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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63,858 open-access works

63,858 NGA-open-access works
Dataset refreshed September 26, 2026

The image shows a small, vertically ribbed, brown cup with a spiraled base. The color palette consists mainly of shades of brown with subtle highlights accentuating the texture and shape of the cup. The cup is centrally positioned on an off-white background.

Index of American Design1943.8.17675

Blown Glass - Salt Cellar

John Fisk

c. 1937 · watercolor, graphite, and gouache on paperboard

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This is a drawing of a historical dress. The image includes a detailed rendering of the dress, featuring decorative patterns and structure. On the left, the colored dress shows blue and beige vertical stripes, with a fitted bodice, row of buttons, and tiered sleeves with blue and gold decorations at the elbow. The dress widens at the waist, indicating a full skirt. To the right is a sketched outline of the back of the dress, showing its structural design without color.

Index of American Design1943.8.1376

Blue & Grey Striped Dress

Joseph L. Boyd

c. 1937 · watercolor and graphite on paper

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This is a painting of a vintage dress design. The artwork features a long, elegant purple dress with a high collar and full-length sleeves. The dress is adorned with intricate detailing along the collar, cuffs, and down the center, using a contrast in colors against the deep purple fabric. The skirt of the dress has a flowing quality, and there is shading to suggest fabric texture. This is in the style of a classic fashion illustration, resembling designs from the late 19th to early 20th century, capturing the elegance and sophistication of the era's clothing.

Index of American Design1943.8.3191

Blue Afternoon Dress

Lucien Verbeke

c. 1938 · watercolor, graphite, and colored pencil on paper

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This is a photograph of a woven textile swatch. The textile features a repetitive geometric pattern composed of interlocking rectangular and checkerboard designs. Dark blue and off-white threads are used to create the pattern, resulting in a striking contrast. The edges of the textile are slightly frayed. The overall appearance reflects traditional weaving techniques and intricate patterns. The composition shows the meticulous care and skill involved in creating detailed fabric designs.

Index of American Design1943.8.650

Blue and White Homespun

William O. Fletcher

c. 1937 · watercolor, pen and ink, and gouache on paper

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This is a photograph of a decorative lidded porcelain vase with blue and white patterns. The vase has an intricate floral design painted in shades of blue against a white background. The body of the vase tapers down to a narrow base and is topped with a fitted lid that has a small finial at the top. The patterns consist of floral motifs interspersed with small dotted designs. The blue used is a deep cobalt shade commonly associated with traditional Chinese porcelain.

Decorative Art1955.14.1

Blue and White Jar with Cover

Chinese Qing Dynasty

18th century

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The sculpture is a lidded ceramic jar, commonly known as a ginger jar. It is white with intricate blue floral patterns and designs throughout its surface, showcasing a classic blue-and-white porcelain style. The material is glazed ceramic. The jar has a bulbous body that tapers towards a narrower base and a domed lid that fits snugly on top. The blue floral motifs are created with delicate brushstrokes, enhancing the decorative nature of the jar.

Decorative Art1955.14.2

Blue and White Jar with Cover

Chinese Qing Dynasty

18th century

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The image is a photograph of a decorative textile piece. It features a woven textile with intricate and repeated patterns in a two-tone color scheme of deep blue and off-white. The design includes motifs of stylized birds, floral arrangements in an ornate vase, and small houses and trees. There is a border along the left side with a repetitive geometric pattern. The craftsmanship is detailed with clear emphasis on symmetry and balance in its design elements.

Index of American Design1943.8.707

Blue and White Woolen Coverlet

Frank Gutting

c. 1938 · watercolor and graphite on paper

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The image shows a large, transparent blue-tinted glass mug placed in the center against a plain beige background. The color palette consists of the blue glass and the neutral background. The handle is on the right side, and the glass is upright in the center of the image.

Index of American Design1943.8.11264

Blue Beer Mug

Robert Stewart

c. 1936 · watercolor, gouache, and graphite on paper

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The image shows a large, blue pedestal glass bowl. The color palette consists of various shades of blue. The bowl has a detailed design with the stem shaped like a sculpted hand and the base featuring a ribbed pattern.

Index of American Design1943.8.11248

Blue Compote

Edward White

c. 1936 · watercolor, gouache, and pen and ink on paper

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This is a painting of a blue heron in a natural setting. The foreground shows a large blue heron standing on a rock near tall grass. The background features a water body bordered by grassy areas and a row of trees, suggesting a wetland or marsh environment. The painting uses colors to create a harmonious scene.

Print1945.8.307

Blue Crane or Heron

Robert Havell after John James Audubon

1836 · hand-colored engraving and aquatint on Whatman wove paper

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Painting1953.5.68

Blue Eyes

American 19th Century

c. 1850 · oil on wood

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The image shows a large blue vase with a flared rim and vertical grooves. The color palette is blue. The vase is centered, slightly tilted to the left, against a plain background with a shadow. There is a thin line drawing framing the image and an arrow at the bottom left corner pointing to the left side of the vase. The artist's signature "N. Amantea" is in the lower right corner.

