Release Date: June 18, 2012
Advance Exhibition Schedule
UPCOMING EXHIBITIONS
Shock of the News
National Gallery of Art, Washington, September 23, 2012–January 27, 2013
Edward Burra, Composition Collage, 1929, collage and ink on paper, Private collection
Soon after the turn of the 20th century, visual artists began to think about the newspaper more broadly—as a means of political critique, as a collection of ready-made news to appropriate or manipulate, as a source of language and images, as a typographical grab bag, and more. The exhibition examines this trend as it quickly grew into a phenomenon, encompassing both Europe and America, and traces its development from 1909 to 2009. From Filippo Tommaso Marinetti and Pablo Picasso to Ellsworth Kelly and Adrian Piper, most of the 60 artists in the exhibition are represented by one exemplary work, ranging from collages, paintings, and photographs to a nearly room-size installation by Mario Merz, À Mallarmé (2003).
The exhibition was organized by the National Gallery of Art, Washington. The exhibition is made possible through the generous support of The Leonard and Evelyn Lauder Foundation. It is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Imperial Augsburg: Renaissance Prints and Drawings, 1475-1540
National Gallery of Art, Washington, September 30–December 31, 2012
Blanton Museum, University of Texas at Austin, October 5, 2013–January 5, 2014
Hans Burgkmair I, Emperor Maximilian I, 1508/1518, chiaroscuro woodcut in green printed from two blocks, National Gallery of Art, Washington, Rosenwald Collection
Taking advantage of the Gallery's extensive collections, the exhibition introduces the remarkable artistic community that flourished within this important imperial city, which has long been overshadowed by Albrecht Dürer's Nuremberg. This exhibition, the first of its kind in the United States, shows the range of artistic productions in Renaissance Augsburg through approximately 100 prints, drawings, and illustrated books as well as medals and armor.
The exhibition was organized by the National Gallery of Art, Washington. It is supported in part by a generous grant from the Thaw Charitable Trust.
The Serial Portrait: Photography and Identity in the Last One Hundred Years
National Gallery of Art, Washington, September 30–December 31, 2012
Ilse Bing, Self-Portrait with Leica, 1931, gelatin silver print, printed c. 1988, National Gallery of Art, Washington, Gift of Ilse Bing Wolff
From its inception in 1839, photography has been closely connected with portraiture, expanding its scope and redefining its cultural, aesthetic, commercial, and technical possibilities. Arranged both chronologically and thematically, the exhibition features approximately 150 works by 20 photographers who responded to older portrait conventions and imagined new ones by exploring the same subjects—primarily friends, family, and themselves—over the course of days, months, or decades.
The exhibition was organized by the National Gallery of Art, Washington.
Masterpieces of American Furniture from the Kaufman Collection, 1700–1830
October 7, 2012–indefinitely
Philadelphia, Pennsylvania, Chippendale desk and bookcase, c. 1765, attributed to Thomas Affleck, George M.* and Linda H. Kaufman
One of the largest and most refined collections of early American furniture in private hands, acquired over the course of four decades by George M. and Linda H. Kaufman, was promised to the National Gallery of Art in October 2010. A new installation on the Ground Floor of the West Building highlights nearly 80 examples of early American furniture and decorative arts from this distinguished assemblage. They are displayed with a selection of porcelains and Redouté watercolors also from the Kaufman Collection. National Gallery paintings by such celebrated American artists as Gilbert Stuart are integrated in the display. The Kaufman gift dramatically transforms the Gallery's collection, augmenting its fine holdings of European decorative arts with equally important American works of art, and it is the first major display of early American decorative arts on continual public view in the nation's capital.
The exhibition was organized by the National Gallery of Art, Washington.
