Paintings on art route C
Travel from Venice to the English countryside and see paintings by artists including Bronzino, Canaletto, Gainsborough, Holbein, Hogarth, Monet, Seurat, Turner and Van Gogh.
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(Showing 30 of 209 works)
Jupiter, the ruler of the gods, is seated on a cloud, his attribute of an eagle with thunderbolts in its beak beside him. He is embracing the goddess Minerva, his daughter. The scene is witnessed by a gathering of the gods of Olympus, clearly shocked by what they see.Mercury, messenger of the god...
Although we do not know his name, we can tell a lot about Baldung Grien’s mature sitter from the details of his costume. The large fur collar of his coat, the jewel on his cap and the two gold chains around his neck show off his wealth. The longer chain bears two badges: the Virgin and Child with...
The Virgin Mary and Saint John the Evangelist stand in Christ’s red marble tomb supporting his lifeless body. He is partially covered by a burial shroud, but the spear wound on his side is visible. The Virgin mourns her son, wiping her eyes with her veil. John the Evangelist places his hand to hi...
In 1 Corinthians 13, Saint Paul discusses three traits that would become known as the theological virtues: faith, hope and charity. He believed that charity, an expression of the love of God and of one’s neighbour, was the most important. Here, the inscription ‘CHARITAS’ at the top of the picture...
The subject of this painting has been much debated, but it’s generally thought to show an imagined view of a past and primitive society. Cranach made a number of similar paintings from 1527 to 1535. Since the twentieth century it has been assumed that the origin of the subject lies in a classical...
This painting, which shows Saints Christina and Ottilia, was part of a multi-panelled altarpiece made by Cranach in 1506, shortly after he was appointed court painter to the Elector of Saxony, Friedrich the Wise.Saint Christina of Bolsena was a third-century virgin martyr. When she renounced her...
Saint Genevieve, born in the fifth century, is the patron saint of Paris. She was a nun, and helped protect the city from attack from the Huns and the Franks. Here, she holds the candle that miraculously relit after the devil blew it out while she was praying alone one night.Saint Apollonia was a...
The story of Saint Paul’s shipwreck on the island of Malta is described in Acts (28: 1–6), and Adam Elsheimer has taken advantage of the biblical description to portray a night scene: ‘And the barbarous people shewed us no little kindness: for they kindled a fire, and received us every one, becau...
Christ is shown crouching in the river Jordan as Saint John baptises him, pouring water over his head. An angel and two cherubs carry a red drapery to wrap around Christ after baptism. The sky has opened up to reveal the intense light of heaven where the bearded figure of God the Father is surrou...
This portrait was made to hang with one of a woman by the same artist (Oscar Reinhart Collection, Winterthur), possibly to commemorate the couple’s engagement or marriage. This seems likely as both are shown with flowers associated with marriage: the carnation or pink held by the man was part of...
A solemn woman wearing a soft cap of dense white fur sits with a red squirrel in her lap and a glossy-feathered starling at her shoulder. Common pets in the fifteenth-century, these animals also have a symbolic meaning and serve as clues to the sitter’s identity. She is thought to be Anne Lovell,...
This elegant young woman is Christina of Denmark, the youngest daughter of King Christian of Denmark. In 1538, King Henry VIII of England was looking for a fourth wife, after the death of Jane Seymour the previous year. As Henry’s official court artist, Holbein was sent to Brussels to capture the...
Jean de Dinteville, the man on the left, is shown on his second diplomatic mission to England on behalf of Francis I, King of France. To the right is his close friend, Georges de Selve, Bishop of Lavaur. This portrait was painted at a time of religious upheaval in Europe. Although the pope had re...
The subject of Christ bidding farewell to his mother, the Virgin Mary, as he heads to Jerusalem to face his arrest, trial and death was very popular in southern Germany. This is a fragment of a larger painting, which has been cut at the right edge – only Christ’s hands and part of his long crimso...
The demure young woman in this portrait is Susanna Stefan of Nuremberg. The picture may well have been painted around the time of her marriage to Wolfgang Furter, probably along with a pendant portrait of her husband. A damaged inscription gives her age as 18 and a date in the 1560s; the coats of...
This scene is set in heaven, and Rottenhammer has managed to convey its vast scale even in this small space: rows of angels, saints and prophets fill every inch of the painting, and the more distant figures are painted very faintly to create a feeling of expansiveness.At the top, surrounded by a...
