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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..19d29eb --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #66746 (https://www.gutenberg.org/ebooks/66746) diff --git a/old/66746-0.txt b/old/66746-0.txt deleted file mode 100644 index 7018be5..0000000 --- a/old/66746-0.txt +++ /dev/null @@ -1,1881 +0,0 @@ -The Project Gutenberg eBook of Brief Guide: National Gallery of Art, -by Anonymous - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Brief Guide: National Gallery of Art - -Author: Anonymous - -Release Date: November 15, 2021 [eBook #66746] - -Language: English - -Produced by: Stephen Hutcheson and the Online Distributed Proofreading - Team at https://www.pgdp.net - -*** START OF THE PROJECT GUTENBERG EBOOK BRIEF GUIDE: NATIONAL GALLERY -OF ART *** - - - - - - BRIEF GUIDE - National Gallery of Art - - - - - History and Description - - -The National Gallery of Art belongs to all the people of the United -States of America. Established by a joint resolution of Congress, it is -supported by public appropriation. The Board of Trustees consists of -four public servants, _ex officio_, and five private citizens. Chairman -of the Board is the Chief Justice of the United States. Under the -policies set by the Board, the Gallery assembles and maintains a -collection of paintings, sculpture, and the graphic arts, representative -of the best in the artistic heritage of America and Europe. Supported in -its daily operations by Federal funds, the Gallery is entirely dependent -on the generosity of private citizens for the works of art in its -collections. - -Funds for the construction of the original building were provided by The -A. W. Mellon Educational and Charitable Trust. During the 1920s, Mr. -Mellon began to collect with the intention of forming a national gallery -of art in Washington. His collection was given to the nation in 1937, -the year of his death. In 1941, President Franklin D. Roosevelt accepted -the completed Gallery on behalf of the people of the United States of -America. - -Architect for the National Gallery was John Russell Pope, who also -designed the Jefferson Memorial and other outstanding public buildings -in Washington. The building is one of the largest marble structures in -the world, measuring 780 feet in length and containing more than 500,000 -square feet of interior floor space. The exterior is of rose-white -Tennessee marble. The columns in the Rotunda were quarried in Tuscany, -Italy. Green marble from Vermont and gray marble from Tennessee were -used for the floor of the Rotunda. The interior walls are of Alabama -Rockwood stone, Indiana limestone, and Italian travertine. The entire -building is air-conditioned and humidity-controlled throughout the year -to maintain the optimum atmospheric conditions for the works of art it -contains. - -The original building is no longer large enough to accommodate the -Gallery’s acquisitions and interpretive art programs. A second building, -presently under construction, will house new exhibition galleries and a -Center for Advanced Study in the Visual Arts. The two buildings will be -connected by a plaza above ground and by a concourse of public service -areas, including a new café/buffet, below. The new construction has been -made possible by generous gifts from Mr. Paul Mellon, the late Ailsa -Mellon Bruce, and the Andrew W. Mellon Foundation. - - - - - THE COLLECTIONS - - - 3 Florentine and Central Italian Art - 6 Venetian and North Italian Art - 8 Italian Art of the 17th and 18th Centuries - 10 Flemish and German Art - 13 Dutch Art - 15 Spanish Art - 16 French Art of the 17th, 18th, and Early 19th - Centuries - 19 British Art - 21 American Art - 24 French Art of the 19th Century - 28 20th-Century Art - 30 Decorative Arts - 30 Prints and Drawings - 31 Index of American Design - - -_About the Works of Art Listed in this Brochure_ - - Owing to changes in installation, certain works of art listed in this - brochure may not always be on view. For up-to-date information, please - inquire at the information desks. - - -The paintings and sculpture given by the founder, Andrew W. Mellon, -comprising works by the greatest masters from the thirteenth to the -nineteenth century, have formed a nucleus of high quality around which -the collection has grown. Indeed, in making his gift Mr. Mellon had -expressed the hope that the newly established National Gallery would -attract gifts from other collectors, so that these works of art might be -enjoyed by all and would be a lasting contribution to the cultural life -of the nation. - -Mr. Mellon’s hope that others would carry on the work was realized, even -before the Gallery opened, by the action of Samuel H. Kress, who gave to -the nation his great collection of paintings and sculptures of the -Italian schools ranging from the thirteenth to the eighteenth centuries. -Enlarging and enriching the Kress Collection on subsequent occasions, -Samuel H. Kress and his brother Rush H. Kress made the National Gallery -outstanding for its representation of Italian art and also added a -distinguished group of French eighteenth-century canvases and sculpture -and fine examples of early German paintings, as well as works of first -importance from other schools. - -In 1942 Joseph E. Widener gave the famous collection of painting, -sculpture, and decorative arts formed by him and his father P.A.B. -Widener. Chester Dale, besides making numerous gifts during his -lifetime, bequeathed his extensive collection of nineteenth- and -twentieth-century French paintings to the Gallery. Ailsa Mellon Bruce -also bequeathed her collection of French paintings to the Gallery and, -in addition, generously provided funds for the purchase of many old -master paintings, including the Leonardo da Vinci. Lessing J. Rosenwald -has given over 20,000 prints and drawings. - -In addition, more than 325 other donors have generously added to the -collections of the National Gallery of Art. - - [Illustration: ROTUNDA: Attributed to Adriaen de Vries, _Mercury_, - cast probably c. 1603-1613] - -The vigorous movement, muscular lines, and above all the grace and -lightness of the bronze figure capture in this _Mercury_ the fleeting -presence of an ancient god. Protector of the forlorn and travel weary, -patron of shepherds, merchants, wayfarers, and even thieves fleeing the -law, Mercury was the bearer of news and tidings for the gods of -mythology. He was known by his winged feet, a traveler’s cap with wings, -and his herald’s staff, a _caduceus_, perhaps given him by Apollo, who -had the power of healing. The design of Mercury’s _caduceus_ with its -two serpents intertwined has been traditionally associated with medicine -and is the adopted symbol of the medical profession. This masterful -piece was probably made by Adriaen de Vries, a Dutch artist trained in -Italy, and was modeled after a _Mercury_ completed twenty years earlier -by Giovanni Bologna. - - - - - Florentine and Central Italian Art - (Galleries 1-10) - - -Because the Church defined much of the social and cultural structure of -medieval life, Christian themes predominated as the subject matter for -the arts of the period. In the National Gallery collections, works -created in Florence, Siena, Rome, and Central Italy show the range of -skills and styles prevalent in painting as it progressed from the highly -religious art of the Middle Ages to the more secular art of the -Renaissance. - -The usual technique for medieval religious art was egg tempera on wood -panels covered with a fine bone plaster, called gesso. Egg yolk mixed -with powdered pigments was applied to the gesso surface resulting in -pictures characterized by bright colors and clear outer contours. To -recall the radiant light of the heavenly kingdom and to heighten the -patterns typifying this art, the artist often used gold-leafed grounds -as well. - -By the late fifteenth century, tempera gave way to oil paints that dried -more slowly, permitting the artist subtle modulations in his color and -allowing him to create realistic atmospheric effects. As the Renaissance -progressed, artists combined a renewed interest in nature, analytical -science, and classical humanism with the recently developed techniques -in media to bring about a corresponding realism in art. - - [Illustration: GALLERY 1: Byzantine School, _Enthroned Madonna and - Child_, 13th century] - -A medieval walled city is transformed into a throne by this imaginative, -unknown artist to symbolize the dominance of Christ and Mary, Queen of -Heaven, over the celestial city. To symbolize Christ’s rule on earth as -well, the artist included, in the rondels, images of angels bearing orbs -and scepters. So typical of the art of the Byzantine Empire, this -painting is an icon, or holy image, and reflects within its composition -a fusion of ancient Roman and medieval Oriental styles. A feeling for -classical solidity shows in the faces, which are modeled with cast -shadows to suggest three-dimensional forms, whereas a Near Eastern love -of decoration accounts for the flattened drapery patterns and their -dazzling highlights. The _Enthroned Madonna and Child_ and another large -Byzantine icon of the same subject, also in this room, are among the -earliest paintings in the collection. - - [Illustration: GALLERY 3: Duccio, _The Calling of the Apostles Peter - and Andrew_, painted between 1308 and 1311] - -Called to be “fishers of men,” the brothers Peter and Andrew pause in -their labors at the persuasive words of Christ. In him, their future as -apostles, or teachers, and the future of mankind hang momentarily -suspended—like the net in their hands. This panel is part of an -altarpiece commissioned for the high altar of the Cathedral in Siena and -called the _Maestà_ (“majesty”) because its central theme was the Virgin -splendidly enthroned with angels and saints. The purpose of this piece, -like so many medieval paintings, was to teach, and Duccio arranged -bright colors in simple shapes so that the story could easily be -recognized. - - [Illustration: GALLERY 4: Fra Angelico and Fra Filippi Lippi, _The - Adoration of the Magi_, painted c. 1445] - -Painted by two monks (_Fra_ means “friar”), this important painting -fuses the concerns and techniques of medieval and Renaissance artists. -The tapestrylike lawn, the decorative bright colors, and the inverted -perspective of the shed are elements common to medieval art. The -realistic rendering of birds and animals, the weight and volume given -the kneeling Magi in the foreground, and the classically inspired nude -figures at the distant left reflect the new-found interest of the -Renaissance in both classical antiquity and the external world. The -colorful, festive mood of the painting, moreover, is emphasized by the -bustling throngs of people arriving to worship the Christ Child. - - [Illustration: GALLERY 4: Andrea del Castagno, _The Youthful David_, - painted c. 1450] - -Not simply a work of art, this painted leather shield reflects the -uniquely nationalistic consciousness of the Florentine city-state. As a -public image carried in parades and ceremonies, its function was to -symbolize the Florentine struggle for freedom and, as a gruesome -depiction of victory against oppression, to warn all potential enemies -of Florence. On the shield, both main episodes of the Old Testament -story appear concurrently: David takes aim with his sling, while the -giant’s head lies already severed at his feet. The effective, although -awkward, foreshortening of the upraised arm and the sharply delineated -veins and muscles attest to Castagno’s Renaissance interest in the -realistic rendition of perspective and anatomy. - - [Illustration: GALLERY 6: Leonardo da Vinci, _Ginevra de’ Benci_, - painted c. 1480] - -With precise draftsmanship and an infinitely subtle manipulation of -light and shadow, Leonardo captures the character of a young Florentine -noblewoman of the fifteenth century. In her eyes he has drawn a look of -intelligence; in her bearing and the set of her mouth, there is a sense -of determination and conviction. Punning on the name of his sitter, the -artist has framed her head with a juniper bush—_ginepro_ in Italian—and -decorated the back of the panel with a juniper sprig. Commissioned just -after he completed an apprenticeship with Verrocchio, this early work is -the only painting in the Western hemisphere accepted by scholars as -indisputably by Leonardo, one of the true geniuses of the Renaissance. - - [Illustration: GALLERY 8: Raphael, _The Alba Madonna_, painted c. - 1510] - -The solidity and serenity of the figures derive from the forms and poses -seen in ancient Roman sculpture and from the art of Raphael’s -contemporaries, Leonardo and Michelangelo. The equilibrium and stability -of the grouping provides not only a freshness and majesty suitable for -the religious moment but also a source of contrast to the subtle but -painful implications of the reed cross held by the two children. Named -for the Spanish Dukes of Alba who once owned it, the _Alba Madonna_ is -one of five paintings by Raphael in the National Gallery of Art. - - - - - Venetian and North Italian Art - (Galleries 19-29) - - -The splendor of Venetian art reflects the city’s prosperity during its -years as a major Mediterranean port. Typical of Venetian lavishness is -_The Feast of the Gods_ (gallery 22) by Giovanni Bellini, Renaissance -artist and teacher of Giorgione and Titian. This huge painting draws -from the fantasies of mythology, turning a Venetian picnic into a feast -for gods. - -Aware of the subtle reflections of light and shadow playing in the misty -air over the lagoons of Venice, sixteenth-century artists such as -Titian, Veronese (gallery 28), and Tintoretto (gallery 29) strove to -capture the illusion of surface texture and tangible atmosphere through -their paints. Because oils blended easily together and because one could -thicken these paints with pigments, artists soon established a more -flexible technique. At the same time, they abandoned rigid wood panels -for canvas supports, which allowed larger, lighter pictures. These -innovations, combined with worldly subjects, soon had a significant -impact on the rest of Europe. - - [Illustration: GALLERY 21: Giorgione, _The Adoration of the - Shepherds_, painted c. 1510] - -Dominated by a placid landscape bathed in the half-light of dawn, -Giorgione’s composition focuses on the small group placed off-center in -the foreground. Rendering the Holy Family in luminous colors, the artist -has silhouetted them against the dark mouth of a cave, a traditional -nativity setting borrowed from Byzantine art that here reflects the -strong cultural ties between the city-state of Venice and the empire to -the east. This composition, one of the very few existing paintings by -the master, demonstrates Giorgione’s mastery of color and control of -mood, elements which helped him to achieve fame during his short life of -thirty-three years. - - [Illustration: WEST SCULPTURE HALL: Jacopo Sansovino, _Venus - Anadyomene_, cast c. 1527-1530] - -One of the rare, life-sized bronzes of the Renaissance now in the United -States, the _Venus Anadyomene_ is of unparalleled elegance. While the -softness of the modeled forms and the vertical sweep of the curving -silhouette invest the nude with a heightened grace, her twisting pose -invites the viewer to move around the statue, following the fluid line -of her encircling arms. Shown holding a seashell, a reflection of Venus’ -birth from the sea, this statue is appropriately entitled _anadyomene_, -“rising from the waters.” The artist, Jacopo Sansovino, was trained in -Florence and Rome. Moving to Venice in 1527, this major high Renaissance -sculptor and architect designed or remodeled many important private and -public buildings including several palaces and the Library of Saint -Mark. - - [Illustration: GALLERY 28. Titian, _Doge Andrea Gritti_, painted c. - 1535/1540] - -Typically Venetian was Titian’s method of starting with a dark -preparatory ground, then building up the forms with thin layers of oil -paint. Choosing the pose that best focuses our attention, Titian has -captured his sitter’s restless vitality in the turn of the doge’s head -and the penetrating glance. By accentuating the size and grasp of the -hand and the bulk of the body beneath the sumptuous ceremonial robes, -the artist has drawn a massive and commanding presence befitting this -renowned admiral and doge, or duke of Venice. As seen here, the figure -seems to emerge quite powerfully from the shadow, and the predominant -hues of red and yellow have a rich, smoldering quality. - - - - - Italian Art of the 17th and 18th Centuries - (Galleries 33, 34, 36, 37; Lobby A, West Stair Hall, and Rotunda Stair - Hall) - - -The baroque period began around 1600, when the Church was engaged in a -movement to curb the spreading of the Protestant Reformation. To appeal -to the large numbers of ambivalent Christians torn between the two -theologies, the Catholic clergy commissioned and supported a realistic -but dramatic art designed to involve the populace in the teachings and -the authority of the Church. Indeed, so appealing was the baroque style -that it was quickly adapted to the worldly subjects of the secular arts. -Representative of the Counter-Reformation era is Gian Lorenzo Bernini, -an enormously successful and influential architect and sculptor. As -world trade shifted to the Atlantic nations, however, Italy’s economic -position declined, and by the eighteenth century many Italian painters -had to search for commissions elsewhere in Europe. Through their -travels, decorative painters and muralists, such as Giovanni Battista -Tiepolo, soon established an international style filled with brilliant -colors and virtuoso brushwork. - - [Illustration: LOBBY A: Gian Lorenzo Bernini, _Monsignor Francesco - Barberini_, carved c. 1624/1625] - -A masterful example of the immediacy of baroque art, this bust of the -uncle of Matteo Barberini, who became Pope Urban VIII, captures the -textural qualities of living flesh. Through Bernini’s virtuosity, the -highly polished forehead gives the illusion of glossy skin, whereas the -starched fabric has been left with a rough, light-absorbing surface. To -create a thoughtful expression, Bernini has exaggerated the depth of the -eye sockets, casting deep shadows. Such a convincing portrayal of aging -flesh and stern character—commissioned by the pope as a tribute to his -uncle—is all the more impressive since Bernini had never seen the -long-dead Francesco Barberini. The bee on the pedestal is the emblem of -the Barberini, a wealthy Roman family. - - [Illustration: GALLERY 33: Orazio Gentileschi, _The Lute Player_, - painted c. 1610] - -The most casual elements of this intimate portrait of human activity -combine to create a masterful composition of complex and dynamic parts. -The pose of the girl, shown with arm and head poised as she tunes her -lute, generates a feeling of sustained movement. The intricate still -life fading into shadowy depths at the left is in deliberate contrast to -the brightly lit costume and solid figure of the lute player. The -combination of abrupt spotlighting and suggested deep space was -characteristic of baroque painting in seventeenth-century Rome, and -Gentileschi, an international court artist, transmitted this robust -style to Genoa, Paris, and London. - - [Illustration: GALLERY 36: Giovanni Paolo Panini, _The Interior of - the Pantheon_, painted c. 1740] - -In an era of travel, when men and women of wealth toured the