BGuthrie Photos: DC -- Natl Gallery of Art -- West Wing -- Paintings

DC -- Natl Gallery of Art -- West Wing -- Paintings:

Bruce Guthrie Photos Home Page: [Click here] to go to Bruce Guthrie Photos home page.

Description of Pictures: Including the reopening of the French wing.

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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 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. NGAP_120120_02.JPG: Edgar Degas Alexander and Bucephalus, 1861/1862
2. NGAP_120120_07.JPG: Claude Monet Jerusalem Artichoke Flowers, 1880
3. NGAP_120120_14.JPG: Mary Cassatt Children Playing on the Beach, 1884
4. NGAP_120128_0001.JPG: Still Life with Melon and Peaches, c. 1866 Edouard Manet
5. NGAP_120128_0008.JPG: The 1860s The 1860s was a decade of dynamic cultural transition. Aspiring French artists still hoped to exhibit at the Salon, the annual event of the official arts establishment that was the path to success. The young painters here, all in their twenties of early thirties, were no exception, but their works -- fueled by a new devotion to contemporary life and to the sheer tactile qualities of paint -- undermined Salon conventions. Instead of the polished surfaces preferred by Salon juries, these artists were inspired by Courber's heavy paint application and Manet's discrete brushworks, laid in side by side. Mythological and biblical narratives also gave way, and by the early 1870s the avant-garde movement known as impressionism was launched.
6. NGAP_120128_0010.JPG: The Tragic Actor (Rouviere as Hamlet), 1866 Edouard Manet
7. NGAP_120128_0017.JPG: Edmond Maitre, 1869 Frederic Bazille
8. NGAP_120128_0022.JPG: Diana, 1867 Auguste Renoir
9. NGAP_120128_0029.JPG: Mademoiselle Sicot, 1865 Auguste Renoir
10. NGAP_120128_0038.JPG: The Dead Toreador, probably 1864 Edouard Manet
11. NGAP_120128_0044.JPG: Antony Valabregue, 1866 Paul Cezanne
12. NGAP_120128_0050.JPG: The Artist's Father, Reading "L'Evenement", 1866 Paul Cezanne
13. NGAP_120128_0057.JPG: Panoramic View of the Ile-de-France, c 1830 Theodore Rousseau
14. NGAP_120128_0066.JPG: Mount Desert Island, Maine, 1864 Jervis McEntee
15. NGAP_120128_0075.JPG: Swiss Landscape, c 1830 Alexandre Calame
16. NGAP_120128_0087.JPG: The Artist Sketching at Mount Desert, Maine, 1864-1865 Sanford Robinson Gifford
17. NGAP_120128_0097.JPG: Fog Off Mount Desert, 1850 Frederic Edwin Church
18. NGAP_120128_0102.JPG: City Hall at Thorn, 1848 Eduard Gaertner
19. NGAP_120128_0114.JPG: View from Vaekero near Christiania, 1827 Johan Christian Dahl
20. NGAP_120128_0126.JPG: View of the Castello di San Giuliano, near Trapani, Sicily, c 1824/1826 Louise-Josephine Sarazin de Belmont
21. NGAP_120128_0130.JPG: Ancient Ruins near Messina, Sicily, 1842 Jean-Charles-Joseph Remond
22. NGAP_120128_0140.JPG: Study for "Catskill Creek", c 1844/1845 Thomas Cole
23. NGAP_120128_0145.JPG: View near Naples, c 1806 Simon Denis
24. NGAP_120128_0151.JPG: The Tomb of Cecaelia Metella, c 1830 Leon-Francois-Antoine Fleury
25. NGAP_120128_0158.JPG: The Northern Whale Fishery: The "Swan" and "Isabella", c 1840 John Ward of Hull
26. NGAP_120128_0178.JPG: Northern Landscape, Spring, c 1825 Caspar David Friedrich
27. NGAP_120128_0188.JPG: Cloud Study: Stormy Sunset, 1821-1822 John Constable
28. NGAP_120128_0195.JPG: Beach near Etretat, c 1872 Jean-Baptiste-Camille Corot
29. NGAP_120128_0199.JPG: Mountain Landscape at Sunset, c 1765 Jean-Honore Fragonard
30. NGAP_120128_0211.JPG: The Beach at Villerville, 1864 Eugene Boudin
31. NGAP_120128_0220.JPG: Sainte-Adresse, 1867 Claude Monet
32. NGAP_120128_0230.JPG: Study of Clouds over the Roman Campagna, c 1782/1785 Pierre-Henri de Valenciennes
