The object index

Artworks

A growing collection of sculptures selected for close looking. Filter by museum location or recorded place of origin. Every record links to its museum source and identifies image rights.

Exploring National Gallery of Art

Museum locationMuseum collectionRecorded origin / culturePeriod

Museum location is where the collection is held. Origin / culture follows the museum’s record.

64 objects · 1 museum collection · image rights on each record

Medieval

National Gallery of Art

Madonna and Child with Queen Sancia, Saints, and Angels

Tino di Camaino · c. 1335

The sculpture is a bust of a young girl with her hair styled in a bun with a simple headband. We see her from the chest up, and her torso faces us while her head looks over her shoulder to the left. The girl's expression is neutral, and she has round cheeks, a small nose, faint eyebrows, and a small chin. The material of the sculpture is a light pink-tan color, and it is mounted on a worn wooden pedestal.

Modern

National Gallery of Art

Louise Brongniart

Imitator of Jean-Antoine Houdon · c. 1910

The sculpture depicts a nude male figure crouching with his knees bent and hands behind him. His head is turned to the left with a slightly pained or strained expression. The sculpture is made of a dark material, likely bronze, giving it a polished, dark brown color with subtle variations that accentuate the muscular details of the figure. The material reflects light, highlighting the contours and features of the man's body. The figure rests on a rectangular, stepped base that is also of the same brown material. The proportions are realistic, and the details such as the curly hair and defined musculature add a lifelike quality to the sculpture.

Museum collection

National Gallery of Art

Kneeling Youth with Bound Hands

Leonhard Kern · second quarter 17th century

The sculpture depicts a man in historical clothing, leaning forward with one foot advanced. He is holding a large, conical object in one hand and gesturing with the other. The sculpture is made of dark brown material, possibly bronze, and shows intricate details such as clothing folds and a focused expression on the man's face.

Museum collection

National Gallery of Art

Birdcatcher or Fowler

Giovanni Bologna · late 16th century

Medieval

National Gallery of Art

Saint George and the Dragon

English 14th or 15th Century · 1370/1420

The sculpture depicts the bust of a young child with fine details of the facial features, a gentle expression, curly hair, and dressed in a garment with a ruffled collar and buttons. The sculpture is crafted from a material with a warm, terracotta-like earthy tone and is mounted on a round wooden pedestal. The child is presented in a naturalistic manner, looking across time at the viewer with a serene expression.

Modern

National Gallery of Art

Alexandre Brongniart

Imitator of Jean-Antoine Houdon · c. 1910

The sculpture depicts a camel. It is crafted from dark bronze, with a shiny finish. The camel is standing on a polished base, which rests on a larger dark marble plinth. The sculpture aims to capture the physical characteristics and posture of a camel.

Modern

National Gallery of Art

Algerian Dromedary

Antoine-Louis Barye · model date unknown, cast after 1862

The sculpture depicts a creature resembling a dragon or mythical beast. It is crafted from bronze, giving it a dark, metallic finish with variations that catch the light, highlighting the texture and intricate details of the surface. The creature has a powerful stance, with a large head, expressive face, and an open mouth that holds a round bowl or cup shape. Its body is adorned with stylized wings and muscular limbs. The sculpture presents a blend of realistic animal features with imaginative, stylized elements, resulting in an eye-catching and dynamic composition.

Museum collection

National Gallery of Art

Oil Lamp in the Form of a Winged Monster

Italian 16th Century · 16th century

A seated man wearing a long robe and a crown has a crucifix in his lap in this free-standing, cream-white, alabaster sculpture. In this view, the seated man’s body faces us, and his arms are broken off beyond the elbow. He has short, wavy hair and a trimmed beard. His almond-shaped eyes are blank, and his lips are closed. His robe is deeply pleated and hangs in a U shape between his knees. A bird in flight, facing downward, hovers at his throat over the head of the crucified man. That man’s extended arms are also partially broken, but he hangs with his head tilted down to our left. He has a halo behind his long hair, and his mouth drops open. He is nude except for a loincloth across his hips. The crowned man sits on a base with a shield on the front center, but this area is worn.