We don't know the identity of this girl, but she surely belonged to an important dynasty. Her large, rounded cheeks suggest that she is still quite young, but nonetheless she’s dressed in a stiff formal outfit: a ruffled collar peeks out from beneath a high-necked net bodice woven in alternating...
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...
In the fields beside a broad winding river labourers scythe grass to make hay, while a shepherd takes advantage of the shade of a large tree to shear a sheep. A woman with a large tray of fruit on her head is perhaps on her way to the town opposite to sell her produce at market. Meanwhile, aristo...
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...
Christ arrives at the temple to find it full of money-changers and traders. Christ says, ‘My house shall be called a house of prayer, but you have made it a den of thieves. And the blind and the lame came to him in the temple; and he healed them’ (Matthew 21: 12–15).Jacopo Bassano has depicted bo...
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...
A young couple sit on the grass in a shady glade. The woman’s hair is unbound, and her dress disturbed. In one hand she holds reed pipes, with the other she either restrains her lover or encourages him to move the crimson cloak over her lap. A naked, winged cupid crowns them with a wreath. A wood...
A black eagle soars into the clouds with a naked youth clutched in its talons. In Greek mythology, Jupiter was infatuated with the handsome youth Ganymede, whom he abducted in the guise of an eagle and carried away to the home of the gods, Mount Olympus, where he was made their cupbearer.The sole...
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 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...
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...
This is one of Bronzino’s most complex and enigmatic paintings. It contains a tangle of moral messages, presented in a sexually explicit image. Venus, goddess of love, steals an arrow from her son Cupid’s quiver as she kisses him on the lips. Cupid fondles Venus‘ breast, his bare buttocks provoca...
Elderly Saint Elizabeth looks down over the Virgin Mary’s shoulder at her son Saint John the Baptist. The Christ Child removes a garland of flowers from his head, symbolising innocence or childish pleasure. He grasps the reed cross held by the infant Saint John, who wears his camel-skin cloak and...
This portrait of the careworn Pope Julius II (1443–1513) is usually dated to the one-and-a-half-year period during which he wore a beard. He grew it in 1510 as a token of mortification while recovering from a serious illness brought on by the loss of Bologna to the French, and vowed not to shave...
This is one of a series of four paintings by Veronese that concern the trials and rewards of love, although their precise meanings remain unclear. The compositions are designed to be seen from below, so we know the pictures were intended for a ceiling or a series of ceilings.A couple are united a...
This is one of a series of four paintings by Veronese that concern the trials and rewards of love, although their precise meanings remain unclear. The compositions are designed to be seen from below, so we know the pictures were intended for a series of ceilings.Cupid drags a man in military cost...
Given the title Scorn in 1727, this is one of a series of four paintings by Veronese that concern the trials and rewards of love, although their precise meanings remain unclear. The compositions are designed to be seen from below, so we know the pictures were intended for a ceiling or a series of...
This is one of a series of four paintings by Veronese that concern the trials and rewards of love, although their precise meanings remain unclear. The compositions are designed to be seen from below, so we know the pictures were intended for a ceiling or a series of ceilings.A naked woman with he...
A young woman, wearing a crimson robe and pearl necklace from which a gold cross is suspended, stands in an imaginary architectural setting. An opening into what appears to be a brightly lit courtyard reveals a precarious, twisting flight of stairs. A man in a dark costume stands at the top, appa...
Giovanni Agostino della Torre was a distinguished doctor and citizen of Bergamo. He had taught at the University of Padua, and the costume he wears is official or academic dress. In 1510 he was elected prior of Bergamo’s College of Physicians, an office he held until his death.The texts on the tw...
A sumptuously dressed young woman holds a drawing of the Roman heroine Lucretia. The story of Lucretia, who lived in the early sixth century BC, is told in Livy’s History of Rome. Prince Sextus Tarquinius crept to Lucretia’s room at night and raped her. She told her father and husband, who were u...
Lotto wrote in his account book that he gave a painting on 23 September 1547 to ‘Giovanni della Volta, my landlord’. He describes it as ‘a painting with his portrait from life and that of his wife with two children, altogether comprising four figures’. The portrait may have been painted in lieu o...
No other Renaissance painting of the Virgin and Child with saints shows the naked infant Christ sitting on a pillow on a coffin. This unique addition indicates Christ’s acceptance of and conquest over death. Meditation on Christ’s death encouraged understanding of his suffering for humanity’s red...
