National Gallery of Art · Open Data

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63,836 open-access works

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

The sculpture shows a warrior standing over a fallen opponent. The warrior wears detailed armor, holds a sword in his right hand, and the opponent's severed head in his left hand. The scene is on a bronze plaque. The warrior looks strong and dominant, with intricate armor and facial features. The fallen opponent lies below the warrior, partially covered by the warrior's cape. In the background, there are trees and rolling hills.

Sculpture1957.14.568

A Victorious Warrior

Peter Flötner

1543 or before · bronze//Light brown patina

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The image features a landscape with a large tree in the foreground on the right. The terrain includes earthy browns and greens, leading to rolling hills with various trees in the background. The horizon is high in the image, showing distant mountains and a faint outline of a structure or settlement under a serene sky. The color palette is soft with earth tones, yellow, green, and blue, creating a tranquil atmosphere. The brushstrokes in the watercolor painting are delicate, capturing details of foliage, light, and shadow across the landscape.

Drawing2007.111.67

A View across the Inn Valley to the Alps and Neubeuern

Johann Georg von Dillis

c. 1790 · pen and gray and brown ink with watercolor over graphite on laid paper

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The image shows a landscape with a high horizon line. Sparse foliage and scattered trees are depicted with loose charcoal strokes. Sweeping horizontal lines indicate the vast expanse of the terrain. The color palette is monochromatic, ranging from deep black to light gray.

Drawing1995.52.12

A View across the Park, Chatsworth, Derbyshire

John Burgess

Date not recorded · graphite on laid paper

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The image depicts a densely packed urban space with buildings and enclosed yards, viewed from an elevated angle. The buildings dominate the composition, with various tones of reddish-brown suggesting brickwork. Fine brushstrokes detail the buildings and their shadows, with a wooden fence and outbuildings in the foreground. In the distance, rooftops and a tree with dark foliage are visible against a pale blue sky. The color palette is primarily earthy tones, creating a historic atmosphere.

Drawing1964.8.1759

A View from an East Window in the Old Sugar House, No.3 Norris' Alley, Philadelphia

American 19th Century

1811 · pen and ink with watercolor on paperboard

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The image shows a coastal scene with water meeting land under a vast sky. The horizon line is slightly below the center, marking the meeting point of sea and land. A cluster of hills or mountains is visible on the horizon, with vegetation. Two sailboats float on the water, with their masts pointing towards the sky. The sky is almost monochromatic with a few soft clouds. The artwork is painted in light sepia tones, creating a serene and timeless atmosphere.

Drawing1995.52.39

A View in India

William Daniell

1788 · brown wash over graphite on laid paper

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The image shows a landscape with a low horizon, including buildings with a prominent tower against the sky. Figures are near large trees on the left, with land gently sloping towards the buildings. In the background, there are softly rendered mountains and a sky with pale clouds. The color palette is subdued with grays and earthy browns. The artwork uses soft brushstrokes and shading.

Drawing2022.40.47

A View in Italy with Mountains in the Distance

Richard Wilson

c. 1754 · chalk and stumping, heightened with white gouache on buff paper

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The image shows a set of stone steps leading towards a darkened archway. The perspective is from below, emphasizing the narrowness and steep incline of the passage. A house with a window is visible above the archway, with a patch of blue sky and leafy branches above rooftops in the background. The painting uses loose, fluid brushstrokes to depict the stone walls and steps with earthy browns, grays, and hints of warm orange tones. The color palette is dominated by muted earth tones, with a vivid azure sky adding contrast. The watercolor technique adds warmth and age to the rustic stone surroundings.

Drawing2014.92.1

A View in Subiaco

Pio Joris

1873 · watercolor on wove paper

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The image depicts a rural landscape seen from an elevated perspective. The horizon line is in the middle, with distant hills and a layer of trees. It is created in a sketch-like style with soft brushstrokes or pencil marks, giving a sense of movement. The color palette is grayscale, with shades of gray and black, creating a calm atmosphere. In the foreground, a path winds through the scene, bordered by trees outlined with delicate shading.

