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Prints by Altdorfer, Dürer, Lucas van Leyden, and Schongauer from the National Gallery of Art Collection
Closed December 15, 1964
The artwork is a detailed engraving depicting a battle scene. The composition is densely packed with figures, primarily soldiers on horseback, engaged in combat. The central figure holds a sword aloft, surrounded by mounted warriors. The soldiers are clad in armor and helmets, wielding spears and shields. Horses rear and charge, adding movement to the scene. Fallen figures and weapons are scattered across the foreground. In the background, a mountainous landscape is visible. The intricate linework and shading are present.
Eighteenth-Century Venetian Etchings from the National Gallery of Art Collection
Closed November 24, 1963
The image shows an etching of a waterfront scene. There are two main buildings, one with arched windows and intricate detailing on the left, and a rectangular structure with symmetrical windows and a tiled roof on the right. A stone bridge arches above a waterway below. The cityscape is densely packed, with a river surrounded by buildings and gondolas. Fine line work captures the texture of the buildings and people in the plaza. The color palette would be monochrome, emphasizing contrast and depth. People are depicted in period attire.
Etchings and Lithographs by Edouard Manet
Closed December 13, 1962
This is a painting of a group of figures in a scene. The painting shows a situation where a line of uniformed figures interacts with three standing figures in another group. The uniforms have dark tones and the painting uses black and white. The figures are arranged dynamically, conveying tension. The background is dark, contrasting with the figures in lighter clothing. The style is reminiscent of Édouard Manet, known for capturing poignant and historical moments realistically.
Thomas Eakins: A Retrospective Exhibition
Closed November 12, 1961
On the brick pavement of a sunny veranda, a young toddler leans heavily on her right arm, to our left, as she reaches for a wooden block in this horizontal painting. Much of her face is cast in deep shadow from the bright light overhead, but light brushes the tops of her cheeks and the tip of her nose. She grips a wooden block with her left hand, closer to us. Her left leg stretches to our right in a stocking striped with vivid red and white. Light glints off the shiny material of her black, round-toed slipper. She has short, golden-brown hair, and her white smock is richly embroidered in a pattern of white-one-white with alternating linked loops. Scattered before her, at arms-length, are seven other alphabet blocks lettered in gray with red and tan faces, several wooden building blocks, and a ball of red yarn. A doll in a black dress lies with limbs akimbo, face-down by a potted plant at the right edge of the canvas. A red wagon drawn by white toy horse sits near the left edge. The scene is enclosed with a deep, emerald-green hedge stretching across the background. The artist signed and dated this work as if he had inscribed two of the bricks on the patio with red paint in cursive script, in the lower right corner: “Eakins 76.”
Prints by Toulouse-Lautrec
Closed August 15, 1960
The image shows a horse-drawn carriage viewed from slightly above and behind. The rear of the carriage is visible, with two figures inside: a man in a light-colored hat and a woman in a red hat. A dog follows the carriage, moving towards the bottom right. The carriage is driven by a horse on a pale pathway, with a high horizon showing a sky with pastel clouds and green fields. The brushstrokes are light and fluid in an impressionist style, with a color palette of soft yellows, greens, and blues.
Manuscript Illuminations, XIIth-XVth Century from the Rosenwald Collection
Closed February 2, 1961
The image features four figures depicted upright from head to toe, each with a halo. The person on the far left has short, curly hair, wearing a decorated robe and holding a book, gesturing with the other hand. Next to him, the second figure also has short, curly hair and wears a striped robe, holding a staff. The third person has short hair under a blue and white cap, in a striped robe, holding a book while gesturing. The fourth figure has curly hair under a pointed cap, wearing a robe with blue and red detailing, holding a book with one hand raised. The background is a parchment-like surface with decorative red lining at the border.
Drawings and Prints by Rembrandt
Closed September 21, 1958
The image shows an older man depicted from the waist up. His head is slightly turned to the left and he appears to be looking downward. He has a full beard and mustache, with a high forehead and thinning hair. He is dressed in a voluminous robe with flowing lines. The background is plain with a neutral backdrop.
