National Gallery of Art · Open Data

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63,855 open-access works

63,855 NGA-open-access works
Dataset refreshed September 19, 2026

A young woman draws on an oval surface with white chalk while three winged, baby-like putti gather nearby, all on a bank of pale pink clouds in this horizontal painting. The woman and putti have pale, rosy skin, flushed cheeks, and hazel-brown eyes. To our left, the woman reclines with her upper body propped up on her far elbow, which rests on a steel-blue cushion as her legs stretch out to our right. Her light brown hair is braided and wrapped across the top of her head. She wears a loose, seafoam-green robe over a billowing ivory-white garment that has slipped off the shoulder closer to us. A round paint palette with brushes sticking out of its thumb hole and a roll of blue and white paper sit in the lower left corner, behind the woman. The woman and the objects are on a red cloth. In front of the woman is a rounded surface, perhaps a canvas, on which she draws. She holds up a gold-colored stylus with her right hand, closer to us, with a pointed piece of white chalk in one end and black chalk in the other. The canvas is taller than her head, so the child-like putto she draws on it is life-sized. The three nude putti on the far side of the canvas have copper or golden-blond, curly hair, flushed, rounded cheeks, short wings in white or peacock blue, pudgy torsos, and dimpled limbs. One putto, presumably the one the woman draws, sits back on the bank of clouds with a carnation-pink sash across his chest. He pulls his chin back and looks at her from under his eyebrows. He holds a gold-colored torch with a pink flame in one hand, and the other hand rests near a cylindrical quiver of arrows. Another putto peeks around the side of the canvas, and the third stands and props the canvas up. That third putto holds up a wreath of laurel leaves up over the canvas, above the woman’s drawing hand. The bank of clouds is parchment-brown with muted pink and blue highlights against a vivid blue sky. The artist signed and dated the lower right, “F Boucher – 1765.”

Painting1946.7.1

Allegory of Painting

François Boucher

1765 · oil on canvas

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This is a drawing of a scene with various human figures, landscapes, and putti. The artwork is densely populated with figures in a pastoral setting. In the upper part of the image, a group of putti is depicted amidst lush foliage from a tall tree. The scene is framed with trees on both sides, and the composition suggests depth with the land extending into the background. The foreground features an assembly of individuals, including seated and standing figures engaging with one another, some gesturing. Different activities are occurring in different sections, suggesting multiple interactions. The cross-hatching technique and careful line work give the drawing dimension and texture.

Print1972.66.46

Allegory of Painting

Italian 17th Century, after Pietro Testa

1637/1638 · etching

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The image shows a person painting on a large canvas outdoors. The person has curly hair, wears a flowing garment, holds a paintbrush in their right hand, and a palette with paintbrushes in their left hand. There is a monkey figure seated in the foreground. The background features faint sketch-like drawings.

Print2021.66.1

Allegory of Painting

Giovanni David

c. 1775/1776 · etching on laid paper

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The sculpture on the medal is of a female figure in a classical style. She is standing and leaning against a pedestal with her head resting on her hand, dressed in a draped garment and holding an artist's palette in her left hand. The medal is medium-brown bronze, with engraved text including "A MICHALLON SES AMIS" and the year "1823". In the background, there are leaves and a stack of books, one inscribed “CLAUDE>".

Sculpture2019.45.4.b

Allegory of Painting [reverse]

Nicolas Pierre Tiolier

1823 · copper

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Three cherubs are depicted on what appears to be a cloud-like setting. One cherub sits with another intertwined cherub, gazing towards the viewer, featuring curly hair. The second cherub lies across the first, focused on drawing on a scroll. The third cherub is lying down, holding the scroll steady. Each cherub has small wings, a youthful face with chubby cheeks, and wears draping fabric. The background is intricate, suggesting a celestial atmosphere. Text and decorative lion and shield elements are present in the lower section of the image.

Print2011.152.1

Allegory of Painting with Three Cherubs (99)

Gilles Demarteau the Elder after François Boucher

Date not recorded · chalk manner printed in black on laid paper

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Drawing1990.57.7

Allegory of Peace

Italian 16th Century after Giorgio Vasari

Date not recorded · pen and brown ink and wash on blue laid paper; laid down

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This is a drawing showing a central figure seated on a block with an inscription that reads "PACE." The figure holds an olive branch in one hand and a chain in the other. A muscular figure lies bound beneath the central figure. Above them, a winged cherub-like figure crowns the seated figure with a garland. Two more winged figures, possibly putti, are present in the scene. The drawing is detailed with a focus on light and shadow, creating a sense of depth and classical elegance.

