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 of several figures interacting with each other in a classical style. The scene depicts a seated figure on the left reaching towards a kneeling figure, who is extending a hand towards the seated figure. To the right, several other figures are positioned in various postures of observation or contemplation. The drawing is rendered in fine lines, with a light and airy composition, emphasizing the details of the drapery and the gestures of the figures. The entire scene conveys a sense of narrative and historical or mythological significance.

Print2018.123.7

Adonias Imploring the Grace of Solomon or Jeroboam Kneeling before Rehoboam

Charles-Paul-Jean-Baptiste de Bourgevin Vialart de Saint-Morys, after Amico Aspertini (attributed to; formerly after Raphael)

c. 1770/1795 · etching and aquatint printed in brown on laid paper

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The image depicts a person standing on one leg with the other leg bent and slightly raised. The individual has one hand resting across the chest, and the head is tilted downward. The facial features are soft, with a serene expression, and the hair is curly, framing the face delicately. The person is not wearing any clothing. The background consists of a textured, somewhat indistinct environment, with darker shading around the figure, possibly representing foliage or abstract forms against a light-colored canvas. The image has a monochromatic appearance, executed in shades of gray on a bluish-gray paper.

Drawing1972.48.1

Adonis

Pierre Paul Prud'hon

c. 1810-1812 · black chalk with white chalk heightening on blue paper

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The image shows a group of individuals in an interior setting, with their bodies mostly visible from the waist up. The people are predominantly bent or crouching towards a raised seat or chair, which appears central and prominent in the composition. Most individuals are bald or have receding hairlines, with some wearing wigs typical of the 18th-century style, featuring curls or powdered hair. Many appear elderly with prominent facial lines. They are dressed in ornate clothing that suggests formality or high status, including suits adorned with sashes and medals. Several carry swords at their sides. Around them is a crowded room with numerous people, and the background is filled with a mix of sketchy outlines of additional figures, lending a sense of depth to the scene. No visible jewelry catches the eye, and objects held by them are limited to the swords. The scene, rendered in a soft pencil or lithographic style, exudes a historic and formal ambiance.

Print2002.57.18

Adoration des Mages

French 19th Century

1831 · lithograph

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The image shows a group of people. A seated woman is holding a child in her arms. In front of her, an elderly man is kneeling and presenting a round object. Other individuals surround them, with one man gesturing to the right. In the background, there are hills, bare trees, and roman-like architectural elements. The text "Et procidentes adoraverunt eum" is inscribed at the bottom.

Print2017.176.1

Adoration of the Magi

Giovanni David, after Battista Dossi

1776 · etching with bitten tone on laid paper

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The image depicts swirling lines and undefined shapes creating an abstract scene. The lines form a central circular gathering and above are curling shapes suggesting billowing clouds or drapery. Human features and forms emerge among the lines, resembling faces and limbs intertwined.

Print2020.73.2

Adoration of the Shepherds

Gaetano Gandolfi

1780s · etching and aquatint on laid paper

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This is a drawing of figures surrounding an urn labeled "URNE ÉLECTORALE." The figures are kneeling and raising their arms towards the urn. Radiating lines emerge from the urn, and the text "Adoremus!" is included in the drawing. The style is reminiscent of political cartoon art.

Print1979.49.186

Adoremus!

Honoré Daumier

1869 · lithograph

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The image features a decorative panel in the upper right, showcasing text and ornamental elements alongside a figure in traditional attire, and larger scenes in the bottom half with multiple objects and figures. The color palette is primarily monochrome with various shades of brown.

Print1995.54.31

Adresse de Labric

Félix-Hilaire Buhot

1876 · etching, engraving, and aquatint in black on cream laid paper

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This is a drawing of a label that reads "Estampes anciennes ROCHOUX Quai de l'horloge, N° 19." The border of the label is decorated with ornate elements including scrolls and architectural motifs in a symmetrical design. In the center top, there is an illustration of a shrouded building. The sides of the label feature flowing draperies, and at the bottom is a pedestal with an equestrian figure. The color palette consists mainly of red and brown tones.

