Paintings from the National Gallery of Art (page 17)

Showing 769 to 816 of 937 paintings

This oval painting depicts a cherubic child in a garden setting. The child is standing with one foot in front of the other and has small wings on their back. The child has light skin, curly blond hair, rosy cheeks, and a playful expression.

Jean-Honoré Fragonard Love the Sentinel, c. 1773/1776 National Gallery of Art

A light-skinned man with thick black hair and a squared off black beard, dressed in a black jacket over a gray vest and gray trousers, sits facing us in this vertical portrait painting.

Paul Cézanne Antony Valabrègue, 1866 National Gallery of Art

A young man sets out in a golden boat on a river that winds from the bottom right corner of this horizontal painting across a lush landscape and into the distance before disappearing beyond two rocky outcroppings far off to our right.

Thomas Cole The Voyage of Life: Youth, 1842 National Gallery of Art

A man looks up as he kneels with his hands clasped in prayer in a small golden boat on a river that rushes toward craggy rocks in this horizontal landscape painting.

Thomas Cole The Voyage of Life: Manhood, 1842 National Gallery of Art

A balding, older man sits in a golden boat guided by a winged angel away from craggy rocks to calm waters, toward a shaft of light piercing a billowing bank of clouds in this horizontal landscape painting.

Thomas Cole The Voyage of Life: Old Age, 1842 National Gallery of Art

A woman with pale, peachy skin wearing elegant gold and ink-black garments sits in front of a stone portico in this vertical portrait painting. Her red armchair is angled to our right, but the woman turns to look at us under cocked brows.

Anthony van Dyck Isabella Brant, 1621 National Gallery of Art

A pale-skinned woman sits on a red velvet chair, which is almost entirely hidden by her voluminous, dark emerald-green and gold gown, in this vertical portrait painting.

Anthony van Dyck Marchesa Balbi, c. 1623 National Gallery of Art

Shown from about the hips up, a young, pale-skinned man with curly brown hair stands facing and looking at us, wearing a plum-purple coat under a golden yellow cape in this vertical portrait painting.

Anthony van Dyck Philip, Lord Wharton, 1632 National Gallery of Art

Shown from the waist up, a smiling, light-skinned young man wears a voluminous, dark hat and a brown suit in this vertical portrait painting.

Frans Hals A Young Man in a Large Hat, 1626/1629 National Gallery of Art

Shown from the waist up, a bearded man with a tanned, peachy complexion wears a turban and voluminous robes and looks out at us in this vertical portrait painting.

Rembrandt van Rijn Man in Oriental Costume, c. 1635 National Gallery of Art

Upon first glance, the shapes and colors in this painting are hard to distinguish. After closer inspection, three women become visible, all with pale skin, light hair, and indistinct facial features.

Edgar Degas The Loge, c. 1883 National Gallery of Art

On the brick pavement of a sunny veranda, a young toddler leans heavily on her right arm, to our left, as she reaches for a wooden block in this horizontal painting.

Thomas Eakins Baby at Play, 1876 National Gallery of Art

Shown from about the hips up, a woman whose pale face is deep in shadow stands with her back to us, wearing a black and gray dress and hat, in front of a colorful but loosely painted, indistinct background in this nearly square painting.

Edgar Degas Woman Viewed from Behind (Visit to a Museum), c. 1879-1885 National Gallery of Art

A woman with smooth, pale skin and wearing a hat, long dress, and gloves, stands holding a bunch of pumpkin-orange leaves against a background of trees painted with touches of rust orange and pine green in this vertical painting.

Winslow Homer Autumn, 1877 National Gallery of Art

From high above the earth, we look onto a dramatically lit scene with a man falling from a horse-drawn chariot in midair, surrounded by eleven women against a bank of clouds in this horizontal painting.