Roy Lichtenstein: A Retrospective
The Art Institute of Chicago, May 16–September 3, 2012
National Gallery of Art, Washington, October 14, 2012–January 13, 2013
Tate Modern, London, February 21–May 27, 2013
Centre Pompidou, Paris, July 3–November 4, 2014
Roy Lichtenstein, Look Mickey, 1961, oil on canvas, Dorothy and Roy Lichtenstein, Gift of the Artist, in Honor of the 50th Anniversary of the National Gallery of Art
Classic early pop paintings based on advertisements and comic-book treatments of war and romance, versions of paintings by the modern masters, and series including Brushstrokes, Mirrors, Artist's Studios, Nudes, and Chinese Landscapes are among 134 of the American master's greatest works on view.
The exhibition is organized by the Art Institute of Chicago and Tate Modern, London, in association with the National Gallery of Art, Washington. Bank of America is proud to be the global sponsor. The exhibition is made possible by Altria Group. The Exhibition Circle of the National Gallery of Art is also supporting the exhibition. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Color, Line, Light: French Drawings, Watercolors, and Pastels from Delacroix to Signac
musée des impressionnismes, Giverny, July 27–October 31, 2013
National Gallery of Art, Washington, January 27–May 26, 2013
Edgar Degas, Two Women Ironing, c. 1885, pastel and charcoal on three joined sheets of brown paper, Dyke Collection
James T. Dyke is one of the most astute American collectors of 19th- and 20th-century French works on paper. Some 100 drawings and watercolors from his collection showcase the broad development of modern draftsmanship in France, from romanticism and realism through the impressionists, Nabis, and neo-impressionists. Artists working from 1830 to 1930, including Delacroix, Monet, Degas, Cézanne, and Signac, reveal a rich diversity of subjects, styles, and techniques. The exhibition is organized by the National Gallery of Art, Washington, in association with the musée des impressionnismes, Giverny.
Pre-Raphaelites: Victorian Art and Design, 1848-1900
Tate Britain, London, September 12, 2012–January 13, 2013
National Gallery of Art, Washington, February 17–May 19, 2013
The State Pushkin Museum of Fine Arts, Moscow, June 13–September 23, 2013
John Everett Millais, Ophelia, 1851-1852, oil on canvas, Tate Gallery, London. Presented by Sir Henry Tate 1894
The first major survey of the art of the Pre-Raphaelites to be shown in the United States features some 130 paintings, sculptures, works on paper, and decorative art objects. The young members of the Pre-Raphaelite Brotherhood, formed in 1848, shook the art world of mid-19th-century Britain by rejecting traditional approaches to painting. Combining scientific precision, an innovative approach to subject matter, and brilliant, clear colors, Pre-Raphaelitism was Britain's first avant-garde art movement.
The exhibition was organized by Tate Britain in collaboration with the National Gallery of Art, Washington.
Faking It: Manipulated Photography before Photoshop
The Metropolitan Museum of Art, New York, October 10, 2012–January 27, 2013
National Gallery of Art, Washington, February 17–May 5, 2013
Museum of Fine Arts, Houston, July–October, 2013
Yves Klein, Harry Shunk, and Jean Kender, Leap into the Void, 1960, gelatin silver print, The Metropolitan Museum of Art, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1992
In the first major exhibition devoted to the history of manipulated photographs before the digital age, some 200 works demonstrate that today's digitally altered photographs are part of a tradition that extends back to the beginning of photography. Featuring visually captivating photographs, the exhibition traces photographic manipulation from the 1840s through the 1980s and show that photography is—and always has been—a medium of fabricated truths and artful lies.
The exhibition was organized by the National Gallery of Art, Washington.
Yes, No, Maybe: Artists Working at Crown Point Press
National Gallery of Art, Washington, September 1, 2013–January 5, 2014
Chris Ofili, Habio Green, 2009, aquatint with watercolor and graphite (working proof 8), Private collection
Artistic decisions can be guided by imaginative leaps, auspicious accidents, and outright failures. Printmaking records key junctures in the creative process, in preliminary impressions known as working proofs. The exhibition explores the decision-making aspect of creativity by juxtaposing working proofs and final edition prints made at Crown Point Press. Projects undertaken there between 1972 and 2010 represent 25 artists, including John Cage, Chuck Close, Richard Diebenkorn, Julie Mehretu, and Chris Ofili.
