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The Gallery feature allows you to add one or more image galleries to your posts and pages using a simple Shortcode. Since WordPress 2.5 and up until 3.5, the gallery shortcode was commonly used in its most basic form:

It's important to note that this style of gallery shortcode is not new to 3.5, previously we could use the include attribute. However it is much easier to generate and manage with the new Media Workflow introduced in 3.5.

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The default expected behavior for a gallery that has no explicit IDs stated is to add all images that have the post as post parent assigned. In other words, add all images that were uploaded using the "Add media" button/link on this post edit screen. Keep in mind that this as well means that every attachment added to that post later on will be interpreted to be part of the gallery. No matter if it was displayed as plain attachment or not.

The museum's Early Years Gallery conveys the magic and wonder of the formative days of military air power. The gallery's aircraft collection, exhibits and artifacts combine to capture the spirit of imagination of that transformational era, chronicling the time from the Wright brothers and their contemporaries, through World War I and to the lead up to World War II. Visit this link for an overall Early Years Gallery Video.

On the back end, NextGEN offers a complete WordPress gallery management system with the ability to batch upload photos, import meta data, add/delete/rearrange/sort photos, edit thumbnails, group galleries into albums, and more.

On the front end, the free version of NextGEN provides three main gallery styles (slideshow, thumbnail, and imagebrowser galleries) and two album styles (compact and extended), all of which come with a wide array of options for controlling size, style, timing, transitions, controls, lightbox effects, and more. Learn more about NextGEN WordPress Gallery Plugin features.

INTRODUCING NEXTGEN GALLERY PRO. NextGEN Plus and NextGEN Pro are premium WordPress gallery plugin extensions for NextGEN Gallery that add new photo gallery displays, lightboxes, ecommerce, proofing, and pro support. Learn more about NextGEN Plus and NextGEN Pro photo plugin features.

This example demonstrates how to display the images from a Gallery field in a WordPress gallery by generating and rendering a gallery shortcode. The field in this example uses ID as the Return Format.

Laurence Miller Gallery is committed to making its website accessible to all people, including individuals with disabilities. We are in the process of making sure our website, www.laurencemillergallery.com, complies with best practices and standards as defined by Section 508 of the U.S. Rehabilitation Act and Level AA of the World Wide Web Consortium (W3C) Web Content Accessibility Guidelines 2.0.

The 4,500-square-foot gallery is now open at the National Museum of American History. Exhibitions in the Latino Gallery will present bilingual stories for multigenerational and cross-cultural audiences featuring multimedia, physical objects, and first-person voices.

You can explore the virtual exhibition in three ways, by taking a 360 virtual tour of the gallery, exploring an interactive map of the gallery, and by exploring some of the key themes in Presente!

Stonington Gallery exhibits an exciting collection of contemporary masterworks from the Pacific Northwest and Alaska. Serving Seattle since 1979, the gallery is respected for the depth and quality of its collection, exceptional service and knowledgeable staff. For visitors wishing to understand the character of Seattle and the wider Northwest Coast, our gallery is a rich cultural introduction, and proof of the vibrant, living Indigenous cultures and artists of our region. Our mission is to provide the ideal environment for the presentation, enjoyment and understanding of premier contemporary art of the Pacific Northwest Coast and Alaska, and to foster greater appreciation for these artforms and the artists who make them. Our commitment to educating the public and advancing the appreciation of Northwest Coast art has led us to exhibit at museums, convention centers, government buildings, SeaTac airport, the Seattle Aquarium, art fairs, and Nantes, France.

Each data field appears in a separate control within the Gallery control. And you can configure those controls in its template. The template appears as the first item inside the gallery:

AllItemsCount - Count of items that are loaded in the gallery. This may be less than the actual number of Items of the data source. More items may be loaded when the gallery is scrolled.

Screen readers will announce when items in the gallery change. The AccessibleLabel is also mentioned. This gives context to the announcement and is even more important when there are multiple galleries on the same screen.

If clicking anywhere in a gallery item is meant to select it, there must also be way for keyboard users to select the gallery item. For example, adding a Button that has its OnSelect property set to Select(Parent).

