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OpenPlate

Rights clearance desk for images

A painting can be out of copyright and thephotograph of it can still be protected.

Museums publish two different things about the same artwork: whether the work is in copyright, and whether their picture of it is. OpenPlate reads both, does the arithmetic on the published term, and shows you the sentence behind every point of the score.

Where this page got its records

  • The Metlive

    393 ms. The Metropolitan Museum of Art, Collection API (Open Access)

  • Clevelandlive

    505 ms. The Cleveland Museum of Art, Open Access API

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United States, editorial use, 10,000 reach.

Change on the terms page

2 of 2 providers answered live. 32 matching records exist across the two collections.

Results for "The Childhood of Paolo Veronese, from "L"12 records

Institutions answered newest-first by record, interleaved

Allegory of the Course of Human Life (Choosing Virtue) by Jan van der Straet, called Stradanus, The Metropolitan Museum of Art

Allegory of the Course of Human Life (Choosing Virtue)

Jan van der Straet, called Stradanus (d. 1605)

1570 or before · Pen and brown ink, brush and brown wash, with heightening in opaque white; framing lines in pen and brown ink, by the artist

Cleared · Public Domain

live
The MetSimilar
Studies for The Allegories of Love by Paolo Veronese (Paolo Caliari), The Metropolitan Museum of Art

Studies for The Allegories of Love

Paolo Veronese (Paolo Caliari) (d. 1588)

1570–75 · Pen and brown ink, brush and brown wash

Cleared · Public Domain

live
The MetSimilar
Mars and Venus United by Love by Paolo Veronese (Paolo Caliari), The Metropolitan Museum of Art

Mars and Venus United by Love

Paolo Veronese (Paolo Caliari) (d. 1588)

1570s · Oil on canvas

Cleared · Public Domain

live
The MetSimilar
Allegory of the Redemption of the World by Paolo Veronese (Paolo Caliari), The Metropolitan Museum of Art

Allegory of the Redemption of the World

Paolo Veronese (Paolo Caliari) (d. 1588)

1528–88 · Pen and black ink, brush and gray wash, highlighted with white gouache, on gray washed paper

Cleared · Public Domain

live
The MetSimilar
The Family of Cain by Peter Oliver, The Metropolitan Museum of Art

The Family of Cain

Peter Oliver (d. 1647)

ca. 1638–47 · Pen and black and brown ink, brush and gray wash over red chalk, highlighted with white gouache (bodycolor)

Cleared · Public Domain

live
The MetSimilar
Portrait of Andrea Palladio in half-length within an oval frame; a compass, carpenter's square, and plumb line rest on the plinth below the oval, from an unidentified edition of "Architecture de Palladio", revised by Giacomo Leoni and translated by Nicholas du Bois by Bernard Picart, The Metropolitan Museum of Art

Portrait of Andrea Palladio in half-length within an oval frame; a compass, carpenter's square, and plumb line rest on the plinth below the oval, from an unidentified edition of "Architecture de Palladio", revised by Giacomo Leoni and translated by Nicholas du Bois

Bernard Picart (d. 1733)

1716 · Engraving

Cleared · Public Domain

live
The MetSimilar
Figure Studies after Veronese's "The Martyrdom of Saint Sebastian" by Eugène Delacroix, The Metropolitan Museum of Art

Figure Studies after Veronese's "The Martyrdom of Saint Sebastian"

Eugène Delacroix (d. 1863)

1820s · Pen and brown ink

Cleared · Public Domain

live
The MetSimilar
The Childhood of Paolo Veronese, from "L'Artiste" by Adolphe Pierre Riffaut, The Metropolitan Museum of Art

The Childhood of Paolo Veronese, from "L'Artiste"

Adolphe Pierre Riffaut (d. 1859)

August 10, 1845 · Lithograph

Cleared · Public Domain

live
The MetSimilar

No open reproduction

The institution withholds the image for this record, which is itself the answer: the picture on their page is not theirs to give away.

Cybele Holding a Lion, after the fresco in the Sala dell'Olimpo of the Palazzo Trevisan, Murano, plate 24 from "Varie pitture a fresco de'principali maestri veneziani ora per la prima volta con le stampe pubblicate" (Frescoes by the Most Important Venetian Masters Published in Print for the First Time)

Antonio Maria Zanetti II (d. 1778)

1760 · Etching

In copyright

live
The MetSimilar

No open reproduction

The institution withholds the image for this record, which is itself the answer: the picture on their page is not theirs to give away.

Four Cameos of Olympian Deities, after the lost fresco in the Loggia of the Palazzo Trevisan, Murano, plate 22 from "Varie pitture a fresco de'principali maestri veneziani ora per la prima volta con le stampe pubblicate" (Frescoes by the Most Important Venetian Masters Published in Print for the First Time)

Antonio Maria Zanetti II (d. 1778)

1760 · Etching

In copyright

live
The MetSimilar

No open reproduction

The institution withholds the image for this record, which is itself the answer: the picture on their page is not theirs to give away.

Juno with Her Peacock, after the fresco in the Sala dell'Olimpo of the Palazzo Trevisan, Murano, plate 23 from "Varie pitture a fresco de'principali maestri veneziani ora per la prima volta con le stampe pubblicate" (Frescoes by the Most Important Venetian Masters Published in Print for the First Time)

Antonio Maria Zanetti II (d. 1778)

1760 · Etching

In copyright

live
The MetSimilar

No open reproduction

The institution withholds the image for this record, which is itself the answer: the picture on their page is not theirs to give away.

Feast at the House of Simon, with Mary Magdalen washing the feet of Christ at lower right, plate 23 from "Schola Italica Picturae"

Giovanni Volpato (d. 1803)

1772 · Engraving

In copyright

live
The MetSimilar

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