33. NGAP_120128_0237.JPG: Boats on a Beach, Etretat, c 1872/1875 Gustave Courbet
34. NGAP_120128_0248.JPG: Jetty and Wharf at Trouville, 1863 Eugene Boudin
35. NGAP_120128_0268.JPG: The Black Rocks at Trouville, 1865/1866 Gustave Courbet
36. NGAP_120128_0275.JPG: Boats on a Beach, Etretat, c 1872/1875 Gustave Courbet
37. NGAP_120128_0281.JPG: Ships Riding on the Seine at Rouen, 1872/1873 Claude Monet
38. NGAP_120128_0288.JPG: Coast of Brittany, 1870 Eugene Boudin
39. NGAP_120128_0295.JPG: Departure for the Hunt in the Pontine Marshes, 1833 Horace Vernet
40. NGAP_120128_0316.JPG: Gypsy Girl with Mandolin, c 1870 Jean-Baptiste-Camille Corot
41. NGAP_120128_0322.JPG: Agostina, 1866 Jean-Baptiste-Camille Corot
42. NGAP_120128_0330.JPG: Italian Girl, c 1872 Jean-Baptiste-Camille Corot
43. NGAP_120128_0338.JPG: Hunting in the Pontine Marshes, 1833 Horace Vernet
44. NGAP_120128_0350.JPG: The Approaching Storm, 1849 Constant Troyon
45. NGAP_120128_0367.JPG: A View near Volterra, 1838 Jean-Baptiste-Camille Corot
46. NGAP_120128_0376.JPG: Forest of Fontainebleau, 1834 Jean-Baptiste-Camille Corot
47. NGAP_120128_0392.JPG: Modern Paris: The paintings in this gallery respond to the radical urban renewal project that transformed Paris in the 1850s and 1860s. An old, essentially medieval city of narrow cobblestone alleys became and modern metropolis, with the open parks and grand boulevards lined by uniform limestone facades that define the look of Paris to this day. Manet, the consummate observer of these new city spaces, expressed ambivalence: attraction to glossy fashion and urbanity but also a sense of disorientation and dislocation, even loneliness. With a bright palette and flickering touch, Renoir and Pissarro painted cityscapes that celebrate the fresh views, open-air, and sunlight of the modern capital, and the brisk, energetic movement of its citizens.
48. NGAP_120128_0394.JPG: The Railway, 1873 Edouard Manet
49. NGAP_120128_0407.JPG: Nanny and Child, 1877/1878 Eva Gonzales
50. NGAP_120128_0414.JPG: Plum Brandy, c 1877 Edouard Manet
51. NGAP_120128_0424.JPG: The Old Musician, 1862 Edouard Manet
52. NGAP_120128_0436.JPG: Spring, 1881 Edouard Manet
53. NGAP_120128_0444.JPG: Place du Carrousel, Paris, 1900 Camille Pissarro
54. NGAP_120128_0457.JPG: Pont Neuf, Paris, 1872 Auguste Renoir
55. NGAP_120128_0466.JPG: Renoir's The Pont des Arts, Paris: The Norton Simon Museum and the National Gallery of Art are partners in a long-term arrangement, exchanging master works that will hang temporarily with each other's permanent collections. Industrialist Norton Simon established the Norton Simon Museum in Pasadena in 1975 to create public access to his extensive collection, which includes more than 130 examples of nineteenth-century European painting. Among the most impressive is The Pont des Arts, Paris by Auguste Renoir. Installed together in this room, the Norton Simon's The Pont des Arts, Paris and the National Gallery's Pont Neuf, Paris are fom a series of cityscapes completed by Renoir during the late 1860s through the early 1870s. The series celebrated the new modern Paris, showing brightly dressed urbanites parading in the open, sunlit spaces of the recently renovated city. With his light, sensitive brushwork, Renoir conveys a sense of the city's bustling energy while recording recognizable Parisian sites: the new Chatelet theaters and the seventeenth-century Institut de France in Pont des Arts, and the equestrian statue of King Henri IV in the center of the seventeenth-century bridge in Pont Neuf. Both views are found along the city's central artery, the river Seine.