continent -as part of their education, factual renderings of interiors and -cityscapes became important souvenirs. A major attraction on the Grand -Tour during the eighteenth century was Rome; and in Rome, the Pantheon, -a circular temple built in the second century. Converted to a Christian -church, it became the burial spot of Renaissance authors and artists, -such as Raphael, and has proved the source of inspiration for many later -structures, including the central rotunda of the National Gallery. -Panini was the greatest view painter in Rome during the 1700s, although -his precise manner of painting was paralleled by his Venetian -contemporaries, Canaletto and Guardi. - - - - - Flemish and German Art - (Galleries 35, 35A, 39-43) - - -At the beginning of the fifteenth century, northern European art was -caught up by the same spirit of empirical inquiry and technical -innovation that predominated in Italy during this period. Northern art, -however, reflects neither the influence of classical art nor the -development of a single-point perspective that are the hallmarks of the -Italian Renaissance. Rather, Netherlandish artists such as Jan van Eyck -achieved mastery in the new technique of oil painting. The use of oil on -wood panel permitted an extraordinary increase in the depth and richness -of color, which, in turn, was coupled with the tradition of minute, -craftsmanly detail established in late medieval manuscript illumination. - -Around 1500, Italian humanism and Renaissance science had a discernable -effect upon northern European painting. Albrecht Dürer (gallery 35A) and -Francois Clouet (gallery 41) both profited from their exposure to -Italian art. The Renaissance influence carried over into the work of -Rubens in the seventeenth century despite the religious and political -upheaval of the Reformation which affected so much European art of the -mid-1500s. Catholic Flanders, the home of Rubens, remained relatively -untouched by the changing times and maintained a continuity of political -and economic ties to the Spanish monarchy. Rubens, who drew heavily from -the work of earlier Italian masters, at the same time developed a -baroque preference for large-scale canvases and bravura brushwork, -transmitting this style to his associate van Dyck. - - [Illustration: GALLERY 39: Jan van Eyck, _The Annunciation_, painted - c. 1425/1430] - -The sacred setting of a medieval church provides the backdrop to van -Eyck’s interpretation of the Annunciation. The archangel Gabriel, -dressed in jewels and rich fabrics, greets Mary: “Hail Mary, full of -grace.” The simply gowned young virgin lifts her hands in wonder and -replies, “Behold the handmaiden of the Lord.” The two Latin phrases -(Mary’s is written upside-down) reinforce the contrast and balance -between these two important figures: Gabriel in his sumptuous attire and -with wings in rainbow colors stands slightly in front in a partially -turned position, whereas Mary in her subdued glory sits slightly behind -the angel and faces forward. Following the established tradition of the -story, van Eyck added a lily, symbol of purity, and a dove, symbol of -the Holy Spirit. He also decorated the floor tiles with Old Testament -scenes prefiguring the life and triumph of Christ—Samson destroys the -Philistine temple and David slays Goliath. This subtle integration of -religious history into the background of the painting is indicative of -the late medieval belief that objects of the external world are imbued -with religious symbolism. - - [Illustration: GALLERY 35A: Mathis Grünewald, _The Small - Crucifixion_, painted c. 1510] - -One of the few surviving paintings by Grünewald, this crucifixion amply -displays the emotional power of this German Renaissance artist. Set -against a sky darkened by an eclipse of the sun, the scarred and haggard -body of Christ makes the scene painfully and physically immediate. With -the agonized gesture of the hands, the ragged loincloth, the dislocated -shoulders, and twisted feet, little remains to soften the tension of the -painting; rather, the artist emphasizes the human suffering necessary -for Christ to redeem mankind. Painted on the eve of the Protestant -Reformation, this panel reflects the growing insistence in northern -Europe upon the reality and importance of private religious experiences. - - [Illustration: GALLERY 41A: Peter Paul Rubens, _Daniel in the Lions’ - Den_, painted c. 1615] - -Scholar, collector, diplomat, and one of the finest artists of his -century, Rubens was famed for the boundless enthusiasm and technical -wizardry of his paintings. This monumental piece was executed early in -Rubens’ career. Its impact depends not only upon its large scale but -also upon the baroque combination of the theatrical—the dramatic -lighting and Daniel’s expressive pose—with a convincing realism—the -lifelike postures and superbly rendered lions’ fur. - - [Illustration: GALLERY 42: Sir Anthony van Dyck, _Queen Henrietta - Maria with Her Dwarf_, painted probably in 1633] - -Painted in London, this depiction of Henrietta Maria, wife of Britain’s -Charles I and sister of France’s Louis XIII, is a prime example of the -baroque “Grand Manner” portrait. Analysis of character is sacrificed in -favor of a stately and essentially flattering mode of presentation; the -glittering crown, for example, recalls Henrietta Maria’s station as a -queen and the sumptuous fabrics declare her wealth. The large size of -the canvas and the lack of expression on the queen’s face are both -devices that engender a mood of aloof formality and grandeur; animation -and warmth are limited to the minor figures of the dwarf Geoffrey -Hudson, who was to become a trusted ambassador, and his pet monkey Pug. -With seventeen paintings by van Dyck, the National Gallery has one of -the finest and most representative collections of portraits by this -master. - - - - - Dutch Art - (Galleries 44-49) - - -The United Netherlands was founded in 1609 as a Protestant nation -following bitter wars of liberation from Catholic Spain. The combination -of excellent seaports, a powerful navy, and strong mercantile interests -made Holland a flourishing economic center. Dutch patrons, predominantly -Calvinist and middle class, demanded not religious or mythological -pictures, but landscapes, portraits, still lifes, and genres, or scenes -of daily life. Their demands were met by an ever-increasing number of -Dutch artists who, perhaps in response to a burgeoning and competitive -market, specialized in a single type of subject. Thus Frans Hals was -famed for his portraits, Kalf for his still lifes, and Ruisdael and -Hobbema for their landscapes. The one exception was Rembrandt, whose -penetrating insight into the human condition and whose superb technical -facility enabled him to explore successfully a variety of subjects. -Holland’s artistic boom was soon ended, however, for as quickly as it -arose, the economic and artistic Golden Age declined during the last -years of the seventeenth century. - - [Illustration: GALLERY 44: Jan Vermeer, _A Woman Weighing Gold_, - painted c. 1657] - -One aspect of Vermeer’s genius was his ability to create a poetry of the -obvious, to transmute a mundane scene into an evocative moment. In what -appears at first to be a simple depiction of a woman holding a pair of -scales, a framed painting of the Last Judgment included on the back wall -of the scene suggests a more serious, allegorical meaning. Weighing the -souls of mankind serves as a point of comparison to the woman weighing -her worldly possessions. Vermeer’s incomparable sensitivity in rendering -effects of light can be seen in the careful modulation of the cool, -muted daylight that fills the room. Especially striking are the touches -of pure white paint that highlight the fur collar and the pearls on the -table. The stable, geometric gridwork formed by the table, picture -frame, and window reinforce the calm and serious mood. - - [Illustration: GALLERY 44: Jan Davidsz. de Heem, _Vase of Flowers_, - painted c. 1645] - -This still life reveals more than a study of inanimate objects -positioned in light and shadow; it also betrays the artist’s interest in -the lively microcosmic worlds unnoticed in our daily life. Using more -than twenty varieties of blossoms, including roses, tulips, -morning-glories, and candytuft, de Heem weaves the blooms, overflowing -in the insect-inhabited shadows, into the arrangement of sunlit flowers -thriving in the central area of the painting. Since none of the flowers -bloom concurrently, the artist portrayed them either from illustrations -in botanical texts or from his own studies made during different times -of the year. Such interest in the cycle of the seasons and the -transience of life, as reflected in this symbolic bouquet, is frequently -seen in Dutch flower painting. - - [Illustration: GALLERY 47: Aelbert Cuyp, _The Maas at Dordrecht_, - painted c. 1660] - -Cuyp was a marine and landscape painter, noted for his delicate -atmospheric effects. A major portion of this composition is taken up by -the sky, which is painted in translucent washes of thinned oils. The -scene, bathed in the gentle golden light of early morning, shows the -Maas River and, at the left, the unfinished church tower of Cuyp’s home -city of Dordrecht. The fleet of boats on the left, arranged on the -diagonal, serves both to create deep space and to contrast with the -single massive ship on the right. As cannons salute in the middle -distance, a figure in a vivid red, black, and white uniform prepares to -board ship. - - [Illustration: GALLERY 48: Rembrandt, _Self-Portrait_, dated 1659] - -The some sixty self-portraits painted by Rembrandt during his long -career form a unique visual autobiography. In early life, he was -Amsterdam’s leading portraitist and narrative painter and a wealthy man. -Later, ravaged by bankruptcy and personal misfortunes, Rembrandt became -increasingly introspective. In this self-portrait, painted when he was -fifty-three, all but the essential forms are concealed in shadow. Light -appears to emanate from the face itself, although the eyes are veiled in -a mysterious half-shadow. Rembrandt’s technical genius enabled him to -create subtle nuances even within a restricted range of color; the -golden light glistening from his forehead merges with the blue-gray at -the temples. All of Rembrandt’s painterly skill was used, ultimately, to -confront us with a candid self-appraisal that neither flatters nor -disparages. (The National Gallery has a wide range of Rembrandt -paintings in galleries 45 and 48.) - - - - - Spanish Art - (Galleries 30, 38, 39, 50, 51 and 76) - - -Imported by the royal courts or commissioned by the Church, foreign -artists dominated the arts of Spain during the fifteenth and sixteenth -centuries. Juan de Flandes, a Flemish painter (galleries 38 and 39), -served the court of Ferdinand and Isabella, and El Greco (gallery 30), a -Greek who studied in Venice and Rome, settled and worked in Toledo. By -the 1600s, Spain had become an economic and cultural force in Europe, -her power sustained in large part by the wealth of her vast American -colonies. Seville was then the artistic capital of Spain; Zurbarán, -Valdés Leal, Murillo, who founded an academy there in 1660, and -Velázquez all worked in Seville. After moving to Madrid, Velázquez -served Philip IV as court painter and director of the royal museum. The -greatest Spanish artist of the late eighteenth and early nineteenth -centuries was Francisco de Goya, who was court portraitist to a -succession of corrupt monarchs and French conquerors. It should not be -forgotten, too, that the twentieth-century artist Pablo Picasso (gallery -76) was first active in Barcelona before emigrating to France. - - [Illustration: GALLERY 30: El Greco, _Laocoön_, painted c. 1610] - -Unnatural color, particularly in the weightless, elongated figures, -combines with a mannered representation of landscape in this unearthly -vision from Homeric legend. Shown is the priest Laocoön, who, with his -sons, is attacked and destroyed by serpents for having offended the gods -during the course of the Trojan War. Beyond the wooden horse lies the -city of Troy, a distant and stormy image based on the artist’s adopted -city of Toledo. Born in Greece, Domenikos Theotokopoulos was nicknamed -El Greco, “the Greek,” when he moved to Spain in 1576. - - [Illustration: GALLERY 50: Francisco de Goya, _Señora Sabasa - García_, painted c. 1806 or 1807] - -Acutely sensitive to the ignorance, hypocrisy, and cruelty in all levels -of society, Goya often worked in a satirical mode to capture the -realities of war and the tyranny and decadence of court life. Yet, in -depicting the niece of a high-ranking government official, the artist -has given us a marvelously direct and sympathetic portrait. The innate, -peculiarly Spanish sense of pride and self-discipline is evident in -Sabasa García’s aristocratic posture and bold, unflinching gaze. Equally -direct is Goya’s manner of painting, which captures the rough texture of -the shawl as well as the gossamer quality of the mantilla lace. The -result is a portrait of great intensity heightened by feminine beauty. - - - - - French Art of the 17th, 18th, and Early 19th Centuries - (Galleries 33, 44, 52-56, East Sculpture Hall, and Lobby C) - - -Troubled by the Catholic-Huguenot wars and civil wars of the previous -century, seventeenth-century France followed a course of aggression -against foreign monarchies and of consolidation within the French state. -Most heavily supported by the royal court, French artists were sent to -Rome to study the arts of the Italian Renaissance and classical -antiquity; some, like Claude Lorrain and Nicolas Poussin (gallery 52), -chose to remain in Italy. In Paris, an Academy, which rapidly became the -ruling body for French art, was established in 1648. To enhance the -brilliance of his reign in the latter part of the century, Louis XIV -sponsored a ceremonial art—more idealistic than realistic in style—and -built near Paris the largest palace in Europe, Versailles. The fountains -in the National Gallery’s East and West Garden Courts once stood in the -gardens of Versailles and still bear traces of the lavish gold leaf that -originally covered them. - -Under Louis XV and Louis XVI in the eighteenth century, French society -became more relaxed and informal. Most apparent in the decorative arts, -the move to a lighter, more graceful style affected painting as well. -The new style, rococo, was first developed by Watteau (galleries 53 and -54), who used a carefree delicacy, pastel colors, and gracefully curving -lines. After the French Revolution of 1789, a school of neoclassical -artists dominated painting, using themes of patriotic heroism and -stressing severe beauty of line and firm modeling, over light and color. - - [Illustration: GALLERY 44: Georges de La Tour, _The Repentant - Magdalen_, c. 1640] - -Within the melancholy darkness of this painting, the dim light reveals -emblems of the vanity and brevity of life: a skull, book, and mirror. -Eliminating unnecessary detail, La Tour makes us focus on the inward, -spiritual aspect of his themes, through monumental shapes and a nearly -abstract geometry of forms. Mary Magdalen’s fingers touching the skull, -for instance, are emphasized in stark angularity against the light from -the hidden flame. Like Vermeer, La Tour is a rediscovery of recent -years. Although highly respected in his lifetime, La Tour slipped into -obscurity, and only thirty-eight of his paintings survive today. A court -painter to Louis XIII, La Tour was noted for his “nocturnes,” which -generate a mood of isolation by their dense shadows that envelop the -composition. - - [Illustration: GALLERY 52: Claude Lorrain, _The Judgment of Paris_, - painted 1645/1646] - -In a landscape of such serenity and beauty as this, the figures almost -play a secondary role. The perfectly blue sky with light cloud -formations enhances the golden tones of the foreground; the distant -Trojan citadel on the right balances the figures at the near left, where -three goddesses gather round the Prince of Troy, Paris. Chosen to judge -the women on their beauty, Paris is bribed by Venus, here accompanied by -her son Cupid, and accepts her aid in abducting Helen, Queen of Sparta. -Claude’s vision of this episode, which eventually touched off the Trojan -War, is a fine example of his ability both to ennoble and to idealize -nature, and it was this mode of painting which was to dominate European -landscape painting for the next two centuries. - - [Illustration: EAST SCULPTURE HALL: Jean-Louis Lemoyne, _Diana_, - dated 1724] - -Girlish and slightly awkward, her skirts disheveled by the breeze, Diana -is shown as though embarking on a woodland jaunt. The turning figure of -the goddess, the poised, expectant look of her dog, and the lightness of -her simple drapery lend a sense of buoyancy and delicacy to the -ponderous weight of the marble. Lemoyne’s surviving masterpiece, this -statue formed part of a group executed by several eighteenth-century -French sculptors for the gardens of the Château de la Muette at Marly, a -royal retreat and hunting lodge near Paris. This sculptural series -helped to generate a new interest in graceful vitality, replacing the -earlier ideals of serene monumentality in European statuary. - - [Illustration: GALLERY 55: Jean-Honoré Fragonard, _A Young Girl - Reading_, painted c. 1776] - -The delicate rococo style of the 1700s culminates in the work of -Fragonard, court painter to Louis XVI. Indeed, an intimate portrayal -such as this typifies rococo taste. Stabilized only by the straight wall -and armrest, curving lines wind through the composition. Fragonard’s -fascination with the irregular extends to the positioning of the girl’s -hand and the boneless curl of her little finger, to the interlacings of -her hair ribbons and the bows on her gown. The radiant golden quality of -the light and the frothy texture of the paint add to the picture’s -sensuous warmth. - - [Illustration: GALLERY 56: Jacques-Louis David, _Napoleon in His - Study_, dated 1812] - -Sensitive to the political aspirations of his sitter, David has here -chosen an activity, a time, and a setting that subtly but pointedly -illuminate the tenacity and drive of the conqueror Napoleon. With the -clock pointing to 4:13 and with candles guttering, Napoleon is -presumably rising from a night of work; his dress uniform is wrinkled -and his face unshaven. The study is littered with symbols of power, the -sword alluding to Napoleon’s military conquests and the scroll on the -desk representing the Napoleonic Code, still the basis of French law. -The crisp silhouettes and dark colors typify the neoclassical style that -followed the French Revolution of 1789. - - - - - British Art - (Galleries 57-59 and 61) - - -The history of sixteenth-century England was characterized by unstable, -often short-lived alliances made with her several continental neighbors. -No wonder then that the influx and influence of foreign artists during -this and the following century reflects the diversity of political ties -between England and Europe. In the 1500s, the German Hans Holbein the -Younger (gallery 40) was court artist to Henry VIII soon after that -monarch’s audacious break with the Church, and in the 1600s the Fleming, -Anthony van Dyck (galleries 42 and 43), was in the employ of Charles I. - -In the eighteenth century, however, when England became a leading -maritime and industrial nation under George III and George IV, a large -group of native British painters