Provenance

Richard L. Feigen

1930 - 2021

Explore Selected Works

See all 18 works of art
A nearly nude, pale-skinned woman rides an oversized seashell being pulled by stylized dolphins in this horizontal painting. Four muscular, tanned men with dark, unruly curly hair surround the shell and play music. The woman sits on a seat made by twisting red coral with her body angled to our right. She turns her face up and to our left, to the sky. She has dark eyes and brows, a heart-shaped face, a cleft in her chin, and her pink lips are parted. Her auburn-brown hair appears gathered at the base of her neck and long tresses lift in the breeze over her right shoulder, to our left. A teardrop-shaped pearl hangs from the ear we can see. A celestial-blue cloth and a translucent white veil wraps over one shoulder and flutters behind her. The cloth then drapes across her back and over her thighs, exposing her soft tummy and rounded hips. The fish-like dolphins pulling the shell have rounded heads and black, glassy eyes. Short fins run the length of their curved backs over dark, olive-green skin. The woman guides them using red, twisted cords looped through their mouths. A pair of musicians are to each side of the shell. To our left and in the lower corner, one man holds a flute to his lips. The outer corners of his eyebrows arch up under a lined forehead. A ring of broad leaves wraps around his waist. Another man behind him blows with cheeks puffed into a shell as he looks at us. In the pair to our right, on the far side of the shell, one man holds a stick, perhaps guiding the vessel, while another, at the front of the grouping, blows into a shell. The man at front wears rings of leaves around his head and waist. The scene is lit starkly from our left, illuminating the woman and casting the rest into shadow. The water around the group is dark, pine green. Rocky mountains dotted with trees and buildings rise in the distance. Ash-gray clouds create diagonal bands moving up and to our right against a muted blue sky.
Bernardo Cavallino, The Triumph of Galatea, c. 1650, oil on canvas, Patrons' Permanent Fund, 2000.61.1

The Triumph of Galatea

Bernardo Cavallino · c. 1650 · oil on canvas ·  Accession ID  2000.61.1

Giuseppe Benucci, Presentation Drawing for the Ceiling Fresco of the Ognissanti, c. 1769, pen and black ink with gray and brown wash and watercolor over traces of chalk on four joined pieces of laid paper, Director's Discretionary Fund, 2000.118.1

Presentation Drawing for the Ceiling Fresco of the Ognissanti

Giuseppe Benucci · c. 1769 · pen and black ink with gray and brown wash and watercolor over traces of chalk on four joined pieces of laid paper ·  Accession ID  2000.118.1

James Rosenquist, Circles of Confusion, 1965, charcoal and graphite on wove paper, Gift of Richard L. Feigen, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.160.1

Circles of Confusion

James Rosenquist · 1965 · charcoal and graphite on wove paper ·  Accession ID  1991.160.1

A pale-skinned man sitting hunched over as he draws on a tablet and a bull lying at his feet fill this vertical painting. The man faces our right in profile, and he looks down at the book. He has a lined forehead, a bumped nose, and wrinkles around his nose. He has lanky, chin-length hair and a curly, unruly beard. He sits with one leg pulled up so he can partially brace the tablet on that knee. He holds the inkwell and clutches the top of the tablet with one hand and draws using a feather quill with the other. His other leg stretches down, and the ball of the bare foot is perched against the edge of the low platform on which the man sits. His garment has a white collar over a tunic that shimmers from plum purple to moss green. Extending from under the tunic’s short sleeves are long sky blue and pale laurel green sleeves. A golden yellow robe drapes over one shoulder and wraps around his lap. The gray bull, which is shown in about half the scale of the man, sits with one front leg tucked under his body as he looks over to our right. The floor is pale mauve purple, and the background is dark green, almost black. A glimpse of a work of art showing a woman holding a baby is visible near the top left corner of the painting.
Giorgio Vasari, Saint Luke, 1570-1571, oil on panel, Gift of Damon Mezzacappa in Loving Memory of Elizabeth Mezzacappa, 2012.79.2

Saint Luke

Giorgio Vasari · 1570-1571 · oil on panel ·  Accession ID  2012.79.2

Narcisse Diaz de la Peña, The Edge of the Forest at Les Monts-Girard, Fontainebleau, 1868, oil on canvas, Chester Dale Fund, 2000.37.1

