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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63,836 open-access works

63,836 NGA-open-access works
Dataset refreshed September 12, 2026

This is a drawing featuring whimsical illustrations and decorative text. Intricate elements include ornate lettering and playful figures scattered across the page. In the upper left corner, there's a person in a decorative frame wearing a top hat. Below, there are figures of musicians playing drums and a small person with a dog on a leash. The text flows with embellishments and curls, displaying a decorative script. Various curly lines and motifs fill the spaces between the text and figures, adding artistic complexity to the piece.

Drawing2009.36.1

A New Year's Greeting

Adolph Menzel

1839 · pen and black ink

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The image depicts a woman posing confidently, with her left hand on her hip and her right hand against a stone wall. Her face is partially shadowed, but her hair is neatly pulled back. She wears a knee-length striped skirt and a light-colored blouse with voluminous sleeves. A large woven basket is beside her. The background is a textured stone wall.

Photograph2003.37.1

A Newhaven Fisherwoman

David Octavius Hill and Robert Adamson

1844 · salted paper print

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The image shows a group of six people, five women and one man, posing in front of a textured wall. All individuals are displayed from head to toe. The man, second from the left, is standing with his arms crossed, wearing a dark suit, a top hat, and glasses. The women are dressed in simple, period-appropriate clothing with long skirts and blouses. Most have their hair covered with cloths or headscarves. The central seated woman has her chin resting on her hand, while another seated on the right seems to be holding something. The standing women have their arms on their hips or crossed. The setting seems to be outdoors, indicated by the dirt ground and the rough-textured wall behind them with a shadow cast upon it, suggesting bright lighting conditions.

Photograph1995.36.89

A Newhaven Pilot's Cottage Door

David Octavius Hill and Robert Adamson

1845 · salted paper print

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The image shows a head-on view of a rocky landscape at night under a glowing moon. The horizon is not clearly defined, focusing instead on the textures of the rocks and trees. Animals are gathered around figures, likely shepherds. The artwork uses detailed cross-hatching and stippling to depict shadows and textures. The color palette is monochromatic, with black, white, and grey contrasting the moonlit night setting. The artwork includes brushstrokes and etchings to represent trees and shadows on the rocks. The moon is prominently featured in the upper right corner, illuminating the scene.

Print2012.92.569

A Night Robbery

Friedrich Müller

1769 · etching on wove paper

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Drawing1985.1.18

A Noble Lady of Pisa

Jean-Jacques Boissard

in or before 1581 · pen and brown ink with brown wash, with incising throughout, on laid paper

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This is a drawing of two figures in a pastoral setting. The drawing features two individuals sitting on rocky terrain, with a castle visible in the background on a hill amidst trees. The person on the left is draped in flowing robes and is looking down towards the other figure, while the person on the right extends an intricate goblet or chalice towards the first figure. The scene conveys a sense of narrative and interaction. The ground is uneven and rocky, while the castle suggests a distant, idyllic background.

Print1943.3.5685

A Nobleman and a Lady Seated in a Landscape

Lucas van Leyden

1520 · engraving

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The image shows a calm waterway with reflections on the surface. Near the shore, a person is attending to an overturned boat. In the background, there are trees, buildings, and a dark-roofed structure. The scene is in black and white, with trees on the left and clouds in the sky. The atmosphere is quiet and slightly misty.

Photograph1995.63.1.m

A Norfolk Boat-Yard

Peter Henry Emerson and T.F. Goodall

1886 · platinum print

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A rocky shoreline juts into a vivid, aquamarine-blue body of water in this loosely painted, nearly square landscape. The rocky beach and a few pieces of driftwood stretch in front of us in shades of ivory white, sand brown, gold, and mustard yellow to fill the bottom half of the painting. A few touches of shamrock green suggest plants growing in the near distance. A higher, almost flat-topped promontory reaches into the water beyond, nearly spanning the width of the composition. Areas of pine green suggest more growth in the distance near the left edge. A line of pale brown reaches across much of the horizon, which comes four-fifths of the way up the painting. The sky above is muted turquoise blue. The artist signed and dated the painting in the lower right corner, “Childe Hassam 1901.”

Painting2014.136.7

A North East Headland

Childe Hassam

1901 · oil on canvas

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The image shows a north-east view with rolling hills extending into the distance. The horizon line is in the upper section of the image, meeting a cliff with a visible face toward the sea. The artwork displays meticulous brushstrokes or etching, detailing textures in the clouds and landscape. A woman is depicted standing on a terrace looking out over the landscape, with a dog nearby. To the left, a building with columns and a detailed door is visible. The color palette is monochromatic, using shades of brown and sepia. In the distance, patchwork fields, trees, and a coastal view are depicted.

Print1980.45.1518

A North-East View from Sandham Cottage, Isle of Wight

Harriet Wilkes

Date not recorded · etching

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The image features a sketch on aged paper. On the right side, there is an outline of a human figure focusing on the lower back and legs, with arms bent upwards near the head. On the left side, there are abstract gestural strokes in dark pencil forming a cluster resembling folds or fabric. The pencil lines vary in thickness and shading, providing depth to the abstract shapes. The sketchbook spine is visible along the left edge.