Drawing1995.52.40

A View near Lowther

Peter De Wint

Date not recorded · brush and black ink with black and white chalks over graphite on two joined sheets of gray wove paper

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The scene is depicted from an elevated perspective showing rocky terrain in the foreground leading to distant mountains. The horizon is high in the composition with mountain peaks against a textured sky. The artwork features detailed etching techniques with fine lines capturing textures in the landscape such as grass, rocks, foliage, and architecture. The color palette is monochromatic with shades of gray and sepia. The image conveys a tranquil and timeless atmosphere with rocky formations, trees, a resting figure, and buildings in the distance, hinting at a village setting.

Print2002.98.361

A View near Rome

George Loring Brown

1854 · etching in black on Japanese paper

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The image shows a landscape from an elevated viewpoint, displaying rugged terrain, mountains in the distance, a settlement with small structures and a tower, detailed textures of rocks, foliage, and structures. The black and white color palette emphasizes a timeless quality. The scene includes uneven ground with rocks and vegetation, leading towards the center where a few figures are visible, with trees on the right side.

Print2015.19.2847

A View Near Rome

George Loring Brown

1854 · etching in black on laid paper

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Painting1963.10.111

A View near Volterra

Jean-Baptiste-Camille Corot

1838 · oil on canvas

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The image shows a mountainous landscape with an elevated perspective, showcasing a panoramic view of the natural scenery. The horizon line is low, with towering peaks dominating the scene. A small village and a stone bridge can be seen nestled between the mountains, beside a flowing river. The brushstrokes are detailed, capturing fine textures of the rocks and vegetation. The color palette consists of earthy tones of greens and browns, complemented by blues and grays in the sky and mountains. The image features trees with varied foliage colors, suggesting a change of seasons. The overall effect is one of peaceful natural beauty, with bright light illuminating the landscape and casting subtle shadows.

Drawing1987.38.1

A View of Dovedale

John Glover

c. 1825 · watercolor over graphite on wove paper

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A three-storied, white manor house with a rust-red roof and wings extending off both sides sits across an emerald-green lawn lined with tall, sage and dark green trees in this horizontal painting. Straw-brown paths lead to the house from either side of the lawn, where they meet an oval-shaped path directly in front of the house. The grassy area inside the oval is cordoned off with posts and weighted chains. Closer to us, three men, two women, and a gray dog stand on the lawn. Two of the men wear uniforms with navy-blue, button-lined jackets with golden yellow epaulets and collars, dark, tricorn hats, and butter-yellow britches over black, knee-high boots. The third man wears a brown suit with a white collar. Both the women wear white dresses. One has a sky-blue sash around her waist and the other has a black shawl wrapped across her torso, and wears a white bonnet. Two light-skinned people, perhaps a man and a child, walk along the path to our left, wearing gray suits. Four people closer to the house have brown skin. One of them, a woman, stands at the front center of the oval path and other three men approach a door in the wing to our left. One of that trio carries a shovel over his shoulder, one a rake, and the other a staff. A carriage guided by a seated horseman and pulled by four horses enters the scene from our right. To our left and right, covered walkways connect the main house to the side wings. The wing to our right is mostly hidden by trees and cut off by the right edge of the painting. The wing to our left has a teal-blue roof, red brick chimneys, and the same white walls as the manor. The main house has a triangular pediment over the front door and chimneys to each side of the red roof. A spire-like lantern is at the center of the roofline, over the pediment. Faint, wispy white clouds billow against the azure-blue sky above. Centered at the bottom of the scene across a white margin are the words, “A VIEW OF MOUNT.VERNON THE SEAT OF GENERAL WASHINGTON.”