emerged, and in 1768 the Royal Academy -was founded in London. The portraitists were led by Sir Joshua Reynolds, -first president of the Royal Academy, and Thomas Gainsborough, noted for -his virtuoso brushwork. Among their contemporaries and followers were -Romney, Hoppner, Raeburn and Lawrence. In the early 1800s, England -produced two landscapists who achieved international reputations. -Constable was basically a realist in his study of scenes in natural -light; Turner, however, was a romantic who interpreted the moods of -nature. - - [Illustration: GALLERY 59: Thomas Gainsborough, _Mrs. Richard - Brinsley Sheridan_, painted probably 1785/1786] - -With a feeling for theatricality, Gainsborough interplays the frail -figure of a young woman and the powerful mood of nature to establish a -perfect setting for this celebrated actress and wife of the playwright -and politician Sheridan. Born Elizabeth Linley, she was Gainsborough’s -lifelong friend. A motif common to the eighteenth century, the Age of -Enlightenment, was the use of nature and an informal pose to achieve -unaffected simplicity. In this portrait, however, early signs of -romanticism are clearly seen in the dramatic quality of the blowing -trees and windswept figure contrasted with the calm features of the -finely modeled face. Gainsborough normally painted under candlelight to -give a glow and flickering liveliness to his sitters and sometimes used -six-foot-long brushes to avoid finicky detailing. - - [Illustration: GALLERY 57: Joseph Mallord William Turner, _Keelmen - Heaving in Coals by Moonlight_, painted probably in 1835] - -Turner’s exaggerated rendition of moonlight was criticized by -conservatives when this night scene on the River Tyne was exhibited at -the Royal Academy in 1835. Cutting through the center of the painting, -the arched curve of brilliant light transforms the reality of a gritty -industrial scene into an appealingly romantic seascape and brings the -world of man into accord with nature. Through the misty English air and -against the thinly painted sky, the moon shimmers forth as a disk of -thick white paint. - - - - - American Art - (Galleries 60, 60A, 60B, 62, and 64-68) - - -Established as a subculture of the mother country, the American colonies -looked to England for leadership in the arts. Ambitious painters, -finding no opportunity for formal training in the colonies, went to -study in Europe. Benjamin West, a Pennsylvania Quaker, after three years -in Italy, in 1763 established himself in London, where he achieved such -renown that he became History Painter to King George III and was later -appointed second president of the Royal Academy of Arts. Until after the -Civil War, the best training was still abroad, but usually the American -students returned to the United States, where a growing urban society -with more leisure was providing a market for works of art. - -During the first half of the nineteenth century, many untrained artists, -working in the cities but more often traveling about the countryside, -provided naïve or primitive pictures for the ever-increasing middle -classes. Up to this time the artist had been mainly a portraitist; but -with the invention of the camera in 1839 he had to shift his emphasis, -and by mid-century America had a thriving school of landscape painters, -whose works fed a national pride in the great wild terrain of the New -World. After the Civil War, however, these landscapes also appealed to a -populace seeking relief in the ideal world of a quiet countryside away -from the humdrum of dirty cities that were springing up everywhere, the -result of the Industrial Revolution. - -Thomas Eakins and Winslow Homer were the great turn-of-the-century -artists. They portrayed American life and scenery with straightforward -candor. Their example has been carried on by some modern American -artists who, fascinated with the urban growth of the 1900s, have -emphasized the vitality of city life. These include painters such as -Henri, Bellows, and Sloan. More recently abstract art has been in the -forefront of American painting. - - [Illustration: GALLERY 64: John Singleton Copley, _Watson and the - Shark_, dated 1778] - -Unusual in European art, the sense of immediacy in this rescue scene was -an American innovation, and it assured Copley’s reputation in Britain -while furthering the importance of realism in narrative painting. The -successful merchant and former English sailor Brook Watson commissioned -the young American artist, who had settled in London, to depict an -adventure that occurred in the sailor’s youth. Watson had been attacked -by a shark while swimming in Havana, Cuba, in 1749. Using a fresh -approach, Copley recaptured the horror of that event by lending vivid -emotions to the rescuers—cowardice, fear, compassion—and by catching the -helpless fright of the boy. - - [Illustration: GALLERY 60B: Gilbert Stuart, _The Skater_, painted in - 1782] - -Artist and subject, while breaking from the first posing session for -this portrait, took to the fresh air and exercise of skating on the -frozen Serpentine in London’s Hyde Park. The sport gave Stuart a novel -idea, which he translated with a free-spirited freshness and vigor. -Commissioned by Mr. William Grant, this, Stuart’s first full-length -portrait, was a triumph at the Royal Academy exhibition in 1782. Unlike -West, under whom he studied, and Copley, another American artist, -Gilbert Stuart eventually returned to the United States, achieving -further fame with his innumerable portraits of George Washington. -Painted in 1795, the famous portrait in gallery 62 is believed to be his -first life study of the president. - - [Illustration: GALLERY 60: Thomas Cole, _The Voyage of Life: - Childhood_, dated 1842] - -One of the earliest American landscapists, Thomas Cole produced -imaginary, symbolic scenes as well as glorified panoramas of native -wilderness. In the first of four fantasies, _Childhood_, a baby’s ship -of life, steered by a guardian angel, floats at the source of a river -toward a promising dawn. In the other three pictures completing _The -Voyage of Life_ series, Youth sets off on a meandering stream, striving -toward a castle in the clouds, while Manhood weathers a storm on a -tumultuous river and Old Age drifts into a quiet ocean where heavenly -messengers wait to receive him. - - [Illustration: GALLERY 66: Edward Hicks, _The Cornell Farm_, dated - 1848] - -After an 1848 Pennsylvania agricultural fair, James Cornell commissioned -this record of his prize-winning livestock and acreage. In addition to -carefully detailing each cow, horse, pig, sheep, and building, the -artist Edward Hicks has also emphasized the decorative patterning of the -group. This so-called naïve piece does not present a sophisticated -rendering of anatomy or landscape, but it does present a study in -contrast between the rhythmic row of animals and the geometric -background. Lacking formal artistic schooling, Hicks was a sign and -coach painter, who did pictures as a sideline or as favors for friends. - - [Illustration: GALLERY 67: James McNeill Whistler, _The White Girl - (Symphony in White, No. 1)_, dated 1862] - -Painted in Paris, this canvas caused a scandal at an 1863 exhibition. -The lack of personality in the face infuriated critics; they failed to -realize that this was not intended as a portrait. Whistler, an American -expatriate, was exercising his artistic theories by exploring a single -tone—white. The starched cuffs, striped sleeves, cambric skirt, brocade -curtain, and fur rug create a “Symphony in White,” as Whistler once -titled this work. The fullness of the girl’s lips, the thick richness of -her chestnut hair, and her wide blue eyes, however, mark a subtle but -uneasy contrast to the purity of the white color. This tension is -carried further by the presence of the bearskin and the garish flowers -wilting on the floor, symbolic, perhaps, of a bestiality of nature and -an innocence lost. To emphasize the color relationships around this -woman, his mistress Joanna Hiffernan, Whistler flattened the space and -avoided strong lights and shadows. - - [Illustration: GALLERY 68: George Bellows, _Both Members of This - Club_, painted in 1909] - -When public boxing was illegal in New York, fights were held in private -clubs with fighters elected as members for only the night of the match. -The black boxer may be Joe Gans, lightweight champion from 1901 to 1908; -his opponent has not been identified. Once a professional athlete -himself, George Bellows understood the violence of the sport. Brutality -is conveyed by the angular lines of the fighters’ bodies, the boldly -slashing brushwork, and the lurid glare of spotlights within the gloomy -arena. - - - - - French Art of the 19th Century - (Galleries 72, 77, and 83-93) - - -French art during the second half of the 1800s is noted for its -innovation and its diversity. Yet, although the paintings produced -during this period differ in their visual effects, the artists of these -works were all largely concerned with the same problem: how to treat -nature and how to define reality. Thus, in reaction to the -neoclassicists, who stressed line and color, and the romantics, who -favored lush hues, exotic or unusual subject matter, and emotionalism, -the realists sought to paint only what was before them, free from -embellishment. Other artists such as Monet and Renoir concentrated upon -recording the fleeting and subtle color impressions created by changes -in sunlight. Because their technique was rapid and sketchy, these latter -artists gave less attention to studiously modeled form, and their -paintings, although “realistic” in their rendition of light and space, -do not have the solid, tangible qualities so evident in Academic -painting. (The Gallery’s collections are particularly comprehensive in -the works of Manet, Renoir, and Degas. Included also is Mary Cassatt, -the only American who exhibited with the impressionists.) Still other -artists rejected impressionism’s concern with transitory moments in -order to express either their intuitive reactions to the natural world -or their personalized interpretation of the physical laws that order -appearances. Reality was redefined by these artists, such as Gauguin, -van Gogh, Toulouse-Lautrec, and Cézanne, who were known as -post-impressionists. It was their work which prepared the way for -twentieth-century expressionism and abstraction. - - [Illustration: GALLERY 93: Jean-Baptiste-Camille Corot, _Forest of - Fontainebleau_, painted c. 1830] - -Amid the controversies of nineteenth-century French art criticism, Corot -was a transitional figure. Popular with conservative patrons, he was -also a champion of the younger, radical painters. This scene in a forest -near Paris is composed of traditional elements: the overlapping planes -of light and dark foliage and a deep perspective established by the path -of light and space running through the painting’s center. Corot’s -treatment of light, studied directly from nature, is quite modern, -however, as he exactly captures the harsh glare and heavy shadow caused -by strong sun. - - [Illustration: GALLERY 83: Edouard Manet, _Gare Saint-Lazare_, dated - 1873] - -Overlooking Paris’ Saint-Lazare railroad yards, this sun-drenched scene -is the first major picture Manet executed out-of-doors. Though -influenced by his friends, the impressionists Monet and Renoir, Manet’s -disciplined temperament rejected impressionism’s less structured -effects. The rigid lines of the iron fence, for example, act as a foil -for the figures’ curves. The little girl, whose interest lies on the -rail yards behind, forms a subtle tension with the woman who gazes out -at the viewer. The color scheme, with its reversal of colors, serves -both to unify the pattern and to underscore the separation of the two -figures: the full womanly figure is dressed in blue accented with white, -whereas the childish figure is in white accented with blue. - - [Illustration: GALLERY 90: Auguste Renoir, _A Girl with a Watering - Can_, dated 1876] - -Wanting to capture the dazzling colors found in strong sunlight, the -impressionist painter Renoir intensified the natural hues of reality to -a greater vibrancy on canvas. The green of the grass depicted here is -more intense in hue than that which one might expect to find in nature, -and the gravel path sparkles like gems. In calculating the juxtaposition -of color, the artist placed pale blue-green shadows on the child’s face -to heighten her rosy complexion. In addition, the blurred impressionist -brushstrokes create the effect of shimmering sunlight dissolving form -and detail. Once in response to criticism about his work, Renoir said, -“There are enough things to bore us in life without our making more of -them.” - - [Illustration: GALLERY 86: Claude Monet, _Rouen Cathedral, West - Facade_, dated 1894] - -Monet, a founder of impressionism, became obsessed with the variations -with natural light. From 1892 to 1895, he recorded in a series of -paintings a medieval French cathedral as it appeared at different times -of day or under different weather conditions. In over thirty canvases of -Rouen Cathedral, Monet’s analyses of light on the cathedral’s surfaces -resulted in iridescent colors and thick paint textures that are visually -sensational yet highly naturalistic. Here, in early morning, the church -shimmers lavender and violet, the stone of the upper portions glowing in -the rich red-orange of the rising sun. Another from the Rouen series, -showing the church in the yellow-white heat of the afternoon, is also in -this room. - - [Illustration: GALLERY 85: Edgar Degas, _Four Dancers_, painted c. - 1899] - -One of Degas’ own favorite works, this, his last major oil painting, has -a chalky texture reminiscent of the pastels he frequently used. Studying -the strong patterns in Japanese prints as well as the snapshot effects -of photography, this superb draftsman often designed his paintings with -an angled point of view or created an off-center balance, cutting off -figures by the frame edge. With the increasing abstraction of his late -style, Degas here used a black outline which not only separates the -gestures of the dancers but also accents their red apparel, intensifying -the theatrical effect. - - [Illustration: GALLERY 85: Paul Cézanne, _Still Life_, painted c. - 1894] - -Most evident in this painting is the tension between what is, on the one -hand, a rendition of nature and, on the other, Cézanne’s deliberate -organization of the shapes into a rhythm of forms. The swirls and eddies -of the blue drapery are reflected in the curves of the apples, -peppermint bottle, white linen, and carafe. At the same time, horizontal -or vertical lines dominate along the edge of the table, the molding of -the back wall, and the neck of the bottle, creating a linear grid that -offsets and balances the curving lines. The blue-green tonality, in -addition to the geometric patterning, further demonstrates the artist’s -intent to visually organize and unify. Indeed, for the sake of unity, -Cézanne has even distorted the carafe by swelling it out on one side, -pulling it deeper into the folds of the fabric. - - - - - 20th-Century Art - (Gallery 76 and West Stair Hall) - - -Flattened shapes, strong outlines, unmodulated hues, and pronounced -pigment textures have been among the central devices of many -twentieth-century painters. Artists have often abandoned the direct -imitation of reality, preferring instead to work through complex -problems of pictorial design to express human feelings. A tremendous -diversity of artistic styles has resulted, emerging in tempo with the -rapid changes of modern society and technology. The National Gallery’s -present collection of modern art concentrates on the French school prior -to World War I, the period when Paris was the cultural center of Europe. - -With the opening of the East Building, the National Gallery will have -increased space for the display of contemporary art. - - [Illustration: GALLERY 76: Pablo Picasso, _Family of Saltimbanques_, - painted in 1905] - -Obsessed in 1905 with the theme of the circus, Picasso sought the -company of performers not only as potential subjects for his paintings -but also as companions. Their agility and grace delighted him; their -gypsy lives intrigued him, as did their professional pursuit of the fine -art of illusion. The circus family in this painting is assembled in a -lonely landscape devoid of any living thing. Their static poses suggest -that each member, caught up in reverie, is unaware of the others. A -sense of equilibrium is maintained, however, in the compact shape of the -five figures at the left balanced against the single figure in the right -foreground. The pastel tints of red, violet, and blue, moreover, create -an aura of elegiac melancholy. Although Picasso has abandoned the -predominantly blue palette of his earlier, more pensive work, the -_Family of Saltimbanques_ still exudes a feeling of pathos and -isolation. (The thirteen paintings by Picasso in the National Gallery -represent the major phases within the first half of Picasso’s career.) - - [Illustration: GALLERY 76: Georges Braque, _Still Life: Le Jour_, - dated 1929] - -Although common, everyday items, the objects in this painting are not -shown in an everyday arrangement. Rather, through a precise, rational -manipulation of shapes, the artist has so structured the objects as to -arrive at a fresh understanding of their reality. The pitcher and the -wineglass, for example, are each shown as an overview of the rim -(presenting one angle of vision) and a profile view of the object’s body -(presenting a second angle of vision); these and other aspects of the -objects are combined to reveal a new, but nonetheless accurate, -perception of the object. And, as Braque intended, it is this flattened -perception that, throughout the composition, constantly reminds us of -the two-dimensional surface of the canvas. Braque’s geometric -compositions—which to outraged critics were nothing more than -“cubes”—were one aspect of a style known as cubism which developed -shortly after the turn of the century. - - [Illustration: WEST STAIR HALL: Salvador Dali, _The Sacrament of the - Last Supper_, dated 1955] - -Known neither for his Christian themes nor for simplicity of -organization, Dali has in this painting moved away from the surrealism -that preoccupied him during his earlier years. The composition of the -_Last Supper_ is clearly defined in two main planes: foreground action -and background scenery. The placement of the figures is symmetrical with -a mirror-image repetition of the same figures from one side of the -painting to the other. The men, their faces hidden, are more the -idealized participants in a timeless Eucharist than specific men of a -specific time and place. The strange translucent enclosure—a geometrical -dodecahedron—is meant to be understood as part earthly, part celestial. -The enigma of this intellectual and complex painting centers finally in -the all-embracing arms—symbolic of the heavens and of the creator, who -is seen as youthful rather than patriarchal but whose face is hidden. - - - - - Decorative Arts - - -As objects for daily use, the decorative arts allow a close insight into -cultures of the past. Among its holdings, the National Gallery has an -extensive collection of European furniture, tapestries, and ceramics -from the fifteenth and sixteenth centuries as well as medieval church -vessels and Renaissance jewelry. In addition, there is a fine selection -of eighteenth-century French