticed to Rembrandt between 1641 and 1643 and is generally considered one of his most talented pupils.Although it is impossible to be sure – no documented likeness of Fabritius exists – thi...
This atmospheric painting shows a lonely figure seated in front of a huge volume open on the table before him. Brilliant sunlight floods through the gloom onto the wall of the room. Much of the image’s power lies not just in the dramatic tension between light and dark, but in the way the artist h...
Rembrandt’s painting, unique for him in its tender intimacy, shows a young woman almost up to her knees in a stream. She lifts her shift and looks down with a little smile of pleasure at the cool water rippling against her sturdy legs.Although it’s not certain, this woman may be Hendrickje Stoffe...
Rembrandt’s pensive Saint Paul belongs to a series of half-length pictures of religious figures that the artist painted in the late 1650s and early 1660s. The dark picture is devoid of unnecessary details, but the saint’s traditional attributes are just about visible: an open book sits on the tab...
Some of Rembrandt’s most powerful paintings are of men and women immersed in thought, depicted with bold brushwork and dramatic, shadowy light effects. Slumped sideways across a chair, one hand gripping the wooden arm and the other resting lightly on his temple, this elderly man is in just such a...
A cold, grey light creeps through an open window into a room that is itself very old – no glass in the window, a heavy wooden shutter, an open fire with an earthenware pot beside it. The light falls onto an old man. He sits facing into the room, his hands clasped, his head lowered, his face almos...
‘Ecce Homo’, the Latin title of this painting, is taken from the Bible, and means ‘Behold the man!’ These were the words of Pontius Pilate, the Roman governor of Judea, when he was sitting as the judge during the trial of Christ. Pilate, here shown wearing a turban and rising to his feet, is pres...
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 effec...
This is one of the largest paintings ever made by Rembrandt, and one of only two life-size equestrian portraits of ordinary citizens in the history of Dutch art. The rider has been identified as the prosperous businessman Frederik Rihel. His bright yellow jerkin, fancy gloves, shimmering sleeves...
The sitter – whom Rembrandt did not name – has an almost regal poise. She looks down on us from a slight height, her right hand resting on what must be part of the arm of a chair, but which has the air of a sceptre. She wears expensive pearl earrings and jewellery and what seems to be a fur mantl...
This is one of a pair of portraits of a husband and wife, one of the richest couples in the Netherlands. Jacob Trip, who made much of his money as an arms dealer, had been married to Margaretha de Geer for nearly 60 years. The paintings, both in the National Gallery, were made to hang together, a...
Margaretha de Geer was married to Jacob Trip – an extremely wealthy merchant and arms dealer – for nearly 60 years. Rembrandt painted large-scale likenesses of each, which were originally designed to hang together. Both are now in the National Gallery.This smaller portrait of Margaretha was paint...
This is one of a pair of portraits of a husband and wife, one of the richest couples in the Netherlands. Margaretha de Geer had been married to Jacob Trip for nearly 60 years, and the two portraits, both in the National Gallery, were made to hang together, almost certainly in one of the grand rec...
Saskia van Uylenburgh, the daughter of a burgomaster of Leeuwarden in Friesland, was Rembrandt’s first wife. Here, she is 23 years old; they have been married for a year. She is dressed as Flora, the Roman goddess of spring and fertility.Her gorgeous gown is a seventeenth-century version of Renai...
This is one of dozens of self portraits by Rembrandt. We see the artist in confident pose – self-assured, dressed in expensive-looking fur and velvet, his hat laced with jewels. But, though he is a Dutchman living in the 1640s, Rembrandt is wearing the clothes of a gentleman of the 1520s and his...
This is one of three self portraits Rembrandt made just before his death in 1669. About 80 survive from his 40-year career, far more than any other artist of his time. He painted them for different reasons – to practise different expressions, to experiment with lighting effects, and also to sell...
A woman weeps on the steps of a shadowy temple, while members of the Jewish ruling council gather round. Afraid of Christ’s popular preaching, they planned to trick him into transgressing the Jewish law. They said to him: ‘Teacher, this woman has been caught in the act of adultery. Now in the law...
Although there are no records telling us who this young woman is, we can learn quite a lot about her from her clothes and jewellery, and her pose. She is expensively dressed; the fan she holds was a costly accessory and in vogue at the time. Bol also seems to be emphasising her high social status...
This group portrait shows the officers of the Coopers‘ and Wine-rackers’ guild of Amsterdam, which included men who made barrels for the wine imported into the city and those who sampled and bottled it. The name of the guild is written on the seal which hangs over the edge of the table, while in...
We are looking at a family group, a mother and father surrounded by their seven children with a nursemaid holding the latest baby. There are two centres of attention among the sitters, formed around the two youngest children – just what you might expect in a large family.These poses and interacti...
The sitter in this portrait is clearly a prosperous man, conventionally but expensively dressed in the style of the mid-1640s. Beyond that, no evidence has survived – we don’t know who he is. Nevertheless, this portrait is a good example of Hals’s ability both to capture a convincing likeness and...
An unknown sitter leans slightly backwards. It’s an unconventional pose, but one which gives a strong impression of immediacy and informality: he seems to have pushed back his chair and turned towards us. The sense of spontaneity is enhanced by the way Hals has manipulated our gaze. His concern w...
An eighteenth-century label stuck on the back of this painting names the sitter as Marie Larp, and there was a Maria Larp living in Haarlem around the time the portrait was made. She married Pieter Tjarck in 1634, whom Hals also seems to have painted in a portrait now in the Los Angeles County Mu...
This painting demonstrates Frans Hals’s gift for creating lively and animated portraits that suggest distinctive personalities. We don't know who the woman in this compelling work is, but her elegant dress and jewellery indicate that, like many of Hals’s patrons, she may have been the wife of a w...
The young girl in this portrait seems a little shy and tentative. Her eyes are wide and enquiring, her eyebrows slightly raised. She holds out the fan a little awkwardly as if uncertain what to do with it. Her hand placed on her stomach almost appears to steady her.The girl’s identity is unknown,...
The young man in this portrait leans on a stone ornament, confident and at his ease. Dressed fashionably in black, with large amounts of expensive lace on show, he has a falling collar – a relatively new trend in Holland – and a multitude of tiny buttons down the front of his coat. The black sati...
Constantijn Huygens was a senior diplomat who spoke several languages and had a wide knowledge of the arts and sciences. In this portrait, he’s caught in action, receiving a message from a young clerk. Interrupted in his work, he wears a riding outfit as if ready to be up and off in a moment on s...
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 am...
A young girl stands by a column and a balustrade, her hair tied back in a chignon, with tendrils hanging down on either side of her face. The girl’s dress dates the picture to the late 1640s. Isaack Luttichuys often painted his sitters against architectural backdrops and at first glance the paint...
Jan de Reus is about 70 years old in this portrait. He looks out from a dark background, his lined face framed by the long curls of a full-bottomed wig. Each wrinkle is rendered with meticulous care. His mouth is sensitive, though the lips are perhaps not as clearly defined as they once would hav...
Emanuel de Witte is best known for his pictures of church interiors, but he had begun his career as a figure painter and later in life started painting portraits. This is one of them. We know from contemporary documents that this is a portrait of one of his patrons, Adriana van Heusden, and her d...
The painting divides neatly down the middle. On the left side we have books and globes, then considered key repositories of knowledge. And on the right is the world of thought and reflection represented by the sitter, who adopts the classic thinker’s pose: hand on chin, eyes apparently unfocused,...
This large, atmospheric painting most likely depicts a moment from Christ’s trial before the Sanhedrin (a Jewish judicial body). The composition is symmetrically balanced around the lit candle on the central table: the shimmering flame illuminates the faces of Christ and the man sat facing him, p...