Painting1953.5.89

A View of Mount Vernon

American 18th Century

1792 or after · oil on canvas

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The image shows a view from an elevated position with a large architectural entrance on the right. The horizon is in the middle with a prominent dome, likely St. Peter's Basilica, framed by buildings and trees. The drawing is in pen with fine strokes outlining architecture, foliage, and figures. The color palette is subdued, with beige tones contrasting with dark ink lines. In the background, there are buildings and foliage, creating depth and perspective, with light sketching lines suggesting celestial figures.

Drawing2000.97.3.a

A View of Rome from Santa Maria del Priorato

Gaspar van Wittel

c. 1710 · pen and brown ink and gray wash with red chalk on laid paper

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The image depicts a landscape with a rocky hillside leading to a castle-like structure. The drawing shows the elevated view with the horizon high up, blending a hill into the sky. The stone structures include towers, suggesting an old fortress. The sketchy brushstrokes and loose execution give a quick appearance. The color palette is primarily sepia, creating an antique atmosphere, with darker tones for shadows and lighter washes for highlights defining the hills and buildings. Surrounding the castle are dense foliage and rugged terrain.

Drawing1976.40.1

A View of Savelli near Albano

Jan de Bisschop

Date not recorded · brush and brown ink with touches of gray and yellow wash

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The image shows a row of buildings rising vertically, with little sky visible, suggesting a low-angle viewpoint, almost from water level. The buildings meet a body of water, where the horizon aligns with their bases. In the distance, the buildings form a continuous layer of arches, balconies, and windows, rendered with meticulous pencil lines. The artist's technique involves precise, linear brushstrokes for a detailed scene. Light and shadows are indicated through subtle shading, creating a monochromatic color palette of various shades of gray and white. In the lower part, a gondola with an occupant is depicted, reflected in the water, adding depth to the cityscape.

Drawing1996.3.1

A View of the Arno, Florence

Sir Edward John Poynter

1874 · graphite on wove paper

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This image depicts the interior of an architectural structure. it includes a large arched ceiling with a coffered pattern and a single barred window. Below the ceiling, there is a bridge-like walkway with figures gathered. Underneath the walkway, in the lower section, are clusters of figures in separate archways and staircases. The image shows textures and use of light to emphasize depth and the scale of the space.

Print2001.118.1

A View of the Inside of the New Prison at Rome

Georges François Blondel

c. 1765 · mezzotint on laid paper

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We look across a wide, low clearing at a mountain rising beyond rocky hills, which are mostly covered in pines and blazing red and orange autumn trees, in this horizontal landscape painting. The green grass of the clearing is littered with dead trees and stumps. Beyond a narrow opening between the hills, almost at the center of the composition, a massive mountain towers against the powder-blue sky, nearly reaching the top edge of the painting. The mountain’s jagged face is mottled with warm tones of cinnamon, rust, and caramel brown. The scene is bathed in warm light coming from our right but pewter-gray storm clouds move in from the upper left to encircle the mountain peak. Closest to us, a line of broken tree trunks spans the width of the painting, mixed with scarlet-red, marigold-orange, and green vegetation and reeds. A silvery pond lies just beyond them to our left. Tiny in scale within the landscape, a horse and rider gallop along a wide dirt road emerging from the lower right toward a white house nestled at the foot of the hill to our left. The rider wears a knee-length, denim-blue tunic and red leggings. Upon closer inspection, two children and a white dog become visible, walking toward the rider. A straw-yellow structure sits against the hill to our right. A horse-drawn carriage moves away from the house in the far distance, where the road curves toward the notch. The artist signed and dated the painting as if he wrote directly onto a broken trunk in the lower left corner of the painting: “T. Cole 1839.”

Painting1967.8.1

A View of the Mountain Pass Called the Notch of the White Mountains (Crawford Notch)

Thomas Cole

1839 · oil on canvas

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The image displays an urban square from an elevated viewpoint, showing various activities. There buildings such as a church with a spire and pedestrians are visible. The drawing is detailed with fine lines and shading in shades of grey and tan. People are seen walking and conversing, with others in carriages or dispersed throughout the square, creating depth in the scene.

