Originally attributed to Corot, this seascape was probably painted by one of his followers. It is thought to be a view of the cliffs at Trouville in Normandy, France. The techniques employed & the costumes of the women suggests a date of around 1870. ...

The white horse carries a fishing net on its back; in the distance at the right two boats can be seen by the shore. This picture was exhibited at the British Institution in 1818 as the artist's last painting. There is no stylistic reason for this tradition ...

This is one of four pictures probably painted as a series & probably executed about 1757. The pictures are documented by etchings of three of them (in reverse) by Domenico & Lorenzo Tiepolo as the work of their father. The only picture with an identif ...

The portrait is signed & inscribed on the cartouche on the ledge. Despite the unlined appearance of the face the painting is probably relatively late in date, of the early 1670s, when Murillo's children would have been of an age to take pride in their f ...

This is a reduced replica of the painting in the Musee d' Orsay, Paris, which has been variously dated in the 1840s & may have been exhibited at the Salon in 1846. In manner the self portrait is indebted to portraiture of the Italian Renaissance, particu ...

Flinck was a pupil of Rembrandt & this self portrait in terms of the costume, lighting & pose is conceived in a Rembrandtesque manner, e.g. Rembrandt's ' Self Portrait Aged 34', also in the National Gallery's Collection. The Rembrandt painting is dated ...

Artemisia Gentileschi paints herself in a guise of Saint Catherine of Alexandria, a Christian saint martyred in the early 4th century. She leans on a broken wheel studded with iron spikes, the instrument of Catherine's torture & the saint's standard attribute. Her right h&, delicately holding a martyr's palm between thumb & forefinger, is brough to her chest. The painting dates from Artemisia's period of activity in Florence, where she moved in 1612 following her rape by Agostino Tassi & the infamous trial that ensued. Saint Catherine's physiognomy, head & threee-quarter pose are all closely related to those in Artemisia's ' Self Portrait as a Lute Player' (about 1615-9). in the Wadsworth Atheneum Museum of Art, Hartford, USA, suggesting that this too is a self portrait of the artist. Her right hand holding the palm frond is identical to that in Artemisia's ' Saint Catherine of Alexandria (Uffizi Gallery, Florence), a work which probably dates from around the same time. Artemisia seems to have used her own image frequentyly in works painted during her Florence sojourn
- a number of Artemisia's self-portraits are recorded in 17th-century inventories, though not all of these have been identified. Keen to promote her talent in Florence, a city to which she had newly arrived, Artemisia may have painted such works in a conscious act of self-promotion
- the existence of these images certainly seems to suggest there was a demand for them among her patrons.

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Create your own bespoke print of Rembrandt’s Self Portrait at the Age of 34 from our collection. About this painting Self Portrait at the Age of 34, 1640 © The National Gallery, London This painting joined our collection in 1861 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. ...

Create your own bespoke print of Rembrandt’s Self Portrait at the Age of 63 from our collection. About this painting Self Portrait at the Age of 63, 1669 © The National Gallery, London This painting joined our collection in 1851 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. ...

Boxall, who succeeded Sir Charles Eastlake as Director of the National Gallery in 1866, had been primarily a portrait painter & had exhibited at the Royal Academy from 1829. The exact date of this picture is unknown. During his directorship he acquired ...