Print1943.3.6154

Adresse de Rochoux, Marchand d'estampes (The Address-Card of Rochoux, a Printseller)

Charles Meryon

probably 1856 · etching in red and black on laid paper

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The image displays a portrait of a man in a half-body view. He is facing slightly to the right and looking directly at the viewer. The man has wavy, shoulder-length hair and a mustache with curled ends. He is wearing a garment with a high, pleated collar, a jacket with small buttons along the front, and a large draped sleeve. His hand is positioned near his waist. The background features a textured pattern, creating a classic and formal ambiance.

Print1943.3.8268

Adriaen Brouwer

Schelte Adams Bolswert after Sir Anthony van Dyck

probably 1626/1641 · engraving

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This is a portrait of a man from the waist up. He is facing slightly to his left, with his gaze directed towards the viewer. He has a broad forehead, arched eyebrows, a prominent nose, a small moustache, dark curly hair that falls to about ear length, and is wearing a dark coat buttoned up the front with a large white collar. The man is surrounded by an ornate oval frame with text along its inner edge, and the background has a textured pattern with no distinct objects or scenery. There are inscriptions and text beneath the oval in a classical font.

Print1943.3.8089

Adriaen Heereboord

Jonas Suyderhoff after Pieter Dubordieu

1647 · engraving

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The image shows a portrait of an older man seated from the waist up, with a slightly turned position to his right. He has distinct facial features, including a prominent nose, deep eyes, and a full beard with a mustache. He has short, wavy hair and is wearing a dark garment with a textured pattern and a white ruffled collar peeking through. The man is holding an object in his right hand. The background has a closely knit pattern, and there is text below the portrait in a formal script.

Print1943.3.8067

Adriaen Tegularius

Jonas Suyderhoff after Frans Hals

Date not recorded · engraving

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Shown from about the hips up, a man with peachy skin, wearing an ink-black hat and coat with a bright white collar, looks out at us against a dark background in this vertical portrait painting. He stands with his body angled to our right and his face turned to look at us with dark gray eyes. His slim face is framed in long, brown curls under his tall, brimmed hat, which is cocked a little to our right, away from us. He has a straight, prominent nose, lightly flushed cheeks, and a wispy, light brown mustache above a small, pointed goatee under his lower lip. His neck is encased in a broad, starched, white linen collar, its wings lying along his collarbones. His velvety black coat has a row of tightly spaced buttons down the front. A cummerbund or sash wraps around his waist and hips. He rests his right hand, on our left, against his hip near his lower back, palm facing out. He wears a light, dove-gray glove on his opposite hand, and holds a second glove in that hand. The background is earth brown. The portrait is painted loosely, with broader brushstrokes in some areas, such as the hand at his hip and in the folds of the black garments.

Painting1937.1.70

Adriaen van Ostade

Frans Hals

1646/1648 · oil on canvas

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The image depicts a bust-length portrait of a man with his arms crossed, looking slightly to his right. He wears a broad-brimmed hat, and his hair reaches his collar. He has prominent cheekbones and slightly narrowed eyes, and wears a collared garment with large cuffs. In front of him is a nude child figure interacting with a large sheet of paper or artwork. The surroundings include a shelf with a bottle and a framed image, all set against a textured backdrop.

Print1943.3.5086

Adriaen van Ostade

Jacobus Houbraken

Date not recorded · etching and engraving

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The image shows a portrait of a man with long wavy hair and a wide-brimmed hat. He is wearing a garment with a large lace collar and is positioned to the side with a neutral expression. The background includes a circular frame with text surrounding the portrait and a plain, textured background.

Print2002.39.2

Adriaen van Ostade

Jacob Gole after Adriaen van Ostade

c. 1700 · mezzotint in red on laid paper

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The image depicts a man's upper body in a three-quarters view. His torso faces slightly left while his head turns right, looking into the distance. The man has distinguished features with a downward-curving mustache, short wavy hair, and historical attire. He wears a ruffled collar and a coat with buttons. One hand is visible, partially tucked into the coat with a ring on his finger. The background features vertical lines for texture. Below the man, there is text identifying him as "Adrianus Stalbent" and Latin inscriptions indicating his profession.