Print2017.149.1

Allegory of Peace

Domenico Tibaldi

c. 1560 · engraving on laid paper

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This is a photograph of a circular bronze medallion. The medallion features a raised relief carving at its center depicting a human figure sitting on a bull, surrounded by flying figures. The edge of the medallion is adorned with dots and there is Greek text inscribed around the perimeter. The bronzed surface has a patina, ranging in colors from brown to green.

Sculpture1998.108.16.b

Allegory of Peace(?), with Abundance Seated on a Bull and Psyches Flying About [reverse]

Gianpaolo Poggini

1564 · bronze

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This is a drawing of a group of people gathered around various pots and pans. The image shows characters engaged in conversation and culinary activities around a fire with a pot hanging above it. Cookware like teapots and serving dishes are illustrated along the lower center of the composition. The scene depicts a social or domestic scenario with intricate detail and flowing drapery, suggesting daily life or a gathering. The use of shading and line work creates depth and a sense of motion and interaction among the figures.

Drawing2010.122.1

Allegory of Poverty and Wealth

Conrad Meyer

Date not recorded · pen and brown ink with gray wash on laid paper

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The image shows a man standing in a contrapposto pose, with his weight on the right leg and left leg slightly bent. His left arm is extended upwards with a bird perched on the back of his hand, and his right arm holds a strap wrapped around a large rock. The man has a bushy beard, curly hair, a neutral expression, and is looking up at his raised hand. He is wearing draped clothing over one shoulder and tied around his waist, revealing a muscular torso. There is a small tree stump and grass around his feet, with a plain background.

Drawing1984.17.1

Allegory of Poverty Hindering Wit

Cornelis Cort

1565/1570 · pen and brown ink on heavy laid paper

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The image shows a seated woman holding two snakes by their heads. She has a calm expression and soft facial features, with her hair tucked under a draped cloth covering her head. She wears a long gown with intricate detailing, and the background features nature elements, rocks, and a cityscape with grand architectural structures. People are seen in the distance on a balcony. The circular composition unites the natural foreground and built environment in the background.

Print1943.3.4637

Allegory of Prudence

Hendrik Goltzius

c. 1586 · engraving

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The sculpture features two classical figures standing on either side of an ornate slab or altar, with each figure extending an arm across the slab to grip the other's hand. Both figures are draped in flowing garments. Above them, three smaller figures are depicted resting on clouds. The entire scene is enclosed within a round medallion, made of a material that resembles a bronze or copper alloy. Around the edge of the medallion are inscriptions, with the words "SALUTI" on the left and "PUBLICAE" on the right. The artistry suggests a high level of detail, typical of medallion artwork, conveying both texture and depth within its small circular frame.

Sculpture1997.114.21.b

Allegory of Public Health, Safety, and Welfare [reverse]

Jean Mauger

c. 1713 · bronze

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The image shows a round medallion featuring a figure standing with a cross. The figure, possibly female, holds the cross with one hand. At her feet is a lion, and she has a calm expression. The medallion is inscribed with Latin text surrounding the central figure. It has a bronze color with a patina. The relief work creates a sense of depth, making the subject stand out from the background, which includes details of a city and a bridge. At the bottom is the inscription "AN. MDCCLXXXVIII," corresponding to the year 1788. The craftsmanship suggests a historical artifact, possibly cast in metal, with artistic and historical significance.

Sculpture1997.114.5.b

Allegory of Religion [reverse]

Filippo Cropanese

1788 · bronze

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The image shows a full-length nude male figure standing in a contrapposto position with a serious expression and distinct facial features. A seated individual in flowing drapery holds a book and observes the standing figure. A sculpted head lies on the floor with carving tools scattered around. In the background, two smaller statues and a sculpted bust are featured on a ledge, along with a partial bust emerging from a stone block. The setting is an artist's studio with a plain wall in the background.

Drawing2009.70.142

Allegory of Sculpture

Gerard van Houten

Date not recorded · red chalk with pen and brown ink and gray wash on laid paper

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The image displays swirling lines and shapes that form an abstract impression of movement. In the center, there is a figure resembling a human body entangled with smaller shapes resembling heads, arms, and torsos. This central figure stands on an incomplete background of straight and curved lines, distorting the human form into an abstract composition. The elements create a dynamic representation utilizing human anatomy but in a surreal manner.

Print2006.57.29

Allegory of Spring

Auguste Rodin

1882/1888 · drypoint on paper

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Two panels depict richly detailed allegorical scenes. The left panel features a central female figure seated on elaborate scrollwork resembling a cloud and floral throne. Above float two cherubic figures, one holding a globe and the other offering a laurel. Below sit two cherubic figures surrounded by plants and fruits. The right panel shows a monumental female figure on an elevated throne, surrounded by cherubic figures. She gestures with one hand, with a radiating sun and celestial globe above her. Symbolic objects like a skull, a mask, and an urn lie at her feet, set on a patterned floor. The panels are framed with intricate decoration, and a central column divides them, displaying celestial motifs like the sun, moon, and stars.

