BGuthrie Photos: DC -- Donald W. Reynolds Center (NPG) -- Exhibit: Recent Acquisitions (2011)

DC -- Donald W. Reynolds Center (NPG) -- Exhibit: Recent Acquisitions (2011):

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Description of Pictures: Recent Acquisitions
November 18, 2011 – November 4, 2012
On view are approximately 40 new works of art acquired by the museum from 2007 to 2011, including caricatures of Beverly Sills and Earl “Fatha” Hines by Al Hirschfeld, photographs of former first ladies Nancy Reagan and Barbara Bush by Diana Walker, Secretary of State Hillary Clinton by Chuck Close, and poet Sadakichi Hartmann by Zaida Ben-Yusuf, as well as a pewter sculpture of choreographer Martha Clarke by Philip Grausman.

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. SIPGRE_111119_002.JPG: Barnard Sachs, 1859-1944 A prominent clinical neurologist, Barnard Sachs enjoyed a long medical career that flourished as neurology developed into a specialized study of medicine around the turn of the century. Sachs received degrees from Harvard University and the University of Vienna in Austria. After he returned to New York City in 1884, he established a private practice for the treatment of mental and nervous disorders. Sachs's seminal 1887 study of a childhood enzyme deficiency now known as Tay-Sachs disease contributed much to the emerging field of pediatric neurology. His book The Normal Child (1926) became a popular manual on child-rearing for the general public. This likeness, painted by Latvian-American artist Henry R. Rittenberg, is a smaller replica of Sachs's official portrait at the New York Academy of Medicine, where he served as president. Henry R. Rittenberg, c 1936
2. SIPGRE_111119_011.JPG: Louis I. Kahn, 1901-1974 Louis Kahn's best-known buildings, including the Kimbell Art Museum in Fort Worth, Texas (1966–72) and the Yale Center for British Art (1969–74), combined the strengths of modernist architecture with the architectural traditions of the past. He was known for his interest in both structure and light and was regarded as an important theorist and teacher at the University of Pennsylvania. Kahn's daughter, Alexandra Tyng, created this portrait from memory and photographs. Kahn is standing in his office in Philadelphia, surrounded by his books and a framed drawing of an unbuilt project for the Palazzo del Congressi in Venice. The artist intended to illuminate a moment of inspiration through her inclusion of the light shining on Kahn's face. Alexandra Tyng, 2009
3. SIPGRE_111119_020.JPG: Will Rogers, 1879-1935 When Will Rogers was a young man, he lived the cowboy life, and yet, he felt restricted by the rustic lifestyle. He moved to South America, and then to South Africa, where he toured with a wild west show. It was there that he developed his skill as a trick roper. Around 1916, he transformed himself from a "ropin' fool" to a "talkin' fool," and his career as a social commentator and entertainer took off. This sculpted likeness, featuring his famous lariat, was created by Los Angeles neurosurgeon Emil Seletz, who also worked as a sculptor. Seletz had first met Rogers in an elevator at Cedars Sinai Hospital. Emil Seletz, c 1933
4. SIPGRE_111119_038.JPG: Edward Villella, born 1936 Edward Villella entered the School of American Ballet at age ten but took time off for college before returning to the school in 1955. In 1957 he was invited to join the New York City Ballet, where he worked with George Balanchine and took on many important roles until injuries forced his retirement in the mid-1980s. He soon became the first artistic director of the new Miami City Ballet, a position he still holds. In 1997 President Bill Clinton awarded him the National Medal of Arts, and Villella was also named a Kennedy Center Honoree. Sacha Newley, whose drawings and paintings are steeped in his study of the Old Masters, captures Villella's virility and resilience in this small portrait. Sacha Newley, 2005
5. SIPGRE_111119_048.JPG: Will Rogers, 1879-1935 Will Rogers was the child of Cherokee parents. His father was prominent in Oklahoma politics, and Rogers lived the life of a cowboy before discovering his gifts as a humorist, actor, and commentator on social mores and politics. Rogers's biographer has noted that of all the myths surrounding the humorist's phenomenal success, none conflicted with reality more than the myth of his ignorance. Rogers used his wit and intellect to entertain and to cultivate the persona of a na�ve cowboy who commented on and often "roasted" pretentious, self-styled sophisticates. When he was at the peak of his fame as a radio and movie star and newspaper columnist, Rogers was killed in a plane crash on August 15, 1935. Few portraitists captured Rogers from life. One of those was Charles Banks Wilson, who at age fifteen sketched Rogers backstage after a performance in Miami, Oklahoma. He created this painting from those sketches. Charles Banks Wilson, 1933-36
