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

Print1964.8.600

After the Bath (La sortie du bain (Petite planche))

Edgar Degas

c. 1891 · lithograph on laid paper

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Drawing2019.45.21

After the Bath: Woman Drying Herself

Edgar Degas

c. 1900 · charcoal and pastel on tracing paper

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This is a drawing of a skeletal figure on horseback wielding a spear amidst a chaotic scene. The scene depicts swirling lines and dark shadows, creating an intense atmosphere. The skeletal figure rides a horse caught in motion surrounded by other forms resembling human figures in distress or falling. The background is filled with flowing lines suggesting movement. This image conveys a sense of doom and destruction, characterized by the grim, skeletal figure dominating the scene.

Drawing1943.3.5506

After the Battle

Alphonse Legros

Date not recorded · pen and brown ink with brown wash over graphite on brown paper

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Painting1965.16.11

After the Buffalo Chase - Sioux

George Catlin

1861/1869 · oil on card mounted on paperboard

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The image shows a woman riding a horse, calmly sitting upright in the saddle. She has delicate features, a focused expression, and neatly tied-back hair hidden under a riding hat. She wears a dark riding outfit with a high-collar jacket and gloves. She holds the reins, guiding the horse. A hound runs beside them in a rural landscape with barren trees and a cloudy sky.

Print2008.115.4388

After the Hounds

William Henry Shelton

1886 · etching

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The image shows a person lying in bed with only the upper part of their body visible. The person is positioned on their side, facing us, with their head resting on a pillow. They have dark, curly hair that falls around their face, which has relaxed features as they appear to be asleep. The person is wearing a dark, loose garment that reveals their shoulders. The bedding around them appears plush, with blankets gathered loosely, and the scene is surrounded by draped fabric or curtains. On the ground beside the bed, there is a hat and a ribbon. The overall background is dim with heavy drapery.

Print1943.3.4595

After the Pardon (Il lui sera beaucoup pardonne parce qu'elle a beaucoup danse)

Paul Gavarni

1847/1856 · lithograph

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We look across a waterlogged path at a line of rust-red and bronze-brown trees that nearly span the width of this horizontal landscape painting. The scene is loosely painted, which creates a blurred look. The land closest to us is in shadow and many details are difficult to make out, but pockets of bright, ice blue suggest water reflecting the pale sky above. The trees across from us have thin, spindly trunks and billowing dark red and brown canopies. A few swipes of brown, crimson red, and white suggest a person, perhaps on horseback, and perhaps a second person, a child, on the path under the trees. A line of shadow falls just beyond the trees, and a strip of brightly lit green lawn stretches back to the horizon, which comes a third of the way up the painting. More trees lining the horizon in the distance have ash-white trunks and copper-pink leaves. The blue sky above is veiled with a screen of thin fog-gray and parchment-white clouds.

Painting2014.136.43

After the Rain

Théodore Rousseau

c. 1850 · oil on canvas

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The image shows a sketch of several figures. In the center, there is a woman standing with hands on hips. She is wearing a long dress with long sleeves and an apron, with a scarf or head covering. To her right are an adult and two children sitting on a lower level or bench. The adult and children are minimally detailed, with facial features highlighting nose and mouth outlines and short hair. Their clothing is loosely sketched. In the background, there is an abstract representation of a room with rough, expressive lines. The setting appears to be an interior space against a textured background.

Print1943.3.8597

After the Sale, Hounsditch

James McNeill Whistler

c. 1886/1888 · etching on laid paper

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The image features an engraving showing a rocky and wooded landscape with large trees, rocks, mountains, a distant settlement, a shipwreck on a rocky shore, the sea, birds in flight, swirling cloud formations, and a detailed and textured appearance through intricate line work. The color palette consists mainly of black and white.

Print1964.8.468

After the Shipwreck

Attributed to Simon Novellanus after Cornelis Cort

c. 1595 · etching and engraving

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The image shows a seascape with a sailing vessel navigating rough waters. The boat is tilted, and two figures work on deck. In the background, there is a shipwreck and seabirds flying around. The sky is filled with swirling clouds, painted with fine brushstrokes in shades of gray and black, creating a dramatic atmosphere.