furniture—including many pieces signed by -cabinetmakers to Louis XV and Louis XVI and, of historic interest, the -writing table used by Queen Marie Antoinette while she was imprisoned -three years during the French Revolution (gallery 55). The Gallery also -contains a large collection of Chinese porcelains, including porcelains -from the Ch’ing Dynasty of the seventeenth and eighteenth centuries. - -Until the East Building is completed, only a few selected works can be -placed on exhibition in the galleries. - - - - - Prints and Drawings - - -The collection of prints and drawings at the National Gallery contains -about fifty thousand examples from the fifteenth century to the present -time. Included are drawings by Dürer, Rembrandt, Rubens, and Blake, as -well as a wide range of prints by the major graphic artists of the -Western World. The National Gallery’s collection incorporates an -extremely fine selection of early Northern woodcuts and engravings and -one of the most important groups of eighteenth-century French prints, -drawings, and book illustrations outside of France. There is also an -excellent group of early manuscript illuminations. - -Visitors may examine prints and drawings not on exhibition by -appointment with a curator in the Department of Graphic Arts. - - - - - Index of American Design - - -The Index of American Design is a collection of watercolor renderings of -objects of popular art in the United States from before 1700 until about -1900. The renderings represent American ceramics, furniture, -woodcarving, glassware, metalwork, tools and utensils, textiles, -costumes, and other types of American craftsmanship. There are some -seventeen thousand renderings and about five hundred photographs. These -are available for study, by appointment. The works themselves may be -loaned to organizations for exhibition outside the Gallery. - - - - - GENERAL INFORMATION - - -The National Gallery is open to the public every day in the year except -Christmas Day and New Year’s Day. Admission is free at all times. - - -HOURS - -_Regular:_ Weekdays, 10 a.m. to 5 p.m.; Sundays, 12 noon to 9 p.m. - -_Summer:_ During the summer months the regular hours are extended to 9 -p.m. Dates for the beginning and termination of evening hours are -announced on Gallery information boards and in the Gallery’s monthly -_Calendar of Events_. - - -ART INFORMATION DESKS - -There are two art information desks: one at the Constitution Avenue -entrance on the Ground Floor; and the other at the Mall entrance near -the Rotunda on the Main Floor. - - -CHECKROOMS - -Free checking service is provided near the entrances. All parcels, -briefcases, and umbrellas must be checked. - - -PUBLICATIONS SERVICE - -Reproductions and catalogues of the collections are sold in the -publications salesroom on the Ground Floor near the Constitution Avenue -entrance. Books and catalogues, postcards, color reproductions, framed -reproductions, original color slides, recordings, portfolios, sculpture -reproductions (including jewelry), note folders, and other publications -are available. - - -TOURS - -Gallery talks and free tours of the collection are given by the -Education Department. - -An _Introductory Tour_, lasting about 50 minutes, covers the Gallery’s -highlights. It is offered at 11 a.m. and 3 p.m., Monday through -Saturday, and at 5 p.m. on Sunday. - -The _Tour of the Week_, lasting about 50 minutes, concentrates on a -specific topic or on a special exhibition. It is given at 1 p.m., -Tuesday through Saturday, and at 2:30 p.m. on Sunday. - -The _Painting of the Week_, a 15-minute gallery talk on a single picture -in the collection, is scheduled at noon and 2 p.m., Tuesday through -Saturday, and at 3:30 and 6 p.m. on Sunday. - -_Special appointments_ for groups of 15 or more people can be arranged -by applying to the Education Department at least two weeks in advance. - -_Recorded tours_, one offering a selection of the Director’s choice of -paintings and another discussing works in various galleries, may be -rented for nominal fees. - - -LECTURES - -Lectures by visiting art authorities, and occasionally by members of the -Gallery staff, are given at 4 p.m. on Sunday afternoons in the -Auditorium. - -The subjects are often grouped to form a series treating a single aspect -of art history. Admission is free and no reservations are required. The -A. W. Mellon Lectures in the Fine Arts, a special series commissioned by -the National Gallery, which are subsequently published in book form, -take place during the spring. - - -FILMS - -Free films on art are presented on a varying schedule. For further -information on tours, lectures, and films, consult the Gallery’s -_Calendar of Events_. - - -CONCERTS - -Free concerts are given in the East Garden Court every Sunday evening at -7 p.m. (with the exception of the summer period from late June to late -September). Concerts are given either by guest artists or by the -National Gallery of Art Orchestra under the direction of Richard Bales. -The programs, with intermission talks or interviews by the Gallery -staff, are broadcast live over WGMS-AM (570) and FM (103.5). Seats, -which are not reserved, are available after 6 p.m. - - -CALENDAR OF EVENTS - -The monthly _Calendar of Events_ listing special exhibitions, lectures, -concerts, and films at the National Gallery of Art will be sent to you -regularly, free of charge, if you fill out an application at either -information desk. - - -EXTENSION SERVICE - -A variety of educational materials suitable for schools, colleges, and -libraries can be borrowed from the Gallery. Color slide programs, with -accompanying audio cassettes, texts, and study prints, cover a wide -range of subjects. A number of films, including “Art in the Western -World” and “The American Vision,” are available. All material is lent -free of charge except for return postage. For information, apply to the -office of the Extension Service. - - -SLIDE LENDING SERVICE - -Slides of the Gallery’s collection are available as loans to -organizations, schools, and colleges without charge. For information, -apply to the slide library in the Education Department. - - -PHOTOGRAPHY OF WORKS OF ART - -Photography for personal purposes, with or without flash, but not with a -tripod, is permitted throughout the Gallery unless signs in a particular -area indicate to the contrary. Application for permission to use a -tripod should be made to the Photographic Services Office, Monday -through Friday, exclusive of legal holidays. - - -PERMITS TO COPY WORKS OF ART - -Easels and stools are provided without charge for those individuals who -have secured permission to copy works of art in the Gallery. Application -for permits should be made at the Registrar’s Office. Letters of -reference and examples of work are required before permission to copy -may be granted. No special permission is required for sketching without -easels if only nonliquid materials, such as pencil, ballpoint pen, or -crayon, are used. - - -CAFÉ/BUFFET - -The café/buffet is open every day of the year except Christmas Day and -New Year’s Day. It is located at the Concourse level and may be reached -from the Main Floor via the East Garden Court and East Lobby or from the -4th Street Plaza. - -_Regular hours:_ 10 a.m. to 4 p.m. on weekdays and Saturdays, and 1 p.m. -to 7 p.m. Sundays. - -_Summer hours:_ During the period when the Gallery is open until 9 p.m., -the café/buffet remains open until 7:30 p.m. on weekdays and Saturdays. -Sunday hours are 1 p.m. to 7 p.m. - - -SMOKING ROOMS - -Two lounges are provided for smoking: the smoking room on the Ground -Floor and the Founder’s Room on the Main Floor near the Rotunda. Smoking -is also permitted in the café/buffet but is strictly prohibited in all -halls and exhibition galleries. - - -RESTROOMS - -Restrooms are located on the Ground Floor, at the top of each staircase -near the Rotunda on the Main Floor, and at the Concourse level. - - -FIRST AID - -An emergency room, under the supervision of a trained nurse, is -available for first-aid treatment in case of accident or sudden illness. -It is located on the Ground Floor near the entrance to the Auditorium. -The guards will direct visitors to this room on request. - - -WHEELCHAIRS • STROLLERS - -Strollers for small children and wheelchairs are available from the -guards at both entrances without charge. Attendants for pushing -wheelchairs are not available. - - -TELEPHONES - -Pay-station telephone booths are on the Ground Floor near the stairways, -on the Main Floor near the Rotunda, and at the Concourse level. - - -GUARD REGULATIONS - -The guards are under orders not to permit visitors to touch the -paintings or sculpture under any circumstances. Fountain pens with fluid -ink may not be used in the galleries. Smoking is forbidden in the -exhibition areas. - - -PLANTS AND FLOWERS - -Flowers and plants in the courts are grown in the National Gallery’s -greenhouses and are changed frequently by the Gallery’s horticultural -staff. There are special floral displays at Christmas and Easter in both -the Garden Courts and the Rotunda. - - Board of Trustees - The Chief Justice of the United States, _Chairman_ - The Secretary of State - The Secretary of the Treasury - The Secretary of the Smithsonian Institution - Paul Mellon - John Hay Whitney - Franklin D. Murphy - Carlisle H. Humelsine - John R. Stevenson - - Officers and Staff - President: Paul Mellon - Vice President: John Hay Whitney - Director: J. Carter Brown - Assistant To the Director for Music: Richard Bales - Assistant To the Director for National Programs: W. Howard Adams - Assistant To the Director for Public Information: Katherine - Warwick - Assistant To the Director for Special Events: Robert L. Pell - Construction Manager: Hurley F. Offenbacher - Planning Consultant: David Scott - Assistant Director/Chief Curator: Charles Parkhurst - Curators: - American Painting: William P. Campbell - Dutch and Flemish Painting: Arthur Wheelock - French Painting: David E. Rust - Graphic Arts: Andrew C. Robison - Italian Painting, Northern and Later: Sheldon Grossman - Italian Painting, Early: David Alan Brown - Northern European Painting To 1700: John Hand - Sculpture: Douglas Lewis, Jr. - Spanish Painting: Anna M. Voris - Twentieth-century Art: E. A. Carmean, Jr. - Curator of Education: Margaret I. Bouton - Head, Extension Program Development: Joseph J. Reis - Head, Art Information Service: Elise V. H. Ferber - Chief Librarian: J. M. Edelstein - Editor: Theodore S. Amussen - Head Conservator: Victor C. B. Covey - Chief, Design and Installation: Gaillard F. Ravenel - Chief, Exhibitions, Loans and Registration: Jack C. Spinx - Registrar: Peter Davidock - Head Photographer: William J. Sumits - Treasurer: Lloyd D. Hayes - Assistant Treasurer: James W. Woodard - Administrator: Joseph G. English - Assistant Administrator: George W. Riggs - Personnel Officer: Jeremiah J. Barrett - Secretary and General Counsel: Robert Amory, Jr. - - -Gifts and Bequests - -The Board of Trustees has full power to accept gifts, bequests, or -devises of works of art, money, or other personal or real property, and -either absolutely or in trust. Gifts and donations to the National -Gallery of Art are deductible for Federal income tax purposes within the -limits provided by law, and are welcomed in amounts of any size. - - ★U.S. GOVERNMENT PRINTING OFFICE: 1976 O—207-802 - - [Illustration: Main floor] - - Main Floor - _Services_ - _Men’s Room_ - _Women’s Room_ - _Checkroom_ - _Information_ - _Telephone_ - _Elevator and Stairways_ - _To: 1 Ground Floor_ - _4th Street Entrance_ - _To: Concourse_ - _Café/Buffet_ - _Mall Entrance_ - - [Illustration: Ground floor] - - Ground Floor - _Services_ - _Women’s Room_ - _Men’s Room_ - _Checkroom_ - _Information_ - _Telephone_ - _First Aid_ - _Facilities for the Handicapped_ - _Sales Shop_ - _Special Exhibitions_ - _Constitution Avenue Entrance_ - _4th Street Entrance_ - _Auditorium_ - _Elevator and Stairway_ - _To: 2 Main Floor_ - _To: Concourse_ - _Café/Buffet_ - - [Illustration: Main Floor] - - Main Floor - _Schools of Painting_ - _Central Italian and Florentine Renaissance_ - _North Italian and Venetian Renaissance_ - _17th and 18th Century Italian_ - _Spanish_ - _Flemish and German_ - _Dutch_ - _17th and 18th Century French_ - _19th Century French_ - _British_ - _American_ - _Special Exhibitions_ - _Sculpture_ - _West Garden Court_ - _Rotunda_ - _East Garden Court_ - _Mall Entrance_ - - [Illustration: Map] - - Address: - National Gallery of Art - 6th Street and Constitution Avenue N.W. - Washington, D.C. 20565 - Telephone: - (202) 737-4215 - Cable Address: - NATGAL - _Pennsylvania Avenue_ - _Constitution Avenue_ - _7th Street_ - _U. S. Capitol_ - - - - - Transcriber’s Notes - - -—Silently corrected a few typos. - -—Retained publication information from the printed edition: this eBook - is public-domain in the country of publication. - -—In the text versions only, text in italics is delimited by - _underscores_. - - - -*** END OF THE PROJECT GUTENBERG EBOOK BRIEF GUIDE: NATIONAL GALLERY -OF ART *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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font-family:sans-serif; } -span.pn { display:inline-block; width:4.7em; text-align:left; margin-left:0; text-indent:0; } -</style> -</head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Brief Guide: National Gallery of Art, by Anonymous</p> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Brief Guide: National Gallery of Art</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Anonymous</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: November 15, 2021 [eBook #66746]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Stephen Hutcheson and the Online Distributed Proofreading Team at https://www.pgdp.net</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK BRIEF GUIDE: NATIONAL GALLERY OF ART ***</div> -<div id="cover" class="img"> -<img id="coverpage" src="images/cover.jpg" alt="National Gallery of Art: Brief Guide" width="800" height="1246" /> -</div> -<div class="box"> -<h1>BRIEF GUIDE -<br /><span class="rubric"><span class="smaller">National Gallery of Art</span></span></h1> -</div> -<div class="pb" id="Page_i">i</div> -<h2 id="c1"><span class="small">History and Description</span></h2> -<p>The National Gallery of Art belongs to all the people of the United -States of America. Established by a joint resolution of Congress, it is -supported by public appropriation. The Board of Trustees consists of -four public servants, <i>ex officio</i>, and five private citizens. Chairman of -the Board is the Chief Justice of the United States. Under the policies -set by the Board, the Gallery assembles and maintains a collection of -paintings, sculpture, and the graphic arts, representative of the best in -the artistic heritage of America and Europe. Supported in its daily -operations by Federal funds, the Gallery is entirely dependent on the -generosity of private citizens for the works of art in its collections.</p> -<p>Funds for the construction of the original building were provided -by The A. W. Mellon Educational and Charitable Trust. During the -1920s, Mr. Mellon began to collect with the intention of forming a -national gallery of art in Washington. His collection was given to the -nation in 1937, the year of his death. In 1941, President Franklin D. -Roosevelt accepted the completed Gallery on behalf of the people of -the United States of America.</p> -<p>Architect for the National Gallery was John Russell Pope, who also -designed the Jefferson Memorial and other outstanding public buildings -in Washington. The building is one of the largest marble structures -in the world, measuring 780 feet in length and containing more -than 500,000 square feet of interior floor space. The exterior is of -rose-white Tennessee marble. The columns in the Rotunda were quarried -in Tuscany, Italy. Green marble from Vermont and gray marble -from Tennessee were used for the floor of the Rotunda. The interior -walls are of Alabama Rockwood stone, Indiana limestone, and Italian -travertine. The entire building is air-conditioned and humidity-controlled -throughout the year to maintain the optimum atmospheric -conditions for the works of art it contains.</p> -<p>The original building is no longer large enough to accommodate the -Gallery’s acquisitions and interpretive art programs. A second building, -presently under construction, will house new exhibition galleries and -a Center for Advanced Study in the Visual Arts. The two buildings -will be connected by a plaza above ground and by a concourse of -public service areas, including a new café/buffet, below. The new -construction has been made possible by generous gifts from Mr. Paul -Mellon, the late Ailsa Mellon Bruce, and the Andrew W. Mellon -Foundation.</p> -<div class="pb" id="Page_1">1</div> -<h2 id="c2"><span class="small"><span class="large">THE COLLECTIONS</span></span></h2> -<table class="center" summary=""> -<tr><td class="r"><b><a href="#Page_3">3</a></b> </td><td class="l">Florentine and Central Italian Art</td></tr> -<tr><td class="r"><b><a href="#Page_6">6</a></b> </td><td class="l">Venetian and North Italian Art</td></tr> -<tr><td class="r"><b><a href="#Page_8">8</a></b> </td><td class="l">Italian Art of the 17th and 18th Centuries</td></tr> -<tr><td class="r"><b><a href="#Page_10">10</a></b> </td><td class="l">Flemish and German Art</td></tr> -<tr><td class="r"><b><a href="#Page_13">13</a></b> </td><td class="l">Dutch Art</td></tr> -<tr><td class="r"><b><a href="#Page_15">15</a></b> </td><td class="l">Spanish Art</td></tr> -<tr><td class="r"><b><a href="#Page_16">16</a></b> </td><td class="l">French Art of the 17th, 18th, and Early 19th Centuries</td></tr> -<tr><td class="r"><b><a href="#Page_19">19</a></b> </td><td class="l">British Art</td></tr> -<tr><td class="r"><b><a href="#Page_21">21</a></b> </td><td class="l">American Art</td></tr> -<tr><td class="r"><b><a href="#Page_24">24</a></b> </td><td class="l">French Art of the 19th Century</td></tr> -<tr><td class="r"><b><a href="#Page_28">28</a></b> </td><td class="l">20th-Century Art</td></tr> -<tr><td class="r"><b><a href="#Page_30">30</a></b> </td><td class="l">Decorative Arts</td></tr> -<tr><td class="r"><b><a href="#Page_30">30</a></b> </td><td class="l">Prints and Drawings</td></tr> -<tr><td class="r"><b><a href="#Page_31">31</a></b> </td><td class="l">Index of American Design</td></tr> -</table> -<h3 id="c3"><i>About the Works of Art Listed in this Brochure</i></h3> -<blockquote> -<p>Owing to changes in installation, certain works of art -listed in this brochure may not always be on view. -For up-to-date information, please inquire at the -information desks.</p> -</blockquote> -<div class="pb" id="Page_2">2</div> -<p class="tb">The paintings and sculpture given by the founder, Andrew W. Mellon, -comprising works by the greatest masters from the thirteenth to -the nineteenth century, have formed a nucleus of high quality around -which the collection has grown. Indeed, in making his gift Mr. -Mellon had expressed the hope that the newly established National -Gallery would attract gifts from other collectors, so that these works -of art might be enjoyed by all and would be a lasting contribution -to the cultural life of the nation.