National Gallery of Art · Open Data

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Explore only works whose published-image record is explicitly marked open access by the National Gallery of Art. Every result includes eligible imagery and connects back to the museum.

Collection results

63,855 open-access works

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

Sculpture1957.14.1262.a

Antoine, 1489-1544, Duke of Lorraine 1508 [obverse]

Nancy 16th Century

1523 · silver testoon//Struck

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Sculpture1995.49.5

Antoine, 1489-1544, Duke of Lorraine and Bar 1508

Jacques Gauvain

1521/1525 · steel

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Sculpture1957.14.1134.a

Antoine, 1489-1544, Duke of Lorraine and Bar 1508 [obverse]

French 16th Century

early 16th century · gilded bronze

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The sculpture depicts the bust of an individual with a rugged texture and expressive face, slightly tilted back. Crafted from dark, bronze-like material, it has a rough surface. The dark color lends a heavy, solid appearance, with areas reflecting a slight sheen. The sculpture captures the head and shoulders, with detailed facial features and hair, while the clothing exhibits less definition. The material showcases a contrast between smooth and rough textures in relation to the natural forms represented.

Sculpture1951.17.5

Antoine-Maurice-Apollinaire, Comte D'Argout

Honoré Daumier

model c. 1832/1835, cast 1929/1950 · bronze

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This is an engraved portrait of a woman named Mademoiselle Deshoulieres. She is depicted facing forward with a slight turn of her head. Her facial features include a gentle smile, high cheekbones, and a softly defined chin. Her hair is styled in an elaborate updo with curls and is adorned with a decorative headpiece. She is dressed in an elegant garment with a low neckline and draped shawl. There are no visible jewelry. The frame around the portrait has a lined pattern and an ornate plaque displaying her name. The background is simple and unadorned.

Print1987.70.9

Antoinette du Ligier de La Garde Deshoulieres

Augustin de Saint-Aubin after Elisabeth Sophie Cheron

1803 · engraving on laid paper

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The image is an engraved portrait showing a man from the chest upwards. He has distinct facial features, including high cheekbones and a prominent forehead, with medium-length, wavy hair framing his face. The man is wearing a historical garment with a layered collar and a scarf around his neck. The background is a plain oval shape with dark texture, and the name "MENGS" is displayed below the portrait.

Print1994.3.5

Anton Raphael Mengs

James Neagle

Date not recorded · engraving on laid paper; laid down

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The image shows a seated man depicted from the waist up. He is positioned slightly turned to the side but faces forward. The man's facial features are detailed; he has a prominent, short beard and mustache, and his hair is short and neatly styled. He wears a flowing garment with voluminous folds, suggesting a robe or a cloak. The garment is draped around his shoulders. Stone architecture is visible in the background, indicating an interior space with columns. The man’s right hand is visible at the bottom of the image, and he is wearing a ring on his finger. A decorative cloth or tapestry is partially visible to the left of the image.

Print2011.139.23

Anton Triest

Pieter de Jode II, after Sir Anthony van Dyck

1632 · etching and engraving

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The image depicts a man in a half-body portrait. He is seated and facing slightly to the side but looking at the viewer. The man has a beard and mustache, short and wavy hair with a receding hairline. He is wearing a voluminous robe, holding a section of it in one hand, and wearing a ring on one finger. The background shows textured, architectural elements indoors.

Print2011.139.126

Anton Triest

Pieter de Jode II after Sir Anthony van Dyck

1632 · etching and engraving

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This is a drawing of a religious scene inside a chapel. The image depicts a detailed interior with an altar in the background adorned with tall candlesticks and a central religious icon or sculpture. The foreground has several figures in flowing garments, gesturing and positioned in various stances. Some crutches are placed on the floor. The figures are intricately detailed with careful attention to drapery and texture. There is also an inscription in Italian below the image.

