Restoring Paolo Ucello's 'Battle of San Romano'
Why should we not take Uccello's 'Battle of San Romano' at face value?
Join Conservator Paul Ackroyd and Curator Imogen Tedbury as they chat over the question
Go behind the scenes in our Conservation Studio as Conservator Paul Ackroyd and Curator Imogen Tedbury share what we've learnt about Uccello's 'Battle of San Romano' on the completion of its latest conservation journey.
Uccello's 'Battle of San Romano' is one of our most recognisable works. Its large size and secular subject matter also make it one of our most important early paintings. At well over five hundred years old, if it could speak, it would certainly have some tales to tell.
Its restoration has given us a chance to go back through the centuries and trace the panel's lively history as it changed hands, location and literally shape.
Bank of America is the National Gallery’s Conservation Partner.
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Behind the scenes in Conservation
Cleaning Paolo Uccello's 'The Battle of San Romano'
Restorer Paul Ackroyd talks us through some of the challenges he's encountered while working with Uccello's 15th-century battlefield scene
Savoldo's 'Mary Magdalene'
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Look beyond the dazzling silver shawl to discover the identity of this enigmatic woman
Fiona Douglas-Home: The first Photographic Archivist at the National Gallery
From listening to Myra Hess during the Second World War to working in the Photographic Department and marrying a colleague, she has woven the Gallery into the fabric of her life.
Ring's 'Road in the Village of Baldersbrønde (Winter Day)'
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Step into a snowy scene with Gallery Educator Bethan Durie
Why do artists paint young women looking into mirrors?
Associate Curator Sarah Herring explores the theme of young women looking into mirrors in art.
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Katrina Palmer, National Gallery Artist in Residence 2024
Katrina Palmer shares her interest in the visible and invisible activities that take place in the Gallery.
Liss's 'Judith in the Tent of Holofernes'
Michael Ohajuru takes a closer look at this violent scene
The Director's favourite paintings
Throughout the month of September, we are celebrating our Membership scheme’s 10th Anniversary. To mark this moment we asked our Director, Gabriele Finaldi, to select 10 of his favourite paintings from an unmatched collection of over 2,400 works.
Seeing Caravaggio in a new light
Anne Stewart, Curator of Art at Ulster Museum explores Caravaggio's use of light in his paintings.
Artemisia Gentileschi in the mirror
Artist Jesse Jones discusses her response to Artemisia Gentileschi’s ‘Self Portrait as Saint Catherine of Alexandria’.
How a Canaletto painting found refuge in Wales
The National Library of Wales welcomes back Canaletto’s masterpiece 'The Stonemason’s Yard' after having taken refuge there over 80 years ago.
![[Re]curated: Lucian Freud - The Artist’s Eye](/media/rfypr0mm/freud-artist-s-eye-thumbnail.jpg?rmode=crop&width=800&height=800&quality=85)
[Re]curated: Lucian Freud - The Artist’s Eye
Step back in time to 1987 and experience ‘The Artist’s Eye’ – an exhibition personally curated by artist Lucian Freud – through a virtual recreation.
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Bob and Roberta Smith on Turner's 'Rain, Steam and Speed - The Great Western Railway'
Bob and Roberta Smith talks about his, and his artist father's, love of both Turner and of the Great Western Railway.
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Rana Begum on Turner's, 'Ulysses deriding Polyphemus - Homer's Odyssey'
Rana Begum relates to ideas and themes in Turner's mythical scene
Why did Rosa Bonheur hide herself in this painting?
Find out about the trailblazing artist behind 'The Horse Fair'
What makes 'The Wilton Diptych' so unique?
Curator Emma Capron and Conservator Britta New, discuss the puzzling work behind 'The Wilton Diptych' which makes it one of the most intriguing artworks in the world.
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Alexis Teplin on Paul Cezanne’s 'Hillside in Provence'
Alexis Teplin talks about her work and Paul Cezanne’s 'Hillside in Provence'
Why did Queen Charlotte not like this portrait of herself?
Dear gentle reader, we note that Queen Charlotte despised this portrait of herself. As Bridgerton returns to our screens with season three, pray watch curator Jon King as he recounts the story behind this portrait by Sir Thomas Lawrence.
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Sharon Walters on Francisco de Zurbarán's 'Saint Margaret of Antioch'
Artist Sharon Walters talks about her work with portraiture and images of women in relation to Francisco de Zurbarán's 'Saint Margaret of Antioch'
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Andrew Grassie on Piero della Francesca's 'Baptism of Christ'
Artist Andrew Grassie discusses what it is about Piero's painting that stays relevant to his process and his work
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Jananne Al-Ani on Egbert van der Poel's 'A View of Delft after the Explosion of 1654'
Artist Jananne Al-Ani talks about the interesting parallels she found between this small painting, a relatively new find for her in the collection, and her own research
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Céline Condorelli on Pontormo's 'Joseph with Jacob in Egypt'
Céline Condorelli, our Artist in Residence 2023, explores the relevance of Pontormo's painting and its fantasy architectural setting to her own work.
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Amalia Pica on Panini's 'The Lottery in Piazza di Montecitorio'
Artist Amalia Pica explores the theme of people coming together in celebration through Panini's crowded Roman scene.
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Zadie Xa and Benito Mayor Vallejo on Poussin's 'Adoration of the Golden Calf'
Contemporary artists Zadie Xa and Benito Mayor Vallejo discuss one of Poussin's greatest works with curator Priyesh Mistry
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Hanna Tuulikki on Piero del Pollaiuolo's 'Apollo and Daphne'
Hanna shares some new and unconventional ways of looking at and interpreting the subject of this small but powerful painting.
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Harold Offeh on Botticelli's 'Venus and Mars'
Offeh chats to curator Priyesh Mistry about Botticelli's iconic painting in relation to his own artistic practice.
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Andy Holden on Murillo's 'Self Portrait'
Take a journey through artist and musician Andy’s reflections on self image, illusion, meta-painting and cartoon realities... all in connection to Murillo’s 'Self Portrait'.
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Cécile B. Evans on Salvator Rosa's 'Witches at their Incantations'
Evans draws a comparison between the themes of their own work and those of Salvator Rosa with curator Daniel Herrmann