The exhibition was organized by the National Gallery of Art, Washington.
Charles Marville: Photographer of Paris
National Gallery of Art, Washington, September 29, 2013–January 5, 2014
The Metropolitan Museum of Art, New York, January 27–May 4, 2014
National Gallery of Canada, Ottawa, June–September 2014
Musée Carnavalet, Paris, fall 2014
Charles Marville, Hôtel de la Marine, c. 1872-1876, albumen print, National Gallery of Art, Washington, Diana and Mallory Walker Fund
The first exhibition in the United States, and the only scholarly catalogue on the renowned 19th-century French photographer Charles Marville (1813–1879), presents recent groundbreaking discoveries informing his art and biography, including the versatility of his photographic talents and his true identity, background, and family life. The exhibition features some 100 photographs covering the arc of Marville’s career, from his city scenes and landscape and architectural studies of Europe in the early 1850s to his compelling photographs of Paris and its environs in the late 1870s.
The exhibition is organized by the National Gallery of Art, Washington
Link to Press Kit
Garry Winogrand
San Francisco Museum of Modern Art, March 9–May 31, 2013
National Gallery of Art, Washington, March 2–June 8, 2014
The Metropolitan Museum of Art, New York, May–August 2014
Jeu de Paume, Paris, October 2014–January 2015
Fundación MAPFRE, Madrid, March–June 2015
Garry Winogrand, Las Vegas, 1957, gelatin silver print, National Gallery of Art, Washington, Gift of George and Alexandra Stephanopoulos © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco
A renowned photographer of New York City and American life from the 1950s through the early 1980s, Garry Winogrand (1928–1984) worked with dazzling energy and a voracious appetite. He exposed more than 25,000 rolls of film but largely postponed the printing and editing of his photographs. In the first retrospective of his work in 25 years, some 160 photographs in the exhibition and more than 350 in the accompanying catalogue reveals for the first time the full breadth of Winogrand's art through never-before-seen prints and proof sheets.
The exhibition has been co-organized by the San Francisco Museum of Modern Art and the National Gallery of Art, Washington.
Link to Press Kit
CURRENT EXHIBITIONS
Elegance and Refinement: The Still-Life Paintings of Willem van Aelst
Museum of Fine Arts, Houston, March 11–May 28, 2012
National Gallery of Art, Washington, June 24–October 14, 2012
Willem van Aelst, Still Life with Fruit, Nuts, Butterflies, and Other Insects on a Ledge, c. 1677, oil on canvas, Candy and Greg Fazakerley
Few artists were more skilled than Willem van Aelst (1627–1683) at depicting luscious fruits, luxurious fabrics, and spoils of the hunt. His renowned still lifes are remarkable for their fine finish, carefully balanced composition, jewel-toned palette, and elegant subject matter. Bringing together 28 of these sumptuous paintings and his only known drawing, this exhibition—the first devoted solely to this artist—celebrates the most technically brilliant Dutch still-life painter of his time. It is also accompanied by the first comprehensive publication on his work.
The exhibition was organized by the National Gallery of Art, Washington, and the Museum of Fine Arts, Houston, and The Sarah Campbell Blaffer Foundation. It is made possible by The Exhibition Circle of the National Gallery of Art. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Link to Press Kit
Deacon Peckham's "Hobby Horse"
National Gallery of Art, Washington, May 27–October 8, 2012
Robert Peckham, The Hobby Horse, c. 1840, National Gallery of Art, Washington, Gift of Edgar William and Bernice Chrysler Garbisch
One of the most intriguing and often-reproduced American paintings in the collection of the National Gallery of Art—Deacon Robert Peckham's The Hobby Horse (c. 1840)—is the inspiration for this focus exhibition of nine children's portraits created for patrons among a newly thriving class of Massachusetts merchants and manufacturers in the mid-1800s. The works are displayed along with a hide-covered rocking horse similar to the one Peckham (1785–1877) depicted in his painting.