56. NGAP_120128_0469.JPG: The Pont des Arts, Paris, 1867-1868 Auguste Renoir
57. NGAP_120128_0492.JPG: Boulevard des Italiens, Morning, Sunlight, 1897 Camille Pissarro
58. NGAP_120128_0502.JPG: The Bridge of Louis Philippe, 1875 Jean-Baptiste-Armand Guillaumin
59. NGAP_120128_0508.JPG: Masked Ball at the Opera, 1873 Edouard Manet
60. NGAP_120128_0523.JPG: The Ramparts at Aigues-Mortes, 1867 Frederic Bazille
61. NGAP_120128_0530.JPG: Charing Cross Bridge, London, 1890 Camille Pissarro
62. NGAP_120128_0546.JPG: The Lighthouse at Honfleur, 1886 Georges Seurat
63. NGAP_120128_0561.JPG: Washerwomen on the Banks of the Durance, 1866 Paul Guigou
64. NGAP_120128_0571.JPG: Peasant Girl with a Straw Hat, 1881 Camille Pissarro
65. NGAP_120128_0578.JPG: Orchard in Bloom, Louveciennes, 1872 Camille Pissarro
66. NGAP_120128_0583.JPG: Peasant Woman, 1880 Camille Pissarro
67. NGAP_120128_0593.JPG: Hampton Court Green, 1891 Camille Pissarro
68. NGAP_120128_0602.JPG: Seascape at Port-en-Bessin, Normandy, 1888 Georges Seurat
69. NGAP_120128_0615.JPG: Intimate Impressionism: Although impressionism is associated most closely with the breezy immediacy of landscapes and city views painted outdoors, this gallery focuses on avant-garde artists who explored domestic interiors and the world of women: mothers and sisters, wives and daughters, housemaids and launderers. Female artists such as Cassatt and Morisot were restricted in their ability to venture into the streets and suburbs of Paris for modern subjects by the social mores of their privileged backgrounds. They turned by necessity to family members and friends within the sphere of domestic life. In these intimate settings, they found wide scope for experimentation and innovation, matching and sometimes anticipating the most daring work of male colleagues. Cassatt and Degas, in particular, collaborated and challenged each other.
70. NGAP_120128_0616.JPG: The Cradle -- Camille with the Artist's Son Jean, 1867 Claude Monet
71. NGAP_120128_0628.JPG: Interior, after Dinner, 1868/1869 Claude Monet
72. NGAP_120128_0633.JPG: The Mother and Sister of the Artist, 1869/1870 Berthe Morisot
73. NGAP_120128_0642.JPG: Child with Toys -- Gabrielle and the Artist's Son, Jean, 1895-1896 Auguste Renoir
74. NGAP_120128_0652.JPG: Madame Camus, 1869/1870 Edgar Degas
75. NGAP_120128_0659.JPG: The Loge, 1882 Mary Cassatt
76. NGAP_120128_0666.JPG: Miss Mary Ellison, c 1880 Mary Cassatt
77. NGAP_120128_0672.JPG: Girl Arranging Her Hair, 1886 Mary Cassatt
78. NGAP_120128_0678.JPG: Little Girl in a Blue Armchair, 1878 Mary Cassatt
79. NGAP_120128_0696.JPG: Theodore Duret, 1912 Edouard Vuillard
80. NGAP_120128_0708.JPG: Mademoiselle Malo, c 1877 Edgar Degas
81. NGAP_120128_0715.JPG: Woman with a Red Zinnia, 1891 Mary Cassatt
82. NGAP_120128_0725.JPG: Madame Rene de Gas, 1872/1873 Edgar Degas
83. NGAP_120128_0732.JPG: Skiffs, 1877 Gustave Caillebotte
84. NGAP_120128_0745.JPG: The Boating Party, 1893/1894 Mary Cassatt
85. NGAP_120128_0753.JPG: The Houses of Parliament, Sunset, 1903 Claude Monet
86. NGAP_120128_0767.JPG: Waterloo Bridge, London, at Dusk, 1904 Claude Monet
87. NGAP_120128_0774.JPG: Palazzo da Mula, Venice, 1908 Claude Monet
88. NGAP_120128_0781.JPG: Rouen Cathedral, West Facade, 1894 Claude Monet
89. NGAP_120128_0788.JPG: Rouen Cathedral, West Facade, Sunlight, 1894 Claude Monet
90. NGAP_120128_0796.JPG: Waterloo Bridge, Gray Day, 1903 Claude Monet
91. NGAP_120128_0804.JPG: The Japanese Footbridge, 1899 Claude Monet
92. NGAP_120128_0822.JPG: The Artist's Garden in Argenteuil (A Corner of the Garden with Fahlias), 1873 Claude Monet
93. NGAP_120128_0831.JPG: The Artist's Garden at Eragny, 1898 Camille Pissarro
94. NGAP_120128_0837.JPG: The Bridge at Argenteuil, 1874 Claude Monet
95. NGAP_120128_0848.JPG: Girl with a Hoop, 1885 Auguste Renoir
96. NGAP_120128_0853.JPG: Oarsmen at Chatou, 1879 Auguste Renoir
