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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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