Presumably the right wing of a diptych or triptych; the missing side, which would originally have been hinged to it, probably depicted the Virgin & Child. The subject appears to be an Augustinian friar. The background shows Bruges, where David worked. ...
The only known double portrait by Gossaert. The sitters have not been identified. On the badge on the man's hat a young naked couple with a cornucopia are depicted, clearly providing a contrast with the age of the subjects, & perhaps an ironic comment on their present state. ...
The book & sword, symbolising the word of God & the saint's martyrdom respectively, identify the man as Saint Paul. The roundel in the top-left corner shows the Sacrifice of Isaac. In Paul's Epistle to the Hebrews (11: 17) Abraham's sacrifice of his son is cited as an example of faith. Rembrandt seems to have been particularly interested in Saint Paul, whom he represented many times. The last digit of the date is damaged, but is probably a '9' & the painting belongs to a group of half-length apostles & saints from the years around 1659-60. ...
The two-masted vessel in the centre foreground has the English ensign & flies a St George's cross. In the left middle distance is a man-of-war flying the Union flag & St George's cross. A preparatory drawing (London, Royal Collection) identifies the v ...
An English two-masted armed ketch flying a white flag with Saint George's cross is in the right foreground. A small vessel, probably a 'weyschuit' (a small Dutch open boat with a straight raking stern, usually rigged with a sprit) is approaching her. Ther ...
The frigate in the background has just fired a salute; a second frigate can be seen in the distance, & fishing boats in the foreground. This painting is not signed or dated; stylistically it belongs to a group of marine pictures from the last few years o ...
This saint is possibly one of the Evangelists. This, alongside another ' Saint' & 'A Bishop Saint', is one of three fresco fragments (now transferred to canvas) in the Collection which perhaps once formed part of the framing of some large composition. They are said to have come from the so-called Palazzo del Podestà , Assisi. Formerly ascribed to followers of Pietro Cavallini, they appear to be works of the middle or even late 14th century. ...
One horse & cart seems to have just crossed a stream; another is following behind. Van der Neer, the father of the painter Eglon van der Neer, whose painting ' Judith' is also in the National Gallery's Collection, moved from Gornichem to Amsterdam around ...
The church has not been identified & may be an invention of Pieter Neeffs. A service (probably Benediction if it is evening) is about to begin. This is one of a series of church interiors by Pieter Neeffs the Elder (or his studio) in which the figures ar ...
This is a tranquil landscape; it appears to be early evening. Characteristically for van der Neer, the light does not come from the side but emanates from the horizon. The painting probably dates from the early 1650s. It once bore a false Cuyp signature, probably added because the effect of distant sunlight & of pastoral tranquility recalls the work of Aelbert Cuyp. Aert van der Neer, born in Gorinchem & active in Amsterdam, specialised in landscapes at dawn & dusk, scenes lit by moonlight or fire, & winter scenes. He was the father of the painter Eglon van der Neer, whose painting ' Judith' is also in the National Gallery's Collection. ...
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An Episode On The Field Of Battle
This painting is probably intended to show a battle in the English Civil War. It was presumably painted during the artist's stay in England, and was exhibited at the Royal Academy in 1850.
This painting is probably intended to show a battle in the English Civil War. It was presumably painted during the artist's stay in Engl&, & was exhibited at the Royal Academy in 1850.
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