97. NGAP_120128_0869.JPG: Bazille and Camille (Study for "Dejeuner sur l'Herbe"), 1865 Claude Monet
98. NGAP_120128_0877.JPG: The Artist's Garden at Vetheuil, 1880 Claude Monet
99. NGAP_120128_0887.JPG: A Girl with a Watering Can, 1876 Auguste Renoir
100. NGAP_120128_0889.JPG: Woman with a Parasol -- Madame Monet and her Son, 1875 Claude Monet
101. NGAP_120128_0915.JPG: Harlequin, 1888-1890 Paul Cezanne
102. NGAP_120128_0929.JPG: Louis Guillaume, c 1882 Paul Cezanne
103. NGAP_120128_0932.JPG: The Peppermint Bottle, 1893/1895 Paul Cezanne
104. NGAP_120128_0942.JPG: House of Pere Lacroix, 1873 Paul Cezanne
105. NGAP_120128_0947.JPG: Riverbank, c 1895 Paul Cezanne
106. NGAP_120128_0959.JPG: The Artist's Son, Paul, 1885/1890 Paul Cezanne
107. NGAP_120128_0965.JPG: Still Life with Apples and Peaches, c 1905 Paul Cezanne
108. NGAP_120128_0977.JPG: Boy in a Red Waistcoat, 1888-1890 Paul Cezanne
109. NGAP_120128_0983.JPG: Houses in Provence: The Riaux Valley near L'Estaque, c 1883 Paul Cezanne
110. NGAP_120128_0990.JPG: Landscape near Paris, c 1876 Paul Cezanne
111. NGAP_120128_0997.JPG: Chateau Noir, 1900/1904 Paul Cezanne
112. NGAP_120128_1002.JPG: Van Gogh, Gauguin, and Late Degas: Too often, the personal histories of Van Gogh and Gauguin have obscured the intensity, vision, and discipline that propelled them to exploit the potential of color, line, and form for emotional and symbolic effect. Van Gogh sought inspiration in the strong color and animating line of Japanese art, Gauguin in the primal power of myth. Van Gogh's brushstrokes became even more expressive, while Gauguin's Tahitian imagery became more symbolic, more darkly enigmatic. Degas, it seems, older and trained in the classical tradition, could scarcely differ more. Yet the works in this room show him still experimenting into his eighties, with images that are as radical as any created by his younger, post-impressionist colleagues.
113. NGAP_120128_1005.JPG: Achille De Gas in the Uniform of a Cadet, 1867/1857 Edgar Degas
114. NGAP_120128_1011.JPG: The Dance Lesson, c 1879 Edgar Degas
115. NGAP_120128_1022.JPG: Four Dancers, c 1899 Edgar Degas
116. NGAP_120128_1033.JPG: Breton Girls Dancing, Pont-Aven, 1888 Paul Gauguin
117. NGAP_120128_1038.JPG: Self-Portrait, 1889 Paul Gauguin
118. NGAP_120128_1048.JPG: Haystacks in Brittany, 1890 Paul Gauguin
119. NGAP_120128_1054.JPG: Te Pape Nave Nave (Delectable Waters), 1898 Paul Gauguin
120. NGAP_120128_1066.JPG: Parau na te Varua ino (Words of the Devil), 1892 Paul Gauguin
121. NGAP_120128_1075.JPG: Woman Ironing, begun c 1876, completed c 1887 Edgar Degas
122. NGAP_120128_1083.JPG: Fatata te Miti (By the Sea), 1892 Paul Gauguin
123. NGAP_120128_1098.JPG: Scene from the Steeplechase: The Fallen Jockey, 1866 through c 1897 Edgar Degas
124. NGAP_120128_1109.JPG: La Mousme, 1888 Vincent Van Gogh
125. NGAP_120128_1118.JPG: Woman Viewed from Behind, unknown date Edgar Degas
126. NGAP_120128_1127.JPG: The Olive Orchard, 1889 Vincent Van Gogh
127. NGAP_120128_1133.JPG: Self-Portrait, 1889 Vincent Van Gogh
128. NGAP_120128_1142.JPG: Roses, 1890 Vincent Van Gogh
129. NGAP_120128_1148.JPG: Girl in White, 1890 Vincent Van Gogh
130. NGAP_120213_006.JPG: Exoticism: North Africa was a great inspiration to French artists in the second half of the nineteenth century. While some visited French colonies in Morocco and Algeria, others were inspired by orientalist literature to fantasize about an exotic culture of warmth, vibrant color, and sensuality. In 1832, the young Delacroix traveled for several months in North Africa and devoted much of his subsequent career to romantic scenes of lion hunts, mounted sword battles, and the hidden world of harems. His luscious color palette influenced younger generations of artists, including Renoir and Matisse. The paintings in this gallery indulge in the sensual representation of fabric and flesh, the mystery and romance of exotic locales, and the tactile pleasure of paint itself.