Print2008.115.2492

After the Storm

John Henry Hill

1886 · etching

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We look across choppy waves at a sailboat canting at a sharp angle, with several others floating nearby or in the distance, all beneath a sky filled with charcoal-gray clouds in this horizontal painting. In the bottom third of the canvas, the battleship-gray waves are topped with frothy white crests. The boat closest to us is slightly left of center, and its mast tips wildly to our right. Sunlight catches the straw-yellow sail as it pulls taut in the wind. At least two men crouch or bend over in the wooden vessel below, as white spray kicks up off the far side of the boat. Two white seagulls, tiny in scale, fly closer to the water’s surface to our left of that boat. The next closest vessel is to our right, and it is nearly swallowed in shadow. Two men huddle at one pointed end of the narrow boat, and a crimson-red sail flaps loosely in the wind. At least four more boats in the distance, along to the horizon, range in size from a small sailboat to a three-masted ship. The sail of the smallest boat also tips sharply to our right, but the tall masts of the ship are upright, and those sails are furled. Dark clouds billow up from the horizon, but break near the upper left corner. The sky beyond is pale apricot peach, and a few streaks of light reach the water’s surface.

Painting2016.22.7

After the Storm

Willem van de Velde the Younger and Studio

c. 1700 · oil on canvas

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This is a drawing of a skeleton walking past a darkly clothed figure leaning against a wall. The image primarily depicts a fully detailed skeleton in the foreground and a darkly clothed, indistinct figure in the background. The scene is composed using dense, crosshatching techniques that add depth and shadow to the artwork. The strokes and deliberate use of light and dark suggest an exploration of themes such as mortality and introspection.

Print1990.95.10

After the Visit (Après sa visite)

Albert Besnard

1900 · etching on Van Gelder Zonen wove paper

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This is a drawing of a garment. The image shows a coat or robe with detailed lace or embroidery on the shoulders, midsection, and cuffs. It has long sleeves, a scarf-like collar, and fringes at the hem. The garment is made from dark fabric with lighter-colored detailing.

Index of American Design1943.8.1391

Afternoon Coat

Joseph L. Boyd

c. 1938 · watercolor and graphite on paper

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This is an image of a dress design. The image shows a dress with ruffled layers and a checkered blue and cream pattern. The dress has short, puffy sleeves, a lace collar, and black buttons. There is also a pencil sketch next to the colored drawing, showing the back view of the dress. The design emphasizes the dress's pattern and texture, giving a vintage or historical style.

Index of American Design1943.8.1383

Afternoon Dress

Ray Price

c. 1937 · watercolor and graphite on paper

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This is a drawing of a checkered dress. The image shows a full-length dress with a pink checkered pattern, alongside an outline sketch of the same design. The dress features a fitted bodice, full skirt, short sleeves with ruffles, and shades of pink creating a textured pattern. The outlined sketch shows the dress without color, focusing on its structural elements and design details.

Index of American Design1943.8.1385

Afternoon Dress

Ray Price

c. 1937 · watercolor and graphite on paper

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This is a painting of a crimson gown with a fitted bodice, long flowing skirt, and train. The gown includes lace and button embellishments on the bodice, cuffs, and long sleeves. The artwork depicts the fabric's texture and sheen, showcasing its luxurious quality. The style is reminiscent of Nicolino Calyo.

Index of American Design1943.8.2702

Afternoon Dress

Nancy Crimi

1935/1942 · watercolor and graphite on paper

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This is a painting of a vintage red dress. It features an elegant full-length dress with a fitted bodice and voluminous skirt that sweeps to the ground. The garment is detailed with ornate black lace trim around the collar, sleeves, and bodice line. The sleeves have ruffled lace extensions at the forearm, and buttons adorn the front. The dress is rendered in vibrant red hues with subtle gradations of color, adding depth to the painting.

Index of American Design1943.8.3951

Afternoon Dress

Mina Lowry

1935/1942 · watercolor and graphite on paperboard

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This is a painting of a period-style dress. It depicts a long flowing gown with full skirt and long sleeves. The dress has a high neckline and is adorned with intricate lace detailing on the front. The coloration is primarily in shades of blue and gray. There are no background elements present, allowing the focus to be on the detailed rendering of the garment.

Index of American Design1943.8.9499

Afternoon Dress

Nancy Crimi

c. 1940 · watercolor and graphite on paperboard

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This is a painting of a period outfit consisting of a long skirt and matching jacket. The outfit includes a full-length, high-waisted skirt and a matching fitted jacket in shades of purple and white. The jacket has a textured surface with buttons and is depicted with careful attention to the fabric folds and shadows, lending the garment a sense of elegance and historical style.

Index of American Design1943.8.3193

Afternoon Gown

Ray Price

c. 1936 · watercolor and graphite on paper

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The image is an etching of a woman standing upright. She is turned slightly to the side with her hands clasped in front of her. The woman has softly rendered facial features and styled hair, partially covered with a cap or bonnet. She wears a long skirt, a dark jacket, and a light-colored scarf around her neck. There is no visible jewelry or objects in her hands. The background is a plain surface that emphasizes the figure.