The Edge of the Forest at Les Monts-Girard, Fontainebleau

Narcisse Diaz de la Peña · 1868 · oil on canvas ·  Accession ID  2000.37.1

A pale-skinned, muscular man sitting and reading a book as a lion rests at his feet fills this vertical painting. The man’s knees are angled slightly to our right but his torso twists back to the left. His head follows that direction so he’s almost in profile as he looks at the book, which he holds up to our left. His brows are deeply furrowed, and he has a bumped, blade-like nose. He has short, copper-red hair and a squared beard. He wears a tunic and knee-lengths pants that shimmer in shades of topaz blue and pearly white under a carnation-pink cloak that drapes from his shoulders and across his thighs. A round, gold pin holds the cloth in place on his left shoulder, to our right. His lower legs and feet are bare. He rests the heel of one foot on a rounded plinth and lifts the toes so they come at us. The other knee bends deeply and the toes of that foot perch lightly behind the first leg. The man leans to our right to look at the open book, which he holds in both arms to the left. Visible text on the far page reads, “ANGELVS DESCENDIT EVO.” He braces a black inkpot and spindly white feather quill in one hand and holds a pair of pince-nez glasses with the other. The lion is small in comparison to the man and has a curly mane and translucent gray wings. The background is dark except a strip off-white floor along the bottom edge.
Giorgio Vasari, Saint Mark, 1570-1571, oil on panel, Gift of Damon Mezzacappa in Loving Memory of Elizabeth Mezzacappa, 2012.79.1

Saint Mark

Giorgio Vasari · 1570-1571 · oil on panel ·  Accession ID  2012.79.1

Bartholomeus Breenbergh, The Fantastic Rocks and Castle at Bomarzo [recto], c. 1625, pen and brown ink with brown and gray wash over black chalk on laid paper, Gift of The Morris and Gwendolyn Cafritz Foundation, 1985.14.1.a

The Fantastic Rocks and Castle at Bomarzo [recto]

Bartholomeus Breenbergh · c. 1625 · pen and brown ink with brown and gray wash over black chalk on laid paper ·  Accession ID  1985.14.1.a

Gustave Doré, The Shades of French Soldiers from the Past Exhort the Army to Victory on the Rhine, c. 1870, brush and brown ink, black watercolor, and white gouache over graphite on wove paper, laid down on heavy paper, Helen Porter and James T. Dyke Fund, 2006.62.1

The Shades of French Soldiers from the Past Exhort the Army to Victory on the Rhine

Gustave Doré · c. 1870 · brush and brown ink, black watercolor, and white gouache over graphite on wove paper, laid down on heavy paper ·  Accession ID  2006.62.1

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The Fantastic Rocks and Castle at Bomarzo [verso]

Bartholomeus Breenbergh · c. 1625 · pen and brown ink with brown wash over black chalk on laid paper ·  Accession ID  1985.14.1.b

A shaft of sunlight illuminates a bone-white, barren tree trunk that has fallen across a stream within a dense wood in this horizontal landscape painting. The water closest to us is deep in shadow, and the surface closer to the opposite bank is a shimmering moss green. One spiraling, ash-brown tree trunk rises out of the stream to our right of center, and another hunched, gnarled trunk grows from the far bank, to our left. Tiny in scale, two dogs stand at the water’s edge between the gnarled tree and the fallen trunk beyond. The dirt earth where the tree had stood is sand-colored, and it is surrounded with pea and pine-green grass and growth. Nearly lost in shadow, to our right, three men gather just beyond the fallen tree. Two ride donkeys while the third strides toward them with his rifle resting on his shoulder, leading another donkey. All three men wear dark jackets and trousers and tan-colored hats. A fourth man rides a donkey into the scene from the right side. Just above his head, slivers of blue water and a pale pink sky peek through the tree trunks. A fifth donkey faces us from our side of the fallen tree and a third dog runs toward the water. The impenetrable forest reaches off the top edge of the painting, the trees painted in hunter, olive, and sage green. Many of the tree trunks are wrapped with vines.
Horace Vernet, Departure for the Hunt in the Pontine Marshes, 1833, oil on canvas, Chester Dale Fund, 2004.38.1

Departure for the Hunt in the Pontine Marshes

Horace Vernet · 1833 · oil on canvas ·  Accession ID  2004.38.1