The exhibition was organized by the National Gallery of Art.
Link to Press Kit
George Bellows
National Gallery of Art, Washington, June 10–October 8, 2012
The Metropolitan Museum of Art, New York, November 15, 2012–February 18, 2013
Royal Academy of Arts, London, March 16–June 9, 2013
George Bellows, Stag at Sharkey's, 1909, oil on canvas, The Cleveland Museum of Art, Hinman B. Hurlbut Collection. Photo © The Cleveland Museum of Art
Bellows (1882-1925) is one of the greatest artists of the early 20th century. The first comprehensive exhibition of his career in more than three decades features around 130 paintings, drawings, and lithographs. Included are iconic images of the modern city (boxing matches, New York street life) as well as less familiar subjects (Maine seascapes, landscapes, war, and family portraits).
The exhibition was organized by the National Gallery of Art, Washington. The exhibition is made possible by Nippon Television Network Corporation, Tokyo, Japan. The Terra Foundation for American Art is the proud sponsor of the exhibition in Washington and London. The exhibition is generously supported by the Henry Luce Foundation. In Washington, it is also made possible by the Cordover Family Foundation, with additional support provided by The Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Link to Press Kit
In the Tower: Barnett Newman
National Gallery of Art, Washington, June 10–November 25, 2012
Barnett Newman, First Station, 1958, magna on canvas, National Gallery of Art, Washington, Collection of Robert and Jane Meyerhoff
Drawing mainly from the Gallery's rich holdings of Newman's (1905–1970) work, this exhibition presents two crucial periods in the artist's career. Newman's paintings and drawings of the 1940s reveal a shift from biomorphic imagery to simple linear forms, while The Stations of the Cross, a cycle of 14 paintings plus a coda (Be II), dominated Newman's mature career from 1958 to 1966. The Tower Gallery is host to a series of exhibitions focusing on developments in art from midcentury to the present.
The exhibition is made possible by The Exhibition Circle and The Tower Project of the National Gallery of Art. The exhibition was organized by the National Gallery of Art, Washington.
Link to Press Kit
The McCrindle Gift: A Distinguished Collection of Drawings and Watercolors
National Gallery of Art, Washington, June 17–November 25, 2012
John Singer Sargent, Sir Neville Wilkinson on the Steps of the Palladian Bridge at Wilton House, 1904/1905, watercolor over graphite, National Gallery of Art, Washington, Joseph F. McCrindle Collection
The Gallery is one of the major beneficiaries of donations from the collection of Joseph F. McCrindle (1923–2008), having received nearly 300 old master and modern drawings as well as 15 paintings. This exhibition celebrates McCrindle's legacy with the finest of the works on paper: 71 drawings by a broad range of artists spanning five centuries, including a notable group of watercolors by John Singer Sargent.
The exhibition is organized by the National Gallery of Art, Washington. The exhibition and catalogue are made possible through the generous support of the Joseph F. McCrindle Foundation.
Link to Press Kit
UPCOMING SPECIAL INSTALLATIONS
In the Library: Announcements from the Vertical Files
National Gallery of Art, Washington, January 7–April 26, 2013
Galerie Maeght, Calder: Stabiles, Paris, 1963, National Gallery of Art Library, David K. E. Bruce Fund
Through clever use of material, color, and form, the exhibition announcements and invitations on view reflect the materiality of the art they were created to promote. Selected from the vertical files, which house the printed ephemera collection of the National Gallery of Art Library, the works include publicity for exhibitions by artists including Alexander Calder, Tony Smith, and Louise Nevelson, and provide unique insight into postwar aesthetics and the material culture of the art world.