Drawing1992.51.9.yy

A Nude and Foliage

Paul Cezanne

1879/1882 · graphite on wove paper

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The image shows a full-body depiction of a muscular male figure in a dynamic, forward-leaning stance. His right arm is extended forward, and his left arm is bent back. The man's facial features are detailed with a pronounced jawline, and his hair is short and curly. The figure is nude, showcasing the musculature and anatomical form. Around him, the ground appears natural with foliage and a small rock in the foreground. In the background, there is a simple, lightly textured surface suggesting an outdoor setting without distinct elements such as buildings or landscapes, emphasizing the figure.

Print2017.126.12

A Nude Fighting Man, side view, turned to left [plate 27]

François Perrier

1638 · etching on laid paper

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This is a circular relief depicting a male figure on one knee, with the other leg bent in front of him. He is nude, with intricate details of musculature and flowing hair. The sculpture is a rich brown color with darker shadows in the recessed areas. The face of the man appears to have been worn down, and the details are unclear.

Sculpture1957.14.342

A Nude Man

Moderno

Date not recorded · bronze//Dark brown patina

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The image shows a pencil sketch of a nude male figure depicted from head to knee, reclining on his back with a dynamic pose. His left arm is bent over his head and his right arm extended upward. The facial features are delicately drawn, focusing on the outline of his face and a short hairstyle. There is subtle shading to suggest musculature and body contours. The sketch has a minimal style with emphasis on the figure's outline and form. The background is plain with sparse, loose lines, and the figure is set against a textured paper backdrop. No jewelry or objects are visible.

Drawing2009.70.215.a

A Nude Man Chained to a Rock

Francesco Solimena

Date not recorded · black chalk on laid paper

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The image shows a sketch of a nude individual bending forward at the waist. They are positioned over a vase or bowl with flowers. The background is minimal and sketchy, with light pencil shading.

Print1981.21.1

A Nude Model Arranging Flowers

James McNeill Whistler

c. 1892 · lithograph in black on laid paper

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The image shows a sketch of a person reclining on their side, with one leg extended and the upper body supported by an arm. The person's head is turned slightly to the left, with delicately outlined facial features and hair styled in waves or gentle curls. The individual is unclothed and positioned on a natural landscape with undulating hills or dunes. Surrounding the figure are sketchy outlines of vegetation, likely bushes or trees, filling much of the scene. There are no visible items of jewelry or objects being held. The background features loosely sketched tree outlines, creating a serene, natural environment.

Drawing2003.36.1

A Nude Reclining in a Landscape

Jean-Baptiste-Camille Corot

1825/1828 · graphite on wove paper

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The image is an etching of a woman seated with her upper body exposed, partially covered by fur. She is sitting back with a slight slouch, head tilted downward. The soft etching technique gives her indistinct facial features with subtle lines for eyes, nose, and mouth. Her hair is tied back smoothly with shaggy ends. She appears draped in fur-like texture, sitting on a piece of furniture. The background shows linear textures, possibly representing furniture patterns and a rough, sketched quality.

Print1991.28.15

A Nude Woman in a Fur Wrap

Albert Besnard

Date not recorded · etching and drypoint on wove paper (proof impression from an earlier state)

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The image shows an etching of a person from the head to just below the shoulders. The person is seated with a slight lean and is partially wrapped in textured fabric or fur. The facial features are soft and somewhat obscured, with short hair closely cropped to the scalp. The person's clothing is not clearly visible, as a dark, dense pattern predominates the image. The surrounding environment appears textured and abstract, with swirling lines suggesting a richly textured background, implying a cozy, enclosed space. Deep shadows and highlights are used to form the contours of both the person and the surroundings.

Print1991.28.16

A Nude Woman in a Fur Wrap

Albert Besnard

Date not recorded · etching and drypoint on laid paper (proof impression from a later state)

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This drawing displays a person lying on their front with their upper body slightly raised, their head turned to the right, and both arms extended outward. Their back and the upper part of their legs are visible. The person's facial features are not fully visible, and they have hair styled in a bun. The person is not wearing any clothing, but there appears to be a cloth beneath them. The lines of the drawing are in white and gray against a tan background.

