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

63,836 open-access works

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

Painting1939.1.107

A Sleeping Girl

Pietro Rotari

1760/1762 · oil on canvas

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The image shows a landscape scene framed in an oval shape. The view includes a native encampment with conical structures scattered across a grassy field. A hill in the background slopes gently upwards towards the horizon. The painting features smooth brushstrokes and realistic yet softly idealized vegetation and sky. The color palette consists of warm greens, browns, and earthy tones for the land, while the sky transitions from light blue to soft peach. In the distance, gentle hills fade into the background under a tranquil sky. The oval frame and muted border add to the serene quality of the scene.

Painting1965.16.41

A Small Cheyenne Village

George Catlin

1861/1869 · oil on card mounted on paperboard

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The image shows a landscape with blue-green mountains, a riverbank with a path, teepee structures in a grassland, and small human figures. The sky has pastel blue and pink tones, and the color palette is dominated by greens, blues, and earth tones. The brushstrokes are smooth and deliberate.

Painting1965.16.26

A Small Crow Village

George Catlin

1855/1869 · oil on card mounted on paperboard

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The image depicts a riverine landscape viewed from above. The horizon is high in the image, with the sky blending warm tones and the sun shining softly. The scene features a mix of pastel colors, including blues, pinks, and light greens. Groups of people gather on a hill near the river, interacting with each other. A canoe is seen on the riverbank with people onboard. The overall color scheme includes earthy tones blending harmoniously with the water. Palms and other trees populate the area, adding to the idyllic atmosphere.

Painting1965.16.301

A Small Lengua Village

George Catlin

1854/1869 · oil on card mounted on paperboard

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The image shows a landscape with lush greenery and tall trees. There is a body of water in the foreground with people in canoes. In the background, figures are near huts on a hill. The scene is depicted in soft brushstrokes with earthy tones of green and brown, creating a tranquil atmosphere. The horizon is high, showing a distant sky above the trees.

Painting1965.16.302

A Small Lengua Village, Uruguay

George Catlin

1854/1869 · oil on card mounted on paperboard

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The image shows a river flowing through a dense jungle. A boat with a thatched roof is on the water, near a riverbank where people in red clothing are gathered, some on the boat and some on the shore. The scene includes makeshift structures along the sloping bank. The brushstrokes are deliberate, with naturalistic details in the foliage and stylized figures. The color palette is earthy with pops of red.

Painting1965.16.279

A Small Orejona Village

George Catlin

1854/1869 · oil on card mounted on paperboard

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The image depicts a scene from an elevated perspective. A row of leaning palm trees forms the horizon just above the center of the image. Below, multiple people and animals are gathered on a grassy area, with a simple thatched roof structure visible in the distance. The background is filled with swaying palm trees against the sky. The painting employs soft brushstrokes and a color palette dominated by pale blues for the sky and soft greens and earth tones for the landscape and figures.

Painting1965.16.291

A Small Tobos Village

George Catlin

1854/1869 · oil on card mounted on paperboard

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The image displays a landscape framed in an oval shape, depicting a river scene. People and canoes are near the river, engaging in activities like fishing and paddling. Grassy banks lead to a settlement area where groups of people are gathered near simple structures. Tall trees form a canopy above the settlement. The brushstrokes are detailed, creating texture in the foliage and terrain. The color palette is earthy, with greens, yellows, browns, and blues dominating the scene. Taller trees reach into the sky in the background, completing the view.

Painting1965.16.303

A Small Village - Payaguas Indians

George Catlin

1854/1869 · oil on card mounted on paperboard

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The image shows a landscape with a pastoral setting seen from a slightly elevated perspective. Greenery meets a pastel-colored sky near the horizon in the upper third of the composition. A line of trees with various foliage appears at the horizon, including tall palm trees silhouetted against the sky. The brushwork is delicate and detailed, capturing natural elements with a light touch. In the foreground, a field with small plants and flowers is depicted with intricate brushstrokes. Simple structures with thatched roofs are nestled within the greenery. The color palette includes soft greens, warm earth tones, and gentle sky pastels. The frame around the painting complements the landscape.

