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

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

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[1] NGAP_150111_005.JPG	[2] NGAP_150111_017.JPG	[3] NGAP_150111_023.JPG
[4] NGAP_150111_030.JPG	[5] NGAP_150111_042.JPG	[6] NGAP_150111_055.JPG
[7] NGAP_150111_063.JPG	[8] NGAP_150111_073.JPG	[9] NGAP_150111_087.JPG
[10] NGAP_150111_095.JPG	[11] NGAP_150111_109.JPG	[12] NGAP_150111_116.JPG
[13] NGAP_150111_127.JPG	[14] NGAP_150111_130.JPG	[15] NGAP_150111_137.JPG
[16] NGAP_150111_156.JPG	[17] NGAP_150111_170.JPG	[18] NGAP_150111_177.JPG
[19] NGAP_150111_187.JPG	[20] NGAP_150503_04.JPG	[21] NGAP_150503_21.JPG
[22] NGAP_150503_22.JPG	[23] NGAP_150503_37.JPG	[24] NGAP_150503_45.JPG
[25] NGAP_150503_49.JPG	[26] NGAP_150613_04.JPG	[27] NGAP_150613_10.JPG
[28] NGAP_150613_17.JPG	[29] NGAP_150613_27.JPG	[30] NGAP_150613_36.JPG
[31] NGAP_150613_41.JPG	[32] NGAP_150613_50.JPG	[33] NGAP_150613_59.JPG
[34] NGAP_150613_72.JPG	[35] NGAP_150922_001.JPG	[36] NGAP_150922_008.JPG
[37] NGAP_150922_013.JPG	[38] NGAP_150922_018.JPG	[39] NGAP_150922_028.JPG
[40] NGAP_150922_040.JPG	[41] NGAP_150922_046.JPG	[42] NGAP_150922_050.JPG
[43] NGAP_150922_056.JPG	[44] NGAP_150922_062.JPG	[45] NGAP_150922_067.JPG
[46] NGAP_150922_075.JPG	[47] NGAP_150922_079.JPG	[48] NGAP_150922_086.JPG
[49] NGAP_150922_090.JPG	[50] NGAP_150922_096.JPG	[51] NGAP_150922_102.JPG
[52] NGAP_150922_108.JPG	[53] NGAP_150922_120.JPG	[54] NGAP_151022_08.JPG
[55] NGAP_151022_12.JPG	[56] NGAP_151022_17.JPG	[57] NGAP_151022_21.JPG
[58] NGAP_151022_26.JPG	[59] NGAP_151022_30.JPG	[60] NGAP_151022_35.JPG
[61] NGAP_151022_40.JPG	[62] NGAP_151022_42.JPG

Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. NGAP_150111_005.JPG: The Satyr and the Peasant, c 1620 Johann Liss
2. NGAP_150111_017.JPG: Johann Liss was of German origin, but he drew artistic inspiration from his travels through the Netherlands, Flanders, and Italy. He probably painted this dramatic work while in Rome in the mid-1620s. The large-scale figures and strong contrasts of light and dark signal his allegiance to the Caravaggist tradition of painting. The scene is an adaptation of "The Satyr and the Peasant," a story that originally appeared in Aesop's Fables. A peasant, finding a satyr shivering in the cold, invited the mythological creature into his home. The satyr noticed that when the peasant entered the house, he blew on his hands to warm them. Later, when the peasant's wife served them steaming bowls of soup, the peasant blew on his spoon to cool the soup. The satyr leaped up from the table, exclaiming that he wanted nothing to do with men who could "blow both hot and cold." The moral of the fable was that one should avoid people who are inconsistent in their lives and friendships.
