Artistic Theme #
Description
theme or subject in a work of art
Rules
We tag references to specific narratives, myths, legends, or biblical stories depicted in a work of art, such as the “Last Supper” or the “Annunciation.” Symbolic or allegorical themes such as “vanitas” or “memento mori” are also tagged. We do not annotate technical aspects (e.g., “brushwork”) unless they are directly related to a thematic discussion; instead, see metadata layer. Art genres or movements are not tagged unless they are explicitly mentioned as themes in the context.
Examples
The National Gallery of Art comments on Giorgione's The Adoration of the Shepherds (1505/1510):
Relations
depicts (work of art artistic theme)
See
Composition #
Description
placement or arrangement of visual elements in a work of art
Rules
We annotate descriptions that specifically address the layout, spatial arrangement, or structure of a work of art, such as “diagonal lines” or “central figures.” References to compositional techniques or arrangements (e.g., “symmetry”) that describe the visual organization of the artwork should be tagged. We do not annotate vague descriptors such as “beautifully arranged” unless they clearly refer to a recognized compositional method.
Examples
The description of Mary Cassatt's The Boating Party (1893–1894) includes references to arrangements:
Another example is the following description of Antonello da Messina's Crucifixion of Christ (1475) in Wikipedia:
Descriptions indicating the placement of individuals or specific objects within the overall composition may also be annotated, as in Franz von Stuck's Adam und Eva (c. 1920):
Relations
depicts (work of art composition)
contains (e.g., composition person)
See
Work of Art #
Description
aesthetic item or artistic creation
Rules
We annotate titles or specific names of artworks (e.g., “Mona Lisa” or “The Sistine Chapel”) in both the metadata layer and the content layer. General references to instances of artworks (e.g., “painting”) are excluded; instead, type of work of art should be used. We do not tag references to art genres or movements, which are tagged separately.
Examples
One example is Albrecht Dürer's Melencolia I (1514) in the Metropolitan Museum of Art:
The tag always has to be annotated in both the content layer and the metadata layer:
See
Concept #
Description
semantic unit understood in different ways, e.g., as mental representation, ability, or abstract object
Rules
We annotate abstract concepts or ideas (e.g., “love” or “mortality”) when they are clearly referenced or symbolically represented in a work of art, including philosophical concepts (e.g., “divinity”). Concrete terms for objects or actions are not tagged unless they symbolically represent an abstract idea (e.g., “scales” for “justice”). Emotional states or mood descriptions (e.g., “sadness” or “joy”) are excluded; instead, emotion should be used.
Examples
About Giovanni Segantini's Alpine Landscape at Sunset (1895–1898), the Städel Museum writes:
Relations
symbolizes (e.g., person concept)
if no person is given, depicts (e.g., work of art concept).
See
Rhetorical Device #
Description
technique or strategy that a person uses with the goal of persuading or to convey deeper meanings
Rules
We annotate rhetorical devices (e.g., “allegory” or “irony”) when they are explicitly referenced or visibly present in the artwork's composition, including techniques that assist in the interpretation of the artwork, such as “personification” or “symbolism.” General references to “techniques” or “strategies” without reference to a specific rhetorical device should not be tagged.
Examples
For instance, in 2024, the Neumeister auction house offered a painting attributed to Frans Floris under the title:
In this case, “allegory” should also be tagged as art genre:
Relations
symbolizes (rhetorical device concept)
if no concept is given, depicts (work of art rhetorical device).
See
Emotion #
Description
biological states associated with the nervous system
Rules
We annotate references to emotions or moods expressed by figures in a work of art (e.g., “sadness” or “melancholy”). We do not tag emotional terms that describe the viewer's reaction rather than the content of the artwork (e.g., “makes the viewer uncomfortable”); neither do we tag descriptions of the artist's emotions. General mood descriptors (e.g., “dark” or “light”) should not be tagged unless they clearly describe an emotional state. Similarly, vague terms such as “beautiful” or “striking” that do not refer to a specific emotion or mood within the artwork should be excluded.
Examples
The National Gallery of Art describes the formal language of Wilhelm Lehmbruck's sculpture Seated Youth (1917) as follows:
However, we do not tag descriptions of the artist's emotions, as in the Städel Museum's text for Franz von Stuck's Adam and Eve (c. 1920):
Relations
depicts (work of art emotion)
See
Quality #
Description
distinguishing feature
Rules
We annotate descriptive terms that refer to aesthetic or sensory qualities of a work of art, depicted figures, or physical objects (e.g., “vibrant” or “delicate”). General positive or negative terms (e.g., “beautiful” or “impressive”) are not tagged unless they are employed in a descriptive context. We also do not annotate terms that refer to subject matter rather than aesthetic or material qualities; instead, artistic theme should be used. Generic descriptors without a clear reference to quality, such as “good” or “bad,” should not be tagged unless they are part of a descriptive phrase. Colors should be tagged separately.