Medieval

National Gallery of Art

The Holy Trinity

English or Spanish 14th Century · c. 1300/1350

The sculpture depicts a large hand holding a small human torso. The hand is intricately detailed with skin texture, fingernails, and wrinkles. We see it from the side, with the wrist on the right and the fingers on the left, the back of the hand on the ground. The small torso is smooth, and it appears to be of a female body. There are no head, arms, or legs below the knee. The entire sculpture is predominantly white in color and appears to be made of a smooth material.

Modern

National Gallery of Art

Hand of Rodin with a Female Figure

Auguste Rodin · 1917

The sculpture depicts a cherubic figure with outstretched arms and a gentle expression. It is made of painted wood, with soft pinkish hues for the skin tones and carefully painted facial features. The hair is brown with detailed curls. The figure is draped with a golden cloth, contrasting with the skin tones. The pose suggests movement, typical of cherub representations. The realistic details in the face and body make the figure relatable and lifelike.

Early modern

National Gallery of Art

Jubilant Putto (possibly The Infant Christ)

Probably Austrian 18th Century · c. 1750

The sculpture shows multiple figures in a religious scene. At the center, a seated figure holds a child, surrounded by two kneeling figures. Two standing figures flank the scene, with a cherubic figure above them. The sculpture is detailed with acanthus leaves and ornamental patterns. It is made of bronze or brass with a dark gold or patinated bronze color. The overall appearance is ornate and intricate, capturing religious iconography in a classical style.

Museum collection

National Gallery of Art

Pax with the Madonna of the Rosary

Central or North Italian 16th Century · fourth quarter 16th century

The sculpture depicts a seated figure with a halo behind its head. The figure is in a robe, looking to the side, holding a closed book in its left hand. The sculpture is made of stone with some discoloration and darkening, giving it an aged appearance. It is set against a rectangular stone slab. The figure is partially merged into the background with detailed folds and facial features. The style is classical or medieval, often seen in religious depictions, conveying a solemn and stoic representation.

Museum collection

National Gallery of Art

Seated Apostle

French 14th Century · 14th century

The sculpture depicts the face of a man with realistic and detailed features: prominent eyebrows, deep-set eyes, a straight nose, and slightly pursed lips. The sculpture is made from a light gray material, likely plaster or a similar substance, giving it a smooth surface. The head is truncated above the forehead and at the neck, with textured hair suggesting short waves. The sculpture appears to be a classical bust, focusing on the facial features and expression.

Modern

National Gallery of Art

Mask of Katherine Seney Simpson (Mrs. John W. Simpson)

Auguste Rodin · 1902

Early modern

National Gallery of Art

Grinning Satyr

Balthasar Permoser · c. 1700

The image depicts a sculptural pitcher or ewer with an ornate design. The handle integrates a human figure, resembling a woman with folded arms. The pitcher has a deep brass or bronze color. It features intricate relief work such as garlands and face motifs. The base is broad and ornate, mirroring the design elements of the piece.

Museum collection

National Gallery of Art

Classical Ewer

Giuseppe de Levis · second half 16th century

A crowned woman and the baby she holds on one hip are carved from white marble in this freestanding sculpture. The woman has a round face with a long nose and slightly smiling lips. Her long curly hair is parted down the middle and held back under a high crown made of spade-shaped acanthus leaves. A cloth covers her head and drapes over her shoulders and across her hips. Divots are carved along the lower hem of the cloth. The dress she wears underneath has three circular openings along the squared neckline, and pointy-toed shoes peek out from under the hem of the long skirt. She holds the stem of a now-broken frond in her right hand, to our left, by that hip. Her other hand supports the baby. He has a round face, short, wavy hair, wide-set eyes, chubby cheeks, a delicate nose, and his lips are parted. His torso is nude, and a cloth wraps around his hips and falls in folds around his bare feet. His left arm, to our right, is missing beyond the shoulder. He leans the other elbow against the woman’s chest, and the lower arm is missing beyond that. The sculpture is photographed against a pale gray background.

Medieval

National Gallery of Art

Virgin and Child

French 14th Century · c. 1325/1350

Modern

National Gallery of Art

Aurora and Tithonus

Auguste Rodin · 1905 or 1906

The sculpture depicts Jesus Christ crucified on a cross. The figure is in a traditional pose with arms outstretched and nailed to a dark brown or black cross. The material is painted to resemble natural human skin tones and textures, with details like hair and wounds marked with blood. Jesus wears a simple loincloth painted in a lighter color. Above his head is a plaque with the inscription "INRI" in black letters on a beige background. The sculpture is presented in a realistic style with detailed anatomical features and is mounted against a neutral background.

