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.

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63,855 open-access works

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

This is a photograph of an ancient coin. The coin shows two robed figures facing each other and extending their right hands. The coin is circular and has inscriptions along the outer edge, which appear to be in Latin. The words "CONCORD" and "SPIN" can be discerned among the inscriptions. The coin has a rich patina, ranging from bronze to darker hues. The craftsmanship of the figures and the decorative elements is detailed and precise.

Sculpture1942.9.173.b

Antonio Da Mula and Marcantonio Trevisan [reverse]

Andrea Spinelli

1538 · bronze

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Sculpture1957.14.1007.b

Antonio Da Mula and Marcantonio Trevisan [reverse]

Andrea Spinelli

1538 · bronze

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Sculpture1942.9.173.a

Antonio Da Mula, c. 1460-after 1539, Duke of Candia 1536 [obverse]

Andrea Spinelli

1538 · bronze

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Sculpture1957.14.1007.a

Antonio Da Mula, c. 1460-after 1539, Duke of Candia 1536 [obverse]

Andrea Spinelli

1538 · bronze//Struck

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Sculpture1957.14.860

Antonio di Dante Castiglione

Style of Niccolò Fiorentino

c. 1485/1500 · bronze

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Sculpture1957.14.1127.a

Antonio Gonzalo de Toledo, c. 1480/1483-1524, Physician at Lyon [obverse]

Medalist of 1518

1518 · bronze

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Sculpture1957.14.844.a

Antonio Graziadei, died 1491, Imperial Envoy [obverse]

Bertoldo di Giovanni

c. 1480 · bronze

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Sculpture1957.14.757.a

Antonio Grimani, Doge of Venice 1521-1523 [obverse]

Venetian 16th Century

c. 1523 · bronze

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Sculpture1997.114.41.a

Antonio Maria Biscioni [obverse]

Lorenzo Maria Weber

1725 · bronze

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Sculpture1957.14.622

Antonio Pisano, called Pisanello, the Painter and Medallist

Nicholaus

c. 1445/1450 · bronze

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Sculpture1957.14.624.a

Antonio Pisano, called Pisanello, the Painter and Medallist [obverse]

Attributed to Pisanello

c. 1440/1443 · bronze

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Sculpture1957.14.872.a

Antonio Pizzamani, 1462-1512, Venetian Scholar and Apostolic Pronotary, Bishop of Feltre 1504 [obverse]

Style of Niccolò Fiorentino

c. 1490 · bronze

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Sculpture1957.14.765.a

Antonio Roselli of Arezzo, 1380-1466, Jurist [obverse]

Bartolomeo Bellano

probably 1460/1466 · bronze

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Sculpture1957.14.706.a

Antonio Sarzanella de' Manfredi, Este Diplomat [obverse]

Sperandio

c. 1463 · bronze

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The portrait shows a man from the chest up, turned slightly to his left but looking directly at the viewer. He has a defined facial structure with arched eyebrows, deep-set eyes, and a prominent nose. His hair is dark and short with a slight wave, and he has a full, neatly trimmed beard and mustache. He wears a dark jacket with a white collar. The background is a muted earthy tone with a subtle gradient that highlights the subject's face. The name "Antonio Vassilacchi" is inscribed below the portrait, along with additional notations.

Print1964.8.1166

Antonio Vassilacchi

Carlo Lasinio, after Antonio Vassilacchi

1789 · color mezzotint

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Sculpture1957.14.727.a

Antonio Vinciguerra, 1468-1502, Poet, Secretary to the Republic of Venice [obverse]

Sperandio

probably 1496/1504 · bronze//Late cast

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This is a drawing of a deathbed scene with multiple figures surrounding a bed, with one person lying on it. There are individuals wearing pointed hoods holding torches, and another figure in clerical robes gesturing with a staff topped with a skull-like object. The scene includes a chair with a skull motif. The drawing is detailed and shaded, giving it a historical feel. The inscription refers to Antonio Zingano and mentions a return to life.