Print1943.3.8279

Adriaen van Stalbemt

Paulus Pontius after Sir Anthony van Dyck

probably 1626/1641 · engraving

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Print1990.15.1

Adriaen van Swieten

Hendrik Goltzius

1579 · engraving on laid paper

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The image shows the upper three-quarters of a person's body. The person is depicted sitting or kneeling on a platform, looking towards the viewer, with thick, curly hair cascading down past their shoulders. Their facial features are distinct, with a calm expression. They wear a flowing garment with detailed folds and cuffs. The person is leaning on a book, which rests on their lap atop a stack of several large books. In the background, there is a statue of a nude figure with their back facing the viewer, standing on a pedestal adorned with decorative elements. The setting includes large stone structures, obelisks, and what appears to be an Egyptian influence with hieroglyphics. The sky is filled with clouds.

Print2001.118.75

Adrian Beverland Drawing from a Statue

Isaak Beckett after Simon du Bois

1686 · mezzotint on laid paper

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Sculpture1957.14.1225

Adrian VI (Adrian Dedal, 1459-1523), Pope 1522

Netherlandish 16th Century

1522/1523 · bronze

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The image shows a portrait of a person from the chest up, facing slightly to the left with the head turned towards the viewer. The person has wavy or curly hair, defined facial features, and is dressed in a coat with large lapels and a scarf or cravat around the neck. The background is plain.

Drawing2019.184.12

Adrien Perlet, Actor

Henri Grevedon

1838 · graphite heightened with white gouache on buff wove paper

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A woman with peachy skin and dark auburn hair is shown from her chest up sitting in a wooden chair in this vertical portrait painting. Her body is angled to our right, and her left arm, farther from us, rests on the back of the chair so the fingers of that hand rest alongside her left cheek. Her face is angled to our right but her dark eyes cut back to look at or toward us from the corners of her almond-shaped eyes. She has thin, gently arched brows, a long, sloping nose, and her burgundy-red lips are closed. Her features are outlined with delicate, dark gray or black lines. Bangs sweep across her forehead, and her hair looks like it might be pulled up and back. Her rust-brown garment has a square neckline, and a lighter strip of smoke gray and sky blue runs along her right shoulder, closer to us. She sits in front of an indistinctly patterned wine-red wall, with a lighter, tan-colored rectangle in the upper right corner. The background, her clothing, and the hand by her face are painted with areas of mottled color but the skin of her face seems smooth. The artist signed the painting with bright red letters at the upper right, “Modigliani.”

Painting1963.10.171

Adrienne (Woman with Bangs)

Amedeo Modigliani

1917 · oil on linen

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Print1942.9.2455

Adrienne Sophie Marquise de ***

Augustin de Saint-Aubin

1779 · etching and engraving

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The image is a faint pencil drawing showing three individuals in the center of the frame. The adult figure is depicted at a slightly higher position, bending slightly forward, and seems to be holding both children by their hands. The artist has focused on the basic outlines, and the facial features and hair of the figures are minimally detailed. The clothing appears to be simple, with long robes suggested for each figure. There are no visible jewelry or objects being held in the image. The background is plain and unadorned. The paper shows slight aging but remains largely unmarked apart from the delicate linework of the drawing.

Drawing1980.45.513

Adult and Two Children

John Flaxman

Date not recorded · graphite and pen and gray ink

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The image shows an unfinished sketch viewed from a slightly elevated perspective, portraying a scene with trees, brush lines, two figures in uniforms in a wooded area with stumps and a fallen tree trunk. The sketch features loose pencil or charcoal strokes in a monochromatic color palette, creating a rough and spontaneous quality reminiscent of a quick field sketch.

Drawing1996.121.1

Advance of the Skirmish Line

Winslow Homer

1864 · graphite and black and white chalk on laid paper

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This is a photograph of an indoor space filled with various industrial machinery. The photograph captures a large room with a number of machinery, gears, and equipment. The machinery is arranged across both the floor and an elevated platform supported by wooden columns. The lighting in the photograph suggests it is taken during the daytime, as there is light filtering through unseen windows or openings, illuminating the machinery with shadows. The composition provides a detailed view of the shapes and designs of the devices. Each piece of machinery is distinct, demonstrating different sizes and configurations.

Print2017.57.1

Advertisement for Edmond Ganneron, Ingénieur Constructeur

Piallat

c. 1860 · photolithograph (proof without letters) on wove paper

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