Four bloody arrows pierce Saint Sebastian’s seemingly lifeless body. One has stabbed through his leg, and a stream of blood seems to enter our space from its tip. The saint was a Roman centurion who converted to Christianity and, in punishment, the Roman Emperor Diocletian ordered Sebastian’s fel...
Stories of the misdeeds of the Greek and Roman gods were popular subjects for paintings in the seventeenth century. Pieter Lastman had been to Rome and seen the innovative paintings of Caravaggio and his followers. He takes on their use of chiaroscuro – the dramatic use of light and shadow – and...
Nicolaes Maes has turned a biblical moment into a scene from his own time, illustrating part of the Gospel of Matthew (19.13–14): ‘Then there were brought unto him little children, that he should put his hands on them, and pray: and the disciples rebuked them. But Jesus said, Suffer little childr...
In his great dramatic painting, Rembrandt tells a story from the Old Testament (Daniel 5: 1–5, 25–8). The man in the gold cloak, enormous turban and tiny crown is Belshazzar, King of Babylon. His father had robbed the Temple of Jerusalem of all its sacred vessels. Using these to serve food at a f...
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...
Wtewael’s sumptuous picture, full of soft, subtle colour, shows the precursor to the mythological Trojan War. Jupiter, ruler of the gods, has sent Eris (the personification of strife) to provoke a quarrel about which goddess is the most beautiful: Minerva, goddess of war, with her helmet and spea...
In the seventeenth century the Little Ice Age settled over Northern Europe. Rivers and canals in Holland froze over and people took to the ice for work, leisure – and accidents. Hendrik Avercamp, just starting out as an artist, took to it too. His life’s work became the depiction of winter scenes...
We are in a dingy tavern with a small gathering of drinkers and smokers squatting on low wooden stools and chairs. The focus of their attention – and ours – is the tussle going on between a man and a young woman on the left-hand side of the painting.The depiction is unusually lewd. The man, his t...
Ter Brugghen focusses on a lute player lost in his art, drawing us close to the man by using strong, dramatic lighting to highlight the folds under his eyes, the long shadows of his fingers and his shiny red nose – so red that ter Brugghen may have been exaggerating for comic effect. Perhaps he w...
Two men, one old, one young, hands raised and fingers pointing, seem to be arguing. We are being presented with a key moment in a story, but since the picture has no surviving title we have to make an educated guess as to what it is.The most likely candidate is the account in the Old Testament of...
We seem to have crept to within touching distance of this small group of musicians who turn towards us with surprise. The highly focused light source creates sharp highlights, intense shadows and a sense both of drama and intimacy. Dramatic lighting effects like this are now common, but in the 16...
Holding a quill in his right hand, the man in this portrait has turned his head towards us, creating the feeling that we have just interrupted his work. He gives us a questioning look, as if he is waiting for an explanation for the interruption. The sitter is Jean de la Chambre (1605/6–1668), a d...
A life-size figure stands before us, holding a skull in one hand and gesticulating with the other. Although he faces us frontally he looks to his left, and it is the gesture of his right hand that focuses us: his fingers seem to project out from the canvas into our space.This is one of Hals’s mos...
This still-life painting – one of the most popular genres in seventeenth-century Holland – celebrates the challenges of depicting the play of light on different surfaces and textures. Look at the subtle highlights on the weave of the Turkish carpet, the sheen and lustre on silver and glass, the...
'He who plays with cats gets scratched’ – in other words, he who looks for trouble will get it. This is an old Dutch motto that appears to be a possible source for Judith Leyster’s cheerful picture, and it’s been suggested that the painting was intended as both delightful entertainment and a warn...
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 examp...
Jan Jansz. Treck’s complex but sombre picture is a vanitas, a type of still life that holds a moral message. A still life often presents costly objects in an elegant composition to be admired and discussed by the viewer, like the musical instruments, lacquer box, Rhenish jug and scarf made with g...
This painting is a strange fiction: roses and tulips, lilac and snake’s head lilies, aren't all in bloom at the same time, so the artist would have made drawings and sketches of them at different times of the year, later incorporating them into the picture. Scientific exploration and discovery fl...
Tulips, roses, jonquils, carnations, fritillaries and a single blue iris are massed into a Chinese vase; costly flowers in a costly container. Above them all, Madonna lilies rise like shining white trumpets at the peak of the bouquet, made slightly less regal by the tiny beetle making its way up...
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...
In this full-length portrait, Armand-Jean du Plessis, duc de Richelieu (1585–1642) wears the robe and skull cap of a cardinal. This position had been granted to him in 1622. His left hand lifts the robe to reveal a delicate layer of lace, also visible on his sleeves, beneath the great expanse of...
According to the Gospel of Matthew, an angel appears to the Virgin Mary’s husband, Joseph, in a dream. Champaigne shows the angel gesturing towards both heaven and the Virgin Mary, confirming that Christ has been conceived through the Holy Ghost. Kneeling in front of an open Bible, Mary glances t...
This warm, tranquil port scene is bathed in sunlight: the clock on the building to the left records the time as five o'clock. A coat of arms with three golden fleurs-de-lis (emblem of the French king) above the clock and on the ship’s flags to the right suggests this painting was intended for a F...
This small painting beautifully evokes the lushness of the natural world. A young man rests against the base of a tree and turns his head towards us. He holds one hand to his mouth as if playing a flute just out of view, a pose derived from images of the classical hero Orpheus charming the animal...
Diana, goddess of hunting, stands between the huntsman Cephalus and his wife Procris. Procris gives her husband a spear, carried here by an attendant, and a magic dog. The painting is loosely based on a story in Ovid’s Metamorphoses. The title suggests that the pair are being reunited after a fal...
King David and his companions emerge from the cave of Adullam. They cannot enter the city of Bethlehem and the valley below as the Philistines, whose pitched tents are just visible in the bottom left corner, occupy both. Nevertheless, three of the King’s soldiers have bravely ventured out to fulf...
Claude illustrates the Old Testament story of Hagar, setting it in a tranquil landscape bathed in hazy sunlight. Hagar is an Egyptian servant girl who gives birth to Abraham’s child and runs away after quarrelling with Abraham’s childless wife, Sarah. Claude captures Hagar’s suffering and despair...
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...
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...
This painting is one of a series depicting the Seven Liberal Arts, which represent disciplines associated with learning and language – grammar, logic, rhetoric, arithmetic, music, geometry and astronomy – as half-length figures of women. Grammar is shown as a woman watering plants, conveying the...
A woman and five children are crammed into a small space. It is hard to tell where they are, or what their relationships to one another are; their individual facial expressions, which all feel unconnected, seem to be the main focus.The bright colours of the children’s clothes stand out against a...
In this sombre scene a peasant woman, a young girl and two children sit round a table in a dreary room. The older girl and woman look straight at us, their furrowed brows, pursed lips and tense gazes creating a feeling of melancholy or despair. The boy concentrates on cutting bread, smiling conte...
A group gathers around a manger to adore the newborn Christ. On the right, the Virgin Mary and Joseph gaze reverently at the infant, alongside two small angels. On the left are two young boys and an old, barefooted man: they are the shepherds mentioned in the Gospel of Luke (2: 8–20). This scene...
Le Sueur shows us a moment described in the Gospel of John, when Christ speaks to his mother, the Virgin Mary, and his disciple, Saint John the Evangelist, just before he dies. Opposite them kneels Mary Magdalene, her hands clasped together in prayer. Their expressions, mouths slightly open and e...
Saint Paul, who is dressed in a red cloak, directs the men in the foreground to burn a pile of books that represent the pagan tradition. He has travelled to the city of Ephesus (now part of Turkey) to encourage the Jews and Greeks to convert to Christianity, and his success is shown by the figure...
