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Late Nineteenth- and Early Twentieth-Century French Prints from the Rosenwald Collection
Closed October 16, 1970
The image shows a park scene with a high horizon, sparse line of trees in the distance, a cluster of trees and bushes in the center-left, birds, pathways, and figures in the background. The color palette is mainly soft yellows, off-whites, and pale hints of blue and green.
Selections from the Nathan Cummings Collection
Closed September 7, 1970
This painting depicts a group of men and women created by a collection of angular, geometric shapes with flat planes and blocks of color. One person is standing, and they appear to be a bare-chested man with tan skin and short, dark hair, who is wearing red shorts. He has his hand on his hip and looks off to the right. At his feet appear to be several seated people, although they are only partially visible. Three women with pale skin seem to be facing away from us; we can see their legs, arms, and torsos, although these don't all fit together. The woman on the left has blonde hair, the woman on the right has brown hair, and the woman between them has short black hair. None of their faces are visible. In the middle of this group, at the center of the painting, we see the face and hand of another person who is looking to the left. This person has light brown skin, and we can't see the rest of their body. Surrounding elements include a blue sky with abstract cloud forms, an angular tree on the left, and patches of brown, white, and green on the ground, with one red flower. A tan rectangle under a red triangle on the right edge suggests a building.
Joseph Wright of Derby
Closed April 26, 1970
Mountains painted in tones of sage and mint green and mauve purple are backlit against a hazy sky in this expansive, nearly square landscape painting. In the bottom quarter of the composition, the dirt-packed land is partially covered with patches of scrubby grass. A person, tiny in the landscape, sits on a rock to the left of the bottom center of the painting. That person has pale skin and wears a wide-brimmed, dark hat, a slate-blue jacket, muted red pants, and shin-high boots. He rests his head in one hand, that elbow propped on his bent knee. He braces a stick, perhaps a walking stick, against the other shoulder, and a canteen hangs by one hip. A path starting in the lower left corner of the painting winds back into the deep distance. A complex of pale-colored buildings sits on a rocky cliff face near the center of the composition, and another complex is tucked on a distant mountain to the left. The mountains span the left two-thirds of the painting and taper down to meet a crescent-shaped body of water to the right. Another building in the deep distance near the right edge of the canvas is outlined against a smoky, pale blue ridge. White clouds pile in the hazy sky in the top half of the painting. The artist signed and dated the painting in the lower left corner, “I Wright Pinx 1790.”
Prints and Drawings by Alphonse Legros
Closed April 17, 1969
The image shows a drawing of two individuals seated in a kneeling position, with their heads inclined toward each other. The figures are sketched with minimal detail, including soft outlines and loose lines for hair. They are unclothed, and there are no other objects in the image. The background is a plain, light-colored surface, and the artwork is signed in the top right corner.
Festivals and Fairs
Closed June 30, 1969
This is a painting of a fair scene with various activities and performances taking place in an open square. The scene is lively with many figures engaged in different forms of entertainment and social interaction. To the left, there is a grand building with ornate architectural details. The scene captures swings, shows and performances on stages, a diverse crowd, and vendors selling goods. The background shows a large church with tall spires, while the foreground includes details such as dogs and performers. The attire is colorful and detailed, creating a vivid and animated portrayal of a fairground scene. This painting is in the style of Thomas Rowlandson.
Audobon Prints
Closed November 13, 1969
This print shows a side view of a pink bird with its wings slightly outstretched, perched on a sloped brown bank with its head leaning down toward the water on the left. The bird has a long, white neck, a green head with red eyes surrounded by circles of pink, and a large beak that flares out at the end, similar to a spoon. The beak has white and black patterns on the top, which fade into a light blue at the bottom. The wings, legs, body, and feet of the bird are pink. In the background on the left, the horizon is in the center of the painting, revealing a wetland landscape with blue water and patches of green land. On the right, there is a patch of tall green grass behind the bird. The sky has soft gray clouds against a pale-yellow sky.
The Birds of America by John James Audubon
Closed March 2, 1969
In Memoriam, Ailsa Mellon Bruce
Closed October 12, 1969
Shown from the knees up, a pale-skinned woman sits and leans on the arm of a seat in this vertical portrait painting. The woman’s knees and shoulders are angled to our right but she turns her head slightly to our left so she looks out at us from the corners of her green, wide-set eyes. She has an oval face with a short nose, full pink lips, and a cleft in her chin. Her brown hair is set in loose finger waves and is either chin-length or pulled back. Her sleeveless, scoop-necked, ivory-white gown has spaghetti straps edged with gold. A sheen on the fabric suggests that it shimmers between white, mauve pink, and gold, and gold tracery around her hips mimics the look of a drop-waist over a long, flaring skirt. A rose-pink shawl drapes over her left arm, to our right, which rests on the arm of her seat. A long strand of pearls is looped twice around that wrist like a bracelet as the other end is pulled over her fingers, which she holds in front of her chest. Her other arm, to our left, is stretched straight by her side, and she wears a ring on that hand. The seat has an arched back and is painted with streaks of gold and tan. A darkened opening behind her is shaded midnight blue. Gold frames or molding flank the opening along the left and right edges of the canvas. The portrait is loosely painted, especially in her clothing and the background. The artist signed and dated the bottom right corner, “de Lászlo 1626. III.”
Seventeenth-Century Landscape Prints from the National Gallery of Art Collection
Closed April 8, 1969
The etching depicts a scene of a winding dirt path flanked by trees on the left. A small structure or cart stands in the distance, while a thatched-roof building is visible further away on the right. The high horizon line adds depth to the image. The etching features detailed lines and dots, creating a textured style with fine strokes illustrating the trees and path. The color palette is monochrome, emphasizing the contrast between the dark ink and light background, capturing a rural scene with a sense of calm and emptiness.
Sixteenth-Century Prints of the Danube School
Closed October 10, 1968
The image depicts a ground-level view of a wooden bridge stretching towards a village by a river. The bridge is made of planks and posts, leading towards clusters of rooftops and a round building with a turret. In the background, rolling hills are visible. The horizon line is at the upper third with faint outlines of distant hills and trees. On the right, there is a detailed tree with cross-hatching and linear strokes for texture. The style is pen-and-ink with fine and detailed brushstrokes. The color palette is monochromatic in shades of black and white. The scene is framed by two tall trees and features details like the carved year "1546" on a stone.
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