Early modern

National Gallery of Art

Christ on the Cross

Franz Ignaz Günther · c. 1740

The sculpture depicts a nude figure in a dynamic, twisting pose. The figure has one knee bent as it crouches on a base. The right arm is raised and bent behind the head, while the left arm grasps a piece of draped fabric across the chest. The sculpture is rendered in a rich, brown material, likely a polished bronze. The figure’s head is turned slightly to the side, showing the facial features and hair, which is styled close to the scalp. The sense of movement is emphasized by the positioning of the limbs and the tension in the muscles. The sculpture stands on a round platform that appears to be part of the same material.

Museum collection

National Gallery of Art

Crouching Bather

Antonio Susini after a model by Giovanni Bologna · late 16th or early 17th century

This wooden, painted, free-standing sculpture is of a young woman standing and holding an open book with one hand and holding the other to her chest. The woman’s skin, gown, and long mantle are painted cream white. The mantle covers the back of her head and has a denim-blue lining visible in the folds around her shoulders, waist, and inside the hanging sleeves. It falls just below her knees and wraps around her long gown. The skirt below her knees has traces of brick red but much of the pigment there is lost. In this photograh, her body is angled to our right but she turns her head to look down in front of us with pale brown eyes. Wavy, brown hair is parted down the middle to frame her face. Her right hand, on our left, is raised to touch her chest while her other hand holds an open book at her waist, its pages facing outward. She stands on an octagonal wooden base painted gold. The surface of the sculpture is cracked, flaking, and worn in some areas, allowing the underlying wood to show through.

Medieval

National Gallery of Art

The Virgin Annunciate

Pisan 14th Century · 1325/1350

A woman kneeling with both arms raised by her head is carved from white marble in this freestanding sculpture. In this photograph, her body is angled slightly to our right and her face turns toward us. Her face and body are smooth and carved so her features appear soft and indistinct. Both elbows are raised by her long, textured hair as if caught mid-stretch. Chisel marks are also visible on the base, which appears to be a rounded boulder on which she kneels.

Modern

National Gallery of Art

Morning

Auguste Rodin · 1906

The sculpture depicts a central figure kneeling on the ground, draped in flowing robes, surrounded by celestial figures including an angel with wings holding a cup. In the background, there is a palm tree and a group of partially visible people, with a child angel holding a cross above, and another small figure in the clouds. The artwork is made of a rich, brown material, likely bronze, with a smooth, polished finish that emphasizes the detailed textures and flowing lines. The composition is highly detailed and dynamic, featuring an interplay of figures and elements in a circular format.

Early modern

National Gallery of Art

The Agony in the Garden

Angelo de Rossi · c. 1700

The sculpture is of a horse in a dynamic pose, with one front leg raised. The horse is made of dark bronze with a smooth surface. The base is a golden plinth with intricate designs. The sculpture depicts the horse in anatomical detail, including muscular contours, a mane, and a tail. The base adds grandeur to the piece.

Museum collection

National Gallery of Art

Pacing Stallion

Workshop of Severo da Ravenna · first quarter 16th century

A person stands with hands together at the chest in this freestanding, painted wood sculpture. The person’s body faces us and the head turns and looks slightly down to our right in this photograph. Brown hair curls close to the head and down the back of the neck. The skin is ivory white. The almond-shaped eyes are faintly painted, and he has a straight, delicate nose and thin, slightly smiling pink lips. One hand touches his chest and the other is held in front, perhaps with thumbs touching, palm facing our right. White robes lined with indigo blue fall in cascading folds down his body over a rose-pink tunic, and both pool on the octagonal wood base. There are paint losses and small areas of damage throughout but is most noticeable at the bottom. The wood is cracked in the person’s hair.

Medieval

National Gallery of Art

The Archangel Gabriel

Pisan 14th Century · 1325/1350

Carved from white marble, the head and chest of a woman emerge from a base of rougher stone in this free-standing sculpture. In this photograph, the woman leans slightly to our left and her head tips down that way, as she looks off to our right. Her hair is loosely pulled up into a bun on top of her head. She has a straight nose, thin lips, and a square jaw. A bumpy area at the front of her low-cut bodice suggests a floral corsage. Her neck, the top of her shoulders, and her chest are polished smooth, but below the scooped neckline, the stone turns rough and parallel chisel marks are visible. Two dark veins in the marble run through the sculpture near each shoulder.