In this portrait, the recently widowed Catherine-Thérèse, Marquise de Seignelay (1662–1699) and two of her five sons are shown as characters from Greek and Roman mythology. The Marquise is probably meant to be the sea goddess Thetis, but could also be interpreted as Venus, the goddess of love, wi...
Two people, one draped in bright yellow and blue, take us from their high viewpoint into this dramatic landscape. A river leads from the bottom left corner, through a rocky gorge, to the lake in the middle distance, set in a valley below snow-covered mountains. A storm has broken over the peacefu...
In this fantastical landscape, the holy family – the Virgin Mary, Joseph and Christ – pause on their journey beside a derelict Roman temple. Among crumbling columns and fragmented archways, niches with antique statues and carved reliefs remain intact. The Virgin gives Christ some figs as a symbol...
Aurora, goddess of dawn, is in love with the mortal Cephalus and tries to seduce him. Cephalus, dressed here in blue, turns away from Aurora, rejecting her advances. He gazes towards a portrait of his wife, Procris, held by a winged cupid. Later, when Cephalus and Procris are reunited, they each...
A man has been crushed by a snake and lies dead beside a pond: his body is limp and his skin a greenish-grey. We see a man and woman whose gestures and movement show their fear and surprise. The way the landscape is constructed reveals the drama in stages: the running man sees the dead man and th...
In this picturesque landscape the bright blue sky and leafy trees reflect the warm climate. The path and river lead our eye towards the town in the distance. In the foreground, a seated man washes his feet in a fountain. On the right, a woman beside a shepherd points towards a large column, which...
A beautiful nymph lying in the foreground seems to be asleep, although she may be enjoying a moment of solitary ecstasy. Beside her a golden-haired child watches as a satyr – a man with a goat’s ears, horns and legs – gently removes her delicate white robe. Another satyr peeps out from behind a t...
Shepherds kneel and stand in order to praise the baby Jesus, watched by Joseph and the Virgin Mary. The stone archway frames an earlier episode: the same shepherds fall over in surprise as an angel appears in the clouds to announce Christ’s birth to them. Following an old tradition in painting, P...
The Archangel Gabriel announces to the Virgin Mary that she will give birth to the Son of God. The dove of the Holy Ghost hovers above her in a bright circle of light. The Virgin, with her eyes closed and arms outstretched, accepts her role as mother of Christ. Poussin’s treatment of this subject...
According to the Old Testament Book of Exodus, Pharaoh ordered all Israelite baby boys to be cast into the river, but Moses’s mother hid him in a basket among the bulrushes. He was discovered there by Pharaoh’s daughter, Thermutis, who is shown here dressed in a yellow robe and surrounded by her...
The infant Bacchus, god of wine, drinks from a bowl into which a satyr squeezes grape juice representing wine. Paintings commonly show Bacchus as a drunken adult, but to show him drinking alcohol at this young age is unusual. Ovid’s Metamorphoses describes how Bacchus' aunt Ino watches over him....
A commanding male figure stares out at us, his white lace collar, shimmering silk sleeves and red sash standing out against his sombre black clothing and the nondescript background. This is Don Adrián Pulido Pareja, a distinguished captain in the Spanish royal navy.He wears the Knight’s badge of...
Seated in a palatial interior, Queen Mariana of Spain is in mourning – she wears a white wimple and the black habit of widow’s weeds. This portrait – one of Mazo’s finest works – was painted the year after the death of her husband Philip IV, King of Spain. Their son and heir, Charles, was too you...
Lemons and oranges teeter on the edge of a table or ledge in front of an earthenware jug, a huge melon, some round boxes used for storing cheese, a bottle – perhaps holding wine – and a coarsely woven basket. These everyday items, seemingly placed at random, are carefully arranged, increasing in...
Various foods and containers compete for space on a bare wooden shelf or table. A plate is piled high with walnuts, with chestnuts and oranges scattered nearby and a colossal melon behind. There are earthenware jugs, probably containing oil or wine, and a small barrel. The round boxes were normal...
A peasant boy leans on a chipped stone block or sill and looks towards something – or someone – that makes him smile. This painting once had a companion picture, A Girl Raising her Veil (private collection), in which a pretty girl exchanges a flirtatious smile with the boy shown here.This is the...
This painting shows one of the seven acts of charity described in the Gospel of Matthew and was part of a series that Murillo painted for the church of the Hospital de la Caridad in Seville. The Caridad was a charitable brotherhood dedicated to helping the poor and sick of the city; Murillo himse...
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...
Murillo has painted himself inside a fictive frame, his right hand emerging from the stone surround as if he were coming alive and entering our space.This self portrait was probably painted in about 1670, when Murillo was in his early fifties – his hairline is receding and his moustache turning g...
This painting illustrates the belief that Christ was both human and divine: the embodiment of the ‘Two Trinities’. At the centre of the composition the Christ Child forms part of the Heavenly Trinity with the dove of the Holy Ghost and God the Father above, and part of the Earthly Trinity with hi...
Saint John the Baptist stands in a rocky landscape, a reference to the wilderness in which he lived as a young man, dressed in a camel-hair tunic and eating only locusts and honey.He embraces a lamb, a symbol of Christ’s sacrifice, and points towards heaven. According to the Gospel, when Saint Jo...
Ribera captures the moment when Christ’s lifeless body is laid out after it has been brought down from the Cross. A solemn Saint John the Evangelist, dressed in red and green, gently supports Christ’s elegant corpse. Christ’s pallor is striking – his lips and skin are turning grey-blue – and his...
Tied to a column, Christ has collapsed to the floor. His limp body, tilted head and pained expression show his exhaustion and suffering. Velázquez shows the moment after the Flagellation, when Christ was flogged by Roman soldiers – we can see the sticks and whip they used lying in the foreground....
A maid pounds garlic in a mortar, and other ingredients lie scattered on the table: fish, eggs, a shrivelled red pepper and an earthenware jug probably containing olive oil. An older woman points towards her, as if giving her instructions or telling her off for working too hard, or she may be dra...
Velázquez painted many portraits of Philip IV, King of Spain, throughout his reign. This is the last painted image of the King by the man who served as his court artist from 1623. He looks middle-aged, and tired: his sagging flesh and puffy eyes suggest the weight of responsibility resting on his...
Philip IV, King of Spain, was normally shown in fairly sombre clothing, so the unusual splendour of his costume here suggests that this work was made to celebrate something particular. In 1632, he wore a similar outfit for an important ceremony in which the Cortes of Castile pledged an oath of al...
Fernando de Valdés has an imposing stare. His black cloak – an expanse of plain, heavy fabric – makes him appear larger than he really is, and a matching bishop’s hat indicates his prestigious status within the Church. His clothing and the opulent red curtain trimmed with gold, like the chair on...
On the Greek island of Patmos, Saint John the Evangelist had a vision of the Woman of the Apocalypse, which he recorded in the New Testament Book of Revelation. Here he sits with an oversized book in his lap, his quill pen poised, and looks towards the tiny illuminated female figure hovering in t...
A young woman floats above a landscape, standing on a translucent moon and with a crown of 12 stars. This imagery is based on the New Testament Book of Revelation. In it, Saint John the Evangelist records his vision of the Woman of the Apocalypse, who bears a male child and is threatened by a dra...
Venus, the goddess of love, reclines languidly on her bed, the curve of her body echoed in the sweep of sumptuous satin fabric. The pearly tones of her smooth skin contrast with the rich colours and lively brushstrokes of the curtain and sheets.Venus‘ face is reflected in the mirror held up by he...
In this small and intimate painting, everyday objects appear monumental and take on a mystical intensity. On a tabletop or ledge, a ceramic cup of water with delicately curved handles sits in the centre of a silver plate. A thornless rose in full bloom balances on the plate’s edge.That these obje...