Print1943.3.9133

Allegory of Spring (Allegorie des Frühlings)

Christian Friedrich Sprinck after Philipp Otto Runge

1810/1831 · etching on wove paper

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This composition features central geometric rectangles with curved and flowing lines. A square at the center swirls dynamically, surrounded by a curled form resembling movement. Two elongated figures stand on either side, with limbs stretching upwards. Below, a rectangular panel shows a reclining figure in a serene posture. The image blends abstract shapes with human forms and gestures.

Drawing1983.74.13

Allegory of Summer

Koloman Moser

in or after 1896 · pen and India ink with black wash and graphite on five sheets of thin graph paper; partially squaredin graphite

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This illustration depicts a group of figures in a classical architectural setting, with clouds and mythological figures above. In the foreground, there is a kneeling figure wearing a robe, who appears to be turning towards the celestial beings. Surrounding the main figure are women in classical attire. The upper portion shows ethereal figures on clouds, one holding a staff with a serpent. The background features a detailed classical building. The bottom includes text in French. The style resembles a detailed etching reminiscent of classic historical or allegorical artworks.

Print1958.8.137

Allegory of the Dauphin's Convalescence (Allegorie sur la convalescence du Dauphin)

Gabriel Jacques de Saint-Aubin

1752 · etching on laid paper

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The image depicts a printed page with ornate medieval illustrations and Latin text. The central illustration shows an eagle holding a scroll, surrounded by floral motifs and heraldic elements, including a shield with a double-headed eagle. Flanking the central image are smaller panels: on the left, a cherubic figure stands with animals, and below it, a lion's head encircled by Baroque flourishes and the text "S S M A R C V S"; on the right, an angelic figure appears above a bull's head with the text "S L V C A S". The text below the images is in Latin script, spread in a multi-column format with decorative capital letters. The illustrations incorporate detailed line work typical of Renaissance woodcut prints.

Print1943.3.644

Allegory of the Eagle and Emperor Maximilian I

German 15th Century

1497 · woodcut

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This is a drawing with a complex composition of symbolic elements. It features a large boat with architectural details and inscriptions. Two large figures are central, connected through ribbons with inscriptions like 'REX IMAPTORE.' Other labels include 'PAPA,' 'REX FRANCIE,' and 'DUX MEDIOLANI.' The scene includes a star labeled 'COMETA,' insignias, and a scale symbolizing justice. A blazing star on the right adds to the celestial theme. The style is intricate, resembling medieval or early Renaissance iconography, with allegorical content conveying a potential political or moral message.

Print1958.8.157

Allegory of the Emperor and the Pope

Italian 15th Century

c. 1495 · engraving

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This is a painting featuring a religious scene with symbolic imagery. It includes an altar or pedestal in the center with two figures on either side. There is a red and white pattern on top of the pedestal. Above the figures is a representation of a holy being with a radiant aura and a dove below. Various clouds and abstract shapes, some in reds and blues, surround the apex figure. The color palette consists of earthy tones of brown and beige, with accents of red, blue, and green.

Print1943.3.759

Allegory of the Eucharist

German 15th Century

c. 1470/1490 · woodcut in lt. brown, hand-colored in blue, green,orange, and gold

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This is a painting depicting a scene of crucifixion surrounded by symbolic elements. The upper left shows a figure with an orb and staff against a cloud. To the mid-right is a crucified figure with geometric shapes around. Below are smaller figures looking upwards. The color palette is limited to earthy tones against a muted background. The painting uses bold lines and a straightforward composition in a style reminiscent of medieval or early Renaissance religious art.

Print1943.3.812

Allegory of the Eucharist

German 15th Century

1480/1500 · woodcut, hand-colored in orange, green, tan, pink,lt. blue, and red

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This is a painting of a religious scene depicting a crucifixion. The central figure is on a cross with stigmata and bleeding from wounds. Above is a figure surrounded by clouds. Below the cross, there are human figures with raised arms. The color palette is rich with a blue background, resembling medieval religious artwork.

Print2004.37.2

Allegory of the Eucharist

German 15th Century

1470/1490 · hand colored woodcut

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The sculpture is a bas-relief medallion featuring three figures. One side shows a skeletal figure in a cloaked robe seated on a platform. The center figure is a composed female in classical attire, with one arm extended towards the skeletal figure and the other supporting a nude female clinging to her. The material appears to be bronze with an aged patina, highlighted by dark and light areas. The sculpture is inscribed with the words "Traité de Gynécologie."

Sculpture2004.59.4.b

Allegory of the Fight Against Death [reverse]

Jules-Clément Chaplain

1906 · silvered copper

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