Modern

National Gallery of Art

Katherine Seney Simpson (Mrs. John W. Simpson)

Auguste Rodin · 1902-1903

The sculpture depicts a standing woman holding a child in her arms, while another child is clinging to her legs. The woman is wearing draped clothing, and the child in her arms is nestled against her shoulder. The child at her legs is partially wrapped in the folds of her clothing. The sculpture is crafted in a material resembling terracotta, giving it a warm, earthy brown color. The figures are intricately detailed, with realistic features and attention to the texture of the clothing.

Early modern

National Gallery of Art

Charity

Giuseppe Mazzuoli · 1700

The sculpture is a bronze urn featuring relief work. It depicts human figures and mythical creatures such as centaurs. The figures are intricately detailed, with one central figure holding a spear or staff. The handles are shaped with figures. The color is dark brown typical of aged bronze, with a polished surface. The urn appears substantial and heavy, with depth and texture achieved through detailed carving and shadows. The urn has a broad rim and rounded base, emphasizing its solid form.

Museum collection

National Gallery of Art

Mortar

Foundry of Caspar Dietrich · second half 16th century

A woman sitting on a throne with a child on her lap and two angels are carved from white marble and decorated with a few areas of gold in this freestanding sculpture. All four people face us in this photograph, and they have round cheeks, square jawlines, and closed lips. Black dots are painted for pupils but without irises or other paint on their faces, they all look startled or intense. The woman wears a gold crown over a cloth that drapes over her head, shoulders, and across her lap. Her knees are apart, and pointed shoes peek out under the rippling hem of her dress. She braces the child’s torso with her left hand, to our right, and touches his upper leg with the other hand. The child’s adult-like face is framed by gold hair. He holds up one hand, though the fingers have been broken off, and holds an open book facing out propped on his leg with his other hand. Writing on the pages has been painted. Two child-like, wingless angels stand on the arms of the throne behind the woman’s shoulders and hold a cloth up behind her head. On all four people, their hair and the necklines, hems, and cuffs of their garments have been painted with gold geometric designs. The Latin text on the book reads, "CONTINET IN GERMIO CELV TERRA Q REGENTE VIRGO DEI GENETRIX MCCCXXI.”

Medieval

National Gallery of Art

Madonna and Child with Two Angels

Verona 14th Century · 1321

This sculpture is of a person surrounded by a textured and uneven surface. It appears to show the head and torso of a person, but only their face is detailed. The top of their head is undefined and appears like the top of a mountain, as does their torso. The face emerges from a gap in this rocky texture, showing delicate features in a neutral position. The sculpture is a bluish-gray color, with some hints of pale green.

Modern

National Gallery of Art

La France

Auguste Rodin · 1904

The sculpture depicts an eagle with its wings spread wide. The bird’s head is turned slightly to the side, with its beak open. The sculpture is made of a dark material, possibly bronze, with detailed feathers. The eagle rests on a textured base resembling a rocky surface.

Modern

National Gallery of Art

Eagle with Wings Outstretched and Open Beak

Antoine-Louis Barye · model date unknown, cast after 1862

The sculpture is a ornate bell adorned with sculptural relief elements. The subject of the sculpture involves intricate decorative motifs, including an angelic figure with wings in the center that appears to be standing atop a pedestal, with flowing, scroll-like patterns on either side. The bell is predominantly dark in color. The surface is dark and polished, and the figures and designs are raised. The bell also features some inscribed text along the bottom edge. This small, intricately detailed piece stands vertically.

Renaissance

National Gallery of Art

Hand Bell with David and Judith, Bears above Chalices, and Poppies

Netherlandish Foundry 16th Century · 1558

Medieval

National Gallery of Art

Angel with Tambourine

Possibly Pisan 14th Century · c. 1360

The sculpture depicts a standing female figure with her arms behind her back and head slightly tilted downwards. The figure is leaning against a textured form, possibly representing drapery or a natural object. It is crafted from light brown or terracotta-colored material, likely clay, giving it an earthy appearance. The sculpture has a rough texture with visible marks and surface variations, suggesting a hand-modeled quality. The base is dark and polished, contrasting with the natural color of the sculpture. The proportions of the figure are naturalistic, emphasizing form and posture, conveying a sense of timelessness and human presence.