6. SIPGRE_111119_056.JPG: Mortimer M. Caplin, born 1916 To date, the life of Mortimer M. Caplin has been one of high energy and accomplishment. Nationally known for more than fifty years as one of Washington's foremost tax attorneys, Caplin has been a self-driven achiever since his early days, when he was a Phi Beta Kappa undergraduate at the University of Virginia and later first in his law school class. He taught tax law at UVA's law school for thirty-three years. In 1964 he founded the Washington law firm Caplin & Drysdale and is still practicing today. Time magazine commissioned this portrait for its cover of February 1, 1963. The accompanying story reported on Caplin's expertise as U.S. Commissioner of Internal Revenue and the great influence he had on President John Kennedy's proposed tax reforms. Boris Chaliapin, 1963
7. SIPGRE_111119_069.JPG: Ramon Ayala, born 1945 Known as the "King of the Accordion," Ram�n Ayala has exemplified for more than five decades the best of norte�o music, a genre rooted in rural Mexico and popular throughout the Southwest. Having started playing the accordion at age five, Ayala recorded his first album at age eighteen with the group Los Rel�mpagos del Norte -- the Lightning Bolts of the North -- and was soon regarded as one of the most inventive musicians in the norte�o tradition. Now based in Hidalgo, Texas, he has recorded more than a hundred albums and is the recipient of four Grammy Awards. His songs are often concerned with the hopes and dreams of immigrants along the U.S.–Mexico border, although his music is also about conveying sentiments that speak to the heart of humanity. In this portrait -- commissioned to accompany a profile of the legendary musician for Texas Monthly -- photographer Jeff Wilson captures Ayala holding his signature rhinestone-studded accordion. Jeff Wilson, 2004
8. SIPGRE_111119_074.JPG: Mathew Brady, 1823?-1896 Published in the first issue of the Photographic Art Journal, an early journal of photography, Francis D'Avignon's lithographic portrait celebrates pioneering photographer Mathew Brady. The lithograph accompanied an article about Brady by C. Edwards Lester that praised the young daguerreotypist, who specialized in creating portraits. Lester's essay celebrates Brady's groundbreaking Gallery of Illustrious Americans, inaugurated a year before this portrait was made and featuring photographic images of politicians, military generals, and men of letters. Although the ambitious project, which featured lithographs by D'Avignon based on photographs by Brady, was not a financial success, Lester noted that "before the Daguerrean art was discovered, it is useless to say that it was within the power of any publisher in the world, or any artist in the world, to execute such faithful, life-like, and strikingly beautiful portraits of our public men." Francis D'Avignon, 1851
9. SIPGRE_111119_083.JPG: Stonewall Jackson, 1824-1863 This c. 1863 lithograph by the New York–based firm of Currier & Ives testifies to the fame of Confederate general Thomas Jonathan "Stonewall" Jackson. The likeness is based on the last photograph of him, taken by Virginia photographer George W. Minnis just a few days before Jackson's death at the Battle of Chancellorsville. Despite humble beginnings, Jackson attended West Point, graduating seventeenth in a class of fifty-nine, and later demonstrated his extraordinary resolve on the battlefield. After success in the Mexican American War, Jackson became an instructor at the Virginia Military Institute, from which he led cadets into war in 1861. Jackson, who earned his nickname during the First Battle of Bull Run, became one of the South's most successful military tacticians. Setting an example that would lead to an early southern victory, Jackson's fellow general Barnard E. Bee is reported to have exclaimed: "Look, men! There stands Jackson like a stone wall! Rally behind the Virginians!" Currier & Ives Lithography Company, c 1863