This is the earliest surviving example of a life-size, full-length portrait on canvas or panel painted in Italy. We are not certain of the sitter’s identity, but he may be Gerolamo II Avogadro of Brescia (who died in 1534). He was the father of Conte Faustino Avogadro, who is shown in a portrait...
This lavishly dressed sitter, wearing a coat lined with lynx or snow leopard fur, is the Brescian nobleman and humanist Fortunato Martinengo (1512–1552). Ancient gold and silver coins and a bronze oil lamp in the shape of a foot on the table allude to his scholarly interests, and perhaps also to...
This portrait was long known as ‘Il Cavaliere dal Piede Ferito’ (‘The knight with the wounded foot’). But the brace supporting the man’s left foot suggests he was suffering from foot-drop, a fairly common disorder caused by the failure of the ankle muscles. The way in which his plate armour has b...
This dark-haired man with his striking ginger beard is said to be an ancestor of Count Lupi of Bergamo. The picture is typical of Moroni’s bust-length portraits of the 1560s. The sitter’s body, truncated by a marble parapet, is turned at a sharp angle to us and his eyes meet ours with a direct, a...
This portrait is unusual among Moroni’s works in that the sitter doesn‘t look out at us but gazes to the right, apparently lost in thought. He is identified by the letter he holds (a common device in Moroni’s portraits and others of the time), addressed to him as: ’The most reverend gentleman, Lu...
The traditional Italian title of this portrait, ‘Il Gentile Cavaliere’, means ‘the well-born gentleman’. The prominent sword, a symbol of gentility, and the books suggest that he is a man of action as well as learning. He holds a letter addressed ‘al...Sig’ (To Lord), but the name is now illegibl...
The portrait has long been known as ‘La Dama in Rosso’ – the lady in red. Moroni especially favoured pink or orange-reds. Here he has complemented the colour of the dress in the pinky-orange circles of Verona marble set in the floor. The sitter’s clothes are made of the most luxurious materials a...
This portrait has long been known as ‘L’Avvocato‘, meaning the lawyer or counsel in Italian. The sitter’s air of well-paid theatricality and his supercilious regard, as though he is summing up evidence, may have suggested this title. It might also derive from a misreading of the folded letter in...
An unidentified man regards us with a look of affable irony, his eyebrows raised. His chain mail sleeves and tunic would have been worn beneath plate armour, suggesting that he engages in some form of military activity. Similar costume is worn by noblemen in other portraits by Moroni.The sitter’s...
A soberly dressed man turns to look at us, his arm leaning on a large red book with gilded corner pieces and a central boss. Although the Latinised name ‘Leonardus Salvaneus’ was added to the portrait later, this may be a true record of his identity.The inscription on the ornate book translates a...
This is one of Moroni’s most famous paintings. The dress and the style of the painting suggest that he made it late in his career, around 1570.The cloth merchant or tailor looks up at us, interrupted from his work. His cream and red costume contrasts with the black fabric marked with chalk lines...
The Virgin sits in front of a dilapidated stable with the naked Christ Child on her knee. Three men offer golden gifts – this is the Adoration of the Kings, a biblical episode imagined as a contemporary event. It’s a chilly winter day: Mary’s dress has fur-lined sleeves and Joseph has a thick-bel...
A thin-faced man kneels in prayer, surrounded by three saints. This is Bernardijn Salviati, illegitimate son of a Florentine merchant, and canon of the Collegiate Church of Saint Donatian in Bruges. The saints are, from left to right: Martin of Tours, with the beggar he gave his cloak to on the r...
Christ is stretched on the cross on which he is to be crucified – he looks straight at us to invite our sympathy. At his feet, two soldiers haul on ropes to pull his legs straight as another hammers an iron nail into his feet. A fourth knocks a nail into his right hand.His pale skin and nakedness...
Christ’s body has just been brought down from the Cross and is being prepared for burial – the square door to his tomb is visible in the rock face on the right. His mother embraces him tenderly, while Mary Magdalene anoints his feet. Another woman washes his wounds with water from a brass basin w...
A bearded man gazes out intently from this painting. We don't know who the sitter is, but the cut of his beard and the fashion of his hat and clothes suggest a date towards 1530. The fact that both his doublet and gown are lined with fur probably indicates that the portrait was painted during the...
An elderly couple stare past each other – and us – in this astonishing study of old age. Although prosperously dressed, the pair seem disappointed: their mouths are turned resolutely down, their eyes dull and their jowls sagging. Although they overlap, each figure makes a self-contained triangle;...