Museum collection

National Gallery of Art

Statuette of a Woman

Auguste Rodin · possibly early 20th century

In the bottom left corner of this rectangular relief sculpture, a bearded, bare-chested, muscular man with wavy hair lies lifeless, supported by a person with shoulder-length hair who is dressed in flowing garments. That person looks up over their shoulder at a man behind them, who has a long beard and appears to hold a pair of pliers. His brows are furrowed. On the right, a seated woman's head falls back, cradled by another woman with braided hair who stands behind her. The seated woman is dressed in flowing, draped cloth that also covers her head, and her right hand reaches out to grab the wrist of the limp man. Other people in the background engage in a variety of tasks, carrying ladders, hanging cloth, or holding a large urn. The entire sculpture is crafted from a smooth white material.

Early modern

National Gallery of Art

The Virgin Mary Swooning over the Dead Body of Christ at the Foot of the Cross

Pierre-Etienne Monnot · 1710

The sculpture features a male figure with one arm on his head and the other holding grapes, accompanied by a small animal. The figure wears a garment with a goat's head motif and the sculpture is made of a dark brown material, likely bronze. The animal's fur is detailed, and the sculpture stands on a textured base.

Museum collection

National Gallery of Art

Bacchus with a Panther

French 16th or 17th Century · late 16th or early 17th century

Medieval

National Gallery of Art

Angel with Symphonia

Possibly Pisan 14th Century · c. 1360

The sculpture is a bust of a man's head. The hair, eyes, nose, and lips are detailed. The man's hair is styled in a short, neat manner, and the expression appears calm and focused. The bust is colored in dark brown, suggesting it is made of patinated bronze. This sculpture rests on a glossy black pedestal.

Modern

National Gallery of Art

Alfred Stieglitz

Gaston Lachaise · model c. 1925-1928, cast 2024

The sculpture depicts a bust of a woman with flowing, curly hair styled elegantly back and cascading over her shoulders. The subject has a serene expression, with her gaze directed slightly to the side. The sculpture is rendered in a material that resembles terracotta, showcasing a warm, earthy color. Draped across her shoulders is a richly detailed cloth, sculpted to give the appearance of soft folds and layers. The sculpture is set upon a simple, classic pedestal. The craftsmanship captures a sense of grace and timeless elegance.

Long nineteenth century

National Gallery of Art

Thérèse-Françoise Potain Roland, Wife of the Sculptor

Philippe-Laurent Roland · c. 1782/1783

The sculpture is of a nude female figure seated, leaning forward with one leg bent and resting on a small base. She has her head slightly inclined downwards, right hand reaching toward her extended foot, with the other hand on her knee. The figure has detailed features and hair, and is made of dark bronze with a smooth, reflective surface. The craftsmanship conveys realistic skin and curves. The small sculpture appears intimate and is meant for close viewing to appreciate its details and the subject's pose.

Museum collection

National Gallery of Art

Seated Woman Pulling a Thorn from Her Heel

Barthélemy Prieur · late 16th or early 17th century

The sculpture depicts a bearded male figure draped in robes, holding a closed book in one hand against his chest and a cylindrical object in the other hand. The figure is carved from light-colored marble, with intricate detailing on the hair and beard. The man wears a halo around his head and his robes are intricately carved with flowing folds. The sculpture stands upright on a rectangular base and appears to be of modest size compared to life-sized human proportions.

Medieval

National Gallery of Art

Saint Paul

Venetian 14th Century · c. 1340

The sculpture depicts a person with their body bent forward, one leg extended down below them and the other stretched out backwards in the air, perpendicular to the ground. The person's arms are raised and bent at the elbows, with hands grasping a long, curved object near the back of their head. Their brow appears furrowed, their wide mouth in a neutral expression. The figure is dressed in a flowing garment that appears to be caught in mid-motion, its deep folds extending backwards. The sculpture has a rich brown color with a mottled surface, and the piece is supported on a slightly slanted rectangular base.