Print1969.15.311

Antonio Zingano

Jacques Callot after Matteo Rosselli

1619 · engraving on laid paper

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Sculpture1957.14.1233

Antonis Mor, c. 1517/1521-1576/1577, Painter

Steven van Herwijck

Date not recorded · bronze

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The sculpture is a circular relief depicting two seated figures facing each other. On the left, a woman with her hair tied back is dressed in a draped garment, her left hand extended to hold the right hand of the figure on the right. The figure on the right appears to be a man and is also seated, dressed in what appears to be armor or a detailed tunic. Both figures are seated on folding, X-shaped stools. The material of the sculpture is a dark bronze, with a slightly metallic sheen that highlights the intricacies and folds of the clothing and features of the figures. Around the edge of the relief, there are inscriptions in Roman script. The details of the figures are finely crafted, giving a sense of historical clothing and posture in the depiction of this interaction.

Sculpture1957.14.797.b

Antonius Pius and Faustina Joining Hands [reverse]

Filarete

c. 1445/1449 · bronze

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The image shows a full-body illustration of a man standing with his hands in his pockets. He is depicted with broad shoulders, a prominent belly, a large round face with a furrowed brow and a goatee. He has short, dark, somewhat unkempt hair and is dressed in a dark jacket, trousers, and shirt. The background is a light, textured surface with no distinct elements visible around him.

Print1943.3.3139

Antony Thouret

Honoré Daumier

1849 · lithograph

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A light-skinned man with thick black hair and a squared off black beard, dressed in a black jacket over a gray vest and gray trousers, sits facing us in this vertical portrait painting. This work is loosely painted with visible brushstrokes so some details are difficult to make out. The man's body faces us but he looks down and to our left. The tip of his nose almost matches the coral red of his lips. Two pale peach patches below his mouth break up his beard on his pointed chin. His hands, closed into fists, rest on his thighs, which are cropped by the bottom of the canvas. He wears several layers of clothing. The open black jacket reveals a charcoal-gray vest with a V-shaped opening over another black garment, perhaps an undervest. This is worn over a white shirt, which is visible as bright traingles at this throat and white cuffs at his wrists. The white shirt seems to be tied with a black tie and possibly a gray cravat, but this area is broadly painted. The background is painted with gray strokes over black. The artist signed the painting in black paint in the lower right corner, though it is barely visible: “P. Cezanne.”

Painting1970.35.1

Antony Valabrègue

Paul Cezanne

1866 · oil on canvas

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This is a drawing of various mythological figures in a dynamic composition. The scene features a collection of figures in various poses and interactions. One central figure is seated with others surrounding her. The background is filled with swirling lines and shapes. The artwork combines line drawing and tonal shading to create depth and form, resembling a preliminary sketch for a larger composition.

Drawing1985.1.57

Antwerp Blessed with Abundance

Theodoor van Thulden

c. 1648 · red chalk and brush and black ink with brown and gray wash

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The image shows an intricate etching of a Gothic cathedral, viewed from ground level looking upwards. The cathedral's tower is prominent, with detailed tracery and pointed arches defining its architecture. The horizon is low, revealing the cityscape with the cathedral at the center. Various smaller buildings and street life surround the cathedral. The etching's precise line work captures the cathedral's ornate details and stone textures. The color palette is monochrome, using varying shades of gray to create depth and contrast. People, horses, and carts are depicted in the foreground, providing scale against the cathedral. The cityscape continues in the background with rooftops and distant buildings fading away. Clouds fill the sky, adding a dramatic backdrop to the scene.

Print1943.3.9076

Antwerp Cathedral

Wenceslaus Hollar

1649 · etching

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This is a painting of a Gothic-style cathedral interior. The building features tall, cream-colored arches and vaulted, ribbed ceilings. There are framed artworks above wooden pulpits with lit candles on them, and dark gray statues high on the walls. A light blue sky is visible through tall windows, and the floor is a checkered white-and-black pattern, occasionally disrupted by rectangles of gray and white. Men, women, and children dressed in vibrant clothing walk across the floor or kneel by altars.

Painting1960.6.29

Antwerp Cathedral

Peeter Neeffs the Elder

c. 1650/1655 · oil on copper

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