The Prodigal Son Kneeling Repentant among Swine
Salvator Rosa (d. 1673)
1615–73 · Pen and brown ink, brown wash, on brownish paper
Cleared · Public Domain
liveThe MetSimilar
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
151 ms. The Metropolitan Museum of Art, Collection API (Open Access)
- Clevelandlive
278 ms. The Cleveland Museum of Art, Open Access API
2 of 2 providers answered live. 8 matching records exist across the two collections.
Results for "The Prodigal Son Kneeling Repentant amon"8 records
Institutions answered newest-first by record, interleaved
The Prodigal Son (The Parables of Our Lord and Saviour Jesus Christ)
Sir John Everett Millais (d. 1896)
1864 · Wood engraving; proof
Cleared · Public Domain
liveThe 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.
Wilton album, folio 19c: The Return of the Prodigal Son; the father on the right kissing the kneeling son on the left
Andrea Schiavone (Andrea Meldola) (d. 1563)
1535–40 · Etching and drypoint
In copyright
liveThe 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.
The Prodigal Son as a Swineherd, plate 3 from The Story of the Prodigal Son
David Vinckboons (d. 1629)
1608 · Etching; Hollstein's second state of two
In copyright
liveThe 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.
A peasant (Prodigal Son?) kneeling in prayer with a pig at the left, from a set of eighteen marine landscapes
Francisco Desiderio (d. 1650)
early 17th century · Woodcut
In copyright
liveThe 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.
The prodigal son kneeling and surrounded by animals
Jean-Baptiste Michel (d. 1804)
1775 · Etching and engraving
In copyright
liveThe 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.
The Prodigal Son (in "Good Words for 1863," opp. p. 161)
Sir John Everett Millais (d. 1896)
1863 · Wood engraving
In copyright
liveThe 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.
Woodcuts from Designs by Various Artists, Collected by Arthur Heseltine, 1873
Dalziel Brothers (d. 1893)
1860–73 · Wood engraving
In copyright
liveThe MetSimilar
1. Pin the work
Choose the record and say what you are actually going to do with it. The product re-reads the work live and stores a snapshot, so your docket records what the institution said today.
2. Read the arithmetic
Six weighted factors: the institution's own claim, the creator's term, the publication-age rule, the restrictions in their statement, your use, and whether a credit line is even possible.
3. Seal and export
Record the decision into a SHA-384 chain, then export a dated docket as JSON, CSV or Markdown with the credit line and the seal a colleague can re-verify.