Willem van de VELDE: This is the largest and most elaborate painting by Willem van de Velde in the National Gallery’s Collection. It is signed inside the wreath on the pennant of the boat in the right foreground, and dated 1661 on the stern of the row-barge to the left. The central vessel is a ‘statenjacht’ (a vessel used by the Dutch chamber of provincial representative, the States General, to transport its members and visitors) with the arms of the Province of Holland and, above, those of Amsterdam, which are also present on the stern of the row barge alongside. In the left foreground there is another row-barge with the arms of the admiralty. The painting probably represents the departure of admiralty officials on their way from Amsterdam across the Zuiderzee to visit the fleet. Oil on canvas, 90 × 126 cm, 1661 London, National Gallery.
Panini, Roman Ruins with Figures / painting. Panini, Giovanni Paolo. Italian painter, 1691 – 1765. “Roman Ruins with Figures”, c. 1730. Oil on canvas, 49.5 × 63.5cm. Inv. No. NG138. London, National Gallery.
Murillo, Bartholomé Estéban 1618–1682. “Knabe, auf ein Fensterbrett gestützt”, um 1670/80. Oil on canvas, 52 × 38,5 cm. Inv. Nr. 74 London, National Gallery.
Title:St. George and the Dragon, c.1470 (oil on canvas) (for detail see 85548) Artists: Uccello, Paolo (1397-1475) Location: National Gallery, London, UK
Cézanne, Paul 1839–1906. “La vieille au chapelet" (Alte Frau mit Rosenkranz), um 1895/96. Oil on canvas, 80,6 × 65,5 cm. Inv. Nr. 6195 London, National Gallery.
C.–J. Vernet, A Sporting Contest on the Tiber at Rome Vernet, Claude-Joseph. French painter, 1714 – 1789. – “A Sporting Contest on the Tiber at Rome”, The Bridge and Castle of Sant’ Angelo in Rome are in the background. The jousting contest has not been identified with any particular occasion. Portraits of Vernet and his wife are said to be included in the picture, presumably the elegantly dressed couple on the right in the foreground. Oil on canvas, 99.1 × 135.9cm. Inv. No. NG236. London, National Gallery.
A Homage to Velazquez Luca GIORDANO: The seated man in the centre wearing the Cross of the Order of Santiago, was formerly thought to be intended as a portrait of Velazquez writing, possibly in connection with his court duties. It has recently been proposed more convincingly that this painting is a portrait sketch of the Count of Santisteban with his daughter. The Count was Viceroy of Naples between 1687 and 1695. Giordano probably painted this picture when he was in Spain. The significance of the composition is unclear: Giordano, who depicts himself as the figure in the lower right, seems either to point out the scene in the upper portion of the picture or else to be indicating that it is painted by himself. Oil on canvas, 205.2 × 182.2 cm, about 1692–1700 London, National Gallery.
E.Degas, Tﾃ､nzerinnen Degas, Edgar 1834–1917. “Danseuses” (Tänzerinnen), um 1890/1900. Oil on canvas, 72,5 × 73 cm. Inv. Nr. 4168 London, National Gallery.
Frans HALS: Hals pays great attention to detail in the portrayal of this woman’s elegant attire, which is characteristic of the period around 1640, when this picture was probably painted. She wears a large, flat three-tiered collar, silver bow and wide lace-trimmed cuffs. In her left hand she holds a fan made of feathers set in a gold mount, suspended from a golden chain. Although the sitter has not been identified, the elegant dress and jewellery suggest that she may have been the wife of a wealthy citizen of Haarlem. Similiar clothes are worn by the woman depicted in the National Gallery’s ‘Portrait of a Man, a Woman and a Boy in a Room’ by Pieter Codde, which is dated 1640, and in the ‘Portrait of a Woman’ by Johannes Conelisz. Verspronck (Enschede, Rijksmuseum Twenthe) which was painted in the same year. Oil on canvas, 79.8 × 59 cm, about 1640 London, National Gallery.
Elizabeth Stuart, Queen of Bohemia, 1596 – 1662, wife of Frederick V, Elector Palatine. "Elizabeth Stuart, Queen of Bohemia. Painting, 1542, by Gerrit van Honthorst (1592–1656). Oil on canvas, 205.1 × 130.8 cm. London, National Gallery.
Giovanni Battista MORONI: The man in this portrait has not been identified. The tunic is the kind worn beneath armour and he rests his hand against a helmet and on a broken column. The column shaft may symbolise the sitter’s fortitude or, since it is broken, his misfortunes; but slightly ruinous marble settings were common in Moroni’s portraiture. For much of the 19th century this portrait was attributed to Titian. The style of tunic allows the approximate dating for the work. Oil on canvas, 186.2 × 99.9 cm, about 1555–6 London, National Gallery.
Velázquez, Diego. Spanish painter; 1599–1660. “Kitchen Scene with Christ in the House of Martha and Mary”, probably 1618. Oil on canvas, 60 × 103.5cm. Inv. No. NG1375. London, National Gallery.
Claude, A Seaport / painting Claude (Claude Gellée), painter, born in the Duchy of Lorraine 1604/05, moved to Germany c. 1612, and later to Italy, died 1682. “A Seaport”, 1644. Oil on canvas, 103 × 131cm. Inv. No. NG5. London, National Gallery.
Portrait of John Julius Angerstein, Aged about 55 / T. Lawrence / Painting, c.1790 Lawrence, Sir Thomas, 1769 – 1830, English painter. "Portrait of John Julius Angerstein, aged about 55", c.1790. Oil on canvas, 75.8 × 62.5 cm. London, National Gallery.
