In this early work by Bellini, Christ is shown as the Redeemer. The panel may have served as the door of a tabernacle, in which the wine & bread of the Mass were kept. Christ is shown after the Crucifixion, as the Man of Sorrows, whose blood saves the world from sin. He holds his cross, with the crown of thorns. An angel catches his blood in a chalice like the ones used in the Mass. The parapet reliefs illustrating antique & pagan rituals may have a significance for the meaning of the painting, but no convincing theory about this has yet been advanced. Before cleaning in 1978 there was an unbroken tiled floor, including some oil-paint over Bellini's original egg tempera. Cleaning removed these additions. The bare patches of gesso, or ground, were originally painted as clouds with red & blue angels with much gold. We do not know why or when the angels were removed, but it was certainly done after Bellini finished the work. ...

A group of hunters, some on horseback & others on foot, attack a wild boar. The hunters' dogs join in the attack, whilst two horsewomen look on approvingly. In the background a man blows a bugle. This & its companion, ' Return from the Hunt', are not a ...

Jongkind produced a number of views of this newly constructed boulevard near his studio in Paris, & a related watercolour of 1874

Includes:: detailed notes about the subject.A late work, this is an important example of the roughly handled paint surface an

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Create your own bespoke print of Camille Pissarro’s The Boulevard Montmartre at Night from our collection. About this painting The Boulevard Montmartre at Night, 1897 © The National Gallery, London This painting joined our collection in 1925 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. ...

This work & ' Moses striking the Rock' are highly finished modellos for frescoes in the church of Santa Croce in Gerusalemme, Rome. In about 1744 Giaquinto was commissioned to carry out the decoration of the two ceilings & the apse walls. The extremely ...

The National Gallery’s collection of British paintings contains some of the most famous & best-loved pictures in the country: Hogarth’s Marriage A-la-Mode series, Gainsborough’s Mr & Mrs Andrews, The Hay Wain & The Cornfield by Constable & Rain, Steam & Speed & The Fighting Temeraire by Turner. Most of these have been on public view for over a hundred years & have become national icons. In 1824 the National Gallery’s founding collection of thirty-eight works included nine British paintings. By 1897 there were over 500 British works. In that year the Tate Gallery was established as the National Gallery of British Art, whose role was to build & display a representative British collection, & accordingly the majority of works by British artists held in Trafalgar Square have in the intervening years been transferred to Millbank. The National Gallery still makes acquisitions of exceptional interest, the most recent being the tiny but powerful Wall in Naples by Thomas Jones & the life-size portrait of the horse Whistlejacket by George Stubbs. This catalogue discusses the sixty British pictures in the Gallery in two parts: Constable, Gainsborough, Hogarth, Reynolds, Stubbs & Turner star in Part I, with paintings which are either major works or (like Gainsborough’s amiable John Plampin) have remained ‘at home’ in Trafalgar Square because of their enduring popularity. Part II consists of portraits (including three sculpted busts) of collectors or public servants who helped over the years to create the National Gallery as we know it today. While few of these are great works of art, the National Gallery is proud to retain portraits which reflect the characters & careers of the oddly assorted men who shaped its history. The biographies contain lively accounts of men as different from each other as the absentee clergyman & passionate collector, Reverend William Holwell Carr, & the fiery Layard of Nineveh. This beautifully illustrated catalogue, containing full-page colour reproductions & stunning details, reflects recent scholarship & incorporates much new research. It also

Includes:: the results of fresh examination of each work by the National Gallery’s Conservation & Scientific Departments. JUDY EGERTON was formerly Assistant Keeper of the British School at the Tate Gallery. Her previous publications include George Stubbs (1984); Wright of Derby (1990); Making & Meaning: Turner: The Fighting Temeraire (1995), & Hogarth’s Marriage A-la-Mode (1997; reissued 2011 with free DVD, narrated by Alan Bennett).

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This & ' The Procession of the Trojan Horse', also in the Collection, are part of a series of sketches illustrating a famous passage from Virgil's ' Aeneid' (Book 2): The Greeks build a wooden horse, fill it with armed men & leave it outside the enemy c ...

The bull-fighter salutes the crowd after having killed the bull. This may be a depiction of the bull-ring in Madrid, & the figure could be a portrait. It is one of a small number of scenes of this type executed by the artist & probably originates from ...

Create your own bespoke print of Leonardo da Vinci’s The Burlington House Cartoon from our collection. About this painting The Burlington House Cartoon, 1499-1500 © The National Gallery, London This painting joined our collection in 1962 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. ...

This is one of seven illustrations of the story of Jason from Ovid's ' Metamorphoses' (Book VII), made by Detroy as a series of sketches for cartoons for the Gobelins tapestry works in Paris. This sketch was finished by February 1743. The Gallery has anoth ...