131. NGAP_120213_009.JPG: Nude on a Blue Cushion, 1917 Amedeo Modigliani
132. NGAP_120213_014.JPG: Bather Arranging Her Hair, 1893 Auguste Renoir
133. NGAP_120213_022.JPG: Odalisque, 1870 Auguste Renoir
134. NGAP_120213_040.JPG: Young Spanish Woman with a Guitar, 1898 Auguste Renoir
135. NGAP_120213_047.JPG: Arabs Skirmishing in the Mountains, 1863 Eugene Delacroix
136. NGAP_120213_065.JPG: Flowers in a Rococo Vase, 1876 Paul Cezanne
137. NGAP_120213_071.JPG: Still Life with Apples on a Pink Tablecloth, 1924 Henri Matisse
138. NGAP_120213_077.JPG: Odalisque Seated with Arms Raised, Green Striped Chair, 1923 Henri Matisse
139. NGAP_120213_087.JPG: The Favorite of the Emir, c 1879 Jean Joseph Benjamin Constant
140. NGAP_120213_104.JPG: Boy on the Rocks, 1895/1897 Henri Rousseau
141. NGAP_120213_112.JPG: Tropical Forest with Monkeys, 1910 Henri Rousseau
142. NGAP_120213_118.JPG: The Equatorial Jungle, 1909 Henri Rousseau
143. NGAP_120213_128.JPG: Lady with a Dog, 1891 Henri de Toulouse-Lautrec
144. NGAP_120213_134.JPG: A Corner of the Moulin de la Galette, 1892 Henri de Toulouse-Lautrec
145. NGAP_120213_140.JPG: Quadrille at the Moulin Rouge, 1892 Henri de Toulouse-Lautrec
146. NGAP_120213_147.JPG: Marcelle Lender, Dancing the Bolero in "Chilperic", 1895-1896 Henri de Toulouse-Lautrec
147. NGAP_120213_158.JPG: Maxime Dethomas, 1896 Henri de Toulouse-Lautrec
148. NGAP_120213_165.JPG: Rue des Moulins, 1894 Henri de Toulouse-Lautrec
149. NGAP_120213_172.JPG: Alfred la Guigne, 1894 Henri de TOulouse-Lautrec
150. NGAP_120213_184.JPG: Le Gourmet, 1901 Pablo Picasso
151. NGAP_120213_188.JPG: Bohemian Paris: By the end of the nineteenth century, Paris was the epicenter of an international avant-garde. Artists were drawn by its climate of experimentation and the freedom of a bohemian society where rich and poor mingled with marginal characters like circus performers and prostitutes. French aristocrat Toulose-Luatrec observed the underworld of brothels and cafe-concerts from the sidelines, capturing the silence and emotional isolation of patrons as well as the brassy limelight of a theater stage. The self-taught Rousseau, a customs inspector, made up his own distinctive style. In 1900, Picasso, not yet twenty, arrived from Barcelona. He was insatiable, absorbing with facility a gamut of influences from old masters to Manet, Lautrec, and the symbolists. The lyrical strangeness of his Saltimbanques draws on them all. Bohemian Paris was the crucible in which Picasso and contemporaries, such as the Italian Modigliani and the Russian Soutine, forged the future of art in the early twentieth century -- a story that concludes in the East Building of the National Gallery of Art.