MPAY36 English: Mrs Mrs Robert Hollond, philanthropist, nee Ellen Julia Teed (1822 - 1884) by Ary Scheffer . English: The sitter, Ellen Julia Teed (1822 - 1884), married Robert Hollond, MP for Hastings, in 1840. She was an authoress and philanthropist, and held a salon in Paris which attracted the leading Liberals of the day. She presented Boucher's 'Pan and Syrinx' to the National Gallery in 1880.; Robert Hollond (1808-1877) funded and then took part in establishing a distance ballooning record with Thomas Monck Mason and Charles Green. He later served as a Whig politician representing the constitu
Pompeo Girolamo BATONI: The sitter has been identified as Richard Milles of Nackington, (about 1735 – 1820), Member of Parliament for nearby Canterbury from 1761–80. Milles probably sat for this portrait when he was in Rome during his Grand Tour. He points to a map inscribed with the place name ‘Grisoni’, a Swiss Canton which he probably visited on his way to Italy. The classical bust of the Emperor Marcus Aurelius alludes to the sitter’s interest in classical antiquity. Batoni painted a half-length portrait of Milles and a miniature on ivory (the latter in the Fitzwilliam Museum, Cambridge). The mood of the portrait is one of assurance and ease, created by the artist to dignify the sitter. Oil on canvas, 134.6 × 96.3 cm, probably 1760s London, National Gallery.
Cenotaph to the Memory of Sir Joshua Reynolds / Constable Constable, John English painter. 11.6.1776 – 31.3.1837. Cenotaph to the memmory of Sir Joshua Reynolds. Coleorton, Leicestershire. 1833, Oil on canvas, 132 × 108.5 cm. London, National Gallery.
Jacob van RUISDAEL: The painting is one of the most famous of van Ruisdael’s landscapes, and probably dates from the late 1660s. The composition apparently pleased the painter as well as his patrons, and is known in several smaller-scale versions, including ‘An Extensive Landscape with Ruins’, which is also in the Gallery. The scene is a sombre one, though not melancholy in its effect, and centres upon the ray of sunshine that lights up the fields in the middle distance. The clouds are banked towards each side of the composition, and diagonals, interrupted by the vertical thrust of the church spire and the ruined castle turret, lead from the foreground to the centre. The two figures to the left, probably painted by Adriaen van der Velde, give a human scale to the painting. While it is not possible to identify a precise location, the composition may have been loosely based on the landscape around the Dutch town of Haarlem. On loan to the exhibition ‘Master of Landscape: Jacob van Ruisdael’s Paintings, Drawings and Etchings’ at the Los Angeles County Museum of Art, Los Angeles from June to September 2005; Philadelphia Museum of Art, Philadelphia from October 2005 to February 2006; and the Royal Academy of Arts, London from February to June 2006. Oil on canvas, 109 × 146 cm, about 1665–70 London, National Gallery.
El Greco, real name Domenikos Theotokopoulos, 1541-1614. "Cleaning of the Temple" (Expulsion of the traders from the temple), undated (c. 1600). 106 × 129cm. London, National Gallery.
Giovanni Girolamo SAVOLDO: On the Sunday morning after the Crucifixion, Mary Magdalene visited the tomb of Jesus, but found it empty. The story is recounted in the New Testament (John 20), and Mary Magdalene is here identified by the pot of ointment with which she anointed Christ’s body, and by the glimpse of her traditional red dress beneath a silver-grey cloak. She was the first person to see Christ after the Resurrection. Several other versions of this composition by Savoldo are known. The landscape background appears to represent Venice and its lagoon. Oil on canvas, 89.1 × 82.4 cm, about 1535–40 London, National Gallery.
国籍： イタリア ジャンル ： ルネサンス 盛期ルネサンス ヴェネツィア派 Tintoretto (real name: Jacopo Robusti). Italian painter, 1518–1594. –– "The Origin of the Milky Way", c. 1575. – (Jupiter, holds the infant Hercules to the breasts of the sleeping Juno. The milk which spurted upwards formed the Milky Way.) Oil on canvas, 149.4 × 168cm. Inv. No. NG1313. London, National Gallery.
Willem Claesz. HEDA: To a 17th-century viewer the objects brought together in this still life would have suggested considerable wealth and luxury. Not only the lobster, but also salt, pepper and citrus fruit were costly items at that time. The elaborately crafted gold goblet and the stand supporting the glass on the right, were highly valued for their material and workmanship. Blue and white porcelain was imported into the Netherlands from China. While it remains debatable whether such a display of wealth served as a reminder of the transience of all earthly belongings, the luxury objects clearly point to the elaborate lifestyle of successful Dutch merchants during the ‘Golden Age’. Oil on canvas, 114 × 103 cm, 1650–9 London, National Gallery.
Holt Bridge on the River Dee / R. Wilson / Painting, before 1762 Richard Wilson, 1714 – 1782, British painter. "Holt Bridge on the River Dee", 1762. Oil on canvas, 148.5 × 193 cm. London, National Gallery.
Camille PISSARRO: This painting is among the largest that Pissarro is known to have painted in London during the Franco-Prussian War (1870–1). These works mainly represent scenes in the area of Norwood (including ‘Fox Hill, Upper Norwood’), where Pissarro stayed until June 1871. This work depicts a scene that is little changed today. The painting conveys the atmosphere of an early spring day, with oak trees coming into leaf against a soft blue sky. Technical analysis shows that the main outlines of the landscape were painted first and the figures added over the paint that had dried. Oil on canvas, 48 × 73 cm, 1871 London, National Gallery.