</p> -<p>Mr. Mellon’s hope that others would carry on the work was realized, -even before the Gallery opened, by the action of Samuel H. Kress, -who gave to the nation his great collection of paintings and sculptures -of the Italian schools ranging from the thirteenth to the eighteenth -centuries. Enlarging and enriching the Kress Collection on -subsequent occasions, Samuel H. Kress and his brother Rush H. -Kress made the National Gallery outstanding for its representation -of Italian art and also added a distinguished group of French eighteenth-century -canvases and sculpture and fine examples of early -German paintings, as well as works of first importance from other -schools.</p> -<p>In 1942 Joseph E. Widener gave the famous collection of painting, -sculpture, and decorative arts formed by him and his father P.A.B. -Widener. Chester Dale, besides making numerous gifts during his -lifetime, bequeathed his extensive collection of nineteenth- and -twentieth-century French paintings to the Gallery. Ailsa Mellon -Bruce also bequeathed her collection of French paintings to the Gallery -and, in addition, generously provided funds for the purchase -of many old master paintings, including the Leonardo da Vinci. -Lessing J. Rosenwald has given over 20,000 prints and drawings.</p> -<p>In addition, more than 325 other donors have generously added to -the collections of the National Gallery of Art.</p> -<div class="img" id="fig1"> -<img src="images/p01.jpg" alt="" width="241" height="437" /> -<p class="pcap">ROTUNDA: Attributed to Adriaen de Vries, <i>Mercury</i>, cast probably c. 1603-1613</p> -</div> -<p>The vigorous movement, muscular lines, and above all the grace -and lightness of the bronze figure capture in this <i>Mercury</i> the fleeting -presence of an ancient god. Protector of the forlorn and travel -weary, patron of shepherds, merchants, wayfarers, and even thieves -fleeing the law, Mercury was the bearer of news and tidings for -the gods of mythology. He was known by his winged feet, a -<span class="pb" id="Page_3">3</span> -traveler’s cap with wings, and his herald’s staff, a -<i>caduceus</i>, perhaps given him by Apollo, who had -the power of healing. The design of Mercury’s -<i>caduceus</i> with its two serpents intertwined has been -traditionally associated with medicine and is the -adopted symbol of the medical profession. This -masterful piece was probably made by Adriaen de -Vries, a Dutch artist trained in Italy, and was -modeled after a <i>Mercury</i> completed twenty years -earlier by Giovanni Bologna.</p> -<h2 id="c4"><span class="small">Florentine and Central Italian Art</span> -<br />(Galleries 1-10)</h2> -<p>Because the Church defined much of the social and cultural structure -of medieval life, Christian themes predominated as the subject -matter for the arts of the period. In the National Gallery collections, -works created in Florence, Siena, Rome, and Central Italy show the -range of skills and styles prevalent in painting as it progressed from -the highly religious art of the Middle Ages to the more secular art -of the Renaissance.</p> -<p>The usual technique for medieval religious art was egg tempera on -wood panels covered with a fine bone plaster, called gesso. Egg yolk -mixed with powdered pigments was applied to the gesso surface -resulting in pictures characterized by bright colors and clear outer -contours. To recall the radiant light of the heavenly kingdom -and to heighten the patterns typifying this art, the artist often used -gold-leafed grounds as well.</p> -<p>By the late fifteenth century, tempera gave way to oil paints that -dried more slowly, permitting the artist subtle modulations in his -color and allowing him to create realistic atmospheric effects. As -the Renaissance progressed, artists combined a renewed interest in -nature, analytical science, and classical humanism with the recently -developed techniques in media to bring about a corresponding realism -in art.</p> -<div class="pb" id="Page_4">4</div> -<div class="img" id="fig2"> -<img src="images/p02.jpg" alt="" width="269" height="448" /> -<p class="pcap">GALLERY 1: Byzantine School, <i>Enthroned Madonna and -Child</i>, 13th century</p> -</div> -<p>A medieval walled city is transformed into a -throne by this imaginative, unknown artist to -symbolize the dominance of Christ and Mary, -Queen of Heaven, over the celestial city. To symbolize -Christ’s rule on earth as well, the artist included, -in the rondels, images of angels bearing -orbs and scepters. So typical of the art of the -Byzantine Empire, this painting is an icon, or -holy image, and reflects within its composition a -fusion of ancient Roman and medieval Oriental -styles. A feeling for classical solidity shows in the -faces, which are modeled with cast shadows to suggest three-dimensional -forms, whereas a Near Eastern love of decoration accounts -for the flattened drapery patterns and their dazzling highlights. -The <i>Enthroned Madonna and Child</i> and another large Byzantine -icon of the same subject, also in this room, are among the -earliest paintings in the collection.</p> -<div class="img" id="fig3"> -<img src="images/p02a.jpg" alt="" width="391" height="381" /> -<p class="pcap">GALLERY 3: Duccio, <i>The Calling of the Apostles Peter -and Andrew</i>, painted between 1308 and 1311</p> -</div> -<p>Called to be “fishers of men,” the -brothers Peter and Andrew pause in their -labors at the persuasive words of Christ. -In him, their future as apostles, or teachers, -and the future of mankind hang -momentarily suspended—like the net in -their hands. This panel is part of an -altarpiece commissioned for the high altar -of the Cathedral in Siena and called the -<i>Maestà</i> (“majesty”) because its central theme was the Virgin -splendidly enthroned with angels and saints. The purpose of this -piece, like so many medieval paintings, was to teach, and Duccio -arranged bright colors in simple shapes so that the story could -easily be recognized.</p> -<div class="pb" id="Page_5">5</div> -<div class="img" id="fig4"> -<img src="images/p02c.jpg" alt="" width="368" height="370" /> -<p class="pcap">GALLERY 4: Fra Angelico and Fra Filippi -Lippi, <i>The Adoration of the Magi</i>, painted c. 1445</p> -</div> -<p>Painted by two monks (<i>Fra</i> means “friar”), -this important painting fuses the concerns -and techniques of medieval and Renaissance -artists. The tapestrylike lawn, the -decorative bright colors, and the inverted -perspective of the shed are elements common -to medieval art. The realistic rendering -of birds and animals, the weight and -volume given the kneeling Magi in the foreground, -and the classically inspired nude figures at the distant left -reflect the new-found interest of the Renaissance in both classical -antiquity and the external world. The colorful, festive mood of the -painting, moreover, is emphasized by the bustling throngs of people -arriving to worship the Christ Child.</p> -<div class="img" id="fig5"> -<img src="images/p02d.jpg" alt="" width="279" height="426" /> -<p class="pcap">GALLERY 4: Andrea del Castagno, <i>The Youthful David</i>, -painted c. 1450</p> -</div> -<p>Not simply a work of art, this painted leather -shield reflects the uniquely nationalistic consciousness -of the Florentine city-state. As a public -image carried in parades and ceremonies, its -function was to symbolize the Florentine struggle -for freedom and, as a gruesome depiction of -victory against oppression, to warn all potential -enemies of Florence. On the shield, both main -episodes of the Old Testament story appear concurrently: -David takes aim with his sling, while -the giant’s head lies already severed at his feet. The effective, -although awkward, foreshortening of the upraised arm and the -sharply delineated veins and muscles attest to Castagno’s Renaissance -interest in the realistic rendition of perspective and anatomy.</p> -<div class="pb" id="Page_6">6</div> -<div class="img" id="fig6"> -<img src="images/p03.jpg" alt="" width="376" height="383" /> -<p class="pcap">GALLERY 6: Leonardo da Vinci, <i>Ginevra de’ Benci</i>, -painted c. 1480</p> -</div> -<p>With precise draftsmanship and an infinitely subtle manipulation -of light and shadow, Leonardo captures the character of a young -Florentine noblewoman of the fifteenth century. In her eyes he has -drawn a look of intelligence; in her bearing -and the set of her mouth, there is a -sense of determination and conviction. -Punning on the name of his sitter, the -artist has framed her head with a juniper -bush—<i>ginepro</i> in Italian—and decorated -the back of the panel with a juniper sprig. -Commissioned just after he completed an -apprenticeship with Verrocchio, this early -work is the only painting in the Western hemisphere accepted by -scholars as indisputably by Leonardo, one of the true geniuses of -the Renaissance.</p> -<div class="img" id="fig7"> -<img src="images/p03a.jpg" alt="" width="387" height="388" /> -<p class="pcap">GALLERY 8: Raphael, <i>The Alba Madonna</i>, painted -c. 1510</p> -</div> -<p>The solidity and serenity of the figures derive -from the forms and poses seen in -ancient Roman sculpture and from the art -of Raphael’s contemporaries, Leonardo -and Michelangelo. The equilibrium and -stability of the grouping provides not only -a freshness and majesty suitable for the -religious moment but also a source of contrast -to the subtle but painful implications -of the reed cross held by the two children. Named for the Spanish -Dukes of Alba who once owned it, the <i>Alba Madonna</i> is one of five -paintings by Raphael in the National Gallery of Art.</p> -<h2 id="c5"><span class="small">Venetian and North Italian Art</span> -<br />(Galleries 19-29)</h2> -<p>The splendor of Venetian art reflects the city’s prosperity during its -years as a major Mediterranean port. Typical of Venetian lavishness -is <i>The Feast of the Gods</i> (gallery 22) by Giovanni Bellini, -Renaissance artist and teacher of Giorgione and Titian. This huge -painting draws from the fantasies of mythology, turning a Venetian -picnic into a feast for gods.</p> -<p>Aware of the subtle reflections of light and shadow playing in the -<span class="pb" id="Page_7">7</span> -misty air over the lagoons of Venice, sixteenth-century artists such -as Titian, Veronese (gallery 28), and Tintoretto (gallery 29) strove -to capture the illusion of surface texture and tangible atmosphere -through their paints. Because oils blended easily together and because -one could thicken these paints with pigments, artists soon -established a more flexible technique. At the same time, they -abandoned rigid wood panels for canvas supports, which allowed -larger, lighter pictures. These innovations, combined with worldly -subjects, soon had a significant impact on the rest of Europe.</p> -<div class="img" id="fig8"> -<img src="images/p03c.jpg" alt="" width="417" height="355" /> -<p class="pcap">GALLERY 21: Giorgione, <i>The Adoration of the -Shepherds</i>, painted c. 1510</p> -</div> -<p>Dominated by a placid landscape bathed -in the half-light of dawn, Giorgione’s -composition focuses on the small group -placed off-center in the foreground. -Rendering the Holy Family in luminous -colors, the artist has silhouetted them -against the dark mouth of a cave, a -traditional nativity setting borrowed -from Byzantine art that here reflects the -strong cultural ties between the city-state of Venice and the empire -to the east. This composition, one of the very few existing paintings -by the master, demonstrates Giorgione’s mastery of color and control -of mood, elements which helped him to achieve fame during -his short life of thirty-three years.</p> -<div class="img" id="fig9"> -<img src="images/p03d.jpg" alt="" width="162" height="389" /> -<p class="pcap">WEST SCULPTURE HALL: Jacopo Sansovino, <i>Venus -Anadyomene</i>, cast c. 1527-1530</p> -</div> -<p>One of the rare, life-sized bronzes of the Renaissance -now in the United States, the <i>Venus Anadyomene</i> is -of unparalleled elegance. While the softness of the -modeled forms and the vertical sweep of the curving -silhouette invest the nude with a heightened grace, her -twisting pose invites the viewer to move around the -statue, following the fluid line of her encircling arms. -Shown holding a seashell, a reflection of Venus’ birth -from the sea, this statue is appropriately entitled -<i>anadyomene</i>, “rising from the waters.” The artist, Jacopo -<span class="pb" id="Page_8">8</span> -Sansovino, was trained in Florence and Rome. Moving to Venice in -1527, this major high Renaissance sculptor and architect designed -or remodeled many important private and public buildings including -several palaces and the Library of Saint Mark.</p> -<div class="img" id="fig10"> -<img src="images/p04.jpg" alt="" width="329" height="429" /> -<p class="pcap">GALLERY 28. Titian, <i>Doge Andrea Gritti</i>, painted -c. 1535/1540</p> -</div> -<p>Typically Venetian was Titian’s method of -starting with a dark preparatory ground, then -building up the forms with thin layers of oil -paint. Choosing the pose that best focuses our -attention, Titian has captured his sitter’s restless -vitality in the turn of the doge’s head -and the penetrating glance. By accentuating -the size and grasp of the hand and the bulk -of the body beneath the sumptuous ceremonial -robes, the artist has drawn a massive and -commanding presence befitting this renowned admiral and doge, or -duke of Venice. As seen here, the figure seems to emerge quite -powerfully from the shadow, and the predominant hues of red and -yellow have a rich, smoldering quality.</p> -<h2 id="c6"><span class="small">Italian Art of the 17th and 18th Centuries</span> -<br />(Galleries 33, 34, 36, 37; Lobby A, West Stair Hall, and Rotunda Stair Hall)</h2> -<p>The baroque period began around 1600, when the Church was engaged -in a movement to curb the spreading of the Protestant Reformation. -To appeal to the large numbers of ambivalent Christians -torn between the two theologies, the Catholic clergy commissioned -and supported a realistic but dramatic art designed to involve the -populace in the teachings and the authority of the Church. Indeed, -so appealing was the baroque style that it was quickly adapted to -the worldly subjects of the secular arts. Representative of the -Counter-Reformation era is Gian Lorenzo Bernini, an enormously -successful and influential architect and sculptor. As world trade -shifted to the Atlantic nations, however, Italy’s economic position -declined, and by the eighteenth century many Italian painters had -<span class="pb" id="Page_9">9</span> -to search for commissions elsewhere in Europe. Through their -travels, decorative painters and muralists, such as Giovanni Battista -Tiepolo, soon established an international style filled with brilliant -colors and virtuoso brushwork.</p> -<div class="img" id="fig11"> -<img src="images/p04a.jpg" alt="" width="334" height="436" /> -<p class="pcap">LOBBY A: Gian Lorenzo Bernini, <i>Monsignor Francesco -Barberini</i>, carved c. 1624/1625</p> -</div> -<p>A masterful example of the immediacy of -baroque art, this bust of the uncle of Matteo -Barberini, who became Pope Urban VIII, -captures the textural qualities of living flesh. -Through Bernini’s virtuosity, the highly -polished forehead gives the illusion of glossy -skin, whereas the starched fabric has been -left with a rough, light-absorbing surface. To -create a thoughtful expression, Bernini has -exaggerated the depth of the eye sockets, casting -deep shadows. Such a convincing portrayal of aging flesh and -stern character—commissioned by the pope as a tribute to his uncle—is -all the more impressive since Bernini had never seen the long-dead -Francesco Barberini. The bee on the pedestal is the emblem -of the Barberini, a wealthy Roman family.</p> -<div class="img" id="fig12"> -<img src="images/p04b.jpg" alt="" width="393" height="429" /> -<p class="pcap">GALLERY 33: Orazio Gentileschi, <i>The Lute Player</i>, -painted c. 1610</p> -</div> -<p>The most casual elements of this intimate -portrait of human activity combine to -create a masterful composition of complex -and dynamic parts. The pose of the -girl, shown with arm and head poised -as she tunes her lute, generates a feeling -of sustained movement. The intricate still -life fading into shadowy depths at the left -is in deliberate contrast to the brightly lit -costume and solid figure of the lute -player. The combination of abrupt spotlighting and suggested deep -space was characteristic of baroque painting in seventeenth-century -Rome, and Gentileschi, an international court artist, transmitted this -robust style to Genoa, Paris, and London.</p> -<div class="pb" id="Page_10">10</div> -<div class="img" id="fig13"> -<img src="images/p05.jpg" alt="" width="338" height="436" /> -<p class="pcap">GALLERY 36: Giovanni Paolo Panini, <i>The Interior of -the Pantheon</i>, painted c. 1740</p> -</div> -<p>In an era of travel, when men and women of -wealth toured the continent as part of their -education, factual renderings of interiors and -cityscapes became important souvenirs. A -major attraction on the Grand Tour during -the eighteenth century was Rome; and in -Rome, the Pantheon, a circular temple built -in the second century. Converted to a Christian -church, it became the burial spot of -Renaissance authors and artists, such as -Raphael, and has proved the source of inspiration for many later -structures, including the central rotunda of the National Gallery. -Panini was the greatest view painter in Rome during the 1700s, -although his precise manner of painting was paralleled by his Venetian -contemporaries, Canaletto and Guardi.</p> -<h2 id="c7"><span class="small">Flemish and German Art</span> -<br />(Galleries 35, 35A, 39-43)</h2> -<p>At the beginning of the fifteenth century, northern European art was -caught up by the same spirit of empirical inquiry and technical innovation -that predominated in Italy during this period. Northern art, -however, reflects neither the influence of classical art nor the development -of a single-point perspective that are the hallmarks of the -Italian Renaissance. Rather, Netherlandish artists such as Jan van -Eyck achieved mastery in the new technique of oil painting. The -use of oil on wood panel permitted an extraordinary increase in the -depth and richness of color, which, in turn, was coupled with the -tradition of minute, craftsmanly detail established in late medieval -manuscript illumination.</p> -<p>Around 1500, Italian humanism and Renaissance science had a -discernable effect upon northern European painting. Albrecht Dürer -(gallery 35A) and Francois Clouet (gallery 41) both profited from -their exposure to Italian art. The Renaissance influence carried over -into the work of Rubens in the seventeenth century despite the religious -and political upheaval of the Reformation which affected so -<span class="pb" id="Page_11">11</span> -much European art of the mid-1500s. Catholic Flanders, the home -of Rubens, remained relatively untouched by the changing times -and maintained a continuity of political and economic ties to the -Spanish monarchy. Rubens, who drew heavily from the work of -earlier Italian masters, at the same time developed a baroque preference -for large-scale canvases and bravura brushwork, transmitting -this style to his associate van Dyck.