Winslow Homer
Closed January 4, 1959
A woman holding a baby stands near a young boy who perches in the tipped-up end of a rowboat that has been pulled onto a sandy beach in this horizontal painting. All the people have light skin. The turquoise and aquamarine-blue ocean beyond meets the pale blue sky at the horizon line, about halfway up the composition. To our left of center, one end of the wooden rowboat has been propped on what might be a fallen piling on the sandy, rocky beach. The boy sitting in the bow faces our left almost in profile, and wears a round, brimmed straw hat over brown hair, a brown, long-sleeved shirt, and charcoal-gray pants. His face turns away from us so we only see his cheek and the curve of his ear. To our right, the woman’s dark hair is pulled up and she wears a white apron over a long brown skirt. She stands angled to our right and looks over the shoulder of the blond baby she holds up against her chest. The child is dressed in a white skirt, blue sash, a red jacket, and black shoes. The beach around the people is strewn with another rowboat, large boulders, a wooden barrel, and fishing nets hung over a tall frame to dry. A few tufts of scrubby grass grow in the sand around the woman’s feet. The white sails of several ships line the horizon in the deep distance. Thin, pale peach clouds float across an ice-blue sky. The artist signed and dated the work in dark paint in the lower left corner: “WINSLOW HOMER 1873.”
A Retrospective Exhibition of the Work of George Bellows
Closed February 24, 1957
From under an elevated train track, we look at a cluster of people hammering and working on the far side of a wooden fence, all against a silvery-blue building that fills most of the background in this horizontal painting. The scene is loosely painted mostly in tones of hazy and saturated blues, so many of the details are indistinct. About a quarter of the way in from the right edge of the composition, a thin iron column holds up the train platform. The column nearly spans the height of the painting, and the track it supports runs across the top edge of the canvas. At the foot of the column, along the bottom edge, are two parallel tracks embedded in an area otherwise painted with short, diagonal strokes in topaz blue, olive green, and straw yellow. Just beyond the tracks, the split-rail wooden fence runs across most of the painting, though there is an opening at the left edge of the canvas. A man sits with his back to us on the railing to our right of center. He wears a dark cap, a lapis-blue shirt, and navy-blue pants. Several men work on or near a mound-shaped form, perhaps a piece of machinery, just beyond the fence, near the center of the painting. One man holds a hammer high overhead while another reaches down or strikes the mound with his feet planted wide. More people work together to our left, and a man to our right stands near a crane. The people and these areas are painted with broad strokes and touches of cobalt blue, charcoal gray, khaki brown, and a few swipes of shell pink and bright white. A puff of white smoke billows up behind the central group, before the land drops precipitously away. The chasm is painted with shimmering tones of aquamarine and cerulean blue. A sky-blue, rectangular building perches at the far edge. A few windows are outlined in royal blue to our left but the rest of the building is loosely painted with long, vertical strokes so no architectural details can be made out. Behind this structure are more city buildings, suggested with strokes of muted rust red, parchment and bright white, and cobalt blue. The ice-blue sky fills the band between the top of the buildings and the train track running overhead. The artist signed his name near the lower left corner, “BELLOWS.”
The Art of William Blake
Closed December 1, 1957
A long, rectangular dining table is surrounded by thirteen people in this horizontal painting. The skin of all the people, some of their clothing, and the tabletop are painted golden yellow. Touches of aquamarine blue, salmon pink, and rust red appear in some clothing, and the scene is set against a nearly black background. Across from us at the center of the table, a radiating, gold starburst surrounds the head and shoulders of a man, Jesus, with shoulder-length blond hair and beard. He looks at or toward us with dark eyes as he holds his hands up, palms facing out, at his chest. He wears a champagne-white robe and reclines with his legs extended to our left as he rests his opposite elbow on what could be a cushion or rolled-up blanket. To our right, a second person mirrors Jesus’s reclining position but with wrists crossed over the chest and turning to look toward Jesus. That person wears a long teal-blue garment and has smooth cheeks and long blond hair. Another bearded man to our left, near the back corner of the table, leans away from Jesus with hands held up as if in prayer. Three people lounge or sit on each of the short sides of the table to our left and right, and four recline on the side closest to us. Some have beards and others are cleanshaven, and some have short hair while others have long locks. Most of them look toward Jesus while two bend low to the table in prayer. One man, in the lower right, wears brick red and turns his back on the table as he counts or touches coins in a sack. The long table is set with goblets and plates of food. The artist signed the work with his initials in the lower left corner: “WB inv.”
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