Saint Francis is shown meditating in a landscape, holding a skull in his hand. His hood is pulled back and the light catches one side of his face, marking out his strong nose and pronounced cheekbone, while the other side remains in deep shadow. He wears the fraying and patched robe of the Franci...
This is one of Zurbarán’s most austere and intensely spiritual works. Saint Francis is shown kneeling in fervent prayer, his clasped hands cradling a skull. Shadow obscures his face, giving us only a glimpse of his features. He wears the robe of the Franciscans, the religious order he founded in...
The fourth-century saint Margaret of Antioch was cast out by her father, a pagan priest, when she converted to Christianity. She was left to fend for herself tending sheep.She’s dressed as a wealthy shepherdess, with a lambskin jacket over her picturesque costume and a straw hat fashionably cocke...
A wicker basket is piled high with fresh lemons, seemingly just picked from a tree, their leaves still attached. Sprigs of flowers – lemon blossom, red carnations, blue delphiniums, white roses, day lilies and a tulip – are scattered throughout the composition.A goldfinch perches on the edge of a...
A woman seated in a landscape is startled by the sudden appearance of an angel, who points to heaven while gesturing towards a sleeping boy in the distance. This is the angel appearing to Hagar, the Egyptian maidservant to Sara, wife of Abraham, as told in the Old Testament. Hagar bore Abraham a...
A bearded bishop stands over a child lying in a street, his mother kneeling at his side. This is Saint Zenobius – the fourth-century bishop of Florence and one of the city’s patron saints – bringing a boy back to life.This large altarpiece was painted for Bilivert’s great friend Giuliano Girolami...
An effeminate youth recoils in pain as he is bitten by a lizard, which clings tenaciously to his finger. In the foreground is a magnificent still life of fruit, with a rose and sprig of jasmine in a glass vase. Look closely and you can see the reflection of a room in the curved surface of the vas...
The story of the death of John the Baptist is related in the Gospel of Mark (6: 16–29). John had criticised King Herod for marrying his brother’s wife, Herodias, and she sought revenge. At Herod’s birthday feast, Herodias’s daughter Salome so delighted the King by her dancing that he promised her...
On the third day after the Crucifixion two of Jesus’s disciples were walking to Emmaus when they met the resurrected Christ. They failed to recognise him, but that evening at supper he ‘... took bread, and blessed it, and brake and gave to them. And their eyes were opened, and they knew him; and...
A young woman crouches in the bottom right-hand corner, trying to cover her nakedness with her cloak, while two bearded men leer at her and pull at her clothes. This is Susannah, an Old Testament heroine. Bathing one hot day in her husband’s garden, she was seen by two elders – senior members of...
This is the night before the Crucifixion. Jesus, knowing he will be betrayed and die on the Cross, has taken Peter, James and John to watch over him while he prays, but they have fallen asleep. According to the Gospel of Luke, Christ asked God to ‘remove this cup from me’, and an angel appeared t...
A youthful Virgin Mary looks tenderly down at her son, the infant Christ Child, wriggling on her lap. Christ reaches out to embrace Saint John the Baptist, identifiable by the reed cross he holds. The composition of this painting is constructed along diagonals and the Virgin’s serene bearing cont...
Angry to find that the Temple of Jerusalem was like a market because of the money-changers and dove-sellers trading, Christ drove them out using a whip. Here he is poised in the centre, right arm raised above his head, about to strike a money-changer who has fallen on one knee. His table has tipp...
Saint Cecilia, patron saint of musicians, sits serenely at a table, holding a palm – the symbol of her martyrdom – in one hand and a sheet of music in the other. On the left is a portable organ; on the right an angel leans on a harp. In the top right corner we can glimpse the upper parts of a cl...
In 1681, Marco Gallo was made a cardinal by Pope Innocent X, having served as Bishop of Rimini, a city in northwestern Italy from 1659. In this portrait he wears a vivid red cardinal’s biretta on his head and a silk mozzetta (short cape), its beautiful iridescence and volume created by carefully...
In this vast canvas Orazio Gentileschi depicts the Old Testament story of the Finding of Moses (Exodus 2:2-10). When Pharaoh decreed that all newborn sons of Hebrews should be killed, the infant Moses was placed by his mother in a basket and hidden in bulrushes to ensure his safety.Here, nine ele...
Perseus and Andromeda’s wedding feast has been violently interrupted by Phineas, to whom Andromeda was formerly betrothed. Giordano has illustrated the dramatic moment when Phineas and his followers attack Perseus. Heavily outnumbered, Perseus has unveiled the severed head of the gorgon Medusa, w...
The monumental figure in this painting is Elijah, an Old Testament prophet who lived in Israel in the ninth century BC. Having predicted that a terrible drought would ravage the land, Elijah was instructed by God to hide by the stream Cherith. Here, ravens delivered bread and meat to him every mo...
The Cumaean Sibyl is one of 12 pagan sibyls, or prophetesses, said to have foretold the coming of Christ. The Cumaean Sibyl, who takes her name from Cumae near Naples, predicted that Christ would be born to a virgin mother in a stable at Bethlehem. The inscription on the stone slab here refers to...
The New Testament recounts how, after his crucifixion, Christ rose from the dead and appeared to his disciples. One of them, Thomas, was absent, and refused to believe in Christ’s resurrection without witnessing it himself. This painting shows their encounter, when Christ instructed Thomas to tou...
The Samian Sibyl was one of 12 pagan sibyls (or priestesses) who, like the Old Testament prophets, were said to have foretold the coming of Christ. The Samian Sibyl, named after the Greek island of Samos, was an oracle of Apollo and prophesied that Christ would be born to a virgin mother, as the...
A young man wearing only an animal skin is illuminated against a dark rock, leaning forward to drink water trickling from a spring. With one hand he props himself up on the rock and with the other he holds a reed cross – an attribute which identifies him as Saint John the Baptist, the desert herm...
When her hometown of Bethulia was besieged by Assyrian forces, Judith infiltrated the enemy camp. She gained entry to the tent of the Assyrian general Holofernes, and when he was drunk after a banquet she seized his sword and cut off his head.Here she places Holofernes‘ head into a sack held open...
This crowded banquet scene shows Christ’s first miracle (John 2: 1–10). He, his mother and the disciples were invited to a wedding feast at Cana in Galilee. When the wine ran out, Mary told her son and he asked to have six stone jars filled with water. When it was tasted it was found to be wine...
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...
An apocryphal addition to the Old Testament describes how two lecherous elders threatened to accuse Susannah, a beautiful young woman, of adultery – a crime punishable by death – if she did not give in to their desires. Guido Reni here illustrates the episode: one man grabs at Susannah’s robes an...
The Adoration of the Shepherds is a late altarpiece by Guido Reni. Nearly five metres high without its frame, it is one of the largest paintings in the National Gallery’s collection.In a stable in Bethlehem, a group of shepherds gather around the newborn Christ. Reni has staged a night-time scene...
This painting depicts the mythological story of Europa, daughter of the King of Tyre, who, while playing on the seashore one day, was approached by a docile bull. Draping a flower garland on its horns, Europa unsuspectingly climbed onto its back. The bull, who was in fact the god Jupiter in disgu...
In this monumental painting, Venus, the goddess of love, is attended by the Three Graces, who carefully fasten her sandals and jewellery. Her son Cupid stands before his bow and arrow in the foreground, delicately holding a pearl earring between forefinger and thumb, while a putto reaches through...
The story of the honest woodsman – the subject of Rosa’s painting – is taken from Aesop’s Fables, a collection of moral tales from ancient Greece. In the story, the god Mercury takes pity on a woodsman who has accidentally dropped his axe into a river. He retrieves two axes from the water, one go...