A dark-haired man gazes to his right in a picture that must once have formed the right wing of a diptych or triptych (a painting made up of two or three parts respectively). He has not joined his hands in prayer, but his right is placed on his heart and he holds a rosary: he is clearly at his dev...
Saint Mary Magdalene is identifiable here by her halo and her emblem – the pot of ointment with which she anointed Christ’s feet. The pot seems to show scenes from classical mythology. On the lid, one woman carries another through water – perhaps the goddess Diana helping her mother across the st...
In this small arched painting, the Virgin Mary is seated on a grey stone bench surrounded by a wooden frame. She wears a red mantle and uses both hands to gently restrain the naked Christ Child as he leaps forward with his arms outstretched.Once thought to be by a follower or even a late copy aft...
Catharina van Hemessen is the earliest female Flemish painter for whom verifiable work survives – we can see her name here in a Latin inscription in the top right corner. We don't know who the sitter was, but she was evidently wealthy. Her shirt, visible at her neck and wrists, is ornamented with...
An unknown man gazes past us into the distance. There is nothing to identify him beyond the scroll in his hand, which tells us his age: 38. His clothing is sombre – there is no conspicuous display of wealth and status – but it does suggest that he was a man of means.The man’s costume and the styl...
Two strikingly ugly men in extraordinary clothing are seated at a table in a panelled interior. One writes in a ledger, the other – his features contorted into a sneer – grasps at a pile of coins. Documents, some of them legible, are piled on a cupboard behind the pair.Marinus van Reymerswale and...
This is the aftermath of the Crucifixion. The soldiers are riding away, and only Christ’s followers are left. Christ hangs from the Cross, dead or near death. The Virgin and Saint John the Evangelist stand on the left, while Mary Magdalene clings to the foot of the Cross. On the left Joseph of A...
This paintings shows the Virgin as Queen of Heaven: she sits on a gilded throne and two angels hover above her, about to place an extraordinarily delicate crown on her head. The throne is decorated with red and green enamel or glass, and rests on the dais of a small Gothic church. The infant Chri...
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 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 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...
Gondolas glide across the water, passing fishing boats which direct our gaze towards the mouth of the Cannaregio Canal, Venice’s largest waterway after the Grand Canal.The Ponte delle Guglie (‘bridge of the obelisks’) spans the water. We can just make out the tiny silhouettes of people crossing i...
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...
This intimate view of Venice, weatherbeaten and dilapidated, is one of Canaletto’s masterpieces. In the early morning sun, workmen chisel away at pieces of stone. Everyday life continues around them: a mother rushes to comfort her crying child, watched by a woman on the balcony above.This square...
This theatrical scene, with its stage-like setting of dramatic buildings that loom over the figures, was imagined by Guardi. The building on the left may be based on an unused design for Venice’s Rialto bridge by Andrea Palladio, a sixteenth-century architect. Guardi probably studied the design a...
Although capricci views like this one show scenes that are essentially imaginary, Guardi often used details of real buildings in his. The staircase here is based on the one in the courtyard of the Doge’s Palace in Venice, though Guardi has removed some of its statues. He also reduced the size of...
Guardi delighted in capturing the charm of his beloved Venice, and here he has given it a soft, powdery appearance and dreamy atmosphere. Trade is the focus in the foreground – the basin of San Marco and the quayside is a hive of activity. Lively brushstrokes evoke the bustle of the city at work,...
Beyond Venice’s Grand Canal, on the peaceful island of Guidecca in the easternmost part of the city, is the domed church of Santa Maria della Presentazione. Better known as the Zitelle, the church was built in the sixteenth century and attached to a foundling hospital for young girls (zitella is...
The huge dome of the church of S. Maria della Salute dominates the entrance of the Grand Canal. Just in front is the Dogana da Mar (Customs House), built in the 1670s and shaped like a ship’s bow. Above its entrance is a weathervane in the form of Fortune, a personification of the Venetian Republ...
This scene shows the Dogana da Mar (Customs House), which was built in about 1677, and the entrance to the Grand Canal. Over the gateway to the canal is a golden globe with a weather vane in the shape of Fortune, personified as the mistress of the sea. With almost no land, Venice depended on mari...
This is one of of Guardi’s most serene paintings. The summery Venetian sky and the water of the lagoon merge almost seamlessly, broken only by a softly painted landscape and a few buildings. The tower of Malghera, the city’s ancient fortress, lay on the edge of the lagoon near Mestre, but the foc...