3. NGAP_150111_030.JPG: The Alchemist, 1663 Cornelis Bega
4. NGAP_150111_042.JPG: River Landscape, 1607 Jam Brueghel the Elder
5. NGAP_150111_055.JPG: Evening River Scene with Windmill, c 1645 Anthonie Van Borssom
6. NGAP_150111_063.JPG: Tavern Scene, 1658 David Teniers the Younger
7. NGAP_150111_073.JPG: Saint Martin Dividing His Cloak, c 1640/1645 Attributed to Jan Boeckhorst
8. NGAP_150111_087.JPG: Vista from a Grotto, early 1630s David Teniers the Younger
9. NGAP_150111_095.JPG: Peasants Celebrating Twelfth Night, 1635 David Teniers the Younger
10. NGAP_150111_109.JPG: Peter Paul Rubens, c 1620 Studio of Sir Peter Paul Rubens
11. NGAP_150111_116.JPG: Saint Peter, 1616/1618 Studio of Sir Peter Paul Rubens
12. NGAP_150111_130.JPG: Head of a Young Man, c 1617/1618 Sir Anthony Van Dyck
13. NGAP_150111_137.JPG: Anthonij de Bordes and His Valet, c 1648 Michael Sweerts
14. NGAP_150111_156.JPG: Marchesa Elena Grimaldi-Cattaneo, c 1622-1623 Sir Anthony Van Dyck
15. NGAP_150111_170.JPG: The Descent from the Cross, 1650/1652 Rembrandt Workshop (probably Constantijn van Renesse)
16. NGAP_150111_177.JPG: The Levite at Gibeah, probably late 1650s Gerbrandt van den Eeckhout
17. NGAP_150503_04.JPG: "Who Is Sylvia? What Is She, That All the Swains Commend Her?", 1899/1900 Edwin Austin Abbey
18. NGAP_150503_21.JPG: Edwin Austin Abbey (1852-1911): Fascination with the life and times of William Shakespeare abounded in the Victorian world, especially in London, where American artist Edwin Austin Abbey settled permanently in 1883. The Bard's writings provided lifelong inspiration for Abbey; as a teenage writer, he used a pen name from Hamlet; from the age of twenty he illustrated hundreds of Shakespearean subjects for magazines; and in the 1890s he painted seven large Shakespearean scenes, including the canvas, which he exhibited at London's Royal Academy. The theme of this painting is drawn from Shakespeare's Two Gentlemen of Verona. The title "Who is Sylvia? What Is She, That All the Swains Commend Her?" is the opening question in a song composed by Proteus, one of the many suitors (or swains) of Sylvia, the Duke of Milan's stunning daughter. All heads turn toward the regal beauty as she lifts the shirts of her Italian Renaissance-style gown while descending a brilliantly carpeted staircase. Each admirer gazes at her and reaches to play an instrument or to offer her a love token. The figure at far left presents a luxurious feather fan; the next man a small dog; and the figure leaning against the column bows in devotion, holding his hat in one hand and a book of poetry in the other. The painting's shallow, friezelike composition is characteristic of Abbey's work during this period. Just as the space is constricted, so are several different events from Shakespeare's play conflated into a single moment. The canvas's compressed form and content, as well as Abbey's attention to period costume, have their roots in the English Pre-Raphaelite movement with which the artist was associated. His approach also evokes the pictorialist fashion in late Victorian theater, which valued elaborate visual spectacle over plot to the degree that Shakespeare's texts were often radically shortened to accommodate time-consuming changes of intricate costume and scenery. Remarkably, Abbey did not begin painting in oil until age forty, when he was mentored by his close friend and fellow expatriate John Singer Sargent. He still labored over his ambitious canvases, however, and during or after the display of "Who is Sylvia?" at the Royal Academy. Abbey scraped out Sylvia's head and repainted it from another model. He also changed her arms, which were crossed, to their present position holding her dress, which originally had a train at the right. Abbey selected the painting's intricate frame, featuring decorative bands of different motifs that echo the gleaming gold fabric details in the scene. This opulent object -- with its gilded frame and richly colored canvas -- must have appealed greatly to the wealthy American mining baron William A. Clark, who purchased it directly form the artist.
19. NGAP_150503_22.JPG: A Pastoral Visit, 1881 Richard Norris Brooke
20. NGAP_150503_49.JPG: Richard Norris Brooke (1847-1920) A Pastoral Visit, the most celebrated of Richard Norris Brooke's genre scenes, or views of everyday life, depicts a family welcoming their elderly pastor to Sunday dinner -- a frequent occurrence in both black and white rural parishes that could not afford parsonages. According to tradition, the pastor is served first and, following the meal, he will be presented with both the cigar box containing the congregation's weekly contribution (duly protected by the family patriarch) and the cloth-wrapped fruit at right. The banjo, prominently placed at the center of the composition symbolizing its importance in African American culture, may indicate an after-dinner musical interlude. The family's home, rustic but comfortable, features a sturdy cupboard housing pottery and glass and a brick fireplace on whose mantel are neatly arranged a coffee grinder, a ginger jar, and clothes irons. Decorating the corner near a damaged window are a circus poster and a string of dried chilies. Brooke had ample opportunity to study the interior depicted; it was located in a residence near his home in Warrenton, Virginia, where he painted the canvas. Likewise, the features of the figures resulted from the artist's use of his Warrenton neighbors as models; George Washington, Georgianna Weeks, and Daniel Brown. Brooke was one of many artists to depict African American life in the 1870s and 1880s, inspired by the dramatic social change during Reconstruction, when blacks achieved citizenship, voting rights, and protection under the Constitution. Unlike many of his peers, he portrayed his subjects with a degree of humanity and dignity rare in contemporary depictions of African Americans. In his letter offering the paintings to the Corcoran Gallery of Art for purchase, Brooke criticized such renderings as "works of flimsy treatment and vulgar exaggeration." He also referenced his recent French academic training, stating that he wished to elevate his rural subjects "to that plane of sober and truthful treatment which... had dignified the Peasant subjects of [his French contemporary] Jules Breton, and should characterize every work of art." In 1881, Brooke relocated from Warrenton to a well-known Washington studio building, Vernon Row, just east of the White House. There, he exhibited the painting and arranged for its loan and subsequent sale to the Corcoran. Active in almost every local arts organization of the day, the successful artist served as vice principal at the Corcoran School of Art from 1902 to 1918 and exhibited extensively at that institution. For reasons not entirely understood, soon after completing A Pastoral Visit he devoted himself almost entirely to landscape painting.