Renoir, Auguste 1841–1919. “Der erste Ausgang”, um 1876/77. Oil on canvas, 65 × 49,5 cm. Inv. Nr. 3859 London, National Gallery.
Murillo, The Infant Saint John with the Lamb / painting Murillo, Bartolome Esteban. Spanish painter, 1617 – 1682. “The Infant Saint john with the Lamb”, 1660–65. Oil on canvas, 165 × 106cm. London, National Gallery.
Portrait of Sarah Siddons / Thomas Gainsborough / Painting, 1785 Gainsborough, Thomas, 1727–1788, English painter. Portrait of Sarah Siddons. (Siddons, Sarah, née Kemble, married Siddons. Welsh actress, 1755–1831). Painting, 1785. Oil on canvas, 126 × 99.5 cm. London, National Gallery.
P.Gauguin, A Vase of Flowers / painting Gauguin, Paul. French painter, 1848 – 1903 – “A Vase of Flowers”, 1896. – (This painting was produced in Tahiti after Gauguin’s final move there from France). Oil on canvas, 64 × 74cm. Inv. No. NG3289. London, National Gallery.
Joseph Mallord William TURNER: Ulysses is standing aloft on his ship deriding the Cyclops, whom he and his companions have just left blinded, and invoking the vengeance of Neptune. One of the flags is painted with the scene of the Trojan Horse. The horses of the Sun are rising above the horizon (‘Odyssey’, Book 9). Apparently the idea was in Turner’s mind as early as about 1807, if this is the correct date of a sketchbook which contains a rough drawing of the subject. The picture was exhibited at the Royal Academy in 1829. Painting of the Month, May 2004 Oil on canvas, 132.5 × 203 cm, 1829 London, National Gallery.
Wellington, Arthur Wellesley, Herzog v.. brit. Feldmarschall und Minister; Dublin 1.5.1769 – Walmer Castle (Gfsch. Kent) 14.9.1852. Porträt. Gemälde, um 1812/14, von Francisco Goya (1746–1828). Öl auf Mahagoniholz, 64,3 × 52,4 cm. Inv. Nr. 6322 London, National Gallery.
Author:CARLO CRIVELLI (c. 1435-c. 1495) Description:The Annunciation, with Saint Emidius Technique:tempera on panel School:Italy, Venetian School Museum:National Gallery, London
Ingres, Ruggero befreit Angelica / London Ingres, Jean-Auguste-Dominique 1780–1867. “Ruggero befreit Angelica”. (Ariost, Orlando furioso X). Replik, ca. 1819/39, des Gemäldes von 1819 im Louvre. Oil on canvas, 47,6 × 39,4 cm. Inv. Nr. 3292 London, National Gallery.
Giovanni Antonio PELLEGRINI: Abraham sent his servant to his homeland to find a wife of his own people for his son Isaac. Genesis 24 tells the story of how God led the servant to Rebekah (the usual spelling of this name), when she came to the well to fetch water. Rebekah was of Abraham’s clan, an appropriate wife for Isaac. Probably painted while Pellegrini was in England between 1708 and 1713. Oil on canvas, 127.3 × 104.5 cm, 1708–13 London, National Gallery.
Maria Anna von Spanien / del Mazo Maria Anna (span. Mariana Teresa de Austria), Königin (Philipp IV.) und Regentin von Spanien, Tochter Kaiser Ferdinands III.; Wiener Neustadt 23.12.1634 – Madrid 16.5.1696. “Königin Maria Anna in Trauerkleidung”. Gemälde, 1666, von Juan Bautista Martinez del Mazo (1612/16 – 1667). Oil on canvas, 196,8 × 146 cm. Inv. Nr. 2926 London, National Gallery.
A Basket of Roses Ignace-Henri-Theodore FANTIN-LATOUR: In his later career Fantin-Latour preferred to paint imaginative compositions rather than still lifes. However, his flower pieces remained popular with collectors, especially the British, and this work was acquired by an English collector in the 1890s. Oil on canvas, 48.9 × 60.3 cm, 1890 London, National Gallery.
The Virgin and Child Domenico GHIRLANDAIO: The minute details in this painting, most notably of light playing on the golden curls and on the silk scarf, are unusually well-preserved. Christ stands upon a sill and the edge of the painting is treated as a window opening. On loan to the McLellan Galleries, Glasgow from January to April 2005 and The Bowes Museum, County Durham from April to June 2005. Tempera on poplar, 88.9 × 57.8 cm, probably about 1480–90 London, National Gallery.
Dyck, Anthony van, 1599 – 1641, Flemish painter. Lady Elizabeth Thimbelby and her Sister, c.1637. Oil on canvas, 132.1 × 149 cm. London, National Gallery.
Author:Claude Monet (1840-1926) Description:The Water-Lily Pond Technique:OIL ON CANVAS School:France Museum:National Gallery, London
Sir Joshua REYNOLDS: As with many of Reynolds’s group portraits the design is based on a composition taken from an historical source. In this case the painting is based on a 17th-century work, ‘Charity’ by Van Dyck; also in the Collection. It was brought to England from Antwerp in 1763, but Reynolds was probably inspired by an engraving after it. For the older boy he used the cupid from Velazquez’s ‘Toilet of Venus’, also in the Collection, basing himself on a drawing. Reynolds also had several sittings with the children, all of whom were under three. Oil on canvas, 141.5 × 113 cm, 1773 London, National Gallery.