Examples
Quality can be used with a wide range of tags, as shown in the following example from Quinten Massys' Portrait of a Woman (c. 1520):
The description of Mary Cassatt's The Boating Party (1893–1894) also includes qualities:
An example of this is the description of Sir Thomas Lawrence's portrait of Elisabeth Farren (1790):
Relations
has characteristic (person quality)
See
Color #
Description
characteristic of visual perception
Rules
We annotate specific color terms (e.g., “red” or “gold”) and references to particular shades, hues, or tones (e.g., “emerald green”). We also include broader descriptions of color schemes when they define the artwork's color palette (e.g., “pastel tones”). Symbolic meanings of colors are not annotated unless the color itself is explicitly mentioned. Vague references to appearance (e.g., “colorful”) are excluded unless they relate to specific colors or color effects in the work of art. Descriptive terms that refer to aesthetic or sensory qualities should be tagged as quality.
Examples
Gabriele Münter's painting of Wassily Kandinsky and Erma Bossi in the Lenbachhaus is described as follows:
Relations
depicts (work of art color)
See
Point in Time #
Description
position of a particular instant in time
Rules
We tag any date, year, or period directly related to the content of a work of art. For exact dates (e.g., “12 April 1450”), we include the full date if available; otherwise, we annotate the most specific time reference, such as the year or century. If the text gives an approximate date or time period (e.g., “mid-16th century” or “circa 1890”), we also tag the approximate terms (e.g., “mid-,” “late,” and “circa”). Broader historical periods (e.g., “Renaissance” or “Baroque”) should also be tagged if they contribute to the temporal context of the artwork's content. We do not annotate vague references without a clear temporal marker (e.g., “many years ago”). Seasons should be tagged accordingly.
Examples
For instance, the Wikipedia categorizes Jacques-Louis David's well-known painting of The Death of Marat (1793) as follows:
Relations
depicts (work of art point in time)
See
Season #
Description
section of a year
Rules
We annotate mentions of seasons (e.g., “spring” or “winter”) when they are depicted or referenced in a work of art. Symbolic or descriptive references to seasonal qualities are included if they clearly indicate a particular season (e.g., “blossoming flowers” for spring). Thematic or stylistic terms that imply a mood rather than a specific season should not be annotated (e.g., “fresh” unless clearly associated with spring). We exclude terms that refer to non-seasonal times of day (e.g., “morning”) or abstract periods of time, unless they are used to indicate a season. For more general temporal expressions, point in time should be used.
Examples
The seasons can be mentioned allegorically in works of art, as in Arcimboldo's The Four Seasons (1563–1573):
Relations
depicts (work of art season)
See
Person #
Description
being that has certain capacities or attributes constituting personhood
Rules
We annotate any depiction of a specific person if they are visually represented or symbolically referenced in a work of art. We also include general references to unnamed figures if they play a significant role in the composition (e.g., “a soldier”), as these contribute to the narrative or thematic structure of the artwork. Abstract concepts or representations (e.g., “humanity”) should not be tagged unless they are embodied by a visible figure. Similarly, individuals mentioned in titles or inscriptions should not be tagged without a visible representation in the composition. Mythical characters and religious characters should be tagged as such.
Examples
The following description of Adolph Menzel's Frederick the Great Playing the Flute at Sanssouci (1852) gives us an example:
Relations
depicts (work of art person)
See
Mythical Character #
Description
character from mythology
Rules
We annotate names of mythical figures (e.g., “Zeus” or “Venus”) when they are visually represented or symbolically referenced in a work of art. Generalized terms for well-known mythical figures (e.g., the “Muses”) should be tagged where their identity is clear; however, generic references (e.g., to “deities”) should not be tagged unless they refer to a specific figure within a recognizable pantheon. Non-mythological characters should be tagged as person unless they are depicted with mythological attributes.
Examples
This is how Tate Britain describes the mythical figures in William Turner's The Death of Actaeon (c. 1837):
Relations
depicts (work of art mythical character)
See
Religious Character #
Description
character of a religious work, alleged to be historical
Rules
We annotate names of religious figures (e.g., “Jesus” or “Adam”) when they are visually represented or symbolically referenced in a work of art. Generalized terms for well-known religious figures (e.g., the “Apostles”) should be tagged where their identity is clear; however, generic references (e.g., to “saints”) should not be tagged unless they refer to a specific figure within a particular religious tradition. Non-religious characters should be tagged as person unless they are depicted with religious attributes.
