The ten most expensive paintings in history were painted by men. Why are there so few female artists? by The National Gallery, London
Neither words nor images fully capture the Christian God. Despite this inherent difficulty, painters still tried. The problem with Christ by The National Gallery, London
Empty, blank, or unfinished spaces leave paintings open to the viewer and create compelling ambiguities. Unspeakable images: when words fail by The National Gallery, London
In paintings as in sacred spaces, curtains play with revelation and draw attention to the limits of human vision. So near and yet so far: visions ... by The National Gallery, London
Temporal and spatial ambiguity imbue two images of the Virgin and Child—and this portrait of Christ’s suffering. This world and the next: Christ on ... by The National Gallery, London
Like place, time is an important theological category and, like the divine, it can be hard to comprehend. Time and eternity: Yesterday, today, and always by The National Gallery, London
Renaissance painters like Lippi devised spatial metaphors in order to convey the mystery of Christ’s conception. Putting God in his place: here, everywhere, ... by The National Gallery, London
Where does a painting end and our reality begin? Crivelli’s humble snail prompts more questions than answers. Christ is not like a snail: Signs ... by The National Gallery, London
Frames can be bold or plain, hard or soft, new or old—in every case, they’re essential to the viewing experience. Behind the scenes of the framing department ... by The National Gallery, London
Pigments mixed with oil look glossy, whereas those mixed with egg yolk appear matte and flat even when layered. Making Green: Tempera versus Oil by The National Gallery, London
How can paint ingredients be identified? Scientists examine tiny samples and prepare pigments from old recipes. Making Purple: The Science of Art by The National Gallery, London