Pietro LONGHI: The scene is under the lower outside arcade of the Doges’ Palace, Venice, where showmen and quacks erected booths, chiefly at the carnival. The inscription on the pillar probably relates to the election or coronation in 1752 of Doge Francesco Loredan (1685 – 1762). The other inscription relates to the vacancy for the parish priest at S. Trovaso in 1752. Oil on canvas, 59.1 × 48.6 cm, about 1756 London, National Gallery.
Crivelli, Carlo c. 1430/35 – c. 1495. “Annunciation to Mary with Saint Emygduys”, 1486. Oil on wood, transferred to canvas, 207 × 146.7 cm. Inv. no. 739 London, National Gallery.
F.Guardi, Venice: Piazza San Marco / painting Guardi, Francesco. Italian painter, 1712 – 1793. “Venice: Piazza San Marco”, c. 1760. The painting is one of the earliest of Guardi’s works as a view painter. It shows the most famous of Venetian squares, the Piazza San Marco, with the medieval cathedral and its bell tower in the background and the 16th-century public offices, the Procuratie Vecchie, left, and the Procuratie Nuove, right, with shops and cafes to each side. Oil on canvas, 72.4 × 119.1cm. Inv. No. NG210. London, National Gallery.
Noli me Tangere Titian (born Tiziano Vecelli), c.1487/90 – 1576, Italian painter. “Noli me tangere”, c. 1514. Oil on canvas, 110.5 × 91.9 cm. Inv. no. 270. London, National Gallery. Identifier：AKG1557204 Artist：TITIAN Museum：London, National Gallery Collection：The National Gallery, London Credit line：The National Gallery, London / akg Image date：1514 Time Period：16TH CENTURY 2ND MILLENNIUM A.D
Sir Thomas LAWRENCE: Charlotte Sophia of Mecklenburg-Strelitz (1744 – 1818) married George III of England in 1761. She sat to Lawrence in the autumn of 1789, but did so unwillingly, having recently undergone the shock of George III’s first attack of apparent insanity. The pearl bracelets on Queen Charlotte’s wrists were part of the king’s wedding gift to her; one clasp contains his portrait miniature, the other his royal monogram. Although Lawrence’s portrait was considered to be very like Queen Charlotte, it failed to please the king and queen and remained in the artist’s possession. It was exhibited at the Royal Academy in 1790. Oil on canvas, 239.5 × 147 cm, 1789 London, National Gallery.
Philips WOUWERMANS: This picture shows an imaginary landscape with a stag hunt. The fashionable attire of the hunters underscores the fact that hunting on horseback was a privilege reserved to the aristocracy in 17th-century Holland. The beautifully drawn horses, the white horse in particular, are a trademark of Wouwermans. On the hill on the right a hermit outside his hut can also be made out. This was perhaps intended as a moralising counterpoint to the leisurely pursuits of the elegant hunters. The fluid style of this picture is characteristic of the artist’s later years. Oil on canvas, 75 × 104.2 cm, about 1665 London, National Gallery.
セザンヌ 「プロヴァンスの丘」 （部分）
P.Czanne, Aix, felsige Landschaft Cézanne, Paul 1839–1906. “Montagnes en Provence” (Berge in der Provence), um 1890/92. Oil on canvas, 63,5 × 79,4 cm. Inv. Nr. 4136 London, National Gallery.
Canaletto, eigentl. Antonio Canal 1697–1768. “Regatta auf dem Canale Grande in Venedig”, um 1735. Oil on canvas, 117,2 × 186,7 cm. Inv. Nr. 4454 London, National Gallery.
Canaletto, real name Giovanni Antonio Canal; Venetian painter; 1697–1768. Eton College. c. 1754. Oil on canvas, 61.6 × 107.7 cm. London, National Gallery.
Thomas Gainsborough, The Watering Place / Painting Gainsborough, Thomas. English painter, 1727 – 1788. – “The Watering Place”, before 1777. Oil on canvas, 147.3 × 180.3cm. Inv. No. NG34. London, National Gallery.
Saint Margaret of Antioch Oil on canvas, 163 × 105 cm, 1630–4 London, National Gallery. Artist：FRANCISCO DE ZURBARAN Museum：London, National Gallery Collection：The National Gallery, London Credit line：The National Gallery, London / akg Time Period：17TH CENTURY 2ND MILLENNIUM A.D Person JOSEPH MARTIN MARGARETA Technique：PAINTING (OBJECT) PAINTING (TECHNIQUE) Size：3201px × 4961px (45 MB) 27.1 cm × 42.0 cm @ 300 dpi
Jan STEEN: The little girl on the right of the table is saying grace while the mother is preparing the plates for the children. It is one of a number of paintings of this subject by the artist. The earliest version, dated 1660, is in the Walter Morrison Collection, Sudeley Castle, Gloucestershire. The National Gallery’s version was probably painted in the mid–1660s. Oil on canvas, 44.8 × 37.5 cm, about 1665 London, National Gallery.
Poussin, Landscape with a Man washing his Feet… Poussin, Nicolas. Franch painter, 1594 – 1665. “Landscape with a Man washing his Feet at a Fountain”, c. 1648. Oil on canvas, 74 × 100.3cm. Inv. No. NG40. London, National Gallery.
George STUBBS: This painting was probably commissioned to mark the alliance of the two families through marriage in April 1769. The marriage is between Elizabeth Milbanke (left), the daughter of Sir Ralph Milbanke (beside Elizabeth), 5th Baronet of Halnaby, York, to Peniston Lamb, 1st Lord Melbourne (right). Peniston Lamb (1748 – 1828) took his title, Viscount Melbourne, from Melbourne Hall, near Derby. The rocky setting may represent this area. The central figure is probably Elizabeth’s elder brother, John Milbanke. This kind of group portrait, popular in 18th-century England, is known as a conversation piece. Elizabeth Milbanke became a friend of the poet, Lord Byron, who described her as ‘the best friend I ever had in my life and the cleverest of women’. William, her second son, became Queen Victoria’s first Prime Minister. The elegance of Stubbs’s work reflects his experience as a painter of the outdoors, as well as his profound knowledge of the anatomy of the horse. The figures in his portraits, though small in scale, are observed with equal care. Oil on canvas, 97.2 × 147.3 cm, about 1769 London, National Gallery.