Modern

National Gallery of Art

The Avenger

Ernst Barlach · 1914

The sculpture depicts a classical figure. The subject is standing in a relaxed pose, with the right arm raised and the left arm resting at her side. The figure's clothing consists of intricately detailed folds of drapery. The sculpture is made of a dark brown material. The figure's facial features are detailed and serene, with styled hair. The sculpture stands on a simple pedestal.

Early modern

National Gallery of Art

Juno/Proserpina

Follower of Michel Anguier · c. 1700

The sculpture depicts a lion overpowering a wild boar. The lion is pressing down the boar with its paw and biting into its body. The figures of both animals are intricately detailed, showing the powerful muscles and features of the lion and the rounded shape and limbs of the boar. The sculpture is made of dark brown bronze, giving it a smooth and polished finish. The stance and expression of the lion convey a sense of dominance as it stands over the boar. The sculpture captures the moment of the lion’s conquest, emphasizing the contrast between the lion’s mane and form against the boar.

Museum collection

National Gallery of Art

Lion Devouring a Doe

Barthélemy Prieur · late 16th or early 17th century

Renaissance

National Gallery of Art

Gian Galeazzo Maria Sforza, Duke of Milan

Workshop of Benedetto Briosco · early 1490s

This freestanding, beige, terracotta bust shows the head and shoulders of a cleanshaven man, Giuliano de' Medici, wearing a suit of armor. The bust is straight across the bottom so it rests directly on the white surface on which it is photographed. In this view, the man’s shoulders are square to us, and he looks off to our right, chin lifted. His eyes are blank, and he has a bumped, aquiline nose and rounded cheeks. His lips are closed, the corners slightly pulled back. His thick, curly hair is cut to create an angle down from his eyebrows, on either side of his forehead, to the back of his neck. His breastplate has a high collar, and, at the front center, a man’s head is sculpted in relief with his mouth wide open, head flanked by upswept wings. The yelling man’s teeth and tongue are visible, and he has wavy hair and prominent ears. The pauldrons, the armor covering Giuliano's shoulders, and the rest of the breastplate are decorated geometric shapes and curved lines that end in sharp points.

Renaissance

National Gallery of Art

Giuliano de' Medici

Andrea del Verrocchio · c. 1475/1478

Renaissance

National Gallery of Art

Lodovico Sforza, Duke of Bari

Benedetto Briosco · early 1490s

The sculpture depicts a seated woman holding a small child on her lap. The child leans in closely to the woman, and she is looking downward at the child. The woman has long hair tied into a bun at the back of her head, and she wears a long, flowing cloak over a long-sleeved dress. The child has short hair and is wrapped in a cloth. The sculpture is made from a light brown stone and sits on an octagonal wooden base with a worn golden finish.

Renaissance

National Gallery of Art

Madonna and Child

Antonio Rossellino · c. 1475

Museum collection

National Gallery of Art

Madonna and Child

Italian 19th Century · mid 19th century

Sculpted in painted terracotta, a woman is shown from the waist up, bracing a standing nude, plump baby boy. The woman, baby, and two winged heads floating to either side are sculpted in snow-white relief against a flat, cobalt-blue background, all contained within a round gold frame. The roundel is then framed within a rectangular wooden panel ornamented with gold and blue molding, rosettes, and leafy designs. The boy, woman, and winged heads all have plate-like halos, and their eyes have hazel-brown irises outlined in black. Within the round frame, the boy stands to our left of center, and his halo nearly reaches the top of the roundel. His body faces us as he stands on his right leg, to our left. That foot seems to rest on the ledge of the round frame, and he leans against the woman, to our right. He looks off over our left shoulder, his pursed lips set between chubby cheeks. With both pudgy hands, he holds onto the woman’s thumb or garment as she braces his torso. Her body is angled toward the boy, and she looks down and off in that direction. She has a straight nose, a pointed chin, delicate lips, and her thin eyebrows are black. Her wavy hair is parted down the middle and pulled back under a veil, and her long-sleeved garment falls in folds down her front. Her other hand wraps around the baby’s far hip. The winged baby heads hover at her shoulders, one to each side. The blue background has some bands of lighter and darker blue, suggesting a cloud-streaked sky. Gold rosettes fill the top corners between the round frame and the square panel into which it is set. Shield-like forms fill the lower corners. Fluted columns rise to either side of the central panel, and molding runs across the top and bottom. Some of the molding is painted gold, while other areas have gold, leafy patterns painted against the blue background.

