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11,254 photos
The Hay-Wain (with Willy Lott's cottage by Flatford Mill) 1821 Canvas; 130 x 185 cm
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The Hay-Wain (with Willy Lott's cottage by Flatford Mill) 1821 Canvas; 130 x 1...

Boat-Building on the Stour (aka Boat-Building near Flatford Mill) 1814-15 Canvas; 25 x 30 cm
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Boat-Building on the Stour (aka Boat-Building near Flatford Mill) 1814-15 Can...

Paolo and Francesca da Rimini 1855 Throughout his life Rossetti was fascinated by stories of tragic lovers and illicit love. Here he illustrates the story of Francesca and her brother-in-law Paolo, from Inferno by the medieval poet Dante. They are condemned to Hell for adultery, although Dante has sympathy for their true love and the cruelty of their death. On the left, Francesca and Paolo embrace. In the centre, Dante and Virgil look with concern to the right, where the lovers, murdered by Francesca's husband, drift through hell in each other's arms. Quotations from the text are inscribed around the edge of the composition. Watercolour on paper; 254 x 449 mm N03056
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Paolo and Francesca da Rimini 1855 Throughout his life Rossetti was fascinate...

Beata Beatrix circa 1864-70 Rossetti’s inspiration for this painting was the Vita Nuova (New Life), the Italian poet Dante’s account of his idealised love for Beatrice, and of her premature death. The death of Beatrice is symbolised by a sudden spiritual transfiguration. A bird, a messenger of death, drops a white poppy between her open hands. The shadow of the sundial rests on the figure nine, the number Dante connects mystically with Beatrice and her death. In the background the shadowy figure of Dante gazes towards the figure of Love. Rossetti saw this work as a memorial to his wife, Elizabeth Siddall, who had died in 1862. Oil on canvas; 864 x 660 mm N01279
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Beata Beatrix circa 1864-70 Rossetti’s inspiration for this painting was the...

Dante's Dream at the Time of the Death of Beatrice 1856 Watercolour on paper; 487 x 662 mm N05229
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Dante's Dream at the Time of the Death of Beatrice 1856 Watercolour on pape...

Le sommeil de Titania - Titania sleeping (Shakespeare, A Summernights' dream) Canvas; 64 x 77 cm R.F. 1997-12
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Le sommeil de Titania - Titania sleeping (Shakespeare, A Summernights' dream) C...

View of the Lake of Nemi at sunset. Canvas, 105 x 128 cm R.F. 1970-52
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View of the Lake of Nemi at sunset. Canvas, 105 x 128 cm R.F. 1970-52

Mr. and Mrs. John Julius Angerstein (1735-1823), banker, and his second wife Eliza Payne (1748/49-1800). Painted 1792. Canvas, 252 x 160 cm R.F. 1028
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Mr. and Mrs. John Julius Angerstein (1735-1823), banker, and his second wife El...

Charles William Bell, 1798. Canvas, 64 cm x 77 cm R.F. 1952-14
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Charles William Bell, 1798. Canvas, 64 cm x 77 cm R.F. 1952-14

Portrait of Sir Issac Newton (1642-1727) Canvas
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Portrait of Sir Issac Newton (1642-1727) Canvas

The Orgy aka The Rake at the Rose-Tavern (A Rake's Progress) 1735 The Tavern Scene shows the Rake amusing himself in a notorious brothel, the Rose Tavern in Covent Garden, after an evening of drinking and hooliganism. Next to the Rake on the floor are the lantern and staff he has captured of a watchman earlier in the night (another sign that he has been in a fight is that his sword is unsheathed). The picture is full of sordid details: on the far left the contents of a chamberpot are spilled over a dish of roast chicken, one of the prostitutes at the table spits at another one (who is holding a knife), a stripper in the foreground is undressing herself for an obscene show which she will perform on a silver plate (which her pimp is holding together with a candle that she will extinguish in her vagina after the dance)and a street singer by the door on the left is singing 'The Black Joke', a notoriously obscene song. The prostitutes, who are stealing the Rake's watch, have pockmarks on their face (a sign that they have caught syphilis), while the pills on the floor next to the Rake suggest that he has caught the disease too. Oil on canvas; 62,5 x 75 cm
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The Orgy aka The Rake at the Rose-Tavern (A Rake's Progress) 1735 The Taver...

The Rake's Levee (A Rake's Progress) 1735 A levee is a reception held by a monarch or other high-ranking person on arising from bed. Tom is spending his inheritance on suppliers of expensive (and in particular unnecessary) services who try to encourage him to ape the aristocracy. The pictures on the wall, however, show his lack of taste, scenes from classical mythology hang next to pictures of game-cocks. The characters in the picture would readily have been identified by Hogarth's contemporaries as real life London citizens. They include a paid bodyguard who lookes like a criminal, a jockey (kneeling in the front), a dancing-master with a kit-violin (a small three-stringed violin), a huntsman (blowing a horn), a music master, a French fencing master, a quarterstaff (a wooden staff used as a weapon) instructor, a landscape gardener (behind the Rake, with a drawn plan), a poet, and a tailor. Oil on canvas; 62,5 x 75 cm
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The Rake's Levee (A Rake's Progress) 1735 A levee is a reception held by a...