国籍： オランダ ジャンル 印象派 ポスト印象派 Title： Sunflowers, 1888 (oil on canvas) Artist： Gogh, Vincent van (1853-90) Location： National Gallery, London, UK Dimensions： 92.1x73 Date： 1888 Medium： oil on canvas
Salvator Rosa (1615-1673). Salvator Rosa, Landscape with Travellers asking the Way. Oil on canvas. Credit: Album
Gerard ter BORCH: The weary expressions of the standing trumpeter and even of the dog indicate that the dictating of the letter has become a time-comsuming affair. The playing card (the ace of hearts) next to the dog’s hind leg suggests that the letter is a love letter, rather than official military correspondence. The model for the young man in the centre was Caspar Netscher, who was ter Borch’s pupil in about 1655. The picture dates from around this time. Oil on canvas, 74.5 × 51 cm, about 1655–8 London, National Gallery.
所蔵: ロンドン・ナショナル・ギャラリー オランダの画家 ジャンル: バロック / 17世紀 / オランダ絵画黄金期 Vermeer, Jan (Johannes), gen. Vermeer van Delft; 1632–1675. "Sitzende Virginalspielerin", um 1670/72. Oil on canvas, 51,5 × 45,5 cm. London, National Gallery.
A.Cuyp, A Hilly River Landscape with a Figures / painting Cuyp, Aelbert. Dutch painter, 1620 – 1691. “A Hilly River Landscape with a Horseman talking to a Shepherdess”, (A Hilly Landscape with Figures), about 1655–60. Oil on canvas, 135 × 201.5cm, Inv. No. NG53. London, National Gallery.
Avignon from the West Jean-Baptiste-Camille COROT: Corot visited Avignon on a number of occasions, but this study probably belongs to a group made on a visit in the summer of 1836 which recapture the clarity and luminosity of his Italian views of 1825–8. It depicts the town from Villeneuve-les-Avignon on the other side of the Rhone. The buildings dominating the town are the papal palace and (left of centre) the cathedral, Notre-Dame des Doms. Oil on canvas, 34 × 73.2 cm, 1836 London, National Gallery.
所蔵: ロンドン・ナショナル・ギャラリー オランダの画家 ジャンル: バロック / 17世紀 / オランダ絵画黄金期 A Young Woman seated at a Virginal, c. 1670. Found in the collection of the National Gallery, London.
Paolo UCCELLO: This picture shows two episodes from the story of Saint George: his defeat of a plague-bearing dragon that had been terrorising a city; and the rescued princess bringing the dragon to heel (with her belt as a leash). In the sky, a storm is gathering. The eye of the storm lines up with Saint George’s lance, suggesting that divine intervention has helped him to victory. Uccello uses the lance to emphasise the angle from which Saint George attacks the dragon, helping to establish a three-dimensional space. The strange patches of grass illustrate Uccello’s obsessive concern with linear perspective and his tendency to create decorative pattern. The story is from a popular collection of saints’s lives written in the 13th century, called ‘The Golden Legend’. An earlier less dramatic version of the same subject by Uccello is in the Musee Jacquemart-Andre, Paris. Oil on canvas, 55.6 × 74.2 cm, about 1470 London, National Gallery.
Rembrandt (Rembrandt Harmenszoon van Rijn). Dutch painter, Leiden 15.7.1606 – Amsterdam 4.10.1669. – “Self Portrait at the Age of 34”, 1640. Oil on canvas, 102 × 80cm. Inv. No. NG672. London, National Gallery.
1765744 Noli me Tangere, c.1514 (oil on canvas) by Titian (Tiziano Vecellio) (c.1488-1576); 110.5x91.9 cm; National Gallery, London, UK; Italian, out of copyright.
Mr and Mrs Thomas Coltman / J. Wright / Painting, c.1770–2 Wright, Joseph (styled Joseph Wright of Derby), 1734 – 1797, English painter. Mr and Mrs Thomas Coltma, c.1770–2. Oil on canvas, 127 × 101.6 cm. London, National Gallery.
The Early Life of Saint Zenobius, Botticelli / painting Botticelli, Sandro (real name: Alessandro di Mariano di Vanni Filipepi). Italian painter; c. 1445 – 1510 – “Four Scenes from the Early Life of Saint Zenobius”, c. 1500. – (This painting and ‘Three Miracles of Saint Zenobius’ are from a series illustrating the life of the 5th century bishop Zenobius, one of Florence’s patron saints.) Tempera on wood, 66.7 × 149.2cm. Inv. No. NG3918. London, National Gallery.
Monet, Claude, Paris 14.11.1840 – Giverny 6.12.1926, French painter. "Water lily pond", 1899. Oil on canvas, 88.3 × 93.1 cm. London, National Gallery.