Passing through a gloomy forest, two riders ask for directions from a group of peasants resting at the side of the road. The man on the white horse points towards the sunlit valley beyond, his gesture mirrored by one of the seated figures. A shaft of warm evening light cuts through the dense cano...
A scowling man wearing a scholar’s cap and brown gown appears before us. His drapery, wrapped tightly around him, has the smooth, solid look of a sculpted Roman bust. Half of his face is in shadow and the cold lighting emphasises his long, narrow nose, unkempt hair, unshaven face and furrowed bro...
Beneath a pitch-dark sky, bizarre and terrifying magical spells are being cast. Monstrous figures, some of them naked, are arranged as if on a stage set, illuminated by scattered pools of light.In the centre, one witch smokes the corpse of a criminal that hangs from a withered tree while her comp...
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 golde...
This devotional painting makes us feel as if we are in the same room as the Virgin Mary, who appears almost life-size, praying in quiet devotion. The background is so plain and dark that nothing distracts us from her bowed head framed by a white headdress or her hands pressed gently together. Bri...
The Aeneid, an epic poem by the Roman writer Virgil, tells the story of Aeneas, a Trojan hero and son of the goddess Venus. In Book I, Aeneas comes to the city of Carthage. Worried for his safety, Venus devises a plot to protect him: she sends Cupid to the city disguised as Aeneas' son Ascanius,...
A young woman, dressed in a dazzling yellow skirt and red bodice, semi-reclines in a dark landscape setting, of which only some rocks and plants in the foreground are visible. Her wings and the trumpets she holds identify her as the allegorical figure of Fame. Normally Fame is shown with a single...
A cardinal sits in a red velvet chair decorated with gold braid. One of his hands lies on the arm rest, the other holds his cardinal’s biretta (hat) on his knee. Behind him is a bookcase, the shelves of which are lined with very large leather-bound volumes.The sitter is identified by the inscript...
John Plampin is portrayed here aged about 25. The portrait was probably painted around five years before he inherited Chadacre Hall and the manor of Shimpling, Suffolk, in 1757. Gainsborough shows Plampin on Plampin land. The church tower in the background, though brushed in with only a few touch...
This unfinished portrait of Thomas Gainsborough’s youngest daughter, Margaret (1751–1820), playing a theorbo (a kind of lute) unites two particularly personal aspects of the artist’s life and career: his deep affection for his family and friends, and their shared passion for music.The Gainsboroug...
This portrait of Mr Robert (1725–1806) and Mrs Frances Andrews (about 1732–1780) is the masterpiece of Gainsborough’s early career. It has been described as a ‘triple portrait’ – of Robert Andrews, his wife and his land.Behind Mr and Mrs Andrews is a wide view looking south over the valley of the...
This is the earliest known self portrait in oil by Gainsborough, and the only known one of him with his family. He sits with his wife, Margaret, and the little rosy-cheeked girl is probably Mary, their short-lived first daughter. It is likely Gainsborough began it before Mary’s burial on 1 March...
This portrait of Gainsborough’s daughters is likely to have been painted in Bath a year or so after the family moved there in late 1759. Mary appears to be about ten or eleven years old, and Margaret about eight or nine. Margaret leans her forehead back against her sister’s cheek as she holds the...
Hogarth certainly painted this sketch from life, and although he may never have known the girl’s name, this is definitely a portrait of an individual. For at least a century before and after Hogarth painted The Shrimp Girl, most of the travelling sellers of shellfish in London were women, usually...
Born in Devon, Joseph Greenway made his fortune captaining Danish cargo ships and became a Danish citizen in 1786. On his return to Britain, his wealth enabled him to rise in English society. He was Sheriff of Exeter from 1802 to 1803 and Mayor of the city from 1804 to 1805.In this highly sympath...
This painting was most likely commissioned to commemorate the alliance of the Milbanke and Melbourne families through marriage in April 1769. The married woman is Elizabeth Milbanke (seated in a carriage on the left) and her husband is Peniston Lamb, 1st Lord Melbourne, mounted on a chestnut hors...
The view is of Holt Bridge, spanning the River Dee, at the point where the river serves as a border between Wales and England. It was painted as a pair with The Valley of the Dee with Chester in the Distance, also in the National Gallery. They are landscapes painted in the spirit of the French ne...
Born in 1747, Thomas Coltman inherited Hagnaby Priory, near East Kirkby in Lincolnshire, in 1768. He and his wife Mary Barlow are portrayed here probably a year or so after their marriage in October 1789. The couple can also be seen in Wright’s great painting An Experiment on a Bird in the Air Pu...
This painting depicts an episode from the Old Testament: the Queen of Sheba embarking on her journey to see King Solomon in Jerusalem. Crowned and dressed in red, the Queen descends the steps. The meeting was often painted, but it was unusual to depict the Queen’s embarkation. The soft warm light...
According to an inscription on a tree stump in the centre, this painting shows the marriage of Isaac and Rebecca described in the Old Testament book of Genesis. The couple dance with tambourines, surrounded by other figures reclining and enjoying the festivities. The flat landscape and expanse of...
Turner’s painting of the North African city of Carthage, founded by Dido, its first queen, was inspired by Virgil’s epic poem, the Aeneid. The figure on the left dressed in blue and wearing a diadem is Dido herself, visiting the tomb that is being built for her dead husband, Sychaeus. The man in...
It is low tide in the early morning and fishermen unload their catch from a boat beached high and dry on the shore. Some people enjoy a meal. Others prepare the catch for sale. This human activity contrasts with the stillness of the glassy sea which, like a mirror, reflects the hazy sunlight. The...
This is traditionally said to be a portrait of the Englishman John Scott, who bought the estate at Banks Fee, near Stow-on-the-Wold in Gloucestershire, in 1753. During the early 1770s – around the same time as this work was produced – Scott did travel to Rome, where the famous portraitist Batoni...
This is Richard Milles of Nackington, a Member of Parliament for Canterbury from 1761 to 1780, who sat for this portrait when he was in Rome on his Grand Tour. He points to a map inscribed with ‘Grisons’, the name of a Swiss Canton that he probably visited on his way to Italy.The classical column...
Time, the winged figure holding an hourglass, orders his companion Old Age to disfigure the face of a young woman, the personification of Beauty. This interaction encourages us to consider the brevity of youth and the inevitable passing of time.Batoni often drew from a live model when preparing h...
This monumental painting shows a large crowd awaiting the results of a lottery draw, which is taking place on the balcony of the Palazzo di Montecitorio in Rome. A man has released the winning ticket into the air – you can just make out a small piece of paper fluttering towards the excited group...
This painting depicts a story taken from the Book of Genesis. Abraham had sent a servant to his homeland to find a bride for his son, Isaac. The servant came to a well, and waited for a woman kind enough to provide both him and his 10 camels with water: this woman would be the perfect bride for I...
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 bea...
This is a very early work by Bernardo Bellotto, the talented nephew of the influential Venetian artist Canaletto. It was painted in around 1738, when he was only about 16 years old and working in his uncle’s studio in Venice. By this time Bellotto was creating his own versions of some of Canalett...
We have a magnificent view of the Grand Canal in Venice during the annual regatta, which was held on 2 February and attracted large numbers of visitors each year. All eyes are on the one-oared gondolas racing up the middle of the canal. Just right of centre two craft swing around the bend, tilted...
This view is from the bank of the River Thames, looking across a sprawling meadow towards Eton College on the horizon. A shady glade gives way to a softly lit landscape, with folk enjoying the summer’s day – a family group are picnicking while other people fish and boat nearby. A finely painted t...
This painting shows the inside of the famous rotunda (demolished in 1805) at Ranelagh Gardens in Chelsea. Ranelegh opened in 1742 as one of London’s most prestigious pleasure gardens, and its main attraction was this vast circular building in which fashionable society could attend balls and liste...