10. SIPGRE_111119_092.JPG: David G. Farragut, 1801-1870 John Chester Buttre's engraving celebrates the military exploits of the Union naval hero David G. Farragut. Although Farragut went to sea at an early age and learned to speak French, Italian, Spanish, and Arabic, his promotion was relatively slow. This was related in part to his determination to personally care for his ailing first wife, who passed away in 1840. During the Civil War, Farragut's boldness and courage led to key victories at Mobile Bay and New Orleans, recognized in this work. In 1866 Congress appointed Farragut a full admiral, a rank established to honor his achievements. Secretary of the Navy Gideon Welles later praised Farragut as possessing "innate fearless moral courage." Welles noted that although he did "but one thing at a time, [he] does that well and strong." John Chester Buttre, after CD Fredericks Engraving, 1865
11. SIPGRE_111119_117.JPG: George H. Thomas, 1816-1870 This engraving of George H. Thomas celebrates the Union general's numerous military successes. Although born in Virginia, Thomas, who graduated from West Point, remained loyal to the Union. Despite what he perceived as a lack of recognition from politicians in Washington, Thomas proved to be a gifted leader who enabled his troops to prevail in key victories. Among the most famous are those celebrated in this print: the battles at Chickamauga, Georgia, on September 19–20, 1863, and Nashville, Tennessee, on December 15–16, 1864. For these achievements, he would earn the nicknames the "Rock of Chickamauga" and the "Sledge of Nashville." In addition to his military prowess, Thomas also had a strong interest in botany and collected plant specimens for the Smithsonian Institution while stationed at Fort Yuma, in the desert Southwest, in the mid-1850s. John Chester Buttre, after George N Barnard, 1865
12. SIPGRE_111119_148.JPG: Conde Nast, 1873-1942 Clara Tice's witty Dada portrait captures publisher and New York society leader Cond� Nast at the height of his influence. The caf� society parties Nast hosted at his lavish Park Avenue penthouse were funded by a stable of successful magazines all meant to elevate standards of taste, including Vanity Fair, House and Garden, and his flagship journal, the fashion magazine Vogue. Tice's clever portrait of Nast, based on a publicity photo, affectionately spoofs the dapper publisher's aloof propriety by featuring undressed ladies of questionable taste. After an exhibition of Tice's nudes attracted the fury of Anthony Comstock and his New York Society for the Suppression of Vice, Tice's friends staged a mock trial, where she hoped to be acquitted of "having committed unspeakable black atrocities on white paper, abusing slender bodies of girls, cats, peacocks, and butterflies." Clara Tice, c 1923
13. SIPGRE_111119_153.JPG: Frank Crowninshield, 1872-1947 In 1915, when New York City's vice squad attempted to confiscate from an exhibition the whimsical female nudes drawn by Clara Tice, the incident vaulted the young Greenwich Village artist into the limelight and charmed Vanity Fair's influential editor, Frank Crowninshield. He soon began to publish Tice's sketches in the magazine, helping to launch her career. A discerning scout for new talent, Crowninshield, while cultured and cosmopolitan, admitted to a "perhaps preposterous" preference for the new over the old in society, arts, and culture. Vanity Fair published modern French and American painting and the work of T. S. Elliot and Gertrude Stein but also embraced humor and the popular arts. Crowninshield's admiration for Tice was rewarded by this teasing portrait, in which slender nudes form his face while one of his beloved cats represents his famous mustache. Clara Tice, c 1920
14. SIPGRE_111119_159.JPG: William Carlos Williams, 1883-1963 In the 1910s, avant-garde artists, writers, musicians, and intellectuals gathered at the New York home of patrons Walter and Louise Arensberg. Physician William Carlos Williams, also a prolific poet and writer, mingled with such Dada circle regulars as Marcel Duchamp, Francis Picabia, Man Ray, and the artist of this portrait, John Covert, an Arensberg cousin. Williams wrote poetry evoking the common imagery of American life and the rhythm of everyday speech. His initials and his poem "I saw the figure 5 in gold," which suggested the fleeting glimpse of a fire engine at night, undoubtedly inspired this portrait. Covert's fondness for cryptography, numerology, and coded and symbolic references relates to his early Dada experimentation, even though this work was probably made later. Here Covert abrades, pierces, and erases the already scarred paper, probing beyond the surface, turning two dimensions into three, and suggesting the complexity of Williams's character. John Covert, c 1950