152. NGAP_120213_193.JPG: Family of Saltimbanques, 1905 Pablo Picasso
153. NGAP_120213_202.JPG: Madame Picasso, 1923 Pablo Picasso
154. NGAP_120213_209.JPG: Madame Amedee (Woman with Cigarette), 1918 Amedeo Modigliani
155. NGAP_120213_218.JPG: Chaim Soutine, 1917 Amedeo Modigliani
156. NGAP_120213_221.JPG: Gypsy Woman with Baby, 1919 Amedeo Modigliani
157. NGAP_120213_228.JPG: Portait of a Boy, 1928 Chaim Soutine
158. NGAP_120213_234.JPG: A la Bastille (Jeanne Wenz) Henri de Toulouse-Lautrec
159. NGAP_120213_240.JPG: Work, c 1863 Pierre Puvis de Chavannes
160. NGAP_120213_245.JPG: Rest, c 1863 Pierre Puvis de Chavannes
161. NGAP_120213_251.JPG: Pandora, 1910/1912 Odilon Redon
162. NGAP_120213_257.JPG: The Prodigal Son, c 1879 Pierre Puvis de Chavannes
163. NGAP_120213_264.JPG: Saint Sebastian, 1910/1912 Odilon Redon
164. NGAP_120213_271.JPG: The Sanctuary of Hercules, 1884 Arnold Bocklin
165. NGAP_120213_283.JPG: A Literary Approach: The paintings in this gallery, by artists born as much as four decades apart, invite a literary approach. Less concerned with surface appearance or real life, they explore an interior world of idea and emotion. Allegorical personifications and characters from myth or the Bible provide a richness of meaning through suggestion, not description. These works draw viewers along a current of allusion and sensation in an experience akin to poetry. Puvis' enigmatic and muted figures, like Bocklin's dramatic heroics, spoke to many younger artists who found themselves in the late 1880s and 1890s unsatisfied by impressionism's reliance on fleeting visual effects and its emphasis on contemporary life. The dreamlike scenes of these older and classically trained artists helped inspired younger colleagues to a more subjective vision.
166. NGAP_120213_286.JPG: The Wind, 1910 Felix Vallotton
167. NGAP_120730_002.JPG: Madonna Adoring the Child, c. 1520 Marco Basaiti
168. NGAP_120730_011.JPG: Pieta (The Dead Christ Mourned by Nicodemus and Two Angels), c 1500 Filippino Lippi
169. NGAP_120730_019.JPG: Madonna and Child with a Pomegranate, 1475/1480 Lorenzo Di Credi
170. NGAP_120730_027.JPG: Le Tournesol (The Sunflower), c 1920 Edward Steichen
171. NGAP_120730_040.JPG: Classic Landscape, 1931 Charles Sheeler
172. NGAP_120730_043.JPG: Rush Hour, New York, 1915 Max Weber
173. NGAP_120730_052.JPG: Multiple Views, 1918 Stuart Davis
174. NGAP_120730_060.JPG: Snow in New York, 1902 Robert Henri
175. NGAP_120730_071.JPG: The City From Greenwich Village, 1922 John Sloan
176. NGAP_120730_077.JPG: Tennis Tournament, 1920 George Bellows
177. NGAP_120730_086.JPG: Polo at Lakewood, 1910 George Bellows
178. NGAP_120730_092.JPG: Moon, 1935 Arthur Dove
179. NGAP_120730_099.JPG: The Written Sea, 1952 John Marin
180. NGAP_121117_042.JPG: George Catlin (1796-1872) In the spring of 1830, George Catlin, a young artist living in Philadelphia, set out on a journey that would change the course of his career. Modestly successful as an eastern portrait painter, Catlin was looking for a subject that would set him apart. In the Far West, on the upper reaches of the Mississippi and Missouri Rivers, he found his calling. Traveling with fur company representatives, cavalry regiments, and later alone, on multiple western journeys, Catlin gathered the drawings, sketches and notes that would allow him to create an "Indian Gallery" -- a collection of more than 500 paintings of American Indians. By the end of the decade, he would be widely recognized as the most celebrated painter of America's native people. In 1839 Catlin offered his Indian Gallery to the federal government for purchase. When Congress declined, he shipped his collection to London, where he soon began exhibiting the paintings in a large hall near Piccadilly Square. Initially attendance was high, but when ticket sales slowed, Catlin began touring the collection in provincial cities. In 1843 a group of Ojibwa Indians traveling in Europe joined the Indian Gallery, boosting attendance with live performances. The following year a party of Iowa took their place traveling with the artist to Paris where they performed before the King Louis