作家名： ジョゼフ・マロード・ウィリアム・ターナー ( 1775年 - 1851年 ) タイトル：「戦艦テメレール号」 国籍： イギリス ジャンル ： ロマン主義 title:The "Fighting Temeraire" Tugged to her Last Berth to be Broken up, before 1839 Artist：Turner, Joseph Mallord William (1775-1851) Location：National Gallery, London, UK
Antonio del Pollaiolo (c. 1432-1498). The Martyrdom of Saint Sebastian. Credit: Album / Fine Art Images
作家名： ピーテル・パウル・ルーベンス 国籍： フランドル ジャンル ： バロック Judgement of Paris / P.P.Rubens / c. 1632/35 Rubens, Peter Paul 1577–1640. “The Judgement of Paris”, c. 1632/35. Oil on wood, 144,8 × 193,7 cm. Inv. no. 194 London, National Gallery. Identifier：AKG1557136 Artist：PETER PAUL RUBENS Museum：London, National Gallery Collection：The National Gallery, London
作家名：グスタフ・クリムト ( 1862年 - 1918年 ) 国籍：オーストリア ジャンル ： 象徴主義 ウィーン分離派 アール・ヌーヴォー Klimt, Gustav, Austrian painter, 1862–1918. Portrait of Hermine Gallia,1904. Oil on canvas, 170,5 × 96,5 cm. London, National Gallery.
作家名： ハンス・ホルバイン（子） ( 1497年頃 - 1543年頃 ) タイトル：「大使たち（ジャン・ド・ダントヴィルとジョルジュ・ド・セルヴの肖像）」 国籍： ドイツ ジャンル ： 北方ルネサンス Die Gesandten. 1533
Caravaggio (born Michelangelo Merisi da Caravaggio), 1571 – 1610, Italian painter. "Salome Receives the Head of John the Baptist", 1607–10. Oil on canvas, 91.5 × 106.7 cm. London, National Gallery. ----------------------------------------------------------------- 作家名： ミケランジェロ・メリージ・ダ・カラヴァッジオ ( 通称 カラヴァッジョ ) ( 1571年 - 1610年 ) 国籍： イタリア ジャンル： バロック Artist：Caravaggio, Michelangelo Merisi da (1571-1610) Title：Salome Receives the Head of Saint John the Baptist, 1607-10 (oil & tempera on canvas) Location：National Gallery, London, UK Age：17th Medium：oil and tempera on canvas
Author: Paolo di Dono (Paolo Uccello) (1397-1475) Description: The Battle of San Romano in 1432. The Condottiere Niccolo da Tolentino leading the Florentine forces against Siena,1450-1460. Egg tempera on poplar, 181,6 x 320 cm NG 583. Classification: PAINTING ～ RENAISSANCE ～ 15th Personalities: NICCOLO DA TOLENTINO (15th) ～ FLORENTINE Location: National Gallery, London, Great Britain Collection: Lessing Credit: Erich Lessing / Album Image size: 4966 x 2950 pixels (42.0 x 25.0 cm @ 300 dpi) 41.9 MB
所蔵: ロンドン・ナショナル・ギャラリー オランダの画家 ジャンル: バロック / 17世紀 / オランダ絵画黄金期 Vermeer, Jan (Johannes), gen. Vermeer van Delft. 1632–1675. "Stehende Virginalspielerin", um 1670/72. Oil on canvas, 51,7 × 45,2 cm. Inv. Nr. 1383 London, National Gallery.
作家名： ポール・ドラローシュ ( 1797年 - 1856年 ) タイトル：レディ・ジェーン・グレイの処刑 フランスの画家 所蔵： ロンドン・ナショナル・ギャラリー ジャンル： 新古典主義/ロマン主義 Artist:Delaroche, Paul, 1797-1856 Title:The Execution of Lady Jane Grey. 1833 Dimensions:246 x 297 cm Technique:oil on canvas Location:London, National Gallery
作家名： アンリ・ルソー ( 1844年 - 1910年 ) フランスの画家 ジャンル ： 印象派 素朴派 ナイーヴ派 "Surprised!, 1891. Found in the collection of the National Gallery, London."
Title：William Shakespeare. ca. 1601 Technique： Oil on canvas. Museum Location：UNITED KINGDOM. ENGLAND. London. National Portrait Gallery, London. Anonymous portrait.
作家名： ポール・ドラローシュ ( 1797年 - 1856年 ) タイトル：レディ・ジェーン・グレイの処刑 フランスの画家 所蔵： ロンドン・ナショナル・ギャラリー ジャンル： 新古典主義/ロマン主義 Paul DELAROCHE:/"The Execution of Lady Jane Grey"./Lady Jane Grey (1537 – 1554) ruled as Queen of England for nine days in 1553 after the death of Edward VI. A Protestant, she was a great-granddaughter of Henry VII, but her supporters were defeated by those of the Catholic Mary I who succeeded to the throne. Lady Jane Grey was executed at Tower Hill on 12 February 1554. In this painting, she is guided towards the execution block by Sir John Brydges, Lieutenant of the Tower. The straw on which the block rests was intended to soak up the victim's blood. The executioner stands impassive to the right and two ladies in attendance are shown grieving to the left. The painting was exhibited at the Salon in 1834, where it caused a sensation./Oil on canvas,/246 × 297 cm, 1833/London, National Gallery. Artist : PAUL DELAROCHE/Museum/London, National Gallery/Collection/The National Gallery, London credit line : The National Gallery, London / akg image date : 1833/Time Period/19TH CENTURY/2ND MILLENNIUM A.D. geography : ENGLAND/TOWER OF LONDON/Person/EDWARD VI OF ENGLAND/HENRY VI OF ENGLAND/JANE GREY/PAUL DELAROCHE Size : 4961px × 4756px (67 MB) / 42.0 cm × 40.2 cm @ 300 dpi Special Formats : 5197px × 4982px (74 MB) JPEG/44.0 cm × 42.2 cm @ 300 dpi
LEONARDO da Vinci: An elaborate sculpted altar was commissioned by the Milanese Confraternity of the Immaculate Conception for their oratory in San Francesco in 1480. A new contract was drawn up in 1483 with Leonardo and the de Predis brothers: a central panel was to be painted by Leonardo alone, and there were to be two side panels showing angels singing and playing musical instruments. Two paintings of angels (‘An Angel in Green with a Vielle’ and ‘An Angel in Red with a Lute’) by artists influenced by Leonardo, are undoubtedly those for the altarpiece. ‘The Virgin of the Rocks’ seems not to refer to the mystery of the Immaculate Conception, but depicts the type of subject that Leonardo might have painted in his native Florence where legends concerning the young Saint John the Baptist were popular. It was twenty five years until a painting of this subject was finally placed in the chapel. In the interim, Leonardo had painted two versions of the composition: the first (in the Louvre) probably sold in the 1490s to a private client after a financial wrangle with the Confraternity; and a replacement, – the painting that now hangs in the National Gallery – that was never finished despite some help from his studio, but was installed in the chapel in 1508. Latest news: New drawing discovered beneath the painting Oil on wood, 189.5 × 120 cm, about 1491 – 1508 London, National Gallery. Restrictions Additional permissions needed for non-editorial use
Turner, William 1775–1851. "The Fighting Temeraire" (Die "Fighting Temeraire" wird zu ihrem letzten Ankerplatz geschleppt) ", 1839. Oil on canvas, 90,7 × 121,6 cm Inv. Nr. 524 London, National Gallery.