15. SIPGRE_111119_166.JPG: Ethel Waters, 1896-1977 African American artist Beauford Delaney first gained a reputation in New York City in the 1930s with distinctive pastel portraits like this image of blues singer and actress Ethel Waters. New York, Delaney claimed, "had a rhythm as distinct as the beating of a human heart. . . . I paint people, . . .and in their faces I hope to discover that odd, mysterious rhythm." The artist's passion for jazz and blues took him frequently to the nightclubs of Harlem and Greenwich Village, where he began making portraits of the musicians he met, including Waters, W. C. Handy, Duke Ellington, and Louis Armstrong. Waters, who already had a busy recording, touring, and Broadway career, was a particular favorite. After hearing one performance, Delaney wrote that she made him "proud to be a Negro." He and his prot�g�, James Baldwin, would often listen to, and sing along with, her music. Beauford Delaney, 1940
16. SIPGRE_111119_174.JPG: Bill Clinton, born 1946 This drawing of President Bill Clinton was created by R. B. Kitaj -- an American artist long resident in England -- as a study for a pastel portrait commissioned by University College, Oxford. Clinton is an honorary fellow of the college, having been a Rhodes Scholar there from 1968 to 1970. Kitaj made multiple sketches of the president during a one-hour sitting at the White House in 1995. The resulting work evokes a long tradition of depicting leaders in profile. Creating a likeness more thought-provoking than blindly complimentary, the artist has written, "I think we remember people by their faces. If you say or hear someone's name, you think the face don't you? . . . I think of the face first, and then other things. . . . I think all painted or drawn faces are more stylized, more abstracted (from life), more realized, and more ambiguous than faces in photographs." R.B. Kitaj, 1996
17. SIPGRE_111119_191.JPG: Grandma Moses, 1860-1961 For most of Anna Moses's life, working the family farm in Eagle Bridge, New York, had been the central activity of her existence. By the 1930s she had retired from her duties and took up painting. Moses created pictures depicting idyllic scenes of her rural past, and the flat quality of her artworks embodied a charm capable of winning over sophisticated viewers. By 1940, the art world was coming to know the artist known as Grandma Moses, and she would become one of America's best-loved painters. Kristin Helberg, also a self-taught American folk artist, painted this portrait as a personal tribute to Moses. She based it loosely on a photograph showing the artist at work at her decorated tip-up table. Helberg also made the vinegar-grained frame. Kristin Helberg, 1996
18. SIPGRE_111119_196.JPG: Beverly Sills, 1929-2007 "Since the death of Enrico Caruso," Stereo Review enthused in its February 1979 issue, "no singer of any nationality . . . has brought opera more to the consciousness of the general American public than Beverly Sills." At the time, Sills had just announced her appointment as director of the New York City Opera Company, and the magazine was awarding her its annual Certificate of Merit. For Stereo Review's pastel-colored cover, caricaturist Al Hirschfeld focused on the singer's insouciant personality and legendary energy. Hirschfeld could summarize each persona with startling clarity, and his subjects usually loved his celebratory spoofing. His drawings, Arthur Miller noted, share an energetic joy of life: "the sheer tactical vibrance of the lines . . . make you feel that he has found a wit in your miserable features that may yet lend you a style and a dash you were never aware of in yourself." Al Hirschfeld, 1979
19. SIPGRE_111119_202.JPG: Earl "Fatha" Hines, 1905-1983 Al Hirschfeld's drawing of Earl "Fatha" Hines is a variant of the one published on the cover of Stereo Review in February 1980, when the jazz pianist was awarded the magazine's annual Certificate of Merit for outstanding contributions to the quality of American musical life. Stanley Dance, credited with reviving Hines's career in 1964, noted in his accompanying article that "for more than fifty years Hines has been famous for the independence of his two hands." Jazz commentators marveled at Hines's ability to establish a separate rhythm and melody with his left hand rather than just keeping the beat. On one occasion, while listening to a playback, Hines himself commented that "the left hand got away from the right." Through the double-imaging of the hands and the long flexible fingers, Hirschfeld, a jazz aficionado himself, conveys independence, movement, and speed. Al Hirschfeld, c 1979