This small picture shows the great Piazza San Marco – the most famous square in Venice. We look through an archway, stood in the shadows just behind a group of figures; it is as if we are walking past them along the colonnade. A vendor surrounded by baskets shows his wares to two gentlemen. A man...
People are hard at work on boats beside the small island of San Pietro in Castello, the eastern part of Venice. While the nearby district of San Marco was popular with tourists, as it is today, this quieter corner of the city was largely a working-class neighbourhood. Its residents sailed between...
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 Ascensio...
Beneath a sky of swirling cloud and warm sunlight, we take in a view of the Doge’s Palace, one of the best-known buildings in Venice. It overlooks a promenade known as the Riva degli Schiavoni and the basin of San Marco.Canaletto has given the scene a sense of tranquillity and calm. In the foregr...
A crowd watches as state dignitaries and foreign ambassadors emerge from the church of San Rocco on the right of this painting. They have just attended a mass in honour of Saint Roch as part of the saint’s feast day, which was held in Venice every year on 16 August to celebrate his role in bringi...
Canaletto’s sweeping view takes in everyday life on the Grand Canal. A stout helmsman stands aboard a finely decorated passenger barge to the left, while fishermen draw their nets in the centre. A boat carrying two women seems about to collide with one of the fishing vessels.Across the canal to t...
We see the Piazza San Marco from just inside the colonnade of the Procuratie Nuove, which housed the procurators (or caretakers) of San Marco. Although painting one of Venice’s most famous sights, Canaletto took liberties with the architecture to create a dramatic composition, enlarging the size...
The Venetian Arsenal, a fortified shipyard and armoury, had been celebrated as a symbol of the Venetian Republic’s domination of the Mediterranean sea trade since the twelfth century. Its ornate gateway is decorated with statues of Greek and Roman gods; standing guard is the lion, a symbol of the...
This intriguing picture is Boilly’s painted imitation of a print after one of his own compositions (possibly now lost). Although Boilly was an expert in trompe l’oeil, it is unlikely that he intended to trick the viewer into thinking they are looking at an actual print because he does not include...
A weathered but picturesque watermill sits in a landscape that includes several idealised peasants engaged in tasks such as fishing, collecting water and washing clothes. Although this landscape has an air of decorative artificiality, even theatricality, Boucher includes sufficient detail to sugg...
This small and intimate painting is a cabinet picture intended for private domestic display rather than public exhibition. It illustrates a story from Metamorphoses, the epic poem by the Roman poet Ovid. The wood nymph Syrinx is chased by the god Pan to the river Ladon, where she begs one of the...
A young child is being taught by an older girl, perhaps in her early teens, who is possibly an elder sister or another relation such as a cousin. Despite the picture’s title, this is a private lesson, probably taking place at home rather than at school. The younger child is most likely a boy, alt...
Pierre-Joseph-Victor de Besenval was an eminent military man and art collector. His association with the circle around Queen Marie Antoinette prompted his flight to his native Switzerland in 1789, during the French Revolution, but he was arrested while fleeing. He avoided the guillotine and was r...
A little boy or girl leans on a cushion holding an apple. The child is positioned in the extreme foreground of the picture before a dark blank background, the closeness to us creating a sense of immediacy. The intense gaze of the glistening blue eyes and slightly parted lips – which Greuze has pa...
In this exquisite small painting on copper, three women are looking after two infants in a grand neoclassical setting. One woman breastfeeds an infant, while another holds up a second baby for a kiss. A woman to the left is busy arranging bedding in a wooden cradle. The open loggia and warm light...
This is the second of Lancret’s series of paintings depicting The Four Ages of Man and represents Adolescence (L'Adolescence).A young lady stands in the centre of the painting in a grand circular room with tall windows. She admires herself in the mirror held up by a young page while her hair is d...
This is the first of Lancret’s series of paintings depicting The Four Ages of Man.Ten wealthy children, a baby, a nurse and a governess are outside in a tiled neoclassical loggia. Two of the children are being taught to read by the governess, while the others are playing boisterous games. A boy a...
This is the fourth and final painting in Lancret’s series of The Four Ages of Man, entitled Old Age (La Vieillesse). Lancret dispensed with the usual depiction of old people warming themselves indoors before an open fire to take the scene outdoors. A young woman rejects an old man’s advances whil...
This is the third of Lancret’s series of paintings depicting The Four Ages of Man and represents Youth (La Jeunesse).Three pairs of lovers embrace one another in a woodland glade. In the foreground, two archers are engaged in a game of ‘pape-guay’, which involves shooting at an imitation bird (us...
An old man in an exotic costume is reading a young lady’s palm. She is accompanied by a young man in a turban who rests his hand on her shoulder. The objects that surround the old man tell us that he is a magician: an alembic (a still to make alcohol), an incense burner, several reference books a...
Maria Maddalena Balletti, known as Manon Balletti, was the daughter of Antonio Giuseppe Balletti, an actor in the Comédie Italienne. Her brother Stefano, also an actor, was friends with the Venetian adventurer and author Giacomo Casanova, who declared his love for Manon. She broke off her existin...
Framed beneath an arch of tall trees, a small crowd watches two characters from commedia dell’arte (a popular form of comic theatre) engaged in a mock duel. The show is watched by a mix of male and female characters from various social classes, ranging from young children to the elderly. This is...
This is the first of the series of seven illustrations of the story of Jason made by Jean-François de Troy as sketches for cartoons for the Gobelins tapestry works in Paris. The Gallery owns another sketch from the same series: The Capture of the Golden Fleece.According to the Roman poet Ovid’s M...
This is the third of a series of seven illustrations of the story of Jason made as sketches for cartoons for the Gobelins tapestry works in Paris. The Gallery also owns the first sketch from the series: Jason swearing Eternal Affection to Medea.Jason has set out to capture the Golden Fleece, and...
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, Emili...
This picture is a fine example of Watteau’s work on an intimate scale. The title The Scale of Love (La Gamme d’Amour) comes from a print of it made several years after his death. It may be a reference to the musical scale, to the various stages of flirting and seduction, or to the music which fac...
Women combing their hair, or having it combed, often appear in Degas’s work, and this painting is one of his boldest treatments of the subject. A maid, wearing her servant’s uniform, combs the hair of her seated mistress, who is not yet fully dressed. Pulled back by the force of the strokes, the...
This painting shows Lake Keitele in central Finland. The zigzag pattern on the water’s surface is a natural occurrence caused by the interaction of the wind with the lake’s currents, but it is also intended to evoke the wake created by Väinämöinen, the poet-hero of the Finnish saga Kalevala, as h...
Gauguin painted this still life soon after he had arrived in Tahiti for his second and final stay in 1895. Exotic red bougainvillea and hibiscus, white and yellow frangipani, white tiare and large blue leaves burst out of a dark clay pot. They look as though they are slightly past their best, and...
One of Gauguin’s favourite paintings was Cézanne’s Still Life with Compotier, Glass and Apple, (1879–80, Museum of Modern Art, New York), which he acquired for his own collection around 1880.This still life is a homage to that picture, and repeats many of its elements: the fruit, the pottery, the...
Van Gogh painted this patch of meadow when he was a patient at the psychiatric hospital at Saint-Paul de Mausole, near the village of St-Rémy in the south of France. While at the hospital he made a number of sketches and paintings that look down at small areas of meadow or undergrowth.Although th...
This is one of five versions of Sunflowers on display in museums and galleries across the world. Van Gogh made the paintings to decorate his house in Arles in readiness for a visit from his friend and fellow artist, Paul Gauguin.‘The sunflower is mine’, Van Gogh once declared, and it is clear tha...