Index of American Design1943.8.10446

Blue Glass

Nicholas Amantea

1935/1942 · watercolor and graphite on paperboard

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The image shows a large blue glass cruet with a handle on the right side. The bottle has a ribbed texture, a stopper, and is placed against a neutral beige background. The spout, handle, and bottle are the main focus of the image.

Index of American Design1943.8.16511

Blue Glass Cruet and Stopper

George File

c. 1940 · watercolor, pen and ink, and graphite on paper

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The image shows a transparent, round glass jug with a curved handle on the right side. The jug is primarily a light, clear blue hue. Positioned centrally on a blank off-white background, the jug is slightly left of the center, with its handle reaching to the right. The jug's design is accentuated by the smooth glass surface and reflections. There is a signature in ink at the bottom right corner of the background.

Index of American Design1943.8.10573

Blue Glass Egg Cup

Paul Ward

c. 1940 · watercolor and graphite on paperboard

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The image shows a vintage oil lamp with a transparent glass chimney and a deep blue base. The color palette includes neutral tones with a beige background, which contrasts with the vivid cobalt blue of the lamp base and the clear glass designs. The lamp is centered on the canvas, taking up most of the space, with the glass chimney tapering slightly and the blue base at the bottom.

Index of American Design1943.8.12574

Blue Glass Lamp

Helen Bronson

c. 1937 · watercolor and graphite on paperboard

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Index of American Design1943.8.11279

Blue Goblet

Robert Stewart

c. 1937 · watercolor, graphite, and colored pencil on paper

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Print1945.8.122

Blue Grosbeak

Robert Havell after John James Audubon

1831 · hand-colored engraving and aquatint on Whatman wove paper

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Index of American Design1943.8.11076

Blue Hobnail Pitcher

Ralph Atkinson

c. 1936 · watercolor, graphite, pen and ink, and goauche on paper

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Print1945.8.102

Blue Jay

Robert Havell after John James Audubon

1831 · hand-colored engraving and aquatint on Whatman wove paper

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From under an elevated train track, we look at a cluster of people hammering and working on the far side of a wooden fence, all against a silvery-blue building that fills most of the background in this horizontal painting. The scene is loosely painted mostly in tones of hazy and saturated blues, so many of the details are indistinct. About a quarter of the way in from the right edge of the composition, a thin iron column holds up the train platform. The column nearly spans the height of the painting, and the track it supports runs across the top edge of the canvas. At the foot of the column, along the bottom edge, are two parallel tracks embedded in an area otherwise painted with short, diagonal strokes in topaz blue, olive green, and straw yellow. Just beyond the tracks, the split-rail wooden fence runs across most of the painting, though there is an opening at the left edge of the canvas. A man sits with his back to us on the railing to our right of center. He wears a dark cap, a lapis-blue shirt, and navy-blue pants. Several men work on or near a mound-shaped form, perhaps a piece of machinery, just beyond the fence, near the center of the painting. One man holds a hammer high overhead while another reaches down or strikes the mound with his feet planted wide. More people work together to our left, and a man to our right stands near a crane. The people and these areas are painted with broad strokes and touches of cobalt blue, charcoal gray, khaki brown, and a few swipes of shell pink and bright white. A puff of white smoke billows up behind the central group, before the land drops precipitously away. The chasm is painted with shimmering tones of aquamarine and cerulean blue. A sky-blue, rectangular building perches at the far edge. A few windows are outlined in royal blue to our left but the rest of the building is loosely painted with long, vertical strokes so no architectural details can be made out. Behind this structure are more city buildings, suggested with strokes of muted rust red, parchment and bright white, and cobalt blue. The ice-blue sky fills the band between the top of the buildings and the train track running overhead. The artist signed his name near the lower left corner, “BELLOWS.”

Painting1963.10.82

Blue Morning

George Bellows

1909 · oil on canvas

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Drawing2015.19.317

Blue Nude

Arthur B. Davies

c. 1917-1928 · pastel on wove paper

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The image shows a large glass pitcher with intricate swirling patterns and delicate curves. The pitcher is primarily a translucent green color with horizontal red stripes on the neck. The background is a muted beige color. The pitcher is on a flat surface, and the handle extends to the right side.

Index of American Design1943.8.11573

Blue Pitcher

Vincent Burzy

c. 1936 · oil paint on paper

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The image shows a landscape with rolling hills, fields, distant mountains, and a sky with clouds. The painting has a watercolor style with soft brushstrokes, using muted earth tones such as green, brown, and blue. Trees and ground in the foreground lead the eye towards the mountainous horizon under a serene sky with patchy clouds.

Drawing1995.52.200

Blue Ridge Mountains

Stanford White

c. 1898 · watercolor and gouache with pen and brown ink on wove paper

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The image features an abstract composition dominated by rounded shapes and smooth curves shaded in blue. On the side, there is a circular emblem with the word "LAFAYET" inscribed alongside a star and a wheel-like pattern. The main shape resembles a stylized teapot or horn, merging familiar elements into an abstract form.

Index of American Design1943.8.11306

Blue Salt Boat

Margaret Stottlemeyer

c. 1936 · watercolor and graphite on paper

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