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Release Date: June 18, 2012

Advance Exhibition Schedule


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 Metropolitan Museum of Art.

In the Tower: Kerry James Marshall
National Gallery of Art, Washington—June 28-December 7, 2013

Kerry James Marshall, Great America, 1994
acrylic and collage on canvas
National Gallery of Art, Washington, Gift of the Collectors Committee, 2011

Kerry James Marshall is one of the most exciting and celebrated painters currently working in the United States, and his art is a reflection on African American history and the reverberations of the past in contemporary life. In Marshall's first solo exhibition in Washington, DC, some 30 paintings and works on paper, including the Gallery's own Great America (1994), provide a context for understanding this particular painting and its powerful imagery within the broader arc of the artist's career. In the Tower: Kerry James Marshall marks the sixth in a series of Tower installations focusing on developments in art since midcentury.

The exhibition is organized by the National Gallery of Art, Washington. It is sponsored by Dr. Anita Blanchard and Martin Nesbitt and Cari and Michael Sacks. Additional support is provided by The Tower Project.

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


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.

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.

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.


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, 18481900, 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.


Pissarro on Paper
September 30, 2012–March 31, 2013

Camille Pissarro, Wooded Landscape at L'Hermitage, Pontoise (Paysage sous bois, a L'Hermitage,Pontoise), 1879, aquatint, soft-ground, and drypoint on Japanese paper. National Gallery of Art, Washington, Rosenwald Collection

French Impressionist painter Camille Pissarro first tried printmaking in his early thirties, and though he never stopped painting, printing became vital to his artistic enterprise. He valued the ease with which he could test new ideas, and he became increasingly innovative as he grew more comfortable with different printing techniques. The purchase of his own etching press in 1894 facilitated his efforts, which resulted in more than two hundred plates.

This installation highlights Pissarro's spirited experimentation, as well as his gravitation—in all media—toward depicting landscape and the people who inhabited rural farms and towns. Rather than meticulously reproducing what he saw, he sought to capture the mood and essence of his subjects. On both paper and canvas, Pissarro masterfully played with surface textures and variations of compositional density to create descriptive and evocative visual imagery. His energetic methods for printmaking—dabbing, rubbing, dragging—and his range of materials for all media—palette knives, brushes of different sizes, even his bare hands—all contribute to the dynamism of his works.

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.

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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