This painting of a simple chair set on a bare floor of terracotta tiles is one of Van Gogh’s most iconic images. It was painted in late 1888, soon after fellow artist Paul Gauguin had joined him in Arles in the south of France. The picture was a pair to another painting, Gauguin’s Chair (Van Gogh...
Johan Barthold Jongkind produced several views of the boulevard de Port-Royal, which was near his studio in Paris. He often made drawings and watercolour sketches of a scene which he would then use in his studio as the basis for his oil paintings; this picture relates to a watercolour of 1874.In...
Greta Moll was a sculptor who, along with her German husband Oskar Moll, was enrolled in Matisse’s art school, which he opened in 1908. She had previously been a student in Berlin where her portrait had been painted by the German artist Lovis Corinth. On being shown a photograph of that portrait,...
A bunch of flowers in a ceramic vase is displayed on a table. The tablecloth is decorated with flowers and blue stripes that help create a sense of recession into depth.Like most of Monticelli’s works, this picture is painted on a wood panel, much of which is left visible. Thick paint and blobs...
In 1884 Pissarro settled with his family in the village of Eragny. He painted a number of views of this meadow which is planted with small trees still surrounded by their protective cages. It is late afternoon and the long shadows thrown by the trees radiate out in a fan shape towards the left co...
A tiger crouches low in thick jungle foliage, its back arched and teeth bared. It is not entirely clear what is happening: is the tiger cowering from the flash of lightning, or is it stalking prey?Surprised! was the first of around 20 ‘jungle’ paintings that Rousseau produced, which are among his...
This cool, elegant painting explores the quality of light on water – how it moves, how it reflects and, towards the base of the picture, how it glows. The clouds are hardly reflected in the water: it seems as if the light has slipped under them to illuminate the vast, still stretch of almost tide...
This small panel may be linked to Seurat’s earliest sketches and ideas for Bathers at Asnières (1883–4), although it is not normally included in the 13 sketches which have been tied to that painting.The carefully organised geometry of the scene, which divides the picture into distinct sections, c...
This large picture was Seurat’s first major composition, painted when he had not yet turned 25. He intended it to be a grand statement with which he would make his mark at the official Salon in the spring of 1884, but it was rejected.Several men and boys relax on the banks of the Seine at Asnière...
Of the small panels in the National Gallery’s collection related to Seurat’s Bathers at Asnières, this oil sketch on wood is perhaps the one most closely connected with the final painting. Unlike other sketches, which concentrate on atmospheric effects or the landscape, Seurat’s focus here is alm...
This is one of the earliest studies for A Sunday on La Grande Jatte of 1884–6 (Art Institute of Chicago), and was very likely painted on location. As this sketch was painted in the morning, the sunlight and shadows are the reverse of other studies and of the final painting itself, which shows the...
Seurat produced many oil sketches and drawings as studies for his monumental painting A Sunday on La Grande Jatte of 1884–6 (Art Institute of Chicago). Many of these concentrate on the landscape but others, including this one, focus on the scale and position of figures within the final picture.He...
This is one of four paintings Seurat produced in 1890 near the town of Gravelines, a small port on the northern French coast between Calais and Dunkirk. Positioned on the sand dunes of Petit-Fort-Philippe, we see the shore in the morning light after the receding tide has left a broad expanse of o...
This panel was most likely painted in 1885 and relates to a medium-size canvas, The Seine at Courbevoie (now in a private collection in Paris). Seurat may have painted it before he decided to produce a finished picture of this particular view of the river, or it may be a preparatory study.The ver...
This is the only sketch for Seurat’s Bathers at Asnières that includes a rainbow, which was painted over the sky once the paint had dried. Although perhaps a rather contrived image, the mottled sky suggests Seurat may have seen a rainbow. It is evidence of his attention to particular effects of l...
The island of La Grande Jatte and the views from it across the river Seine were a rich source of pictorial subjects for Seurat during the 1880s. He was especially attracted to this location, in part because of the pictorial forms and structures it offered, such as the horizontal of the river and...
Paul Cézanne was about 40 years old when he painted this self portrait in Paris around 1880–1. He was now middle-aged with a family to support, and the intensity of his earlier self portraits has here given way to a more distant and reflective presence. Although relatively small, the portrait has...
Turbulent grey clouds roll across the sky. The lake beneath it is calm, but a storm threatens. It’s evening, and a tiny sailing boat in the distance is little more than a smudge on the horizon against the vivid orange and gold of the dying sun. Soft red reflections streak the surface of the water...
Honoré-Victorin Daumier (1808–1879) often used Miguel de Cervantes’s comic novel Don Quixote as a source for paintings and drawings. These always feature Don Quixote himself, who is usually accompanied by his faithful companion, Sancho Panza. This picture probably depicts the incident when Don Qu...
The Cirque Fernando was built in 1875 near the Place Pigalle in Paris, close to where Degas lived. He saw Miss La La perform there several times. Originally named Olga, she was a mixed-race circus performer famous for her feats of strength.Here, she is suspended by her teeth as she is hoisted up...
The painting illustrates a passage from the Life of Lycurgus by the Roman historian Plutarch, which describes how Spartan girls were ordered to engage in exercise – including running, wrestling and throwing the discus and javelin – and to challenge boys. However, this may be a scene of courtship...
In AD 8 the Roman poet Ovid, author of the poem Metamorphoses, was banished for life by the Emperor Augustus to the port of Tomis on the coast of the Black Sea. At that time, this region was inhabited by the Scythians, nomadic warrior-tribes who originally came from the area now known as southern...
In August 1874 Manet began work on a large picture of the Brasserie de Reichshoffen, where he was fascinated by the skill of the waitresses. While working on the picture, he radically altered his plans and cut it in two, completing each half separately. This snapshot view of the cafe is the right...
Eva Gonzalès (1849–1883), Manet’s only formal pupil, was a successful artist and a regular exhibitor at the Salon. This portrait was probably started in February 1869 and involved numerous sittings. It was finally finished in March 1870 and shown at the Salon the same year.Manet had painted other...
Ferdinand Maximilian was enthroned as a puppet emperor of Mexico in 1864 with the support of Emperor Napoleon III of France. However, Napoleon III reneged on his military support. Captured in May 1867 by nationalist Mexican and Republican forces, Maximilian and two of his generals were executed b...
Torrential rain in autumn 1896 caused extensive flooding near Monet’s home in Giverny. The river Epte, a tributary of the Seine, burst its banks and overflowed into the meadow next to Monet’s garden.Obliged to remain close to home, Monet painted the view of the waterlogged landscape that he saw i...
Monet was in his early twenties when he painted this view across the breakwaters to the headland of La Hève, near Sainte-Adresse on the Normandy coast. He knew the area well, as he had spent his childhood in nearby Le Havre. The picture was probably made on the spot as a study for a larger studio...
Monet’s earlier paintings of the Normandy coast had emphasised it as a working seascape, peopled with fishermen who had to contend with a cold climate, choppy seas and stormy skies. But this painting and the eight others he made in the summer of 1870 show it as a holiday destination, with wide sa...
In 1871 Monet settled in Argenteuil, a small suburban town on the Seine just nine kilometres and a fifteen-minute train journey from Paris. Already partially industrialised, Argenteuil was also famous as a centre for pleasure boating, and Monet was particularly attracted by its regattas and sail...
Monet was captivated by London’s fog during his first stay in the capital from 1870 to 1871. Later in life he told the art dealer Rene Gimpel: ‘Without the fog, London would not be a beautiful city. It’s the fog that gives it its magnificent breadth.’ This misty composition is anchored by carefu...
This painting was almost certainly exhibited with the title The Lake in the Bois de Boulogne at the Fifth Impressionist exhibition in 1880 together with another picture by Berthe Morisot, In the Bois de Boulogne. The two paintings show the same two women (possibly professional models) who wear id...