21. NGAP_150613_04.JPG: Joan Miro The Farm, 1921-1922
22. NGAP_150613_10.JPG: Henri Matisse Pot of Geraniums, 1912
23. NGAP_150613_17.JPG: Pablo Picasso Guitar, 1926
24. NGAP_150613_27.JPG: Piet Mondrian Tableau No. IV; Lozenge Composition with Red, Gray, Blue, Yellow, and Black, c 1924/1925
25. NGAP_150613_36.JPG: Pablo Picasso Pedro Manach, 1901
26. NGAP_150613_41.JPG: Maurice de Vlaminck Chestnut Trees in Bloom, c 1905/1906
27. NGAP_150613_50.JPG: Henri Matisse La Coiffure, 1901
28. NGAP_150613_59.JPG: Ernst Ludwig Kirchner Two Nudes, 1907
29. NGAP_150613_72.JPG: Roy Lichtenstein Entablature, 1974
30. NGAP_150922_001.JPG: Woman in Blue Reading a Letter, c 1663 Johannes Vermeer
31. NGAP_150922_008.JPG: Estuary at Day's End, c 1640/1645 Simon de Vlieger
32. NGAP_150922_013.JPG: View Down a Dutch Canal, c 1670 Jan Van Der Heyden
33. NGAP_150922_018.JPG: Skating on the Frozen Amstel River, 1611 Adam Van Breen
34. NGAP_150922_028.JPG: Brazilian Landscape, probably Pernambuco, 1660s Frans Post
35. NGAP_150922_040.JPG: The Tiber River with the Ponte Molle, c 1650 Jan Asselijn
36. NGAP_150922_046.JPG: The Hermit, 1670 Gerrit Dou
37. NGAP_150922_050.JPG: The Girl with the Red Hat, c 1665 Johannes Vermeer
38. NGAP_150922_056.JPG: Woman Holding a Balance, c 1664 Johannes Vermeer
39. NGAP_150922_062.JPG: Girl with a Flute, probably 1665/1675 Attributed to Johannes Vermeer
40. NGAP_150922_067.JPG: Young Woman in an Interior, c 1660 Jacobus Vrel
41. NGAP_150922_079.JPG: Bacchus and Bacchantes, c 1655 Ceasar van Everdingen
42. NGAP_150922_086.JPG: An Offering to Venus, c 1655 Ceasar van Everdingen
43. NGAP_150922_090.JPG: Ice Scene Near a Wooden Observation Tower, 1646 Jan Van Goyen
44. NGAP_150922_102.JPG: Johannes Vermeer's Woman in Blue Reading a Letter from the Rijksmuseum One of the great treasures of the Rijksmuseum in Amsterdam. Johannes Vermeer's Woman in Blue Reading a Letter (c. 1663) temporarily joins several works by the artist and his contemporaries in the Cabinet Galleries. Last seen at the National Gallery of Art in the 1995-1996 Vermeer exhibition, the painting has been recently restored, revealing subtle details and vibrant colors. With its exquisite tonalities of blue and ocher, extraordinary light, and poignant air of expectancy, this intimate masterpiece exudes the timelessness and refinement characteristic of Vermeer's most celebrated paintings. Organized by the National Gallery of Art.
45. NGAP_151022_08.JPG: Vik Muniz New York City, after Bellows (Pictures of Magazines, 2), 2011
46. NGAP_151022_12.JPG: For more than twenty years, Muniz has recreated works of art using sugar, chocolate, found objects, and other items. He copied George Bellows's 1911 painting New York (at left) by tearing up magazines to make a collage. He then photographed the collage and printed it as a giant enlargement, which gives the edges of the strips of paper a feathery texture. Composing his picture out of pictures of a vast array of things -- from bodies, faces, and lips to letters, fruit, gears, and even a zipper -- Muniz alludes to the image-saturated twenty-first century and also suggests that nothing in this new age is real. It is all artificial -- a replica of a replica made out of replicas.
47. NGAP_151022_30.JPG: George Bellows New York, 1911
48. NGAP_151022_40.JPG: In this painting, which was criticized at the time for being too literal and for its lack of any unifying artistic order, Bellows revealed the frenzied spectacle of the entirely new New York that was emerging in the early twentieth century. Trolleys, elevated trains, motorcars, horse-drawn carriages, and a sea of humanity are snarled in an impossible traffic jam beneath a jumble of imposing skyscrapers and a roiling sky. We are confronted with an urban environment unlike any other, where industry, commerce, and mass culture knew no bounds, and where the natural world, as the forlorn trees in the background suggest, was being crowded out.
49. NGAP_151022_42.JPG: Still Life with Ham, 1650 Gerrit Willemsz. Heda
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