</p> -<div class="img" id="fig14"> -<img src="images/p05a.jpg" alt="" width="186" height="499" /> -<p class="pcap">GALLERY 39: Jan van Eyck, <i>The Annunciation</i>, painted -c. 1425/1430</p> -</div> -<p>The sacred setting of a medieval church provides the -backdrop to van Eyck’s interpretation of the Annunciation. -The archangel Gabriel, dressed in jewels and -rich fabrics, greets Mary: “Hail Mary, full of grace.” -The simply gowned young virgin lifts her hands in -wonder and replies, “Behold the handmaiden of the -Lord.” The two Latin phrases (Mary’s is written upside-down) -reinforce the contrast and balance between -these two important figures: Gabriel in his sumptuous -attire and with wings in rainbow colors stands slightly -in front in a partially turned position, whereas -Mary in her subdued glory sits slightly behind the angel and faces -forward. Following the established tradition of the story, van Eyck -added a lily, symbol of purity, and a dove, symbol of the Holy -Spirit. He also decorated the floor tiles with Old Testament scenes -prefiguring the life and triumph of Christ—Samson destroys the -Philistine temple and David slays Goliath. This subtle integration -of religious history into the background of the painting is indicative -of the late medieval belief that objects of the external world are -imbued with religious symbolism.</p> -<div class="pb" id="Page_12">12</div> -<div class="img" id="fig15"> -<img src="images/p06.jpg" alt="" width="307" height="420" /> -<p class="pcap">GALLERY 35A: Mathis Grünewald, <i>The Small Crucifixion</i>, -painted c. 1510</p> -</div> -<p>One of the few surviving paintings by Grünewald, this crucifixion -amply displays the emotional power of this German Renaissance -artist. Set against a sky darkened by an eclipse of the sun, the -scarred and haggard body of Christ makes the scene painfully and -physically immediate. With the agonized gesture of the hands, the -ragged loincloth, the dislocated shoulders, and twisted feet, little -remains to soften the tension of the painting; rather, the artist -emphasizes the human suffering necessary for -Christ to redeem mankind. Painted on the eve -of the Protestant Reformation, this panel reflects -the growing insistence in northern Europe -upon the reality and importance of private -religious experiences.</p> -<div class="img" id="fig16"> -<img src="images/p06a.jpg" alt="" width="469" height="333" /> -<p class="pcap">GALLERY 41A: Peter Paul Rubens, <i>Daniel in the Lions’ -Den</i>, painted c. 1615</p> -</div> -<p>Scholar, collector, diplomat, and one -of the finest artists of his century, -Rubens was famed for the boundless -enthusiasm and technical wizardry of -his paintings. This monumental piece -was executed early in Rubens’ career. -Its impact depends not only upon its -large scale but also upon the baroque -combination of the theatrical—the dramatic lighting and Daniel’s -expressive pose—with a convincing realism—the lifelike postures -and superbly rendered lions’ fur.</p> -<div class="img" id="fig17"> -<img src="images/p06c.jpg" alt="" width="290" height="453" /> -<p class="pcap">GALLERY 42: Sir Anthony van Dyck, <i>Queen Henrietta -Maria with Her Dwarf</i>, painted probably in 1633</p> -</div> -<p>Painted in London, this depiction of Henrietta -Maria, wife of Britain’s Charles I and sister of -France’s Louis XIII, is a prime example of the -baroque “Grand Manner” portrait. Analysis of -character is sacrificed in favor of a stately and -essentially flattering mode of presentation; the -glittering crown, for example, recalls Henrietta -Maria’s station as a queen and the sumptuous -fabrics declare her wealth. The large size of the -canvas and the lack of expression on the queen’s -face are both devices that engender a mood of -aloof formality and grandeur; animation and warmth are limited -<span class="pb" id="Page_13">13</span> -to the minor figures of the dwarf Geoffrey Hudson, who was to become -a trusted ambassador, and his pet monkey Pug. With seventeen -paintings by van Dyck, the National Gallery has one of the -finest and most representative collections of portraits by this master.</p> -<h2 id="c8"><span class="small">Dutch Art</span> -<br />(Galleries 44-49)</h2> -<p>The United Netherlands was founded in 1609 as a Protestant nation -following bitter wars of liberation from Catholic Spain. The combination -of excellent seaports, a powerful navy, and strong mercantile -interests made Holland a flourishing economic center. Dutch patrons, -predominantly Calvinist and middle class, demanded not religious -or mythological pictures, but landscapes, portraits, still lifes, and -genres, or scenes of daily life. Their demands were met by an ever-increasing -number of Dutch artists who, perhaps in response to a -burgeoning and competitive market, specialized in a single type of -subject. Thus Frans Hals was famed for his portraits, Kalf for his -still lifes, and Ruisdael and Hobbema for their landscapes. The one -exception was Rembrandt, whose penetrating insight into the human -condition and whose superb technical facility enabled him to explore -successfully a variety of subjects. Holland’s artistic boom was -soon ended, however, for as quickly as it arose, the economic and -artistic Golden Age declined during the last years of the seventeenth -century.</p> -<div class="img" id="fig18"> -<img src="images/p06d.jpg" alt="" width="354" height="395" /> -<p class="pcap">GALLERY 44: Jan Vermeer, <i>A Woman Weighing Gold</i>, -painted c. 1657</p> -</div> -<p>One aspect of Vermeer’s genius was his ability -to create a poetry of the obvious, to -transmute a mundane scene into an evocative -moment. In what appears at first to be -a simple depiction of a woman holding a -pair of scales, a framed painting of the -Last Judgment included on the back wall of -the scene suggests a more serious, allegorical -meaning. Weighing the souls of mankind -serves as a point of comparison to the woman weighing her worldly -possessions. Vermeer’s incomparable sensitivity in rendering effects -<span class="pb" id="Page_14">14</span> -of light can be seen in the careful modulation of the cool, muted -daylight that fills the room. Especially striking are the touches of -pure white paint that highlight the fur collar and the pearls on the -table. The stable, geometric gridwork formed by the table, picture -frame, and window reinforce the calm and serious mood.</p> -<div class="img" id="fig19"> -<img src="images/p07.jpg" alt="" width="351" height="429" /> -<p class="pcap">GALLERY 44: Jan Davidsz. de Heem, <i>Vase of Flowers</i>, -painted c. 1645</p> -</div> -<p>This still life reveals more than a study of -inanimate objects positioned in light and -shadow; it also betrays the artist’s interest -in the lively microcosmic worlds unnoticed -in our daily life. Using more than twenty -varieties of blossoms, including roses, tulips, -morning-glories, and candytuft, de Heem -weaves the blooms, overflowing in the insect-inhabited -shadows, into the arrangement of -sunlit flowers thriving in the central area of -the painting. Since none of the flowers bloom concurrently, the -artist portrayed them either from illustrations in botanical texts -or from his own studies made during different times of the year. -Such interest in the cycle of the seasons and the transience of life, -as reflected in this symbolic bouquet, is frequently seen in Dutch -flower painting.</p> -<div class="img" id="fig20"> -<img src="images/p07a.jpg" alt="" width="418" height="287" /> -<p class="pcap">GALLERY 47: Aelbert Cuyp, <i>The Maas at Dordrecht</i>, -painted c. 1660</p> -</div> -<p>Cuyp was a marine and landscape -painter, noted for his delicate atmospheric -effects. A major portion of this -composition is taken up by the sky, -which is painted in translucent washes -of thinned oils. The scene, bathed in the -gentle golden light of early morning, -shows the Maas River and, at the left, the unfinished church tower -of Cuyp’s home city of Dordrecht. The fleet of boats on the left, -arranged on the diagonal, serves both to create deep space and to -contrast with the single massive ship on the right. As cannons salute -in the middle distance, a figure in a vivid red, black, and white -uniform prepares to board ship.</p> -<div class="pb" id="Page_15">15</div> -<div class="img" id="fig21"> -<img src="images/p07c.jpg" alt="" width="326" height="433" /> -<p class="pcap">GALLERY 48: Rembrandt, <i>Self-Portrait</i>, dated 1659</p> -</div> -<p>The some sixty self-portraits painted by Rembrandt -during his long career form a unique -visual autobiography. In early life, he was -Amsterdam’s leading portraitist and narrative -painter and a wealthy man. Later, ravaged -by bankruptcy and personal misfortunes, -Rembrandt became increasingly introspective. -In this self-portrait, painted when he was -fifty-three, all but the essential forms are concealed -in shadow. Light appears to emanate -from the face itself, although the eyes are veiled in a mysterious -half-shadow. Rembrandt’s technical genius enabled him to create -subtle nuances even within a restricted range of color; the golden -light glistening from his forehead merges with the blue-gray at the -temples. All of Rembrandt’s painterly skill was used, ultimately, to -confront us with a candid self-appraisal that neither flatters nor -disparages. (The National Gallery has a wide range of Rembrandt -paintings in galleries 45 and 48.)</p> -<h2 id="c9"><span class="small">Spanish Art</span> -<br />(Galleries 30, 38, 39, 50, 51 and 76)</h2> -<p>Imported by the royal courts or commissioned by the Church, foreign -artists dominated the arts of Spain during the fifteenth and -sixteenth centuries. Juan de Flandes, a Flemish painter (galleries -38 and 39), served the court of Ferdinand and Isabella, and El -Greco (gallery 30), a Greek who studied in Venice and Rome, -settled and worked in Toledo. By the 1600s, Spain had become an -economic and cultural force in Europe, her power sustained in -large part by the wealth of her vast American colonies. Seville was -then the artistic capital of Spain; Zurbarán, Valdés Leal, Murillo, -who founded an academy there in 1660, and Velázquez all worked -in Seville. After moving to Madrid, Velázquez served Philip IV -as court painter and director of the royal museum. The greatest -Spanish artist of the late eighteenth and early nineteenth centuries -was Francisco de Goya, who was court portraitist to a succession of -corrupt monarchs and French conquerors. It should not be forgotten, -too, that the twentieth-century artist Pablo Picasso (gallery -76) was first active in Barcelona before emigrating to France.</p> -<div class="pb" id="Page_16">16</div> -<div class="img" id="fig22"> -<img src="images/p08.jpg" alt="" width="423" height="335" /> -<p class="pcap">GALLERY 30: El Greco, <i>Laocoön</i>, painted c. 1610</p> -</div> -<p>Unnatural color, particularly in the -weightless, elongated figures, combines -with a mannered representation of landscape -in this unearthly vision from -Homeric legend. Shown is the priest -Laocoön, who, with his sons, is attacked -and destroyed by serpents for -having offended the gods during the -course of the Trojan War. Beyond the wooden horse lies the city -of Troy, a distant and stormy image based on the artist’s adopted -city of Toledo. Born in Greece, Domenikos Theotokopoulos was -nicknamed El Greco, “the Greek,” when he moved to Spain in 1576.</p> -<div class="img" id="fig23"> -<img src="images/p08a.jpg" alt="" width="342" height="431" /> -<p class="pcap">GALLERY 50: Francisco de Goya, <i>Señora Sabasa García</i>, -painted c. 1806 or 1807</p> -</div> -<p>Acutely sensitive to the ignorance, hypocrisy, -and cruelty in all levels of society, Goya -often worked in a satirical mode to capture -the realities of war and the tyranny and -decadence of court life. Yet, in depicting -the niece of a high-ranking government official, -the artist has given us a marvelously -direct and sympathetic portrait. The innate, -peculiarly Spanish sense of pride and self-discipline -is evident in Sabasa García’s -aristocratic posture and bold, unflinching gaze. Equally direct is -Goya’s manner of painting, which captures the rough texture of the -shawl as well as the gossamer quality of the mantilla lace. The result -is a portrait of great intensity heightened by feminine beauty.</p> -<h2 id="c10"><span class="small">French Art of the 17th, 18th, and Early 19th Centuries</span> -<br />(Galleries 33, 44, 52-56, East Sculpture Hall, and Lobby C)</h2> -<p>Troubled by the Catholic-Huguenot wars and civil wars of the -previous century, seventeenth-century France followed a course of -aggression against foreign monarchies and of consolidation within -<span class="pb" id="Page_17">17</span> -the French state. Most heavily supported by the royal court, French -artists were sent to Rome to study the arts of the Italian Renaissance -and classical antiquity; some, like Claude Lorrain and Nicolas -Poussin (gallery 52), chose to remain in Italy. In Paris, an -Academy, which rapidly became the ruling body for French art, -was established in 1648. To enhance the brilliance of his reign in -the latter part of the century, Louis XIV sponsored a ceremonial -art—more idealistic than realistic in style—and built near Paris the -largest palace in Europe, Versailles. The fountains in the National -Gallery’s East and West Garden Courts once stood in the gardens -of Versailles and still bear traces of the lavish gold leaf that originally -covered them.</p> -<p>Under Louis XV and Louis XVI in the eighteenth century, French -society became more relaxed and informal. Most apparent in the -decorative arts, the move to a lighter, more graceful style affected -painting as well. The new style, rococo, was first developed by -Watteau (galleries 53 and 54), who used a carefree delicacy, pastel -colors, and gracefully curving lines. After the French Revolution of -1789, a school of neoclassical artists dominated painting, using -themes of patriotic heroism and stressing severe beauty of line and -firm modeling, over light and color.</p> -<div class="img" id="fig24"> -<img src="images/p08c.jpg" alt="" width="350" height="428" /> -<p class="pcap">GALLERY 44: Georges de La Tour, <i>The Repentant -Magdalen</i>, c. 1640</p> -</div> -<p>Within the melancholy darkness of this -painting, the dim light reveals emblems of -the vanity and brevity of life: a skull, book, -and mirror. Eliminating unnecessary detail, -La Tour makes us focus on the inward, -spiritual aspect of his themes, through monumental -shapes and a nearly abstract geometry -of forms. Mary Magdalen’s fingers -touching the skull, for instance, are emphasized -in stark angularity against the light -from the hidden flame. Like Vermeer, La Tour is a rediscovery of -recent years. Although highly respected in his lifetime, La Tour -slipped into obscurity, and only thirty-eight of his paintings survive -today. A court painter to Louis XIII, La Tour was noted for his -“nocturnes,” which generate a mood of isolation by their dense -shadows that envelop the composition.</p> -<div class="pb" id="Page_18">18</div> -<div class="img" id="fig25"> -<img src="images/p09.jpg" alt="" width="429" height="336" /> -<p class="pcap">GALLERY 52: Claude Lorrain, <i>The Judgment of Paris</i>, -painted 1645/1646</p> -</div> -<p>In a landscape of such serenity and -beauty as this, the figures almost play a -secondary role. The perfectly blue sky -with light cloud formations enhances the -golden tones of the foreground; the distant -Trojan citadel on the right balances -the figures at the near left, where three -goddesses gather round the Prince of -Troy, Paris. Chosen to judge the women on their beauty, Paris is -bribed by Venus, here accompanied by her son Cupid, and accepts -her aid in abducting Helen, Queen of Sparta. Claude’s vision of -this episode, which eventually touched off the Trojan War, is a fine -example of his ability both to ennoble and to idealize nature, and -it was this mode of painting which was to dominate European landscape -painting for the next two centuries.</p> -<div class="img" id="fig26"> -<img src="images/p09a.jpg" alt="" width="294" height="475" /> -<p class="pcap">EAST SCULPTURE HALL: Jean-Louis Lemoyne, <i>Diana</i>, -dated 1724</p> -</div> -<p>Girlish and slightly awkward, her skirts disheveled -by the breeze, Diana is shown as though -embarking on a woodland jaunt. The turning -figure of the goddess, the poised, expectant look -of her dog, and the lightness of her simple -drapery lend a sense of buoyancy and delicacy -to the ponderous weight of the marble. Lemoyne’s -surviving masterpiece, this statue -formed part of a group executed by several -eighteenth-century French sculptors for the -gardens of the Château de la Muette at Marly, -a royal retreat and hunting lodge near Paris. This sculptural series -helped to generate a new interest in graceful vitality, replacing the -earlier ideals of serene monumentality in European statuary.</p> -<div class="pb" id="Page_19">19</div> -<div class="img" id="fig27"> -<img src="images/p09c.jpg" alt="" width="333" height="426" /> -<p class="pcap">GALLERY 55: Jean-Honoré Fragonard, <i>A Young Girl -Reading</i>, painted c. 1776</p> -</div> -<p>The delicate rococo style of the 1700s culminates in the work of -Fragonard, court painter to Louis XVI. Indeed, an intimate portrayal -such as this typifies rococo taste. Stabilized -only by the straight wall and armrest, -curving lines wind through the composition. -Fragonard’s fascination with the irregular -extends to the positioning of the girl’s hand -and the boneless curl of her little finger, to -the interlacings of her hair ribbons and the -bows on her gown. The radiant golden quality -of the light and the frothy texture of the -paint add to the picture’s sensuous warmth.</p> -<div class="img" id="fig28"> -<img src="images/p09d.jpg" alt="" width="299" height="478" /> -<p class="pcap">GALLERY 56: Jacques-Louis David, <i>Napoleon in His -Study</i>, dated 1812</p> -</div> -<p>Sensitive to the political aspirations of his sitter, -David has here chosen an activity, a time, and a -setting that subtly but pointedly illuminate the -tenacity and drive of the conqueror Napoleon. -With the clock pointing to 4:13 and with -candles guttering, Napoleon is presumably rising -from a night of work; his dress uniform is -wrinkled and his face unshaven. The study is -littered with symbols of power, the sword alluding -to Napoleon’s military conquests and the -scroll on the desk representing the Napoleonic -Code, still the basis of French law. The crisp silhouettes and dark -colors typify the neoclassical style that followed the French Revolution -of 1789.</p> -<h2 id="c11"><span class="small">British Art</span> -<br />(Galleries 57-59 and 61)</h2> -<p>The history of sixteenth-century England was characterized by unstable, -often short-lived alliances made with her several continental -neighbors. No wonder then that the influx and influence of foreign -artists during this and the following century reflects the diversity of -political ties between England and Europe. In the 1500s, the German -Hans Holbein the Younger (gallery 40) was court artist to Henry -VIII soon after that monarch’s audacious break with the Church, -and in the 1600s the Fleming, Anthony van Dyck (galleries 42 and -43), was in the employ of Charles I.</p> -<div class="pb" id="Page_20">20</div> -<p>In the eighteenth century, however, when England became a leading -maritime and industrial nation under George III and George IV, a -large group of native British painters emerged, and in 1768 the -Royal Academy was founded in London. The portraitists were led -by Sir Joshua Reynolds, first president of the Royal Academy, and -Thomas Gainsborough, noted for his virtuoso brushwork. Among -their contemporaries and followers were Romney, Hoppner, Raeburn -and Lawrence. In the early 1800s, England produced two -landscapists who achieved international reputations. Constable was -basically a realist in his study of scenes in natural light; Turner, -however, was a romantic who interpreted the moods of nature.