This is one of 12 surviving pictures that Camille Pissarro made while in self-imposed exile in south London from late 1870 to mid-1871 during the Franco-Prussian war. Perhaps the first picture he painted while in London, it is one of the more rural scenes of the group and is similar to landscapes...
This is one of 12 pictures that Pissarro painted while in self-imposed exile in London from 1870 to 1871 during the Franco-Prussian war. The Avenue was a wide, tree-lined street in Sydenham, a fashionable semi-rural suburb near Crystal Palace in south London. The location can be identified today...
Pissarro and his family moved to Louveciennes in the spring of 1869, and he may have painted this picture shortly afterwards, or possibly in the spring of 1870. Only 30 minutes west of Paris by train, Louveciennes was an important location for early Impressionism, as it was one of the small towns...
We seem to be sitting in a box at the theatre with two young women, though we can’t be sure what is going on. We can’t see the stage and one of the women is looking away from us, the back of her bonnet hiding most of the other’s face. This sense of mystery is enhanced by the nearer woman’s pose,...
Although dated 1874 on the canvas, Sargent most likely painted this study of a shaded veranda the following year at Saint-Enogat in Brittany. He spent the summer of 1875 there, when he was just 19 years old. The fluid brushwork shows the influence of Impressionism, a new way of painting, particul...
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...
A mountain massif in central Switzerland, Mount Rigi rises above the waters of Lakes Lucerne, Zug and Lauerz, its main summit reaching some 1,800 metres above sea level. This view is from Mount Rigi itself, looking west over Lake Lucerne to Mount Pilatus. To the left stands the Bürgenstock, with...
Constable painted Salisbury Cathedral many times from different viewpoints. Some of these pictures were oil sketches made outdoors like this one, while others were large pictures intended for exhibition. This sketch was created during Constable’s six-week visit to Salisbury in the summer of 1820....
This view is of Bowleaze Cove in Dorset looking west from Osmington. The Jordon stream trickles over the sand, with Furzy Cliff and Jordon Hill beyond. Thick clouds scud across the bright winter sky as the Downs slope to the sandy cove and sea. Constable suggests the waves rolling in to the beach...
This is the third in a series of four panels illustrating the different times of day that Corot painted for his friend, fellow artist Alexandre-Gabriel Decamps. It is evening and colours are at their richest. Nearest to us, a mysterious figure is wearing what appears to be a dark brown monk’s hab...
This is the first in a series of four panels illustrating the different times of day that Corot painted for his friend, fellow artist Alexandre-Gabriel Decamps. Two tall trees with full foliage on the left of the panel are offset by two smaller trees on the right. Corot’s use of trees on either s...
A rare example of a night scene by Corot, this is the last in a series of four panels illustrating the different times of day that he painted for his friend, fellow artist Alexandre-Gabriel Decamps. As in Morning, we see a single figure, probably a man, accompanied by a dog. There is a sense of a...
This is the second in the series The Four Times of Day that Corot painted for his friend, fellow artist Alexandre-Gabriel Decamps. In this panel, the light is brighter than in the previous panel, Morning, and fills the picture. There is an overall lightening of tone and a wider range of colours....
Dahl probably visited the waterfalls at Labro (Labrofoss) when on a sketching trip in Norway, his country of birth, in 1826. Around 80 kilometres west of Oslo, the Labrofoss are among Norway’s major falls. Dahl shows the lower part of the rapids, placing us on flat rocks directly facing the torre...
This portrait is one of the first painted by Jacques-Louis David (1748–1825) when he chose exile in Brussels in 1816 following the fall of Napoleon, whom he had supported, and the restoration of the Bourbon monarchy. Isolated from Paris, David relied mainly on painting portraits of Brussels citiz...
Delacroix painted this portrait of fellow artist, Louis-Auguste Schwiter (1805–1899), in the early years of their lifelong friendship. Not only was this Delacroix’s first full-length portrait, but it also reveals the close attention he paid to work by British artists such as Thomas Gainsborough (...
Lady Jane Grey reigned for just nine days as Queen of England following the death of Edward VI in 1553: she was deposed by the faction supporting Edward’s half-sister and heir, Mary Tudor. Tried for treason, the 17-year-old Lady Jane was beheaded at Tower Hill on 12 February 1554.Delaroche shows...
This was the first painting by Friedrich, one of the principal figures of German Romantic art, to enter a British public collection when it was purchased by the National Gallery in 1987. A man, having cast aside his crutches, lies against a large boulder in a snowy landscape as he prays in front...
The Friedrichsgracht was a canal that ran though the centre of Berlin. While it still survives in present-day Berlin, much of the area has been rebuilt since the Second World War. This striking composition, dominated by the geometrical precision of the zinc roof in the foreground, is typical of G...
Géricault was a keen horseman, and his passion for horses was matched by his expert understanding of their anatomy. In 1813 he produced a number of oil studies and finished paintings, possibly including this one, of horses at the Imperial stables at Versailles. These paintings are characterised b...
Andrés del Peral sits proudly on a simple chair and looks out at us with a penetrating stare. Goya shows Peral as he really was, with a receding hairline and grey hair. He looks as if he’s sneering at us, but his facial droop suggests he may have suffered a stroke. He places his left hand on his...
This portrait of Arthur Wellesley, 1st Duke of Wellington, was painted after he had defeated the French forces of Napoleon and entered Madrid victorious in August 1812.Wellington sat for Goya shortly after his arrival in Madrid, and the artist produced a large painting of the Duke on horseback (A...
Wearing her finest clothes and jewellery, Madame Moitessier gazes majestically at us. She is the embodiment of luxury and style during the Second Empire, which saw the restoration of the French imperial throne and the extravagant display of wealth. Her distinctive pose is based upon a Roman wall...
Monsieur de Norvins had recently been appointed Chief of Police in Rome when Ingres painted his portrait in 1811. He is presented as a reserved, even forbidding, figure who closely scrutinises us as we look at him. Norvins’ loyalty to Napoleon is indicated by the gesture of placing his left hand...
Christen Købke probably painted this portrait of Wilhelm Bendz (1804–1832) around 1830. Both men were pupils of Christoffer Wilhelm Eckersberg at the Royal Academy of Fine Arts in Copenhagen.The style and technique are typical of Købke’s early maturity, when he was beginning to move away from the...
Located just outside Copenhagen, the Citadel (Kastellet) was a former military fort where Christen Købke and his parents lived from 1819 to 1833, although Købke often returned there to paint. He painted this view in 1837, possibly for his mother as a souvenir of their former home.This picture sho...
In the summer of 1867, the German artist Adolph Menzel visited Paris for nine weeks. While there, he almost certainly went to Manet’s temporary pavilion, which for a few days was situated near the Universal Exhibition. The pavilion displayed around 50 of Manet’s paintings, including Music in the...
According to the Old Testament, God instructed Abraham to sacrifice Isaac, Abraham’s only son by his wife Sarah, as a test of his faith and obedience (Genesis 22: 1–19). Abraham and Isaac make their way to the place of sacrifice. Isaac carries a bundle of wood for the altar fire on his back, whil...
The subject of this painting is taken from the Old Testament Book of Ruth. The youthful widowed Moabite Ruth is gleaning (gathering up corn left after the harvest) to support her widowed mother-in-law, Naomi. The landowner Boaz has heard of her situation, and impressed by her devotion has instruc...
This is one of three portraits of Napoleon painted by Vernet in 1815–16 for Charles Kinnaird, 8th Lord Kinnaird of Inchture, an art collector who had been a Member of Parliament and an elected representative peer for Scotland.Napoleon declared himself Emperor of the French in 1804 and reigned unt...
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