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Renoir's visit to Italy in 1881 stimulated an interest in subjects inspired by classical antiquity rather than taken from contemporary life. This resulted in series of nudes set in generalised landscape settings which he painted in the late 1880s & 1890s, of which this is an example. ...
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This is probably not intended to represent a specific battle but belongs to a category of paintings based on the French campaigns in the Netherlands in the 1670s. It has been attributed to van Huchtenburgh on the basis of a stylistic comparison with signe ...
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An unidentified battle rages before a mountainous landscape. The costumes of certain figures suggest this work may date from about 1530-40, but various details reflect an earlier style. This painting may derive from one of the frescoes of an unknown subject by Piero della Francesca which are mentioned by Vasari as in the Palace in Ferrara, or may be based on another lost work of his. ...
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Maris conveys a powerful sense of isolation in this image of a lone woman on a wind-swept beach. The only other signs of human presence are two empty boats pulled out of the water onto the s&. The top two-thirds of the canvas are given over to scudding ...
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This is a relatively early work by Bakhuizen & shows the influence of Hendrick Dubbels (1621
- 1707), whose work is also represented
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Create your own bespoke print of Rembrandt’s A Bearded Man in a Cap from our collection. About this painting A Bearded Man in a Cap, late 1650s © The National Gallery, London This painting joined our collection in 1844 With our custom print service, you can order your own fully customised reproduction from the National Gallery Collection & exhibitions. Choose your own size, print material & frames & have your masterpiece delivered straight to your door. ...
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The sitter, who holds a paper in his right h&, has not been identified. Formerly ascribed to Pontormo & to Lotto. The costume accords best with a dating of about 1527-28. ...
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The fragments of this altarpiece are mounted in a 19th-century frame. In the main panels are, from the left, Saints Michael & John the Baptist, & on the right, a bishop & a female martyr. The Archangel Gabriel & the Annunciate Virgin are depicted ...
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On the left are a Bishop Saint & Saint Nicholas of Tolentino; on the right, Saints Bartholomew & Monica (the mother of Saint Augustine). The triptych is said to come from the Augustinian church of S. Spirito, Florence; & contains Augustinian saints. ...
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The bishop saint shown here has not been identified; he holds a book. This, alongside a beardless ' Saint' & a ' Saint' with a beard, 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. ...
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A Bearded Man Holding A Lamp

Derived from the foreground Elder in Guercino's 'Susannah and the Elders' (Prado, Madrid), painted in 1617 for Cardinal Alessandro Ludovisi. It is an old copy, possibly of the 17th-century, and varies from the original only in showing the figure with a la
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Derived from the foreground Elder in Guercino's ' Susannah & the Elders' (Prado, Madrid), painted in 1617 for Cardinal Alessandro Ludovisi. It is an old copy, possibly of the 17th-century, & varies from the original only in showing the figure with a la

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National Gallery
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Page Updated: 2024-03-04 09:43:56

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