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An armored man on horseback hands a piece of emerald-green cloth down to the nearly nude man standing next to him in this slightly stylized, vertical painting. Both men have light skin, and they, along with the horse, nearly fill the composition. To our right, the bright white horse stands angled to our right with the front left hoof raised. It has a smoke-gray mane, and wears a black bridle. The man riding the horse has short, copper-blond hair and a long face with a pointed chin. He looks down at the ground with dark eyes under black, arched brows. He has a long, thin nose, and his small lips are closed and framed by the faint suggestion of a mustache. He wears a white ruff pleated into figure-eights over his high-necked armor, which is liberally outlined and decorated with gold against the pewter-colored plates. He grips the voluminous, green cape in one hand and holds a sword in the other, down by the leg we can see. The cleanshaven man next to him, to our left, looks off to our right in profile. He has close-cropped, dark hair and smooth skin. His lips are parted, and he tips his head slightly away from us. He holds the green cloth with the hand closer to the horse and gestures down with his other pointer finger, in front of his hip. A white cloth bandage is wrapped around one shin, and he rests his weight on the other leg. The horse and man stand on a curving spit of brown earth. A spring-green landscape dips down behind them, running low near the bottom edge of the painting. The horizon comes about a quarter of the way up the composition, and fog-gray and white clouds create thin screens across the topaz-blue sky. The loose brushstrokes are visible in some areas, especially in the landscape and clothing. The artist signed his name in Greek near the lower right corner.

Talks & Conversations:  Finding Awe: El Greco’s Saint Martin and the Beggar 

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Registration Required

cancelled

An armored man on horseback hands a piece of emerald-green cloth down to the nearly nude man standing next to him in this slightly stylized, vertical painting. Both men have light skin, and they, along with the horse, nearly fill the composition. To our right, the bright white horse stands angled to our right with the front left hoof raised. It has a smoke-gray mane, and wears a black bridle. The man riding the horse has short, copper-blond hair and a long face with a pointed chin. He looks down at the ground with dark eyes under black, arched brows. He has a long, thin nose, and his small lips are closed and framed by the faint suggestion of a mustache. He wears a white ruff pleated into figure-eights over his high-necked armor, which is liberally outlined and decorated with gold against the pewter-colored plates. He grips the voluminous, green cape in one hand and holds a sword in the other, down by the leg we can see. The cleanshaven man next to him, to our left, looks off to our right in profile. He has close-cropped, dark hair and smooth skin. His lips are parted, and he tips his head slightly away from us. He holds the green cloth with the hand closer to the horse and gestures down with his other pointer finger, in front of his hip. A white cloth bandage is wrapped around one shin, and he rests his weight on the other leg. The horse and man stand on a curving spit of brown earth. A spring-green landscape dips down behind them, running low near the bottom edge of the painting. The horizon comes about a quarter of the way up the composition, and fog-gray and white clouds create thin screens across the topaz-blue sky. The loose brushstrokes are visible in some areas, especially in the landscape and clothing. The artist signed his name in Greek near the lower right corner.

Talks & Conversations:  Finding Awe: El Greco’s Saint Martin and the Beggar 

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Registration Required

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Talks & Conversations:  Artist Talk: Marlene Gilson and Alick Tipoti

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Tiger Palpatja, Wati Wanampi Tjukurpa, 2010, synthetic polymer paint on canvas, National Gallery of Victoria, Melbourne, Purchased in memory of Graeme Marshall with funds donated by Harriet and Richard England and Anne and Ian McLean, 2011 © Tiger Palpatja/Copyright Agency, 2024. Photo: Jeremy Dillon / NGV

Talks & Conversations:  Gallery Talk—The Stars We Do Not See: Australian Indigenous Art 

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cancelled

An armored man on horseback hands a piece of emerald-green cloth down to the nearly nude man standing next to him in this slightly stylized, vertical painting. Both men have light skin, and they, along with the horse, nearly fill the composition. To our right, the bright white horse stands angled to our right with the front left hoof raised. It has a smoke-gray mane, and wears a black bridle. The man riding the horse has short, copper-blond hair and a long face with a pointed chin. He looks down at the ground with dark eyes under black, arched brows. He has a long, thin nose, and his small lips are closed and framed by the faint suggestion of a mustache. He wears a white ruff pleated into figure-eights over his high-necked armor, which is liberally outlined and decorated with gold against the pewter-colored plates. He grips the voluminous, green cape in one hand and holds a sword in the other, down by the leg we can see. The cleanshaven man next to him, to our left, looks off to our right in profile. He has close-cropped, dark hair and smooth skin. His lips are parted, and he tips his head slightly away from us. He holds the green cloth with the hand closer to the horse and gestures down with his other pointer finger, in front of his hip. A white cloth bandage is wrapped around one shin, and he rests his weight on the other leg. The horse and man stand on a curving spit of brown earth. A spring-green landscape dips down behind them, running low near the bottom edge of the painting. The horizon comes about a quarter of the way up the composition, and fog-gray and white clouds create thin screens across the topaz-blue sky. The loose brushstrokes are visible in some areas, especially in the landscape and clothing. The artist signed his name in Greek near the lower right corner.

Talks & Conversations:  Finding Awe: El Greco’s Saint Martin and the Beggar 

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Registration Required

cancelled

Talks & Conversations:  A Snapshot of Photography and the Black Arts Movement, 1955-1985

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Exhibitions

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Exhibition:  In the Tower: Chakaia Booker: Treading New Ground

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Exhibition:  Back and Forth: Rozeal., Titian, Cezanne

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Several insects such as a bees, butterflies, moths, ladybugs, beetles, and more, crawling on and around a fig branch.

Exhibition:  Little Beasts: Art, Wonder, and the Natural World

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Exhibition:  In the Library: Animal Illustration in Europe, 1550–1750

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Two men on logs surrounded by the rapids of the Hudson River with green trees on both sides and a blue sky with white puffy clouds.

Exhibition:  American Landscapes in Watercolor from the Corcoran Collection

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Exhibition:  Photography and the Black Arts Movement, 1955–1985

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Guided Tours

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Guided Tours:  Exhibition Tour—The Stars We Do Not See: Australian Indigenous Art 

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Guided Tours:  Exhibition Tour—The Stars We Do Not See: Australian Indigenous Art 

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Guided Tours:  Exhibition Tour—The Stars We Do Not See: Australian Indigenous Art 

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Guided Tours:  Exhibition Tour—Civil Rights in Photography and the Black Arts Movement

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A man and a child looking at a sculpture in the National Gallery of Art.

Guided Tours:  French Sculpture

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