John Russell Pope, Otto R. Eggers, National Gallery, South Facade, 1937, yellow watercolor, white gouache, and graphite, Acquired from Eggers and Higgins, Architects, 1984.44.26

Architecture

Artists often depict the built environment. We can visit some of the world’s most magnificent buildings and architectural innovations through artworks.

  • Set in an outdoor garden, a sculpture with two tall metal arms curve up like stylized tree branches to hold a sign between them, which reads, “METROPOLITAIN.” In this photograph, the sign faces us and fence-like rows of panels extend back from the posts, and across the back to enclose three sides. The panels, posts, and the framework holding the sign are all painted sage green. Each panel has a rounded top with a two-lobed, medallion-like center. The arms of the posts reach above the sign, and each curves up and over a burgundy-red light that hangs down like a flower bud. Three wooden benches sit within the enclosure. The sculpture is set within a garden with tall trees, a grassy lawn, and umbrella-covered café tables and chairs. A silver, metal tree rises in the near distance to our left.

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Decorative Arts

Decorative arts are windows into the culture and styles of their periods. More than just decoration, they tell stories about customs and values. The metalworkers, ceramicists, weavers, cabinetmakers, or glassblowers who created the works are often anonymous. But they left a mark on history through their technical skills and innovative styles.

A man wearing armor, sitting astride a cream-white horse, drives a long lance down at a lizard-like dragon as a woman kneels with her hands in prayer in the landscape beyond in this vertical painting. Both people have pale skin and thin, gold halos floating above their heads. At the center of the composition, the man faces our left in profile as he looks down at the creature. The man has a straight nose and honey-brown hair under his gold-trimmed, pewter-gray helmet. Armor covers his entire body, and a celestial-blue cape billows behind him from where it fastens around his neck. A narrow, indigo-blue and gold band is tied around his left calf, and is inscribed with the word “HONI.” A black sword hangs from his left side. The horse is white with a silvery-white mane and tail. It rears on its hind legs as it turns its head to look at us with hazel-brown eyes. The horse wears a blue saddle and bridle, the same color as the man’s cape, trimmed with gold. A strap around the horse’s neck is painted in gold with the name, “RAPHELLO.” The rider thrusts his foot into the stirrup we can see as he plunges a lance down at the dragon under the horse’s front feet. The dragon has tawny brown skin with a mint green, dog-like head. It grips the earth with clawed feet as at pushes at the lance with one front foot. It twists its long, snake-like neck to look at the man with dark eyes. The dragon opens its pointed snout to show its teeth, and bat-like wings splay out. A tall outcropping over a cave rises along the left edge of the composition, behind the dragon. In a field a little farther back, to our right, the woman kneels with her body angled to our left. She tilts her head away from us and gazes past the man and horse. She has a straight nose, pale pink, bow-shaped lips, and her blond hair is pulled back in a bun. She wears a ruby-red dress and a sheer white wrap around her shoulders and across her arms. Around the woman, straw-yellow hills with bands of pine-green trees roll into the distance. Two terracotta-orange towers rise from a row of trees along the horizon. A few taller trees are outlined against the baby-blue sky, which lightens toward the horizon.

Italian Renaissance

The Renaissance, or rebirth, was the cultural flowering in Italy from about 1400 to 1600. Using Ancient Greece and Rome as models, artists, writers, and thinkers studied the natural world, admiring the human body and mind. Florence, a center of craftsmanship, trade, and banking, led Italian cities, generating broad demand for art for churches and homes.