Print1947.7.16

Afternoon Promenade

Mary Cassatt

c. 1881 · softground etching and aquatint on laid paper

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The image shows a landscape with a rural setting. There are buildings, including a house with a sloped roof, and smaller structures. The horizon line is visible near the middle of the composition. The brushstrokes convey texture and depth, especially in the foliage and ground. The color scheme is monochromatic, with black tones on a beige background. Large trees are on the left, and the foreground features rough terrain.

Print2015.19.491

Afternoon Shadows

Childe Hassam

1918 · lithograph in black on wove paper

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The image features a sketch of two seated individuals, capturing most of their bodies. The person on the left is positioned facing slightly towards the viewer, resting their left arm on a surface and holding their head with their hand. Their head is framed by loose cloth, possibly a shawl or hood. The person on the right is facing slightly away from the viewer, engaged with a book they are holding. They wear a hat adorned with feathers and their hair is likely tucked up. Both individuals wear voluminous traditional attire, with intricate textures. On the table beside them are objects resembling dishes and a small vase with flowers. The background is minimalist, suggesting a simple interior setting.

Print1943.3.8794

Afternoon Tea

James McNeill Whistler

1897 · lithograph in black on laid paper

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Two women with sit next to a table holding a tray with teacups and saucers in this vertical drypoint and aquatint. Faint black lines outline the women, their features, clothing, and objects in the room. The women face each other and take up most of the composition. Their faces and hands are printed with yellow-tinged white, and both have oval faces, rounded noses, and their hair is pulled up and back. The woman to our right leans forward as she holds up a plate with her right hand, closer to us. The other hand rests on the arm of her chair. Her dress has a tight-fitting bodice, long sleeves, and a long skirt. The other woman’s cap is tied in a bow under the chin. She wears a hip-length cloak shaded iron gray over a long dress. She looks down at the plate and holds what might be a cookie or biscuit with one hand and a cup and a dish-like saucer with the other. Her lips are downturned, her head pulled slightly back to create a double chin, and she sits upright in her chair. In the lower right corner of the sheet, the round table is barely bigger than the tray it holds. On it are two more cups and saucers and a jug, presumably holding milk. A screen with openings across the top stands to the left behind the second woman, and a window is behind the first. Spiky fronds of a houseplant angle across the window, and a curtain is pulled to the left side. Squiggles on that second curtain suggest a floral pattern. The artist’s initials are written in graphite under the lower right corner of the printed image, “MC.”

Print1943.3.2742

Afternoon Tea Party

Mary Cassatt

1890-1891 · color drypoint, softground etching, and aquatint on wove paper

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Two women with sit next to a table holding a silver tray with royal-blue tea cups and saucers in this colored, vertical drypoint and aquatint. Faint black lines outline the women, their features, clothing, and objects in the room, and each area is filled in a flat, saturated color. The women’s skin is the color of the white paper. The women face each other and take up most of the composition. Both have oval faces, rounded noses, and their hair is pulled up and back. The woman to our right has dark brown hair and leans forward as she holds up a blue plate with her right hand, closer to us. The other hand rests on the arm of her russet-red chair. Her dress is also the color of the paper and has a tight-fitting bodice, long sleeves, and a long skirt. The other woman wears a sapphire-blue cap over black hair. The hat has a celery-green feather and is tied in a bow under the chin. She wears a hip-length, coffee bean-brown cloak over a spruce-green dress. She looks down at the plate and holds what might be a cookie or biscuit with one hand and a cup and a dish-like saucer with the other. Her lips are downturned and her head pulled slightly back to create a double chin. She sits upright in another muted red chair. In the lower right corner of the sheet, the round, smoky-purple table is barely bigger than the round gray tray it holds. On it are two more cups and saucers and a jug, presumably holding milk. What might be another cup-and-saucer set or the teapot is cut off by the right edge of the paper. The rims of the cups and saucers are painted gold. A turquoise-blue screen with openings across the top stands to the left behind the second woman, and a window is behind the first. Spiky green fronds of a houseplant angle up toward the sunlight and a curtain is pulled to the left side. Squiggles and flowers printed in rust red suggest a pattern on both curtains, which are the color of the paper. The artist’s initials are written in graphite under the lower left corner of the printed image, “MC.”

Print1943.3.2743

Afternoon Tea Party

Mary Cassatt

1890-1891 · color drypoint, softground etching, and aquatint with touches of gold metallic paint on laid paper

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