Examples
The description of Boticelli's Lamentation over the Dead Christ (c. 1490/95) provides an example of marking a disciple and Jesus Christ:
Relations
depicts (work of art religious character)
See
Anatomical Structure #
Description
entity with a single connected shape
Rules
We tag specific anatomical terms that refer to visible body parts or structures in the work of art (e.g., “arms” or “torso”). General references to the “body” should not be annotated unless a body part is directly mentioned or emphasized. Abstract or symbolic representations of anatomy are excluded unless they explicitly refer to an anatomical structure (e.g., “heart” as a symbol of love should not be tagged).
Examples
The description of Canova's Perseus with the Head of Medusa (1804–1806) lists anatomical parts of the body:
Although it is not an anatomical term in the strict sense, anatomical structure is also the best tag for hair, as illustrated by the description of Rembrandt van Rijn's Self-portrait (c. 1628) in the Rijksmuseum:
Relations
depicts (work of art anatomical structure)
See
Occupation #
Description
label applied to a person based on an activity they participate in
Rules
We annotate specific references to professions (e.g., “blacksmith” or “priest”) when figures are depicted with clear occupational attributes or symbols. Titles representing occupational roles (e.g., “Judge”) are included when these roles are relevant to the artwork's context. General descriptors (e.g., “woman”) should not be tagged unless they are directly related to a specific occupation. Similarly, symbolic roles or abstract descriptions that do not refer to an occupation (e.g., “hero”) should not be tagged.
Examples
The description of Petrus Christus's A Goldsmith in his Shop (1449) is a fairly obvious example of how to use this tag:
The occupation in question must be more than just an activity, as the description of Sandro Botticelli's Lamentation of Christ (c. 1490/1495) illustrates:
Relations
depicts (work of art occupation)
See
Posture #
Description
physical configuration that a human can take
Rules
We annotate terms that describe body positions or postures of figures in the work of art (e.g., “sitting” or “standing”). Vague descriptions of body positions should not be tagged unless they describe a recognizable posture (e.g., “moving” is too general). Terms related to specific body parts (e.g., “head tilted”) are tagged even if they do not refer to the overall posture. However, abstract or symbolic descriptions not related to physical expressions (e.g., “poised for action”) are excluded.
Examples
John Singer Sargent's reclining woman in Nonchaloir (Repose) (1911) is described by several references to her posture:
Descriptions of a particular movement resulting in a posture are also annotated; see, for example, the following description of Sandra Botticelli's Lamentation of Christ (c. 1490/1495):
Relations
has characteristic (person posture)
if no person is given, depicts (work of art posture)
See
Architectural Structure #
Description
human-designed and -made structure
Rules
We annotate types of buildings or architectural features (e.g., “castle” or “dome”) when they are depicted in the work of art. Vague terms such as “building” are excluded unless accompanied by further description that specifies an architectural structure. References to architectural styles (e.g., “Gothic”) should not be annotated unless they refer to a specific architectural element within the artwork. Similarly, metaphorical expressions of architectural terms that do not refer to an actual structure depicted are excluded (e.g., “towering presence”).
Examples
In Fra Carnevale's painting The Birth of the Virgin (1467), the duke's palace can be seen in the background:
Structures of organic material can also be annotated as architectural structure, as long as they are the result of deliberate human design. For instance, in Monet’s The Japanese Footbridge (1899):
Relations
depicts (work of art architectural structure)
See
Geographical Feature #
Description
components of planets that can be geographically located
Rules
We annotate natural features (e.g., “lake” or “valley”) that are visually represented in the artwork's setting. Terms such as “nature” are excluded unless accompanied by specific geographic descriptors. Metaphorical expressions of geographic terms that do not refer to an actual feature in the artwork are excluded (e.g., “a mountain of difficulties”). Man-made features (e.g., “bridge”) should be annotated as architectural structure.
Examples
The landscape painting The Fortress of Königstein (1756–1758) by Bernardo Bellotto depicts several natural features:
The following example, a description of Antonello da Messina's Crucifixion of Christ (1475), shows that “landscape” is too general a term to be annotated as geographical feature. As it is also not specific enough for geographical feature, “ideal landscape” should be annotated as artistic theme instead:
Relations
depicts (work of art geographical feature)
See
Mythical Location #
Description
place that only exists in myths, legends, and folklore
Rules
We annotate names of mythical locations (e.g., “Asgard”) when they are depicted or referenced in a work of art. Broader terms are included when they directly refer to a known mythical place within a particular mythological or religious context (e.g., the “Underworld” referring to Hades). Real-world or historical places should not be tagged unless they are presented in a mythological context within the artwork (e.g., “Troy” in the context of the Trojan War). Metaphorical or symbolic references to places without reference to a specific mythical location are excluded.