Drawing2022.14.13

A View of the Piazza San Marco in Florence

Giuseppe Zocchi

c. 1740s · pen and black ink with gray wash over graphite on laid paper

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The image shows a riverside scene with a bridge spanning the river. In the foreground, people and animals are engaged in various activities along the walkway. The scene is depicted with intricate architectural details and a warm color palette, with the bridge and buildings reflected on the water's surface.

Print1980.32.1

A View of the Pont Neuf, the Mint, etc.: pl.8

Thomas Girtin

published 1802 · retouched etching

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This image features an elevated view overlooking a townscape stretching into the distance. The horizon is positioned high in the composition, with a faint line separating the sky from the land. Various buildings are visible on the horizon, some with tower-like structures and pointed roofs. The drawing style is minimal and precise, with clean, fine linework outlining trees and buildings. The color palette is limited to shades of gray on light-colored paper. There are detailed, textured clusters of trees in the foreground and additional buildings nestled among trees and open spaces in the distance. The image conveys a sense of quiet and clarity through its sparse lines.

Drawing1995.52.179

A View of Vevey with La Tour de Peilz in the Distance

Francis Towne

1781 · pen and black ink over graphite on laid paper

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Several people sit, stand, or stroll along a dirt road that winds from the lower left corner of this horizontal landscape painting into the distance, past trees and cottages under a vivid blue sky. The horizon line comes about a third of the way up the canvas, and the cloud studded, azure-blue sky fills the space above. Sunlight filtered through puffy white and steel-gray clouds illuminates the scene from the upper right, creating patches of light and shadow throughout. The road meanders through the center of the composition and is lined with dark and sage-green shrubs, scrubby growth, and gnarled, crooked trees. Closest to us and to our left, two tan cottages are tucked into deep shade created by a grove of several tall trees. The cottages have steeply pitched roofs and windows flanked by gray or brick-red shutters. Three people sit and stand near the path outside the closest building. A short distance to our right, a man sitting on a fallen log carries walking stick and a bundle on his back. His body faces us but his head is turned to our right to gaze toward the man and woman about to stroll past him, headed in our direction. The woman wears a black dress over a white skirt, and a white head covering and shawl. The man wears a brimmed hat with a red decoration, a brown coat with gold buttons down the front and a wide white collar, and heeled shoes. Beyond them, the road curves to our left around a small pond in front of the second cottage. Two people crouch to set a toy sailboat afloat by the edge of the pond, and a brown dog sniffs the ground nearby. Two more people stand talking at the doorway to the second cottage and another dog leaps up at the half-door. Further along the road, the light becomes stronger, illuminating a horse, rider, and another person walking alongside the horse. The road continues to curve around a butter-yellow cottage nestled in a grove of trees on the right. A sunny field is visible in the far distance.

Painting1937.1.62

A View on a High Road

Meindert Hobbema

1665 · oil on canvas

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This is an image of a line drawing showing a thatched-roof structure at an angle. In the background, two figures are near another structure to the left. The scene includes goats near a round basket. The drawing features delicate and fluid line work with varying thickness for texture. The color palette is monochrome, ranging from sepia to dark black. The composition focuses on ground level structures and activities, with vegetation in the background. The simplicity of materials adds to the rustic charm of the scene.

Drawing1995.52.20.a

A Village Hut in India [recto]

George Chinnery

1814/1824 · pen and black ink over graphite on wove paper

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The image features a rural scene split into two sections. On the left side is a charcoal sketch of houses and trees drawn with quick strokes, creating depth. On the right side, the same scene is painted in watercolors with earthy tones for the houses and trees, and a light blue sky. The sky in the watercolor section contains two small figures. The contrast between the charcoal sketch and watercolor emphasizes the artist's exploration of light and texture through different techniques.

Drawing2006.97.1.b

A Village near Brezins

Johan Barthold Jongkind

1880s · black chalk and watercolor on two joined sheets of wove paper

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