From the Library: Pre-Raphaelites and the Book
National Gallery of Art, Washington, February 9–August 4, 2013
West Building, Gallery G-21
Dante Gabriel Rossetti, The Palace of Art, woodcut in Alfred Tennyson, Poems (London, E. Moxon, 1857), National Gallery of Art Library, Gift of Mark Samuels Lasner
Many artists of the Pre-Raphaelite circle not only involved themselves in book design and illustration but were also highly regarded poets in their own right. Organized to complement Pre-Raphaelites: Victorian Art and Design, 1848–1900, this installation features books of poetry by Dante Gabriel Rossetti and William Morris, wood-engraved illustrations by several Pre-Raphaelite artists, and material related to the Kelmscott Press (established by Morris in 1891). Beautifully illustrated books from this press are displayed alongside Morris' elaborate ornament designs and his own manuscript illuminations inspired by medieval tomes.
CURRENT SPECIAL INSTALLATIONS
From the Library
Citizens of the Republic: Portraits from the Dutch Golden Age
National Gallery of Art, Washington, August 4, 2012–February 3, 2013
West Building, Gallery G-21
François-Anne David after Caspar Netscher, Caspar Netscher with His Family (detail), 1772, engraving, National Gallery of Art, Washington, Department of Image Collections, Kraus Collection
Stalwart Dutch citizens, distinguished for their contributions to the arts and the state, are sensitively rendered in a selection of 17th- and 18th-century engravings. The exhibition features portrait prints after celebrated old masters such as Rembrandt van Rijn, Bartholomeus van der Helst, Michiel van Miereveld, and Caspar Netscher; rare books from the National Gallery of Art Library; and Cornelis Jonson van Ceulen's grisaille portrait of the eminent scholar Anna Maria van Schurman, from the Gallery's permanent collection. This important painting will be hung, for the first time, alongside Cornelis van Dalen the Younger's engraved portrait of Van Schurman, illuminating the relationship between painter and engraver.
Gauguin Drawings from the Armand Hammer Collection: Selections from Breton Sketchbook No. 16
National Gallery of Art, Washington, late May–late November, 2012
Paul Gauguin, Monkey and Cottage; Little Breton Boy [recto], 1884-1888, graphite and crayon on wove paper, National Gallery of Art, Washington, The Armand Hammer Collection
The latest in an exhibition series celebrating the Armand Hammer Collection gift of drawings, this installation features 36 pages from a sketchbook used by Paul Gauguin (1848–1902) between 1884 and 1888, a period of enormous upheaval and change in his life. Separated from his family, he led a nomadic existence, roaming from Paris and Brittany to Martinique, London, and Arles. Breton Sketchbook No. 16 reveals rapid jottings of the people, places, and things that caught Gauguin's interest during his travels.
Modern Lab: Material Interventions
National Gallery of Art, Washington, February 11–September 30, 2012
Howardena Pindell, Untitled, #20, 1974, collage with hole-punched paper dots, pen and black ink, monofilament, and talcum powder on oak tag paper, National Gallery of Art, Washington, Dorothy and Herbert Vogel
Appealingly tactile and visually provocative, the works in this installation engage the senses through their distinctive materiality. Created with wax, dirt, thread, and other unconventional items, they emphasize the power of materials to inform content and convey meaning. Blurring traditional boundaries between media by combining painting with sculpture, sewing with printmaking, or sculpture with photography, the artists whose work is presented establish new, hybrid forms of art.
Civic Pride: Group Portraits from Amsterdam
National Gallery of Art, Washington, March 10, 2012–March 11, 2017
Govert Flinck, The Governors of the Kloveniersdoelen, 1642, oil on canvas, Rijksmuseum, Amsterdam, on loan from the City of Amsterdam
Painted during the height of the Dutch Golden Age, these works bring to the nation's capital a style of painting rarely seen outside the Netherlands. Two large-scale group portraits by artists Govert Flinck (1615-1660) and Bartholomeus van der Helst (1613-1670) depict the governors of the Kloveniersdoelen, the building where one of three main Amsterdam militia companies held its meetings.
The exhibition was organized by the National Gallery of Art, Washington. The exhibition is made possible by the Hata Foundation. This program is also supported, in part, by public funds from the Netherlands Cultural Services and through the generosity of Mrs. Henry H. Weldon.
Link to Press Kit
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