Philippe. Catlin added portraits of the Ojibwa and Iowa to his Indian Gallery, including the three mail portraits on the opposite wall. In 1852, despite successful tours of England, France, and Belgium, Catlin suffered financial setbacks so severe that he lost his Indian Gallery in bankruptcy. Joseph Harrison, an American industrialist passing through London, saved the collection from dispersal by paying Catlin's creditors. Expecting the artist to reclaim the collection and reimburse him, Harrison placed the Indian Gallery in storage. In fact, Catlin never regained his financial footing and never saw his Indian Gallery again. Twenty years later, in the fall of 1871, Catlin returned to America with a second collection of Indian paintings. Following the loss of his first collection, he had started over. He had traveled to South America, completed a number of paintings of South American Indians and reconfigured the North American Indian images he had lost. After exhibiting this second collection in New York, Catlin accepted an invitation to exhibit his paintings at the Smithsonian in Washington. Again, he attempted to sell the Congress. Again, Congress declined. For reasons unknown, the four portraits on view here escaped seizure during Catlin's bankruptcy in London. The four genre scenes also on view here were part of Catlin's second, or "Cartoon Collection." In 1965 Paul Mellon gave the National Gallery of Art more than 350 paintings by Catlin, including these remarkable works.
181. NGAP_121117_046.JPG: Cattleya Orchid and The Brazilian Hummingbirds, 1871 Martin Johnson Heade
182. NGAP_121117_058.JPG: Sunlight and Shadow: The Newbury Marshes, c 1871/1875 Martin Johnson Heade
183. NGAP_121117_066.JPG: Mount Tom, 1865 Thomas Charles Farrer
184. NGAP_121117_075.JPG: Brace's Rock, Eastern Point, Gloucester, c 1864 Fitz Henry Lane
185. NGAP_121117_084.JPG: The Old Violin, c 1890 John Frederick Peto
186. NGAP_121117_091.JPG: For the Track, 1895 John Frederick Peto
187. NGAP_121117_101.JPG: Take Your Choice, 1885 John Frederick Peto
188. NGAP_121117_110.JPG: The Return of Rip Van Winkle, c 1849 John Quidor
189. NGAP_121117_144.JPG: Study for "Negro Boy Dancing": The Banjo Player, probably 1877 Thomas Eakins
190. NGAP_121117_152.JPG: Baby at Play, 1876 Thomas Eakins
191. NGAP_121117_162.JPG: Study for "Negro Boy Dancing": The Boy, c 1878 Thomas Eakins
192. NGAP_121117_171.JPG: The Biglin Brothers Racing, c 1873 Thomas Eakins
193. NGAP_121117_181.JPG: Siegfried and the Rhine Maidens, 1888/1891 Albert Pinkham Ryder
194. NGAP_121117_202.JPG: The Artist's Garden, c 1880 Ralph Albert Blakelock
195. NGAP_121117_209.JPG: Winter in the Country, c 1859 George Henry Durrie
196. NGAP_121117_218.JPG: The Juniata, Evening, 1864 Thomas Moran
197. NGAP_121117_240.JPG: Narragansett Bay, 1864 William Stanley Haseltine
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2012 photos: Equipment this year: My mainstays were the Fuji S100fs, Nikon D7000, and the new Fuji X-S1. I also used an underwater Fuji XP50 and a Nikon D600. The first three cameras all broke this year and had to be repaired. Trips this year: three Civil War Trust conferences (Shepherdstown, WV, Richmond, VA, and Williamsburg, VA), a week-long family reunion cruise of the Caribbean, another week-long family reunion in the Wisconsin Dells (with lots of in-transit time in Ohio and Indiana), and my 7th consecutive San Diego Comic-Con trip (including side trips to Zion, Bryce, the Grand Canyon, etc). Ego strokes: I had a picture of Miss DC, Ashley Boalch, published in the Washington Post. I had a photograph of the George Segal San Francisco Holocaust memorial used as the cover of Quebec Francais (issue 165). Not being able to read French, I'm not entirely sure what the article is about but, hey! And I guess what could be considered to be a positive thing, my site is now established enough that spammers have noticed it and I had to block 17,000 file description postings for Viagra and whatever else.. Number of photos taken this year: just below 410,000.
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Photo Contact: [Email Bruce Guthrie].