</p> -<div class="img" id="fig29"> -<img src="images/p10.jpg" alt="" width="325" height="475" /> -<p class="pcap">GALLERY 59: Thomas Gainsborough, <i>Mrs. Richard -Brinsley Sheridan</i>, painted probably 1785/1786</p> -</div> -<p>With a feeling for theatricality, Gainsborough -interplays the frail figure of a young woman -and the powerful mood of nature to establish -a perfect setting for this celebrated actress and -wife of the playwright and politician Sheridan. -Born Elizabeth Linley, she was Gainsborough’s -lifelong friend. A motif common to the eighteenth -century, the Age of Enlightenment, was -the use of nature and an informal pose to -achieve unaffected simplicity. In this portrait, -however, early signs of romanticism are clearly -seen in the dramatic quality of the blowing trees and windswept -figure contrasted with the calm features of the finely modeled face. -Gainsborough normally painted under candlelight to give a glow -and flickering liveliness to his sitters and sometimes used six-foot-long -brushes to avoid finicky detailing.</p> -<div class="img" id="fig30"> -<img src="images/p10a.jpg" alt="" width="452" height="345" /> -<p class="pcap">GALLERY 57: Joseph Mallord William Turner, <i>Keelmen -Heaving in Coals by Moonlight</i>, painted probably in 1835</p> -</div> -<p>Turner’s exaggerated rendition of -moonlight was criticized by conservatives -when this night scene on the -River Tyne was exhibited at the Royal -Academy in 1835. Cutting through the -center of the painting, the arched -curve of brilliant light transforms the -reality of a gritty industrial scene into -<span class="pb" id="Page_21">21</span> -an appealingly romantic seascape and brings the world of man -into accord with nature. Through the misty English air and against -the thinly painted sky, the moon shimmers forth as a disk of thick -white paint.</p> -<h2 id="c12"><span class="small">American Art</span> -<br />(Galleries 60, 60A, 60B, 62, and 64-68)</h2> -<p>Established as a subculture of the mother country, the American -colonies looked to England for leadership in the arts. Ambitious -painters, finding no opportunity for formal training in the colonies, -went to study in Europe. Benjamin West, a Pennsylvania Quaker, -after three years in Italy, in 1763 established himself in London, -where he achieved such renown that he became History Painter to -King George III and was later appointed second president of the -Royal Academy of Arts. Until after the Civil War, the best training -was still abroad, but usually the American students returned to the -United States, where a growing urban society with more leisure -was providing a market for works of art.</p> -<p>During the first half of the nineteenth century, many untrained -artists, working in the cities but more often traveling about the -countryside, provided naïve or primitive pictures for the ever-increasing -middle classes. Up to this time the artist had been mainly a -portraitist; but with the invention of the camera in 1839 he had to -shift his emphasis, and by mid-century America had a thriving -school of landscape painters, whose works fed a national pride in -the great wild terrain of the New World. After the Civil War, however, -these landscapes also appealed to a populace seeking relief in -the ideal world of a quiet countryside away from the humdrum of -dirty cities that were springing up everywhere, the result of the -Industrial Revolution.</p> -<p>Thomas Eakins and Winslow Homer were the great turn-of-the-century -artists. They portrayed American life and scenery with -straightforward candor. Their example has been carried on by some -modern American artists who, fascinated with the urban growth of -the 1900s, have emphasized the vitality of city life. These include -painters such as Henri, Bellows, and Sloan. More recently abstract -art has been in the forefront of American painting.</p> -<div class="pb" id="Page_22">22</div> -<div class="img" id="fig31"> -<img src="images/p11.jpg" alt="" width="494" height="341" /> -<p class="pcap">GALLERY 64: John Singleton Copley, <i>Watson and the -Shark</i>, dated 1778</p> -</div> -<p>Unusual in European art, the sense -of immediacy in this rescue scene -was an American innovation, and it -assured Copley’s reputation in Britain -while furthering the importance -of realism in narrative painting. -The successful merchant and former -English sailor Brook Watson commissioned -the young American artist, who had settled in London, -to depict an adventure that occurred in the sailor’s youth. Watson -had been attacked by a shark while swimming in Havana, Cuba, in -1749. Using a fresh approach, Copley recaptured the horror of that -event by lending vivid emotions to the rescuers—cowardice, fear, -compassion—and by catching the helpless fright of the boy.</p> -<div class="img" id="fig32"> -<img src="images/p11a.jpg" alt="" width="283" height="473" /> -<p class="pcap">GALLERY 60B: Gilbert Stuart, <i>The Skater</i>, painted in -1782</p> -</div> -<p>Artist and subject, while breaking from the first -posing session for this portrait, took to the fresh -air and exercise of skating on the frozen Serpentine -in London’s Hyde Park. The sport gave -Stuart a novel idea, which he translated with a -free-spirited freshness and vigor. Commissioned -by Mr. William Grant, this, Stuart’s first full-length -portrait, was a triumph at the Royal -Academy exhibition in 1782. Unlike West, under -whom he studied, and Copley, another American -artist, Gilbert Stuart eventually returned to the -United States, achieving further fame with his innumerable portraits -of George Washington. Painted in 1795, the famous portrait -in gallery 62 is believed to be his first life study of the president.</p> -<div class="pb" id="Page_23">23</div> -<div class="img" id="fig33"> -<img src="images/p11c.jpg" alt="" width="432" height="288" /> -<p class="pcap">GALLERY 60: Thomas Cole, <i>The Voyage of Life: -Childhood</i>, dated 1842</p> -</div> -<p>One of the earliest American landscapists, Thomas Cole produced -imaginary, symbolic scenes as well as -glorified panoramas of native wilderness. -In the first of four fantasies, -<i>Childhood</i>, a baby’s ship of life, steered -by a guardian angel, floats at the -source of a river toward a promising -dawn. In the other three pictures completing -<i>The Voyage of Life</i> series, Youth sets off on a meandering -stream, striving toward a castle in the clouds, while Manhood -weathers a storm on a tumultuous river and Old Age drifts into -a quiet ocean where heavenly messengers wait to receive him.</p> -<div class="img" id="fig34"> -<img src="images/p11d.jpg" alt="" width="448" height="337" /> -<p class="pcap">GALLERY 66: Edward Hicks, <i>The Cornell Farm</i>, dated -1848</p> -</div> -<p>After an 1848 Pennsylvania agricultural -fair, James Cornell commissioned -this record of his prize-winning livestock -and acreage. In addition to carefully -detailing each cow, horse, pig, -sheep, and building, the artist Edward -Hicks has also emphasized the decorative -patterning of the group. This -so-called naïve piece does not present a sophisticated rendering of -anatomy or landscape, but it does present a study in contrast between -the rhythmic row of animals and the geometric background. -Lacking formal artistic schooling, Hicks was a sign and coach -painter, who did pictures as a sideline or as favors for friends.</p> -<div class="img" id="fig35"> -<img src="images/p12.jpg" alt="" width="239" height="409" /> -<p class="pcap">GALLERY 67: James McNeill Whistler, <i>The White Girl -(Symphony in White, No. 1)</i>, dated 1862</p> -</div> -<p>Painted in Paris, this canvas caused a scandal at an 1863 exhibition. -The lack of personality in the face infuriated critics; they failed to -realize that this was not intended as a portrait. Whistler, an American -expatriate, was exercising his artistic theories by exploring a -single tone—white. The starched cuffs, striped sleeves, cambric -skirt, brocade curtain, and fur rug create a “Symphony in White,” -as Whistler once titled this work. The fullness of the girl’s lips, -the thick richness of her chestnut hair, and her wide blue eyes, -<span class="pb" id="Page_24">24</span> -however, mark a subtle but uneasy contrast to the -purity of the white color. This tension is carried -further by the presence of the bearskin and the -garish flowers wilting on the floor, symbolic, perhaps, -of a bestiality of nature and an innocence -lost. To emphasize the color relationships around -this woman, his mistress Joanna Hiffernan, Whistler -flattened the space and avoided strong lights and -shadows.</p> -<div class="img" id="fig36"> -<img src="images/p12a.jpg" alt="" width="459" height="343" /> -<p class="pcap">GALLERY 68: George Bellows, <i>Both Members of This -Club</i>, painted in 1909</p> -</div> -<p>When public boxing was illegal in -New York, fights were held in private -clubs with fighters elected as members -for only the night of the match. -The black boxer may be Joe Gans, -lightweight champion from 1901 to -1908; his opponent has not been -identified. Once a professional athlete -himself, George Bellows understood the violence of the sport. -Brutality is conveyed by the angular lines of the fighters’ bodies, -the boldly slashing brushwork, and the lurid glare of spotlights -within the gloomy arena.</p> -<h2 id="c13"><span class="small">French Art of the 19th Century</span> -<br />(Galleries 72, 77, and 83-93)</h2> -<p>French art during the second half of the 1800s is noted for its -innovation and its diversity. Yet, although the paintings produced -during this period differ in their visual effects, the artists of these -works were all largely concerned with the same problem: how to -treat nature and how to define reality. Thus, in reaction to the -neoclassicists, who stressed line and color, and the romantics, who -favored lush hues, exotic or unusual subject matter, and emotionalism, -the realists sought to paint only what was before them, free -from embellishment. Other artists such as Monet and Renoir concentrated -<span class="pb" id="Page_25">25</span> -upon recording the fleeting and subtle color impressions -created by changes in sunlight. Because their technique was rapid -and sketchy, these latter artists gave less attention to studiously -modeled form, and their paintings, although “realistic” in their -rendition of light and space, do not have the solid, tangible qualities -so evident in Academic painting. (The Gallery’s collections are -particularly comprehensive in the works of Manet, Renoir, and -Degas. Included also is Mary Cassatt, the only American who exhibited -with the impressionists.) Still other artists rejected impressionism’s -concern with transitory moments in order to express -either their intuitive reactions to the natural world or their personalized -interpretation of the physical laws that order appearances. -Reality was redefined by these artists, such as Gauguin, van Gogh, -Toulouse-Lautrec, and Cézanne, who were known as post-impressionists. -It was their work which prepared the way for twentieth-century -expressionism and abstraction.</p> -<div class="img" id="fig37"> -<img src="images/p12c.jpg" alt="" width="450" height="354" /> -<p class="pcap">GALLERY 93: Jean-Baptiste-Camille Corot, <i>Forest of -Fontainebleau</i>, painted c. 1830</p> -</div> -<p>Amid the controversies of nineteenth-century -French art criticism, Corot -was a transitional figure. Popular -with conservative patrons, he was -also a champion of the younger, radical -painters. This scene in a forest -near Paris is composed of traditional -elements: the overlapping planes of -light and dark foliage and a deep perspective established by the -path of light and space running through the painting’s center. -Corot’s treatment of light, studied directly from nature, is quite -modern, however, as he exactly captures the harsh glare and heavy -shadow caused by strong sun.</p> -<div class="pb" id="Page_26">26</div> -<div class="img" id="fig38"> -<img src="images/p13.jpg" alt="" width="431" height="348" /> -<p class="pcap">GALLERY 83: Edouard Manet, <i>Gare Saint-Lazare</i>, -dated 1873</p> -</div> -<p>Overlooking Paris’ Saint-Lazare railroad yards, this sun-drenched -scene is the first major picture Manet executed out-of-doors. Though -influenced by his friends, the impressionists Monet and Renoir, -Manet’s disciplined temperament rejected -impressionism’s less structured -effects. The rigid lines of the iron fence, -for example, act as a foil for the figures’ -curves. The little girl, whose interest lies -on the rail yards behind, forms a subtle -tension with the woman who gazes out -at the viewer. The color scheme, with its -reversal of colors, serves both to unify the pattern and to underscore -the separation of the two figures: the full womanly figure is -dressed in blue accented with white, whereas the childish figure is -in white accented with blue.</p> -<div class="img" id="fig39"> -<img src="images/p13b.jpg" alt="" width="313" height="425" /> -<p class="pcap">GALLERY 90: Auguste Renoir, <i>A Girl with a Watering -Can</i>, dated 1876</p> -</div> -<p>Wanting to capture the dazzling colors found -in strong sunlight, the impressionist painter -Renoir intensified the natural hues of reality to -a greater vibrancy on canvas. The green of -the grass depicted here is more intense in hue -than that which one might expect to find in -nature, and the gravel path sparkles like gems. -In calculating the juxtaposition of color, the -artist placed pale blue-green shadows on the -child’s face to heighten her rosy complexion. -In addition, the blurred impressionist brushstrokes create the effect -of shimmering sunlight dissolving form and detail. Once in response -to criticism about his work, Renoir said, “There are enough things -to bore us in life without our making more of them.”</p> -<div class="img" id="fig40"> -<img src="images/p13c.jpg" alt="" width="274" height="387" /> -<p class="pcap">GALLERY 86: Claude Monet, <i>Rouen Cathedral, West -Facade</i>, dated 1894</p> -</div> -<p>Monet, a founder of impressionism, became obsessed -with the variations with natural light. From -1892 to 1895, he recorded in a series of paintings -a medieval French cathedral as it appeared at -different times of day or under different weather -conditions. In over thirty canvases of Rouen -Cathedral, Monet’s analyses of light on the cathedral’s -surfaces resulted in iridescent colors and -thick paint textures that are visually sensational -<span class="pb" id="Page_27">27</span> -yet highly naturalistic. Here, in early morning, the church shimmers -lavender and violet, the stone of the upper portions glowing -in the rich red-orange of the rising sun. Another from the Rouen -series, showing the church in the yellow-white heat of the afternoon, -is also in this room.</p> -<div class="img" id="fig41"> -<img src="images/p13d.jpg" alt="" width="408" height="344" /> -<p class="pcap">GALLERY 85: Edgar Degas, <i>Four Dancers</i>, painted -c. 1899</p> -</div> -<p>One of Degas’ own favorite works, this, -his last major oil painting, has a chalky -texture reminiscent of the pastels he frequently -used. Studying the strong patterns -in Japanese prints as well as the snapshot -effects of photography, this superb -draftsman often designed his paintings -with an angled point of view or created -an off-center balance, cutting off figures by the frame edge. With -the increasing abstraction of his late style, Degas here used a black -outline which not only separates the gestures of the dancers but -also accents their red apparel, intensifying the theatrical effect.</p> -<div class="img" id="fig42"> -<img src="images/p13e.jpg" alt="" width="423" height="345" /> -<p class="pcap">GALLERY 85: Paul Cézanne, <i>Still Life</i>, painted c. 1894</p> -</div> -<p>Most evident in this painting is the tension -between what is, on the one hand, -a rendition of nature and, on the other, -Cézanne’s deliberate organization of the -shapes into a rhythm of forms. The -swirls and eddies of the blue drapery -are reflected in the curves of the apples, -peppermint bottle, white linen, and -carafe. At the same time, horizontal or vertical lines dominate -along the edge of the table, the molding of the back wall, and the -neck of the bottle, creating a linear grid that offsets and balances -the curving lines. The blue-green tonality, in addition to the geometric -patterning, further demonstrates the artist’s intent to visually -organize and unify. Indeed, for the sake of unity, Cézanne has even -distorted the carafe by swelling it out on one side, pulling it deeper -into the folds of the fabric.</p> -<div class="pb" id="Page_28">28</div> -<h2 id="c14"><span class="small">20th-Century Art</span> -<br />(Gallery 76 and West Stair Hall)</h2> -<p>Flattened shapes, strong outlines, unmodulated hues, and pronounced -pigment textures have been among the central devices of -many twentieth-century painters. Artists have often abandoned the -direct imitation of reality, preferring instead to work through complex -problems of pictorial design to express human feelings. A tremendous -diversity of artistic styles has resulted, emerging in tempo -with the rapid changes of modern society and technology. The National -Gallery’s present collection of modern art concentrates on the -French school prior to World War I, the period when Paris was -the cultural center of Europe.</p> -<p>With the opening of the East Building, the National Gallery will -have increased space for the display of contemporary art.</p> -<div class="img" id="fig43"> -<img src="images/p14.jpg" alt="" width="259" height="276" /> -<p class="pcap">GALLERY 76: Pablo Picasso, <i>Family of Saltimbanques</i>, -painted in 1905</p> -</div> -<p>Obsessed in 1905 with the theme of the -circus, Picasso sought the company of -performers not only as potential subjects -for his paintings but also as companions. -Their agility and grace delighted him; -their gypsy lives intrigued him, as did -their professional pursuit of the fine art -of illusion. The circus family in this -painting is assembled in a lonely landscape -devoid of any living thing. Their static poses suggest that -each member, caught up in reverie, is unaware of the others. A -sense of equilibrium is maintained, however, in the compact shape -of the five figures at the left balanced against the single figure in -the right foreground. The pastel tints of red, violet, and blue, moreover, -create an aura of elegiac melancholy. Although Picasso has -abandoned the predominantly blue palette of his earlier, more pensive -work, the <i>Family of Saltimbanques</i> still exudes a feeling of -pathos and isolation. (The thirteen paintings by Picasso in the -National Gallery represent the major phases within the first half of -Picasso’s career.)</p> -<div class="pb" id="Page_29">29</div> -<div class="img" id="fig44"> -<img src="images/p14a.jpg" alt="" width="425" height="347" /> -<p class="pcap">GALLERY 76: Georges Braque, <i>Still Life: Le Jour</i>, -dated 1929</p> -</div> -<p>Although common, everyday items, the -objects in this painting are not shown in -an everyday arrangement. Rather, -through a precise, rational manipulation -of shapes, the artist has so structured -the objects as to arrive at a fresh -understanding of their reality. The -pitcher and the wineglass, for example, -are each shown as an overview of the rim (presenting one angle of -vision) and a profile view of the object’s body (presenting a second -angle of vision); these and other aspects of the objects are combined -to reveal a new, but nonetheless accurate, perception of the -object. And, as Braque intended, it is this flattened perception that, -throughout the composition, constantly reminds us of the two-dimensional -surface of the canvas. Braque’s geometric compositions—which -to outraged critics were nothing more than “cubes”—were -one aspect of a style known as cubism which developed shortly -after the turn of the century.