Peter Paul Rubens The Fall of Phaeton, c. 1604/1605, probably reworked c. 1606/1608 National Gallery of Art

Shown from the waist up, a cleanshaven man with pale, peachy skin, wearing a black cap and a voluminous fur-lined, black cloak, is positioned behind a crimson-red ledge or tabletop in this vertical portrait painting.

Hans Holbein the Younger Sir Brian Tuke, c. 1527/1528 or c. 1532/1534 National Gallery of Art

Rear Admiral George W. Melville, Thomas Eakins, 1905, oil on canvas

Thomas Eakins Rear Admiral George W. Melville, 1905 National Gallery of Art

This painting shows a person seated on a stool or chair, wearing a long, dark-blue robe or gown.

Thomas Eakins The Chaperone, c. 1908 National Gallery of Art

Shown from the waist up, a light-skinned man sits sideways in a wooden chair so the arm closer to us rests along the chair’s back in this vertical portrait painting. Brushstrokes are visible throughout, especially in the clothing and hair.

Frans Hals Willem Coymans, 1645 National Gallery of Art

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.

Frans Hals Adriaen van Ostade, 1646/1648 National Gallery of Art

Shown from the lap up against a dark background, a pale-skinned woman wearing a black dress looks out at us in this vertical portrait.

Rembrandt van Rijn A Woman Holding a Pink, 1656 National Gallery of Art

Shown from about the waist up, a light-skinned man with sagging jowls and a double chin wears a fur garment and hat, a large teardrop pearl earring, and gold chains in this vertical painting.

Rembrandt van Rijn A Polish Nobleman, 1637 National Gallery of Art

A light-skinned man wearing a voluminous, ocean-blue, hooded robe sits at a cloth-draped writing table and looks up, fingers splayed over an open book and a pen held in his other hand, in this vertical painting.

El Greco Saint Ildefonso, c. 1603/1614 National Gallery of Art

A nearly nude man with peachy skin stands next to and looks up at a man with ashen, ivory-colored skin, wearing armor and riding a bright white horse in this vertical painting.

El Greco Saint Martin and the Beggar, 1600/1614 National Gallery of Art

A woman with pale skin, wearing a silvery-gray dress adorned with white ribbons and light pink roses, stands looking out at us with a small, pug dog by her feet in this vertical portrait painting.

Francisco de Goya The Marquesa de Pontejos, c. 1786 National Gallery of Art

Shown from the chest up, a young, pale-skinned boy dressed in black turns to face us in this vertical portrait painting.

Edgar Degas René de Gas, 1855 National Gallery of Art

A small, shaggy, black and white dog stands in a wood paneled room with its body angled to our right but turning its head, pink tongue out, to our left in this vertical painting.

Édouard Manet Tama, the Japanese Dog, c. 1875 National Gallery of Art

Shown from the waist up in front of a black background, a young woman with pale white skin and curly brown hair looks directly out at us over her shoulder with her body angled to our left in this vertical portrait.

Francisco de Goya Señora Sabasa Garcia, c. 1806/1811 National Gallery of Art

An older girl and a younger child, both with pale skin, bend toward each other as they look at a book spread open on a wooden cupboard in this nearly square painting.

Jean-Baptiste-Siméon Chardin The Little Schoolmistress, after 1740 National Gallery of Art

Shown from the knees up, a cleanshaven, young man with pale, peachy skin leans on his right elbow, to our left, against a ledge and holds a black top hat in that hand in this vertical portrait painting.

Francisco de Goya Bartolomé Sureda y Miserol, c. 1803/1804 National Gallery of Art

Shown from the knees up, a pale-skinned woman wearing a muted, sapphire-blue gown sits ramrod straight in a chair and looks at us in this vertical portrait painting.

Francisco de Goya Thérèse Louise de Sureda, c. 1803/1804 National Gallery of Art

A man and woman greet each other at the center of a group of about a dozen people set within a landscape in this horizontal painting. All the people have pale, peachy skin.