Renaissance

National Gallery of Art

Madonna and Child with Cherubim

Andrea della Robbia · c. 1485

The sculpture features a group of figures including a seated woman holding a child, an older man, and cherubic figures with wings. The figures are made of colorful glazed terracotta, primarily in white, against a blue background. The scene is framed within an arched, gilded architectural structure.

Renaissance

National Gallery of Art

Madonna and Child with God the Father and Cherubim

Studio of Andrea della Robbia · 1480/1490

Long nineteenth century

National Gallery of Art

Mercury

after Giovanni Bologna · c. 1780/c. 1850

The sculpture is a bust depicting a woman with an elaborate hairstyle gathered into a bun. She is dressed in a richly ornamented green garment with reddish-brown accents. The sculpture is made of a material like painted terracotta or polychrome wood. Her attire includes a necklace with a pendant. The sculpture is mounted on a round base and presents the subject with a dignified posture, looking ahead.

Modern

National Gallery of Art

Portrait of a Lady, "Giovanna Albizzi"

Giovanni Bastianini · c. 1860

Sculpted in clay, a toddler balances his plump body on his right foot as he raises his left leg and right arm. In ths photograph, his body is squared to us. His left hand, on our right, rests near his hip. Gazing up and to our left, his cheeks are puffed in blowing through pursed lips, and his hair falls in soft ringlets. The fingers of his raised hand are folded into a loose fist. Tipped slightly forward onto his toes, he balances on a gold-half dome.

Renaissance

National Gallery of Art

Putto Poised on a Globe

Andrea del Verrocchio · c. 1480

The sculpture is a detailed bust of a young man with pale skin and wavy brown hair that almost reaches to his shoulders, seen from the chest up. He has thin, arched eyebrows, a long, straight nose, and thin red lips that are partially open. A dark red and green cloth or cloak is draped over his shoulders and tied near his left arm, and it appears to cover a light brown garment with the texture of fur. The sculpture has no base.

Renaissance

National Gallery of Art

Saint John the Baptist

Florentine 15th Century, probably after a model by Desiderio da Settignano · c. 1490

This free-standing bronze sculpture is of a nude woman who reaches her left arm, on our right, across her body to hold a piece of drapery bunched at her opposite hip, while she holds a conch seashell in her other hand. In this photograph, her body faces us and she looks down and to our right. She has a straight nose, and her full lips are closed. Her long, wavy hair is gathered into a knot at the top of her head, and a few tendrils trail down her neck and shoulders. Her sloping shoulders frame round breasts, which are placed close together on her chest. Most of her weight is on her left leg, on our right, and her other knee is bent so she balances on the ball of that foot. This means her hips sway slightly to our right as her arms sweep to our left. She stands on a round, disk-like plinth on a veined, tan marble base. Light glints off the polished, deep brown bronze surface of the sculpture.

Renaissance

National Gallery of Art

Venus

Milanese 16th Century (model attributed to Francesco Brambilla the Younger) · c. 1580/1590

This free-standing, white marble bust shows the head, shoulders, and upper chest of a young boy. In this photograph, the sculpture is angled to our right. The boy has full cheeks, a slightly upturned nose, and short, wavy hair. He stares straight ahead, his faint eyebrows slighty lifted. His loose garment drapes from his right shoulder, on our left, down and across his chest to just below his left shoulder.

Renaissance

National Gallery of Art

A Little Boy

Desiderio da Settignano · 1455/1460

The sculpture depicts a bust of a young woman with a neutral expression and partially closed eyes. The woman's hair is styled back behind her head, with a few small curls around her ears. She has a straight nose, faint eyebrows, and thin lips which are slightly turned up at the edges. She wears a simple short-sleeved garment with a wide neckline above a triangular panel. The base of the sculpture is carved with small scenes of people on horseback and cherubic figures. The sculpture is made of a smooth white material with some areas of yellowish discoloration.