20. SIPGRE_111119_210.JPG: After the Fire at the United States Patent Office Building, Washington, D.C., September 1877 On a cold and windy morning in September 1877, the largest fire in the history of Washington, D.C., broke out at the U.S. Patent Office Building -- now the Donald W. Reynolds Center for American Art and Portraiture. A workman had started a fire on the first floor after copyists complained of being cold. Sparks traveled up a flue and ignited a series of wooden grates on the roof. In the next several hours, flames spread quickly throughout the third floor's north and west wings. Given the height of the fire's location, neither fire wagons nor hydrants could adequately deliver water to douse the flames. Ultimately the roof above these two wings collapsed. Before the fire was extinguished, more than 100,000 patent models stored in the building's vast "Model Room" were destroyed, including Eli Whitney's model for the cotton gin. Also housed in the building were the Declaration of Independence, George Washington's military uniform, and many other items of national importance. Fortunately, a brigade of rescuers saved them -- together with most of the written records and drawings from the Patent Office. These four photographs were taken not long after the fire and provide a graphic account of the fire's destruction. Lewis E. Walker, 1877
21. SIPGRE_111119_230.JPG: Alexander Graham Bell, 1847-1922 Inventor and educator Alexander Graham Bell sparked a communications revolution when he patented the telephone in 1876. Although his Bell Telephone Company would spend years in litigation against patent infringers and counterclaimants, it emerged triumphant in its defense of Bell's original and ancillary patents. This photograph was made in New York City on October 18, 1892 at the formal opening of the first long-distance telephone line between New York and Chicago. The ceremonies marking the occasion included a brief telephone conversation between the mayors of the two cities and ended with Bell speaking to his former assistant, William H. Hubbard of Chicago. At the time of its installation, this was the longest telephone line in operation, being twice the length of any other in the American Telephone and Telegraph Company's system. Bell would eventually live to see telephone service linking Washington, D.C., and Honolulu, Hawaii. E.J. Holmes, 1892
22. SIPGRE_111119_240.JPG: Moon Kwan, 1896-1995 Moon Kwan was a pivotal figure in the development of the Chinese film industry who began his career in Hollywood during American cinema's formative years. A native of China, Kwan initially moved to San Francisco before moving to Los Angeles in 1915 to pursue his interest in filmmaking. He found work as a writer and actor but made his principal contribution as an advisor on Chinese culture to director D.W. Griffith during the filming of the silent classic Broken Blossoms (1919). Returning to China in 1921, Kwan established a film company near Shanghai and later taught acting and scriptwriting in Hong Kong. In 1933 he co-founded the Grandview Film Company in San Francisco to make Chinese-language films for the American market. After opening a branch of the company in Hong Kong in 1935, Kwan directed more than fifty films there while continuing to promote and distribute Chinese films in the United States. Margrethe Mather, c 1918
23. SIPGRE_111119_250.JPG: Sadakichi Hartmann, 1867-1944 Born to a Japanese mother and a German father, Sadakichi Hartmann began his career as a freelance art critic in the 1890s. Famous for his bohemian lifestyle, he became one of America's few recognized authorities on Japanese culture following the publication of his book, Japanese Art, in 1904. In his 1910 book on artist James McNeill Whistler, he anticipated in many ways the modernist directions that contemporary painting would shortly take. Among Hartmann's most significant contributions to art criticism were his writings on photography. Between 1896 and 1916, he penned more than 650 articles on the subject. This 1898 photograph was created in New York City by Zaida Ben-Yusuf, a female photographer whose work Hartmann championed. About her, he wrote, "it is doubtful if there is in the entire United States a more interesting exponent of portrait photography than she is." Zaida Ben-Yusuf, 1898