Print1969.15.322

Antonia

Jacques Callot after Matteo Rosselli

1619 · engraving on laid paper

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Sculpture1942.9.153.a

Antonia del Balzo, 1441-1538, Wife of Gianfrancesco Gonzaga di Rodigo 1479 [obverse]

Antico

c. 1487 · bronze

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Sculpture1957.14.665.a

Antonia del Balzo, 1441-1538, Wife of Gianfrancesco Gonzaga di Rodigo 1479 [obverse]

Antico

c. 1487 · bronze

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The image shows a woman facing the viewer. She has distinct facial features, long straight nose, and slightly pursed lips. Her hair is styled in a high, voluminous manner with tight curls gathered at the top. She is dressed in an elaborate garment with a large pleated collar around her neck. There are many small buttons on her clothing, and intricate patterns on the collar. She is holding a decorative fan in her right hand, and wearing earrings. The background has a lined pattern within a circular frame. Latin text surrounds the frame and there is Roman and Latin script at the bottom of the image.

Print1950.14.60

Antonia Lotharingica

Crispijn de Passe I

1599 · engraving

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Sculpture1957.14.995.a

Antonia, 36 B.C.-A.D. c. 38, Daughter of Mark Antony and Octavia [obverse]

Giovanni da Cavino

mid 16th century · bronze//Struck

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Print1943.3.7403

Antonin Proust

Auguste Rodin

1885 · drypoint

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Print1943.3.7404

Antonin Proust

Auguste Rodin

1885 · drypoint

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Print1954.12.35

Antonin Proust

Auguste Rodin

1885 · drypoint

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The image features ancient architectural ruins with large archways dominating the scene. The perspective shows a view through the arches with a distant space beyond. The detailed etching technique is evident in the intricate line work and hatching, depicting textures and shadows, especially in the stone and architectural details. The color palette is monochromatic in shades of black and white, emphasizing contrast. Foliage grows atop some structures, adding texture and depth.

Print2022.189.3

Antonine Baths, or Baths of Caracalla

Giovanni Battista Mercati

1629 · etching on laid paper

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Sculpture1957.14.999.a

Antoninus Pius, Emperor A.D. 138-161 [obverse]

Giovanni da Cavino

mid 16th century · bronze//Struck

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Sculpture1957.14.941.a

Antonio Calmone, Secretary to Philip II [obverse]

Pier Paolo Galeotti

c. 1570 · bronze

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Print1980.45.1723

Antonio Canova

after John Flaxman

19th century · lithograph on papier colle

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The image is a bust-length portrait of a man, depicted from the chest up. He is facing slightly to his right with his head turned towards the viewer, showing his face. The man has a prominent nose, slightly furrowed brows, and a reserved expression. His hair is dark, softly curled, and styled away from his face. He is wearing a dark cloak with a high collar, and an undergarment with a lighter color around the neck. There is no visible jewelry or objects held by the subject. The background is plain with minimal detailing, emphasizing the artistic dotwork used to create the portrait.

Print1980.45.1777

Antonio Canova

James Thomson possibly after John Jackson

published 1822 · stipple engraving on papier colle

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The image is a head and shoulders portrait of a man. He is positioned slightly off-center with his body facing toward the left and his head turned to the right, gazing into the distance. He has well-defined facial features with prominent cheekbones and deep-set eyes. His hair is dark, curly, and styled away from his face. The man is wearing a formal outfit with a high-collared jacket, a vest, and an elegantly tied cravat. There are no visible jewelry or objects in his hands. The background is plain and light in color.

Print2020.40.2

Antonio Canova

Henri Grevedon

1826 · lithograph on wove paper

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The image shows a portrait sculpture on a circular medallion. The subject is a male figure with textured hair, facing to the right. The sculpture is dark gray and appears to be made of metal. The surface has scratches and realistic texture. Inscriptions on the medallion read "ANTONIUS CANOVA" and "G.PASSAMONTI. F."

Sculpture2000.158.14.a

Antonio Canova, 1757-1822, Sculptor [obverse]

Stefano Passamonti

1816 · lead

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Sculpture2012.108.12.a

Antonio Canova, 1757-1822, Sculptor [obverse]

Francesco Putinati

after 1823 · bronze

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