Renaissance

National Gallery of Art

A Young Noblewoman

Style of Francesco Laurana · c. 1475 or later

Carved in high relief in white marble, a woman and the baby she holds are framed within a curved arch. The woman’s body faces us, but she turns her face to look down at the baby tucked into her left arm, to our right. The woman’s long hair is pulled back under a twisted band, and a few tendrils fall on her face. Her nose is pointed, and she has full lips over a narrow chin. Her dress is fastened on the chest with a button or brooch and is tied across the chest and high around the waist. The garment has elbow-length sleeves, and it falls in a swag across her hips over a long skirt that stops just short of her sandaled feet. The fabric is sheer so the nipple we can see is visible, and the fabric gathers in fine, shallow folds. Her other elbow is bent and held by her side, and the fingers on both hands are noticeably long. The child turns a chubby face up to the woman and crosses his hands over his chest. He is covered only by a cloth across his middle, and he has short, wavy hair. Pudgy rolls make creases on his neck, arms, and especially chunky thighs. The niche in which they stand has a fluted shell in the rounded portion above molding. The remaining niche is smooth, and the entire sculpture is set into a tan-colored wall.

Renaissance

National Gallery of Art

Charity

Mino da Fiesole · 1475/1480

Modern

National Gallery of Art

Christ with Saint John the Baptist as Children

Imitator of Desiderio da Settignano · probably 1855/1860

The sculpture depicts a standing female figure dressed in flowing robes, holding a stick or staff in her right hand while her left hand grasps a part of her attire. She is positioned within a niche that features a scallop shell-like pattern surrounding her head. The sculpture is crafted from marble, giving it a smooth, white appearance with subtle grey veins. The figure is shown in a frontal pose, standing with feet slightly apart on a shallow ledge, while her head is tilted slightly downward, her eyes closed. The detailed drapery of the clothing and the expression on her face contribute to an overall sense of grace and tranquility.

Renaissance

National Gallery of Art

Faith

Mino da Fiesole · 1475/1480

The sculpture depicts a relief featuring a central figure of a woman holding an infant. The woman is adorned with a halo around her head. She appears to be delicately interacting with the child, who rests in her embrace. Above them, an angel can be seen offering a bowl of fruit. The entire scene is crafted from light-colored marble, providing a soft appearance. Surrounding the figures is an ornately framed background with decorative motifs, such as floral designs on the sides and a circular emblem with wings below the main scene. The relief is relatively flat with a smooth surface that enhances the figures' contours and postures.

Modern

National Gallery of Art

Madonna and Child

Florentine 19th Century · c. 1860

A woman and child are carved in low relief from a white marble, vertically oriented, rectangular panel, which is set within a painted wood frame. The woman’s body is angled to our right, and she looks down in that direction at the child seated on her lap. She has a long, delicate nose, a pointed chin, and her lips are closed. Her wavy hair is pulled back under a cloth that covers her heads and drapes over her shoulders. Her cloak waves in lively but shallow folds across the surface of the marble. She rests the long fingers of one hand on the baby’s shin and braces his side torso with the other. The nude boy has short, curly hair, round cheeks, chubby proportions, and his lips are parted. He holds a cylindrical object in one hand and reaches his right hand, to our left, to touch the woman’s clothing near her neckline. They both have flat, disk-like halos. The background is lightly carved to resemble an arched niche with leafy and geometric patterns and a leafy garland hanging from loops at the top corners. The marble panel is rounded at the top to encompass the woman’s halo and the top of her head. The frame is painted with stylized flowers and patterns in dark red, sky blue, ivory white, and black against a muted white background. Some of the stepped molding in the frame is gilded. A band across the top of the frame has roundels with two haloed women to either side and a nude baby carrying a cross over one shoulder, appearing to float against a blue background. Three roundels in a band below show women with long hair and halos, each holding objects like palm fronds, a plate, wheel, and a book.

Renaissance

National Gallery of Art

Madonna and Child

Style of Agostino di Duccio · 1460s or later

This sculpture depicts a woman holding a small child. The woman has pale skin and reddish-blonde hair, and she is wearing a red gown with a blue cloak draped over her. A while veil is tied around her forehead and flows down over her hair. She holds the child in her arms, pressing it closely to her chest. The child also has pale skin and short, blond hair, and they are mostly nude, although the woman is holding a small tan cloth against their upper thighs. The woman stands barefoot on a small, round base.

Renaissance

National Gallery of Art

Madonna and Child

Donatello and Workshop · c.1420/1425