Painting1965.16.304

A Small Village of Remos Indians

George Catlin

1854/1869 · oil on card mounted on paperboard

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This is a drawing of a person's head and shoulders. The person is facing forward with a slight tilt to the left. Their facial features show a smiling expression, with joyfully squinted eyes and a broad grin. The person's hair is shoulder-length with soft curls framing the face. The drawing implies the presence of a garment, possibly a shirt, with hints of a collar or scarf around the neck. There are no visible pieces of jewelry or objects in the person's hands. The background is plain without any additional elements or scenery.

Drawing2009.70.170

A Smiling Boy with Flowing Hair

Italian 17th or 18th Century

c. 1700 · red chalk on laid paper

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The image shows a view of the seaside from the shore. The horizon, waves, a sailing ship, and a rugged coastline are visible. The sky is cloudy, and the scene is done in fine lines typical of etching. The color palette is monochromatic in black, gray, and white. The water has curling waves, creating a sense of movement.

Print2008.115.3729

A Smuggler's Landing Place

James Craig Nicoll

1883 · etching

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This is a drawing of a chaotic scene in a city street where snow has fallen from a rooftop onto the street below. Various people are depicted in mid-action as they react to the event. The individuals are dressed in historical clothing, with some wearing long coats, dresses, and hats. In the background, structures like a shopfront and lampposts are visible. The art style is illustrative and detailed, focusing on the reactions and poses of the figures as they engage in avoiding or being caught by the falling snow. The illustration effectively conveys surprise and movement, with elements such as people slipping, articles of clothing being dislodged, and snow bursting into the air contributing to the energetic atmosphere.

Print1958.3.20

A Snow Slide in the City

after Winslow Homer

published 1860 · wood engraving

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This is a drawing of a Roman warrior in armor. The drawing shows a figure holding a spear in one hand and a shield in the other. The shield features a fierce-looking face. The armor is detailed with patterns, including a muscular torso plate and greaves. The warrior's helmet has a plume. The use of shading and highlights in the drawing enhances the three-dimensionality of the figure.

Drawing2019.75.1

A Soldier in Ancient Roman Costume with Pike and Shield

Lattanzio Gambara

1572/1573 · pen and brown ink with brown wash, heightened with white gouache, over black chalk, on blue laid paper, squared in black chalk

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Drawing2004.140.30

A Soldier on Horseback and Other Studies

Antonio Tempesta

Date not recorded · pen and brown ink and red chalk on laid paper, laid down on an old album sheet

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A pale-skinned, bearded man sits at a table set in front of a window and smokes a pipe in this vertical painting. Light pours in from the window and leaves much of the room behind the man in deep shadow. The man’s body is angled to our left, and he rests his right elbow, also to our left, on the table and looks steadily at us. The man has a round face with rosy cheeks and a copper-red beard. His dark, gold-edged hat rolls back away from his face, creating an upward flounce. His cream-white, lace-edged collar lies across his shoulders over a gorget, the piece of silver armor that encircles the neck and comes to a point over the chest. His plum-purple sleeveless jacket and loose, knee-length britches have a sheen. Voluminous white sleeves are covered with strips of black and golden yellow fabric, and yellow fabric flares like a mini cape behind the sleeve we see. The man wears a tawny-brown glove on his left hand, to our right. That hand rests on his hip with the palm facing out. He holds the long, white clay pipe to his lips with his other ungloved hand. A wisp of smoke rises from a burning ember at the end of the pipe. The man’s pants are edged with gold around the bottom hem, which fall loosely around teal-green stockings. His slouchy black boots have square toes, and the tops fall down to reveal crimson-red undersides. A brass band wraps across the arch of the foot closer to us, and a star-shaped spur projects off the back. The man sits on a three-legged stool with a triangular seat. More armor, a horn, and a banner with fringed edges lie in a heap in the bottom right corner of the painting. To the left, a playing card, a seven of hearts, lies face up near a second chair, this one wood with a seat upholstered in iron gray. A forest-green cloak edged with gold fringe is draped over the high back of that seat, and a staff with a metal finial leans against the cloak. The seat and stool face a table mostly covered with a sage-green cloth. More playing cards, three more white clay pipes, a tall glass of beer, a clay pot, and a white jug with a narrow silver lid sit on the table. A sack and perhaps a firearm hang on the wall to the left of the arched window, which is set in the thick gray wall. The floor is wood plank, and the space behind the man falls into shadow but appears to be empty. The artist signed the painting as if he had inscribed his name on the side of the chair with the cloak: “FvMieris.”