</p> -<div class="img" id="fig45"> -<img src="images/p14b.jpg" alt="" width="470" height="298" /> -<p class="pcap">WEST STAIR HALL: Salvador Dali, <i>The Sacrament of -the Last Supper</i>, dated 1955</p> -</div> -<p>Known neither for his Christian -themes nor for simplicity of organization, -Dali has in this painting -moved away from the surrealism that -preoccupied him during his earlier -years. The composition of the <i>Last -Supper</i> is clearly defined in two main -planes: foreground action and background scenery. The placement -of the figures is symmetrical with a mirror-image repetition of the -same figures from one side of the painting to the other. The men, -their faces hidden, are more the idealized participants in a timeless -Eucharist than specific men of a specific time and place. The -strange translucent enclosure—a geometrical dodecahedron—is -meant to be understood as part earthly, part celestial. The enigma -of this intellectual and complex painting centers finally in the all-embracing -arms—symbolic of the heavens and of the creator, who -is seen as youthful rather than patriarchal but whose face is hidden.</p> -<div class="pb" id="Page_30">30</div> -<h2 id="c15"><span class="small">Decorative Arts</span></h2> -<p>As objects for daily use, the decorative arts allow a close insight -into cultures of the past. Among its holdings, the National Gallery -has an extensive collection of European furniture, tapestries, and -ceramics from the fifteenth and sixteenth centuries as well as -medieval church vessels and Renaissance jewelry. In addition, there -is a fine selection of eighteenth-century French furniture—including -many pieces signed by cabinetmakers to Louis XV and Louis XVI -and, of historic interest, the writing table used by Queen Marie -Antoinette while she was imprisoned three years during the French -Revolution (gallery 55). The Gallery also contains a large collection -of Chinese porcelains, including porcelains from the Ch’ing Dynasty -of the seventeenth and eighteenth centuries.</p> -<p>Until the East Building is completed, only a few selected works can -be placed on exhibition in the galleries.</p> -<h2 id="c16"><span class="small">Prints and Drawings</span></h2> -<p>The collection of prints and drawings at the National Gallery contains -about fifty thousand examples from the fifteenth century to the -present time. Included are drawings by Dürer, Rembrandt, Rubens, -and Blake, as well as a wide range of prints by the major graphic -artists of the Western World. The National Gallery’s collection incorporates -an extremely fine selection of early Northern woodcuts -and engravings and one of the most important groups of eighteenth-century -French prints, drawings, and book illustrations outside of -France. There is also an excellent group of early manuscript illuminations.</p> -<p>Visitors may examine prints and drawings not on exhibition by -appointment with a curator in the Department of Graphic Arts.</p> -<div class="pb" id="Page_31">31</div> -<h2 id="c17"><span class="small">Index of American Design</span></h2> -<p>The Index of American Design is a collection of watercolor renderings -of objects of popular art in the United States from before 1700 -until about 1900. The renderings represent American ceramics, furniture, -woodcarving, glassware, metalwork, tools and utensils, textiles, -costumes, and other types of American craftsmanship. There -are some seventeen thousand renderings and about five hundred -photographs. These are available for study, by appointment. -The works themselves may be loaned to organizations for exhibition -outside the Gallery.</p> -<div class="pb" id="Page_32">32</div> -<h2 id="c18"><span class="small"><span class="large">GENERAL INFORMATION</span></span></h2> -<p>The National Gallery is open to the public every day -in the year except Christmas Day and New Year’s -Day. Admission is free at all times.</p> -<h3 id="c19">HOURS</h3> -<p><i>Regular:</i> Weekdays, 10 a.m. to 5 p.m.; Sundays, 12 -noon to 9 p.m.</p> -<p><i>Summer:</i> During the summer months the regular -hours are extended to 9 p.m. Dates for the beginning -and termination of evening hours are announced -on Gallery information boards and in the Gallery’s -monthly <i>Calendar of Events</i>.</p> -<h3 id="c20">ART INFORMATION DESKS</h3> -<p>There are two art information desks: one at the -Constitution Avenue entrance on the Ground Floor; -and the other at the Mall entrance near the Rotunda -on the Main Floor.</p> -<h3 id="c21">CHECKROOMS</h3> -<p>Free checking service is provided near the entrances. -All parcels, briefcases, and umbrellas must -be checked.</p> -<h3 id="c22">PUBLICATIONS SERVICE</h3> -<p>Reproductions and catalogues of the collections are -sold in the publications salesroom on the Ground -Floor near the Constitution Avenue entrance. Books -and catalogues, postcards, color reproductions, -framed reproductions, original color slides, recordings, -portfolios, sculpture reproductions (including -jewelry), note folders, and other publications are -available.</p> -<h3 id="c23">TOURS</h3> -<p>Gallery talks and free tours of the collection are -given by the Education Department.</p> -<p>An <i>Introductory Tour</i>, lasting about 50 minutes, -covers the Gallery’s highlights. It is offered at 11 a.m. -and 3 p.m., Monday through Saturday, and at 5 p.m. -on Sunday.</p> -<p>The <i>Tour of the Week</i>, lasting about 50 minutes, -concentrates on a specific topic or on a special -exhibition. It is given at 1 p.m., Tuesday through -Saturday, and at 2:30 p.m. on Sunday.</p> -<div class="pb" id="Page_33">33</div> -<p>The <i>Painting of the Week</i>, a 15-minute gallery talk -on a single picture in the collection, is scheduled at -noon and 2 p.m., Tuesday through Saturday, and -at 3:30 and 6 p.m. on Sunday.</p> -<p><i>Special appointments</i> for groups of 15 or more people -can be arranged by applying to the Education Department -at least two weeks in advance.</p> -<p><i>Recorded tours</i>, one offering a selection of the Director’s -choice of paintings and another discussing -works in various galleries, may be rented for nominal -fees.</p> -<h3 id="c24">LECTURES</h3> -<p>Lectures by visiting art authorities, and occasionally -by members of the Gallery staff, are given at 4 p.m. -on Sunday afternoons in the Auditorium.</p> -<p>The subjects are often grouped to form a series -treating a single aspect of art history. Admission is -free and no reservations are required. The A. W. -Mellon Lectures in the Fine Arts, a special series -commissioned by the National Gallery, which are -subsequently published in book form, take place during -the spring.</p> -<h3 id="c25">FILMS</h3> -<p>Free films on art are presented on a varying schedule. -For further information on tours, lectures, and -films, consult the Gallery’s <i>Calendar of Events</i>.</p> -<h3 id="c26">CONCERTS</h3> -<p>Free concerts are given in the East Garden Court -every Sunday evening at 7 p.m. (with the exception -of the summer period from late June to late September). -Concerts are given either by guest artists or -by the National Gallery of Art Orchestra under the -direction of Richard Bales. The programs, with intermission -talks or interviews by the Gallery staff, are -broadcast live over WGMS-AM (570) and FM -(103.5). Seats, which are not reserved, are available -after 6 p.m.</p> -<h3 id="c27">CALENDAR OF EVENTS</h3> -<p>The monthly <i>Calendar of Events</i> listing special exhibitions, -lectures, concerts, and films at the National -Gallery of Art will be sent to you regularly, free of -charge, if you fill out an application at either information -desk.</p> -<div class="pb" id="Page_34">34</div> -<h3 id="c28">EXTENSION SERVICE</h3> -<p>A variety of educational materials suitable for -schools, colleges, and libraries can be borrowed from -the Gallery. Color slide programs, with accompanying -audio cassettes, texts, and study prints, cover a -wide range of subjects. A number of films, including -“Art in the Western World” and “The American -Vision,” are available. All material is lent free of -charge except for return postage. For information, -apply to the office of the Extension Service.</p> -<h3 id="c29">SLIDE LENDING SERVICE</h3> -<p>Slides of the Gallery’s collection are available as -loans to organizations, schools, and colleges without -charge. For information, apply to the slide library -in the Education Department.</p> -<h3 id="c30">PHOTOGRAPHY OF WORKS OF ART</h3> -<p>Photography for personal purposes, with or without -flash, but not with a tripod, is permitted throughout -the Gallery unless signs in a particular area indicate -to the contrary. Application for permission to use a -tripod should be made to the Photographic Services -Office, Monday through Friday, exclusive of legal -holidays.</p> -<h3 id="c31">PERMITS TO COPY WORKS OF ART</h3> -<p>Easels and stools are provided without charge for -those individuals who have secured permission to -copy works of art in the Gallery. Application for -permits should be made at the Registrar’s Office. -Letters of reference and examples of work are required -before permission to copy may be granted. -No special permission is required for sketching without -easels if only nonliquid materials, such as pencil, -ballpoint pen, or crayon, are used.</p> -<h3 id="c32">CAFÉ/BUFFET</h3> -<p>The café/buffet is open every day of the year except -Christmas Day and New Year’s Day. It is located at -the Concourse level and may be reached from the -Main Floor via the East Garden Court and East -Lobby or from the 4th Street Plaza.</p> -<p><i>Regular hours:</i> 10 a.m. to 4 p.m. on weekdays and -Saturdays, and 1 p.m. to 7 p.m. Sundays.</p> -<div class="pb" id="Page_35">35</div> -<p><i>Summer hours:</i> During the period when the Gallery -is open until 9 p.m., the café/buffet remains open -until 7:30 p.m. on weekdays and Saturdays. Sunday -hours are 1 p.m. to 7 p.m.</p> -<h3 id="c33">SMOKING ROOMS</h3> -<p>Two lounges are provided for smoking: the smoking -room on the Ground Floor and the Founder’s Room -on the Main Floor near the Rotunda. Smoking is -also permitted in the café/buffet but is strictly prohibited -in all halls and exhibition galleries.</p> -<h3 id="c34">RESTROOMS</h3> -<p>Restrooms are located on the Ground Floor, at the -top of each staircase near the Rotunda on the Main -Floor, and at the Concourse level.</p> -<h3 id="c35">FIRST AID</h3> -<p>An emergency room, under the supervision of a -trained nurse, is available for first-aid treatment in -case of accident or sudden illness. It is located on -the Ground Floor near the entrance to the Auditorium. -The guards will direct visitors to this room -on request.</p> -<h3 id="c36">WHEELCHAIRS • STROLLERS</h3> -<p>Strollers for small children and wheelchairs are -available from the guards at both entrances without -charge. Attendants for pushing wheelchairs are not -available.</p> -<h3 id="c37">TELEPHONES</h3> -<p>Pay-station telephone booths are on the Ground -Floor near the stairways, on the Main Floor near -the Rotunda, and at the Concourse level.</p> -<h3 id="c38">GUARD REGULATIONS</h3> -<p>The guards are under orders not to permit visitors -to touch the paintings or sculpture under any circumstances. -Fountain pens with fluid ink may not -be used in the galleries. Smoking is forbidden in the -exhibition areas.</p> -<h3 id="c39">PLANTS AND FLOWERS</h3> -<p>Flowers and plants in the courts are grown in the -National Gallery’s greenhouses and are changed frequently -by the Gallery’s horticultural staff. There -are special floral displays at Christmas and Easter in -both the Garden Courts and the Rotunda.</p> -<div class="pb" id="Page_36">36</div> -<div class="verse"> -<p class="t0"><b>Board of Trustees</b></p> -<p class="t2">The Chief Justice of the United States, <i>Chairman</i></p> -<p class="t2">The Secretary of State</p> -<p class="t2">The Secretary of the Treasury</p> -<p class="t2">The Secretary of the Smithsonian Institution</p> -<p class="t2">Paul Mellon</p> -<p class="t2">John Hay Whitney</p> -<p class="t2">Franklin D. Murphy</p> -<p class="t2">Carlisle H. Humelsine</p> -<p class="t2">John R. Stevenson</p> -</div> -<div class="verse"> -<p class="t0"><b>Officers and Staff</b></p> -<p class="t2"><span class="sc">President:</span> Paul Mellon</p> -<p class="t2"><span class="sc">Vice President:</span> John Hay Whitney</p> -<p class="t2"><span class="sc">Director:</span> J. Carter Brown</p> -<p class="t3"><span class="sc">Assistant To the Director for Music:</span> Richard Bales</p> -<p class="t3"><span class="sc">Assistant To the Director for National Programs:</span> W. Howard Adams</p> -<p class="t3"><span class="sc">Assistant To the Director for Public Information:</span> Katherine Warwick</p> -<p class="t3"><span class="sc">Assistant To the Director for Special Events:</span> Robert L. Pell</p> -<p class="t3"><span class="sc">Construction Manager:</span> Hurley F. Offenbacher</p> -<p class="t3"><span class="sc">Planning Consultant:</span> David Scott</p> -<p class="t2"><span class="sc">Assistant Director/Chief Curator:</span> Charles Parkhurst</p> -<p class="t3"><span class="sc">Curators:</span></p> -<p class="t4"><span class="sc">American Painting:</span> William P. Campbell</p> -<p class="t4"><span class="sc">Dutch and Flemish Painting:</span> Arthur Wheelock</p> -<p class="t4"><span class="sc">French Painting:</span> David E. Rust</p> -<p class="t4"><span class="sc">Graphic Arts:</span> Andrew C. Robison</p> -<p class="t4"><span class="sc">Italian Painting, Northern and Later:</span> Sheldon Grossman</p> -<p class="t4"><span class="sc">Italian Painting, Early:</span> David Alan Brown</p> -<p class="t4"><span class="sc">Northern European Painting To 1700:</span> John Hand</p> -<p class="t4"><span class="sc">Sculpture:</span> Douglas Lewis, Jr.</p> -<p class="t4"><span class="sc">Spanish Painting:</span> Anna M. Voris</p> -<p class="t4"><span class="sc">Twentieth-century Art:</span> E. A. Carmean, Jr.</p> -<p class="t3"><span class="sc">Curator of Education:</span> Margaret I. Bouton</p> -<p class="t4"><span class="sc">Head, Extension Program Development:</span> Joseph J. Reis</p> -<p class="t4"><span class="sc">Head, Art Information Service:</span> Elise V. H. Ferber</p> -<p class="t3"><span class="sc">Chief Librarian:</span> J. M. Edelstein</p> -<p class="t3"><span class="sc">Editor:</span> Theodore S. Amussen</p> -<p class="t3"><span class="sc">Head Conservator:</span> Victor C. B. Covey</p> -<p class="t3"><span class="sc">Chief, Design and Installation:</span> Gaillard F. Ravenel</p> -<p class="t3"><span class="sc">Chief, Exhibitions, Loans and Registration:</span> Jack C. Spinx</p> -<p class="t3"><span class="sc">Registrar:</span> Peter Davidock</p> -<p class="t3"><span class="sc">Head Photographer:</span> William J. Sumits</p> -<p class="t2"><span class="sc">Treasurer:</span> Lloyd D. Hayes</p> -<p class="t3"><span class="sc">Assistant Treasurer:</span> James W. Woodard</p> -<p class="t2"><span class="sc">Administrator:</span> Joseph G. English</p> -<p class="t3"><span class="sc">Assistant Administrator:</span> George W. Riggs</p> -<p class="t3"><span class="sc">Personnel Officer:</span> Jeremiah J. Barrett</p> -<p class="t2"><span class="sc">Secretary and General Counsel:</span> Robert Amory, Jr.</p> -</div> -<h3 id="c40">Gifts and Bequests</h3> -<p>The Board of Trustees has full power to accept gifts, bequests, or devises -of works of art, money, or other personal or real property, and either -absolutely or in trust. Gifts and donations to the National Gallery of Art -are deductible for Federal income tax purposes within the limits provided by -law, and are welcomed in amounts of any size.</p> -<p class="jr1"><span class="smaller"><span class="ssn">★U.S. GOVERNMENT PRINTING OFFICE: 1976 O—207-802</span></span></p> -<div class="pb" id="Page_37">37</div> -<div class="img"> -<img src="images/p15.jpg" id="ncfig1" alt="Main floor" width="800" height="628" /> -</div> -<dl class="undent pcap"><dt><b>Main Floor</b></dt> -<dd><i>Services</i></dd> -<dd class="t"><i>Men’s Room</i></dd> -<dd class="t"><i>Women’s Room</i></dd> -<dd class="t"><i>Checkroom</i></dd> -<dd class="t"><i>Information</i></dd> -<dd class="t"><i>Telephone</i></dd> -<dd><i>Elevator and Stairways</i></dd> -<dd><i>To: 1 Ground Floor</i></dd> -<dd class="t2"><i>4th Street Entrance</i></dd> -<dd><i>To: Concourse</i></dd> -<dd class="t2"><i>Café/Buffet</i></dd> -<dd><i>Mall Entrance</i></dd></dl> -<div class="img"> -<img src="images/p15a.jpg" id="ncfig2" alt="Ground floor" width="800" height="652" /> -</div> -<dl class="undent pcap"><dt><b>Ground Floor</b></dt> -<dd><i>Services</i></dd> -<dd class="t"><i>Women’s Room</i></dd> -<dd class="t"><i>Men’s Room</i></dd> -<dd class="t"><i>Checkroom</i></dd> -<dd class="t"><i>Information</i></dd> -<dd class="t"><i>Telephone</i></dd> -<dd class="t"><i>First Aid</i></dd> -<dd class="t"><i>Facilities for the Handicapped</i></dd> -<dd class="t"><i>Sales Shop</i></dd> -<dd><i>Special Exhibitions</i></dd> -<dd><i>Constitution Avenue Entrance</i></dd> -<dd><i>4th Street Entrance</i></dd> -<dd><i>Auditorium</i></dd> -<dd><i>Elevator and Stairway</i></dd> -<dd><i>To: 2 Main Floor</i></dd> -<dd><i>To: Concourse</i></dd> -<dd class="t2"><i>Café/Buffet</i></dd></dl> -<div class="pb" id="Page_38">38</div> -<div class="img"> -<img src="images/p16.jpg" id="ncfig3" alt="Main Floor" width="1000" height="811" /> -</div> -<div class="verse"> -<p class="t0"><b>Main Floor</b></p> -<p class="t"><i>Schools of Painting</i></p> -<p class="t2"><i>Central Italian and Florentine Renaissance</i></p> -<p class="t2"><i>North Italian and Venetian Renaissance</i></p> -<p class="t2"><i>17th and 18th Century Italian</i></p> -<p class="t2"><i>Spanish</i></p> -<p class="t2"><i>Flemish and German</i></p> -<p class="t2"><i>Dutch</i></p> -<p class="t2"><i>17th and 18th Century French</i></p> -<p class="t2"><i>19th Century French</i></p> -<p class="t2"><i>British</i></p> -<p class="t2"><i>American</i></p> -<p class="t2"><i>Special Exhibitions</i></p> -<p class="t2"><i>Sculpture</i></p> -<p class="t"><i>West Garden Court</i></p> -<p class="t"><i>Rotunda</i></p> -<p class="t"><i>East Garden Court</i></p> -<p class="t"><i>Mall Entrance</i></p> -</div> -<div class="img"> -<img src="images/p20.jpg" id="ncfig4" alt="Map" width="1000" height="620" /> -</div> -<dl class="undent"><dt>Address:</dt> -<dd class="t">National Gallery of Art</dd> -<dd class="t">6th Street and Constitution Avenue N.W.</dd> -<dd class="t">Washington, D.C. 20565</dd> -<dt>Telephone:</dt> -<dd class="t">(202) 737-4215</dd> -<dt>Cable Address:</dt> -<dd class="t">NATGAL</dd> -<dt><i>Pennsylvania Avenue</i></dt> -<dt><i>Constitution Avenue</i></dt> -<dt><i>7th Street</i></dt> -<dt><i>U. S. Capitol</i></dt></dl> -<h2 id="trnotes">Transcriber’s Notes</h2> -<ul> -<li>Silently corrected a few typos.</li> -<li>Retained publication information from the printed edition: this eBook is public-domain in the country of publication.</li> -<li>In the text versions only, text in italics is delimited by _underscores_.</li> -</ul> -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK BRIEF GUIDE: NATIONAL GALLERY OF ART ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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