The late 18th century saw the nationalisation of royal or princely art collections across mainland Europe. The Bavarian royal collection (now in the Alte Pinakothek, Munich) opened to the public in 1779, that of the Medici in Florence around 1789 (as the Uffizi Gallery), and the Museum Franais at the Louvre was formed out of the former French royal collection in 1793.[7] Great Britain, however, did not follow other European countries, and the British Royal Collection still remains in the sovereign's possession. In 1777 the British government had the opportunity to buy an art collection of international stature, when the descendants of Sir Robert Walpole put his collection up for sale. The MP John Wilkes argued for the government to buy this "invaluable treasure" and suggested that it be housed in "a noble gallery... to be built in the spacious garden of the British Museum".[8] Nothing came of Wilkes's appeal and 20 years later the collection was bought in its entirety by Catherine the Great; it is now to be found in the State Hermitage Museum in St Petersburg.

A plan to acquire 150 paintings from the Orlans collection, which had been brought to London for sale in 1798, also failed, despite the interest of both the King and the Prime Minister, Pitt the Younger.[9] The twenty-five paintings from that collection now in the Gallery, including "NG1", arrived later by a variety of routes. In 1799 the dealer Nol Desenfans offered a ready-made national collection to the British government; he and his partner Sir Francis Bourgeois had assembled it for the king of Poland, before the Third Partition in 1795 abolished Polish independence.[7] This offer was declined and Bourgeois bequeathed the collection to his old school, Dulwich College, on his death. The collection opened in 1814 in Britain's first purpose-built public gallery, the Dulwich Picture Gallery. The Scottish dealer William Buchanan and the collector Joseph Count Truchsess, both formed art collections expressly as the basis for a future national collection, but their respective offers (both made in 1803) were also declined.[7]

The third director, Sir Frederick William Burton, laid the foundations of the collection of 18th-century art and made several outstanding purchases from English private collections. The acquisition in 1885 of two paintings from Blenheim Palace, Raphael's Ansidei Madonna and Van Dyck's Equestrian Portrait of Charles I, with a record-setting grant of 87,500 from the Treasury, brought the Gallery's "golden age of collecting" to an end, as its annual purchase grant was suspended for several years thereafter.[23] When the Gallery purchased Holbein's Ambassadors from the Earl of Radnor in 1890, it did so with the aid of private individuals for the first time in its history.[24] In 1897 the formation of the National Gallery of British Art, known unofficially from early in its history as the Tate Gallery, allowed some British works to be moved off-site, following the precedent set by the Vernon collection and the Turner Bequest. Works by artists born after 1790 were moved to the new gallery on Millbank, which allowed Hogarth, Turner and Constable to remain in Trafalgar Square.

Shortly before the outbreak of World War II the paintings were evacuated to locations in Wales, including Penrhyn Castle, the university colleges of Bangor and Aberystwyth.[31] In 1940, during the Battle of France, a more secure home was sought, and there were discussions about moving the paintings to Canada. This idea was firmly rejected by Winston Churchill, who wrote in a telegram to the director Kenneth Clark, "bury them in caves or in cellars, but not a picture shall leave these islands".[32] Instead a slate quarry at Manod, near Blaenau Ffestiniog in North Wales, was requisitioned for the Gallery's use.[33] In the seclusion afforded by the paintings' new location, the Keeper (and future director) Martin Davies began to compile scholarly catalogues on the collection, with assistance of the Gallery's library which was also stored in the quarry. The move to Manod confirmed the importance of storing paintings at a constant temperature and humidity, something the Gallery's conservators had long suspected but had hitherto been unable to prove.[34] This eventually resulted in the first air-conditioned gallery opening in 1949.[20]

Jock McFadyen was the first Artist in Residence in 1981.[46] Since 1989, the gallery has run an Associate Artist scheme that gives a studio to contemporary artists to create work based on the permanent collection. They usually hold the position of associate artist for two years and are given an exhibition in the National Gallery at the end of their tenure.

With the demolition of the workhouse, however, Barry was able to build the Gallery's first sequence of grand architectural spaces, from 1872 to 1876. Built to a polychrome Neo-Renaissance design, the Barry Rooms were arranged on a Greek cross-plan around a huge central octagon. Though it compensated for the underwhelming architecture of the Wilkins building, Barry's new wing was disliked by Gallery staff, who considered its monumental aspect to be in conflict with its function as exhibition space. Also, the decorative programme of the rooms did not take their intended contents into account; the ceiling of the 15th- and 16th-century Italian gallery, for instance, was inscribed with the names of British artists of the 19th century.[60] However, despite these failures, the Barry Rooms provided the Gallery with a strong axial groundplan; this was to be followed by all subsequent additions to the Gallery for a century, resulting in a building of clear symmetry. e24fc04721