24. SIPGRE_111119_256.JPG: Curly, c 1859-1923 In the spring of 1876 Curly accepted an invitation to scout for George Custer and his Seventh Cavalry during their armed engagement with tribes on the northern plains. His own tribe, the Crow, had previously made peace with the United States. In late June -- about a week before the United States was to celebrate its centennial -- a force of Lakota and Northern Cheyenne warriors soundly defeated Custer and his command at the Battle of the Little Bighorn in Montana. Curly was the only survivor from the main part of that fight. Two days after the battle, he reached military authorities and became the first eyewitness to report details about "Custer's last stand." The news shocked the nation and prompted the U.S. Army to redouble its commitment to subdue hostile tribes in the West. In the years that followed, Curly lived on the Crow reservation, serving for a time in the tribal police force. Fred Miller, 1909
25. SIPGRE_111119_265.JPG: Henry Ossawa Tanner, 1859-1937 Henry Ossawa Tanner was one of the first African American artists to gain international acclaim, winning honors in both America and Europe. The son of an African Methodist Episcopal bishop, Tanner studied painting in Philadelphia under the guidance of Thomas Eakins and Thomas Hovenden at the Pennsylvania Academy of the Fine Arts. Much of his work was devoted to carefully rendered depictions of biblical scenes, landscapes, and the everyday lives of African Americans. While his paintings won praise from some quarters, he endured many slights because of his race, and in 1891 he left America to continue his studies in Paris. Tanner found greater tolerance abroad, and although he returned to the States periodically, he spent the remainder of his life in France. This portrait by Frederick Gutekunst was probably created during a visit to Philadelphia in 1897. Tanner's success served as an inspiration for African American artists during the Harlem Renaissance and later. Frederick Gutekunst, c 1897
26. SIPGRE_111119_274.JPG: Martha Clarke, born 1944 Martha Clarke conceives choreography for dance, theater, the visual arts, and opera. Her productions have ranged from classic selections of Mozart to avant-garde theater works. Her best-known composition is "The Garden of Earthly Delights" (1984), a theater work that melds text, dance, music, and the eponymous painting by Hieronymus Bosch. She received a MacArthur Foundation "genius grant" in 1990. The artist Philip Grausman was married to Clarke when he created this intimate, uniquely cast bust capturing her introspection and beauty. The dancer's graceful neck suggests inner strength; her stylized features evoke a timeless quality while still capturing a strong likeness. Philip Grausman, 1979
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2011 photos: Trips this year: Civil War Trust conferences (Savannah, GA, Chattanooga, TN), New Jersey over Memorial Day for my birthday (people never seem to visit New Jersey -- it's always just a pit stop on the way to New York. I thought I might as well spend a few days there. Despite some nice places, it still ended up a pit stop for me -- New York City was infinitely more interesting), my 6th consecutive San Diego Comic-Con trip (including Las Vegas, Los Angeles, and San Francisco). Ego strokes: Author photos that I took were used on two book jackets this year: Jason Emerson's book "The Dark Days of Abraham Lincoln's Widow As Revealed by Her Own Letters" and Dennis L. Noble's "The U.S. Coast Guard's War on Human Smuggling." I also had a photo of Jason Stelter published in the Washington Examiner and a picture of Miss DC, Ashley Boalch, published in the Washington Post. Equipment this year: I mostly used the Fuji S100fs camera as well as two Nikon models -- the D90 and the new D7000. Mostly a toy, I also purchased a Fuji Real 3-D W3 camera, to try out 3-D photographs. I found it interesting although I don't see any real use for 3-D stills now. Given that many of the photos from the 1860s were in 3-D (including some of the more famous Civil War shots), it's odd to see it coming back. Number of photos taken this year: just over 390,000.
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Photo Contact: [Email Bruce Guthrie].