Uccello, Paolo/c.1397 – 1475,/Italian "The Battle of San Romano", c.1438/40. (Niccolo Mauruzi da Tolentino in the battle near San Roman, 1432, between the Florentine and Sienese army)./ Left panel of a threepart series./ Tempera on poplar, 182 × 320 cm./ Inv. no. 583/ London, National Gallery. Artist : PAOLO UCCELLO/Museum/London, National Gallery source : The National Gallery, London topic : BATTLE/EQUESTRIAN BATTLE ; CAVALRY BATTLE/EQUESTRIAN FIGHT ; EQUESTRIAN BATTLE/HISTORY/ITALIAN ART/RENAISSANCE/WAR 42.0 cm × 28.9 cm @ 300 dpi/Special Formats/5197px × 3587px (53 MB) JPEG/44.0 cm × 30.4 cm @ 300 dpi
ウィリアム・ホガース 「当世風の結婚 第一場」
Location: National Gallery, London, Grossbritannien Categories: Baroque The settlement (1742-44) is one of the six satyrical paintings of the series "Mariage a la mode" by William Hogarth (1697-1764). Allso issued in very popular prints, it describes the boredom and sad end of a fashionable marriage. 90,8 x 69,9 cm, NG 113.
Carel FABRITIUS: This is one of two known self-portraits of Carel Fabritius. The artist wears a steel breastplate and backplate. Fabritius's teacher Rembrandt painted a number of portraits of sitters with a breastplate or gorget in the late 1620s and 1630s, but there is no indication that Rembrandt had any military connection. They were instead part of a tradition of painting sitters in fanciful costume, of which Fabritius must have been aware. In contrast to most other portraits of the time, with their plain backgrounds, the artist here places himself starkly against a cloudy sky. The picture was painted in 1654, the year Fabritius was killed in the explosion of the municipal powder magazine in his native Delft. On loan to the exhibition ‘Carel Fabritius' at The Mauritshuis, The Hague from September 2004 to January 2005, and the Staatliches Museum, Schwerin from Janury to May 2005. Oil on canvas, 70.5 × 61.5 cm, 1654 London, National Gallery.
Title: Battle of San Romano, Nicholas of Tolentino to the head of the Florentine painting, Paolo di Dono, said Paolo Uccello (Florence 1397-1475), National Gallery, London Credit: Raffaello Bencini/ WARNING: Permission must be required for non editorial use. Place of photography: Great Britain, London, National Gallery Image sizes (pixel) 6000 X 3672 Image sizes (cm at 300 dpi) 50 X 31
Title： Richard II Presented to the Virgin and Child by his Patron Saint John the Baptist and Saints Edward and Edmund, c.1395-99 (egg tempera on oak) Artist： Master of the Wilton Diptych, (fl.c.1395-99) Location： National Gallery, London, UK D
作家名：グスタフ・クリムト ( 1862年 - 1918年 ) 国籍：オーストリア ジャンル ： 象徴主義 ウィーン分離派 アール・ヌーヴォー Portrait of Hermine Gallia, 1904. Found in the collection of the National Gallery, London.
作家名： フィンセント・ファン・ゴッホ ( 1853年 - 1890年 ) タイトル：糸杉のある麦畑 国籍： オランダ ジャンル 印象派 ポスト印象派 Artist： Vincent Van Gogh Location: National Gallery, London, Grossbritannien Categories: Impressionism Le ble jaune et les cypres. Oil on canvas (1889).