In 1751, a rhinoceros known as Miss Clara was publicly exhibited at the Venice Carnival, creating a sensation across Europe. She was the subject of poems, paintings, tapestries, medals and sculptures; ladies even styled their hair in the shape of a horn. Pietro Longhi painted this picture around...
In this painting we see Esther, the Jewish heroine of the Old Testament, presenting herself to Ahasuerus, King of Persia, in an attempt to save the Jewish population of Persia, who he had condemned to death. In doing so, she risked her life: approaching the King without his permission was punisha...
This highly finished oil sketch relates to an altarpiece that Giovanni Battista Tiepolo painted for the chapel at the palace of Nymphenburg, outside Munich, in around 1735 (now in the Alte Pinakothek, Munich). Saint Clement kneels in the foreground, a vision of the Trinity above him. God the Fath...
This huge oval-shaped painting, which is about 3 metres long, was commissioned to decorate a ceiling in a palazzo belonging to the Contarini family. The scale of the figures and the sense that they are above us hint at the intended destination: this work was made to be seen from below, and at a g...
This oil sketch shows the design for an altarpiece that Giovanni Battista Tiepolo made for the church of San Salvatore in Venice in 1737. The scene unites saints from different periods and places. Seated on the throne and holding a flaming heart to symbolise his love for God is Saint Augustine (3...
This small picture is based on an altarpiece Tiepolo made in about 1742 for a church in Padua. The altarpiece, which is still in situ, is dedicated to Saints Maximus and Oswald, though only the figure of Saint Maximus is the same in both.Saint Maximus, the second bishop of Padua, is shown here dr...
This is a small oil sketch but its composition is ambitious. Tiepolo has arranged the figures in a towering pyramid with the Virgin Mary at the top, seated on a cloud. She holds the Christ Child on her knee, grasping his foot firmly as he tugs at her veil.The saints’ responses unfold in a chain r...
The Building of the Trojan Horse illustrates an episode from one of the most famous stories in Greek mythology – that of the Trojan War and fall of Troy. Soldiers in armour prepare for battle while workmen build the giant wooden horse in which Greek soldiers will hide, allowing them to secretly e...
Christ’s lifeless body lies at the foot of the Cross, supported by the Virgin Mary; she gazes towards heaven in deep sorrow. Mary Magdalene clings to Christ’s left arm, unable to contain her grief, and Saint John the Evangelist buries his face in his red drapery. Two other men are still crucified...
This painting shows an episode from the mythological Trojan War, as described by the Roman poet Virgil in the Aeneid. The Trojans rejoice as they pull a large wooden horse into their city, believing it to be a gift from the gods; it actually conceals a band of Greek soldiers. In the background, C...
Sharp and angular, the Saxon fortress of Königstein, about 25 miles southeast of Dresden, is silhouetted against a pale sky. The artist, Bellotto, was from Venice, and he has applied the traditions of Venetian view painting – a high level of detail, the large scale – to this northern landscape. I...
According to the Old Testament Book of Exodus, the Israelites and their flock were thirsty after failing to find water during their long journey through Egypt. God instructed Moses to stand in front of the people with the elders of Israel and strike the rock of Horeb with his staff. A fresh strea...
According to the Old Testament Book of Numbers the Israelites, tired of walking through the desert in search of the Promised Land, criticised both Moses (their leader) and God. God punished them by sending a plague of venomous snakes to bite them, causing the death of many. When the Israelites re...
This is one of two paintings originally commissioned as a pair by Stanislas Augustus, King of Poland, in June or July 1772. However, concerned that the King was slow to pay, Vernet instead sold the pictures to the British officer and East India Company official Lord Clive (known as Clive of India...
On the banks of a wide meandering river, men and women are catching fish. Vernet has used the brightly lit woman in red and the jutting tree as devices to draw our eye into the composition. A man with a rod and a basket of fish sits next to the river with his back to a large mossy rock. His dog h...
This Italian coastal scene bathed in soft sunlight is influenced by the port scenes of Claude, though much of the effect in Vernet’s painting depends upon its picturesque human detail. Two fashionably dressed ladies have been brought down to the shore by a Hungarian hussar, who is drawing their a...
This is one of a pair of seascapes, originally commissioned on behalf of the King of Poland, that the British officer and East India Company official Lord Clive (known as Clive of India) bought from Vernet in 1773.Originally known as ‘Tempête’ (Storm), it depicts a rocky shoreline buffeted by a v...