Examples
Although “paradise” would not typically be tagged in the following example, as we only annotate descriptions related to the artwork's content, it may be useful for retrieval purposes in the following case due to its thematic relevance:
Relations
depicts (work of art mythical location)
See
Religious Location #
See mythical location.
Physical Location #
Description
position of something in space
Rules
We annotate the names of real-world locations (e.g., “Paris” or “Mount Fuji”) when they are depicted or referenced in a work of art. Well-known landmarks or natural sites (e.g., “Eiffel Tower”) are included if they provide context for the artwork's setting or subject. Mythical or fictional places (e.g., “Atlantis”) are not tagged; instead, mythical location should be used. Metaphorical or symbolic references to places are excluded unless they clearly denote a real-world, physical location depicted in the work of art.
Examples
Leo von Klenze's Der Camposanto in Pisa (1858) depicts a physical location in the Italian city:
Relations
depicts (work of art physical location)
See
Physical Surface #
Description
two-dimensional boundary of three-dimensional object
Rules
We annotate references to natural or man-made surfaces (e.g., “brick wall” or “marble floor”) when they are depicted or referenced in the work of art. Materials that do not function as surfaces within the composition (e.g., “gold” as a decorative element) are not tagged. Metaphorical or symbolic references of surface terms (e.g., “scratching the surface”) are excluded unless they refer to a surface shown in the artwork.
Examples
An example of a physical surface of natural origin is given in the following description of the sitter's dress in Rogier van der Weyden's Portrait of a Lady (c. 1460):
Relations
depicts (work of art physical surface)
See
Animal #
Description
kingdom of multicellular eukaryotic organisms
Rules
We tag real animals by name or species (e.g., “horse” or “sparrow”) when they are depicted or referenced in a work of art. Animals in fantastical or mythical forms (e.g., “griffin”) should instead be tagged as mythical animal. We do not tag metaphorical references to animal traits in humans (e.g., “lion-hearted”). Generic terms for animals (e.g., “creature”) are excluded unless they specify a particular species.
Examples
In Thomas Gainsborough's Pomeranian Bitch and Puppy (c. 1777), the animals are described as follows:
Relations
depicts (work of art animal)
See
Mythical Animal #
Description
creature in mythology and religion
Rules
We annotate the names or types of mythical animals (e.g., “phoenix” or “centaur”) whenever they are depicted or referenced in a work of art. Broader groups of mythical creatures (e.g., “dragons”) are included if they are recognizable and contribute to the symbolic or thematic content of the artwork. We exclude animals of the real world unless they are depicted in a fantastical or mythological form (e.g., a lion with wings as a “chimera”); instead, animal should be used.
Examples
A classic example of this is the sphinx, as described in Jean-Auguste-Dominique Ingres's Oedipe explique l'énigme du sphinx (1808):
Relations
depicts (work of art mythical animal)
See
Food #
Description
any substance consumed to provide nutritional support for the body
Rules
We annotate foods or dishes (e.g., “fish” or “grapes”) when they are visually depicted or referenced in a work of art. General terms that lack specificity (e.g., “provisions” or “supplies”) are excluded. References to plants or vegetation are excluded unless they are clearly intended as food (e.g., “wheat” intended for human consumption); instead, plant should be used.
Examples
Descriptions of still life, such as Manet's The Brioche (1870), often include references to food:
Relations
depicts (work of art food)
See
Physical Object #
Description
singular aggregation of substance(s), with overall properties such as mass, position, or momentum
Rules
We tag identifiable physical objects (e.g., “sword” or “chair”) when they are depicted or referenced in the work of art. General terms such as “thing” are excluded unless they directly refer to a specific object. Natural elements or animals should not be tagged; instead, plant or animal should be used where appropriate. Symbolic or metaphorical references to objects are not tagged (e.g., “a bridge to understanding”).
Examples
The painting The Musician (1662) by Dutch painter Bartholomeus van der Helst displays several objects related to the playing of an instrument:
Relations
depicts (work of art physical object)
See
Plant #
Description
living thing in the kingdom of photosynthetic eukaryotes
Rules
We annotate names or types of plants, trees, or flowers (e.g., “lily” or “olive tree”) depicted or referenced in a work of art. General terms for vegetation (e.g., “foliage”) should be tagged as well. However, the term “nature” is too general for this tag; the correct annotation would be concept. For terms such as “water garden,” implicating human design and intervention, architectural structure should be used. We exclude references to food-related plants unless they are depicted as part of a landscape or setting (e.g., “vine” in a vineyard should be tagged, while “grapes” as food on a table should not).
Examples
Irises are depicted in Monet's The Path Through the Irises (1914–1917). The Metropolitan Museum of Art describes the painting as follows:
Aby Warburg's description of Burgundian carpets contains several examples of this tag being used for more general terms that are still specific enough:
Relations
depicts (work of art plant)