作家名： レンブラント・ファン・レイン ( 1606年 - 1669年 ) タイトル：「自画像」 国籍： オランダ ジャンル ： バロック Self Portrait at the Age of 63 Rembrandt (born Rembrandt Harmenszoon van Rijn), Leiden 15.7.1606 – Amsterdam 4.10.1669, Dutch painter. “Self Portrait at the Age of 63”, 1669. Oil on canvas, 86 × 70.5 cm. Inv. no. NG221. London, National Gallery. Identifier AKG1557161 Artist：REMBRANDT HARMENSZOON VAN RIJN Museum：London, National Gallery Collection：The National Gallery, London Credit line：The National Gallery, London / akg Event date：1650 Image date：1669 Time Period：17TH CENTURY 2ND MILLENNIUM A.D. Topic：ART,ARTIST,BAROQUE,CAP (HAT),DUTCH ART, HOUSECOAT,LOOKING OUT OF PICTURE,MAN,NETHERLANDISH ART,OLD AGE,PAINTER (MALE) ; PAINTER,PERSON,PORTRAIT, SELF-PORTRAIT,SEMI-FIGURE ; MEDIUM SHOT ; HALF LENGTH, Geography:NETHERLANDS Technique:OIL ON CANVAS PAINTING (OBJECT) PAINTING (TECHNIQUE) Size:4006px × 4961px (56 MB) 33.9 cm × 42.0 cm @ 300 dpi
The Adoration of the Magi/Brueghel, Pieter, the Younger/1564-1638. "The Adoration of the Magi". Oil on panel, 108 × 86.5cm./No date./London, Sotheby's./Lot 24, 19/4/89. Identifier : AKG336721 source : Sotheby's credit line : c Sotheby's / akg-images event date : 1564 image date : 1618/Time Period/16TH CENTURY/2ND MILLENNIUM A.D. topic : ADORATION OF THE MAGI ; ADORATION BY THE MAGI/ART/BIBLE/CHRISTIANITY/CHRIST'S INFANCY ; JESUS' CHILDHOOD/COPY/NETHERLANDISH ART/NEW TESTAMENT/RELIGION/RENAISSANCE/THREE MAGI ; THREE WISE MEN ; THREE KINGS/Person/PIETER BRUEGEL, THE ELDER/PIETER BRUEGEL, THE YOUNGER technique : PAINTING (OBJECT)/PAINTING (technique)
作家名： ラファエロ・サンティ ( 1483年 - 1520年 ) タイトル：「教皇ユリウス2世の肖像」 国籍： イタリア ジャンル ： ルネサンス 盛期ルネサンス Portrait of Pope Julius II/Julius II, Pope (1503-13), born Giuliano della Rovere,/1443 - 1513. Portrait. Painting, 1511, by Raphael (1483-1520). Oil on poplar, 108.7 × 81 cm. Inv. No. NG27. London, National Gallery. Identifier : AKG1556998 Artist : RAPHAEL/Museum/London, National Gallery source : The National Gallery, London credit line : The National Gallery, London / akg image date : 1511/Time Period/16TH CENTURY/2ND MILLENNIUM A.D. topic : BEARD/CATHOLIC CHURCH/FULL BEARD/HANDKERCHIEF/HISTORY/ITALIAN ART/JEWELRY ; JEWELLERY/JEWELRY FOR MEN ; JEWELLERY FOR MEN/LONDON THE NATIONAL GALLERY/MAN/OLD AGE/OLD MAN/PERSON/POPE (CATHOLIC)/PORTRAIT/RED/RENAISSANCE/RING/RING (FINGER)/ROBE (RELIGIOUS)/SITTING/VELVET geography : ITALY/Person/JULIUS II POPE/RAPHAEL technique : PAINTING (OBJECT)/PAINTING (technique)/Size 3613px × 4961px (51 MB) 30.5 cm × 42.0 cm @ 300 dpi
作家名： ピーテル・パウル・ルーベンス ( 1577年 - 1640年 ) タイトル：サムソンとデリラ 国籍： フランドル ジャンル ： バロック Samson and Delilah, c. 1610. Artist: Rubens, Pieter Paul (1577-1640) Found in the collection of the National Gallery, London.
Christ Blessing, Salvator Mundi, by Antonello da Messina, 1465, National Gallery, London, England, UK, GB, Europe
Die Kreuzigung Christi mit Madonna, Heiligen und Engeln (Die Mond-Kreuzigung). Um 1502-03
Die Taufe Christi. 1450er Jahre
Madame Moitessier. 1856
作家名： ジョゼフ・マロード・ウィリアム・ターナー ( 1775年 - 1851年 ) タイトル：カルタゴを建設するディド（カルタゴ帝国の興隆） 国籍： イギリス ジャンル ： ロマン主義 Dido building Carthage (The Rise of the Carthaginian Empire) by Turner, Joseph Mallord William (1775-1851)/ National Gallery, London/ 1815/ England/ Oil on canvas/ Romanticism/ 155,5x230/ Landscape,Mythology, Allegory and Literature
オランダの画家 ジャンル: バロック CRKBM4 Frans van Mieris the Elder Self-portrait 1674 National Gallery - London
Bronzino, Agnolo (1503-1572) National Gallery, London Painting 146x116,2 Mythology, Allegory and Literature An Allegory with Venus and Cupid
所蔵: ロンドン・ナショナル・ギャラリー オランダの画家 ジャンル: バロック / 17世紀 / オランダ絵画黄金期 JOHANNES VERMEER. A young woman seated at the virginal, around 1670. Canvas, 51,5 x 45,5 cm NG 2568. . Credit: Erich Lessing / Album
作家名： ティツィアーノ・ヴェチェッリオ (1488/1490年 - 1576年) タイトル：「三世代の寓意」 国籍： イタリア ジャンル ： ルネサンス ヴェネツィア派 Artist： Titian (Tiziano Vecellio) (c.1488-1576) Title： Allegory of Prudence, c1565-1570. Date: 16世紀（C16th） Location： National Gallery, London Allegory of Prudence, c1565-1570. The triple-headed beast - wolf, lion and dog - is a symbol of prudence. From the National Gallery, London.