Drawing1980.64.3

A Nude Woman Reaching to the Right

François Boucher

c. 1769 · black chalk with stumping, heightened with white chalk on brown laid paper (formerly blue)

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A child and woman stand at the open door of an entryway with black and white marble floors, as the child drops a coin into the hat of a disheveled boy accompanied by a nursing mother across the threshold in this vertical painting. Beyond the entryway, a man and woman look on from a room with a landscape painting hanging over a tall mantle. All the people have pale skin. The child standing with the woman inside, near the door, looks at us with gray eyes. Blond ringlets frame a round face with full cheeks, a snub nose, and parted coral-red lips. The ringlets are tied with butter-yellow ribbons and the rest of the head is covered with a white cap. The child’s garment has a wide, flaring, flat collar, a tight-fitting bodice, and a flaring, floor-length skirt. Pale plum-purple, puffy sleeves are tied with pale yellow and azure-blue ribbons, and a cape of the same fabric lined with pale grass-green falls from the shoulders. A medallion hangs from a thick gold chain looped over the child’s right shoulder, to our left, across to the opposite hip. The child touches the hand of the woman standing behind with one hand, to our right, and drops a silver coin into the proffered hat with the other. The woman’s body faces us but she turns her oval-shaped face to look down at the boy holding out his hat. She wears a scarlet-red, long-sleeved bodice with a wide, white collar over her chest. A taupe-brown apron covers her dark skirt and her bonnet is long on the sides, draping to brush her shoulders. She rests her right hand, to our left, on her stomach and touches the fingertips of the child in front of her with the other. Near the lower right corner of the painting, a small white dog with ginger-brown spots stands on the black and white marble floor, looking up toward the exchange. Light pours into the entryway through the open door and a transom window above it. The walls are light gray and the doorways are surrounded with darker gray molding. A painting of a landscape hangs above the doorway leading to the room beyond. The man and woman there look at us from in front of a mantle that is taller than the woman who stands next to the man, who is seated. The woman’s hair is pulled back under a cap, and she wears a silver-gray dress lined with a wide band of white fur. She holds one hand to her waist and gestures toward the foyer with the other. The man wears a black suit with a wide, flat collar. The floor in this room is a checkerboard pattern of white and brick-red squares, and sky-blue panels with gilded leafy designs cover part of the walls. A carved stone cherub like a small, chubby child, stands on the mantle to our left, next to the landscape painting there. Back in the entryway, across the threshold, the boy steps with one foot onto the floor of the foyer as he holds out his frayed, brimmed hat. He has short-cropped blond hair and wears a mustard-yellow shirt with tattered brown pants. The nursing woman stands next to the door, out of sight of the people inside, holding a baby to one round breast. The boy and woman’s faces, necks, and hands are noticeably tanned, almost orange. Two small children huddle, almost out of sight, in the narrow space between the boy and the left edge of the painting. They look down onto a few light tan disks, perhaps coins, on the step in front of them. In the distance beyond the family are a few trees and buildings beneath a vibrant blue sky with puffy white clouds. The artist signed and dated the painting in the lower right corner, “J. Ochtervelt f. 1663.”

Painting2015.68.1

A Nurse and a Child in an Elegant Foyer

Jacob Ochtervelt

1663 · oil on canvas

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The image depicts dark, swirling shapes with areas of light breaking through, forming an abstract composition. In the center, lighter areas suggest the silhouette of a seated figure. The contrast between the dark and light elements creates an abstract landscape.

Print1943.3.7563

A Nymph Bathing, Moonlight

Théodore Roussel

c. 1890 - 1900 · softground etching, aquatint, and drypoint on Van Gelder laid paper

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The sculpture depicts a human figure with long, flowing hair and a bare torso. The figure sits on top of a sea creature resembling a fish or serpent with a stylized face and curled tail. This is presented in a circular relief format, possibly a medallion or plaque. The artwork appears to be made of bronze based on its brown and metallic sheen. The intricate detailing shows water movement, the creature, and the human figure's curves. Below the scene, the initials "F NAR" are inscribed, potentially the artist's signature. The relief backdrop adds depth and dynamics to the foreground figures.

Sculpture1957.14.572

A Nymph on a Dolphin

Francesco Marti

Date not recorded · bronze//Light brownpatina

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This painting shows a body of water with a steamboat in the distance emitting gray smoke. The steamboat is only partially visible behind the rough and frothy waves, painted in loose lines of white on the beige paper. The horizon is blurred, with the blue sky blending in with the pale waves. On the left, the silhouettes of buildings are faintly suggested in pale yellow.

Drawing1986.72.18

A Packet Boat off Dover

Joseph Mallord William Turner

c. 1836 · watercolor and gouache with touches of black chalk on gray wove paper, laid down

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The image shows an abstract composition of curving and linear forms. Dark lines and shapes interlock, with surrounding lines suggesting shadows or movement. The overall arrangement resembles a figure or twisting fabric.

Drawing1995.52.209

A Padlock

Sir David Wilkie

Date not recorded · pen and brown ink on wove paper

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This painting depicts a group of people gathered in a room. Two men are seated, with one reading papers and the other holding a palette and paint brushes. Several standing people are gathered around these seated people, including a variety of men and women dressed in long, brightly-colored gowns or suits and jackets. Near the center a woman is holding a baby. All of the people have pale skin and most have brown hair, except for one man with gray hair. In the background, there is a large canvas or easel. On the wall on the right, there are three paintings, one of which is framed. The room's walls are decorated in muted tones of pale green, brown, and yellow. The brushstrokes of the background are thick and visible.

Painting1947.17.19

A Painter and Visitors in a Studio

Unknown 19th Century

c. 1835 · oil on paper on canvas

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