Painting2016.10.1

A Soldier Smoking a Pipe

Frans van Mieris

c. 1657/1658 · oil on panel

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The image depicts two full figures of individuals, a man and a woman, standing together. The man is on the left, in a slightly angled stance with his head turned toward the woman. He has curly hair and is wearing an elaborate outfit with puffed sleeves and decorative elements, including a large feathered adornment on his back. The woman stands on the right, facing the man, and is positioned slightly behind him. Her hair is styled in an elaborate manner with curls and adorned with a headpiece. She is wearing a dress with accentuated shoulders and a tight bodice, detailed with accents and a belt, and extends her arm. Both figures stand on a ground with rocks and foliage, and in the background, there is a landscape featuring a river, trees, and buildings with prominent towers.

Drawing2011.11.1

A Soldier Walking with a Camp Follower

Circle of Urs Graf I

1523 · pen and black ink on laid paper

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The image shows a man from the chest upwards with a large hat and light-colored, shaggy hair. He has a broad face, a large nose, full lips, and wide eyes. The man wears a red coat over a yellowish scarf and is accompanied by what appears to be a broken pipe on his hat. The background is neutral with washes of beige and light brown.

Drawing2009.70.206

A Soldier's Widow

Thomas Rowlandson

1815/1820 · watercolor with pen and brown and gray ink over sanguine wash over graphite on wove paper

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There are three figures depicted in a line drawing. The first figure on the left is a man seated on a bed, with his right arm raised. He is shirtless, wearing traditional attire, including a feathered headdress. Next to him is a seated figure facing slightly away, wearing a draped garment. The third figure is lying in the bed, covered with bedding and asleep. The background shows a room with wooden wall panels, a window on the left, and firearms mounted on the right wall.

Print2015.19.3577

A Song of Parting to the Boy He Sung

Lumb Stocks, after George Elgar Hicks

1846 · engraving in black on wove paper

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This is a drawing of a dog. The dog is depicted in mid-movement, with a mix of dark and light tones in its coat. The dog's head is lifted upwards, and the background includes tall grass and a tree with a broken trunk. The shading and tone create a warm atmosphere.

Print1984.22.2

A Spaniel Jumping

Jan Verkolje I

1680 · mezzotint on laid paper

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The image shows a sketch of a person in a dynamic pose. The figure is depicted from head to toe with one arm raised overhead. The sketch emphasizes fluid motion, with simple facial features and clothing suggestive of movement. The background is plain with the artist's signature visible. The artwork is in a monochromatic palette, likely charcoal.

Drawing2013.80.1

A Spanish Dancer

Ricard Canals Llambí

c. 1900 · charcoal with gray wash and pastel on wove paper

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The image shows a view through a large architectural archway with figures engaged in various activities. The perspective is from a position close to the street level, looking towards the archway. The archway is the focal point due to its darkened interior and decorative detailing. The horizon is not distinct, as the architectural elements dominate the upper portion. The brushstroke technique is sketch-like with cross-hatching and vertical strokes, creating a textured appearance. The color palette is monochromatic, with shades of black and gray against a light background. Closest to us is a man sitting beside a street post, drawing the eye into the scene. Groups of people walk and gather in the distance, adding to the sense of an active urban environment.

Print2015.19.1281

A Spanish Holiday, Granada

Sidney Mackenzie Litten

c. 1920s · etching in black on blue wove paper

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Portfolio1947.7.168

A Spectator (Une spectatrice)

Henri de Toulouse-Lautrec

1893 · lithograph in black on velin

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The image shows an upper-body view of a woman seated upright, with her head slightly turned to the right. Her facial features include defined eyebrows and a sharp nose. She has neatly styled hair in a low bun and wears a dark hat and outfit. The attire includes a high collar. In the background, there are two figures, one seated and apparently male, wearing a hat. The other figure appears to be sketching or looking down. The background consists of abstract patterns with vertical lines and shaded textures. The scene is rendered in a monochromatic style, using ink or charcoal.

Print1964.8.1897

A Spectator (Une spectatrice)

Henri de Toulouse-Lautrec

1893 · lithograph in black on velin

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Sculpture1957.14.146

A Sphinx to Left

Florentine 15th Century

15th century · bronze//Dark red-brown patina

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