Peter Paul Rubens The Meeting of David and Abigail, c. 1630 National Gallery of Art

A young man and child, both with pale skin, are framed within the rectangular opening of a stone window in this vertical painting. At the center, the young man leans toward us over his forearms, which rest on the wide ledge.

Jean-Baptiste-Siméon Chardin Soap Bubbles, probably 1733/1734 National Gallery of Art

This painting shows a man from the waist up, his body turned slightly to the right. He stands upright, looking at the viewer, holding a golf club or cane horizontally with both hands.

George Bellows Chester Dale, 1922 National Gallery of Art

From a darkened arena around a boxing ring, we look up at two bare chested men, one with pale, white skin and the other with brown skin, who lock arms in a boxing match in this horizontal painting.

George Bellows Both Members of This Club, 1909 National Gallery of Art

This painting is a portrait of a man shown from the chest up, with his body partially turned to the right and his head facing us, the right side of his face in shadow.

Robert Henri George Cotton Smith, 1908 National Gallery of Art

Facing away from us against a cherry-red background, the head and shoulders of a light-skinned woman wearing strawberry red, with her copper-brown hair piled atop her head, fills this vertical painting.

Carolus-Duran Study of Lilia, 1887 National Gallery of Art

This painting shows a rowing competition with a large crowd along the riverbank. Tall trees and distant, hazy hills are visible on the horizon. The sky above is a soft, muted gray-blue color.

Émile Lévy Rowing Scene: Crowds Watching from the River Banks, late 19th century National Gallery of Art

This is a painting of a woman who is depicted from the waist up. She is positioned sitting or leaning with her head turned to the right. She has pale-yellow skin, and her facial features include red lips and dark eyebrows.

Daniel Gardner The Hon. Mrs. Gray, c. 1785/1790 National Gallery of Art

More than three dozen pears clustered densely on leafy branches against a vivid blue sky fill this long, horizontal painting. Most of the pears are golden yellow and touched with blush pink on one side.

Joseph Decker Ripening Pears, c. 1884/1885 National Gallery of Art

This painting is an abstract composition of irregular shapes and vibrant colors. The different sections overlap and intersect in shades of green, blue, red, purple, and pink.

Alexej von Jawlensky Red Path, St. Prex, 1915 National Gallery of Art

Sun drenches a landscape with trees, grassy hills, and rocky cliffs in this horizonal painting.

Jean-Victor Bertin Shepherd with His Flock, c. 1820 National Gallery of Art

We look out across a band of broad, craggy boulders at an ocean bay dotted with boats in this horizontal landscape painting. The tops of the flat boulders are caramel brown in the sunlight and darker, rust-brown shadows down the sides.

William Stanley Haseltine Narragansett Bay, 1864 National Gallery of Art

Mottled, geometric shapes painted in shades of peanut brown, beige, grass and spruce green, smoky gray, golden and buttercup yellow, and topaz and lapis blue are arranged across this wide, horizontal, abstract painting.

Roger de La Fresnaye The Watering Can (Emblems: The Garden), 1913 National Gallery of Art

Cylindrical, C-shaped, and triangular forms are painted with flat areas of vivid pink, purple, navy, royal, and light blue, turquoise, white, black, and gray in this abstract, horizontal painting.

Patrick Henry Bruce Peinture/Nature Morte, c. 1924 National Gallery of Art

Joseph Rodefer DeCamp The Seamstress, 1916 National Gallery of Art

From atop a high hill, we look across a broad valley leading to a winding river in this loosely painted horizontal landscape. The scene is created entirely with visible brushstrokes in fresh and vibrant green and shimmering and smoky blues.

Theodore Robinson The Valley of the Seine, from the Hills of Giverny, 1892 National Gallery of Art

We look across a shaded field of snow, through a screen of loosely spaced trees at a cobalt-blue mountain that dominates this square landscape painting. The scene is painted with visible brushstrokes throughout.

Abbott Handerson Thayer Mount Monadnock, probably 1911/1914 National Gallery of Art

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