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...
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 several versions of A Wheatfield, with Cypresses during the summer of 1889, while he was a patient in the psychiatric hospital of Saint-Paul de Mausole, in the village of St-Rémy in the south of France. A first version, which he described as a study, was painted on site in late J...
In late 1883 Van Gogh moved to the town of Nuenen in North Brabant, in the south of the Netherlands. His arrival there marked the beginning of a highly productive period that was to culminate in his first major painting, The Potato Eaters of 1885 (Van Gogh Museum, Amsterdam).This picture belongs...
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 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...
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,...
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...
This is one of 14 views of the Boulevard Montmartre in Paris that Camille Pissarro painted in 1897. These include the boulevard seen in snow, rain, fog, mist and sunlight, and in the morning, afternoon, at sunset and at night. The picture is the only example of a night painting by Pissarro.Pissar...
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...
This young woman seated in a garden is thought to be a dancer and model who we know only as Gabrielle. She appears in two other pictures by Toulouse-Lautrec.Although Toulouse-Lautrec worked mainly as a graphic artist and printmaker, and is perhaps best known for his posters advertising venues suc...
This is a painting of sheer animal power. Brilliant white light builds up the turbulence and excitement of the scene. Rosa Bonheur has made the convulsion of the muscles and the flying manes almost tangible, capturing the rearing, plunging animals and the strength and dexterity of their handlers...
Boudin started off painting seascapes, but he found a niche in the 1860s producing small beach scenes. These showed well-to-do holidaymakers from Paris and further afield who arrived at the fast developing resorts of Trouville and Deauville to sample the health-giving benefits of seabathing and t...
In a warm and dark room, Courbet’s rich, ripe apples seem to glow as if in firelight. The heavy earthenware bowl lined with pale blue slip seems almost too small for the weight of the fruit piled into it. Among them is a single pomegranate, squeezed in at the base of the heap.In 1871 Courbet was...
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...
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...
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...
During the summer of 1869, Monet and Renoir painted together at La Grenouillère, a slightly raffish resort on the river Seine some 12 kilometres west of Paris. It had become a popular weekend retreat from the city during the 1860s.Monet made several oil sketches at the resort, including this pict...
In 1871 Monet moved with his family to Argenteuil, a suburb north-west of Paris. During his six-year stay there he painted around 200 pictures of the town and its surroundings. This picture is one of 18 Argenteuil canvases that record the snowy winter of 1874/5. The figures trudging along the roa...
This painting is one of a dozen views of the Gare Saint-Lazare that Monet painted in early 1877. He had known the station since his childhood, and it was also the terminal for trains to many of the key Impressionist sites west of Paris.One of the less finished paintings of the group, it is the mo...
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 wooded hillside, called the Côte des Bœufs, was close to Pissarro’s home in the hamlet of L’Hermitage, near the market town of Pontoise, where he lived for most of the time between 1866 and 1883.Although Pissarro was a leading Impressionist, this painting signals his move away from the fleet...
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...
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...
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...
The Dutch patriot, Jacobus Blauw (1756–1829), played an important role in the foundation of the Batavian Republic in 1795. Although short-lived, it significantly contributed to the transformation of the Netherlands from a confederated structure into a democratic unitary state.Blauw and the artist...
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 depicts a moment from the Crucifixion, recounted in the Gospel of John (19: 25–30), when Christ speaks to his mother, the Virgin Mary, and one of his disciples, John, just before he dies. Christ’s mother, dressed in blue and yellow robes, collapses into the arms of Mary Cleophas and Joh...
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 young woman appears to have been startled by something – she turns her head and clasps her blouse to her chest. Her expression seems calm, however, perhaps suggesting that she is familiar with whatever has distracted her. Her pose is based on the Medici Venus, a famous marble sculpture of th...
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...
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...
Oedipus stands before the Sphinx, who challenges him to solve a riddle before he can enter the city of Thebes, just visible in the distance. The skull and bones at the bottom of the picture show the fate of those who have previously failed the test. According to legend, Oedipus answers correctly...
This small canvas mounted on panel shows two imaginary portraits of figures from Ancient Greece. The main figure, whose bearded face is shown in profile, is the lyric poet Pindar (518–438 BC). Behind him, and in shadow, is Ictinus, the architect of the Parthenon, who lived in the mid-fifth centur...
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...
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