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An Exhibition of City Views from the Sixteenth to the Twentieth Century from the Collection of the National Gallery of Art
Closed October 27, 1966
The image depicts a detailed engraving of a medieval cityscape, showcasing the city of Nuremberg from an elevated point of view. The view encompasses the rooftops, buildings, walls, and towers. The horizon is filled with church spires, towers, and fortifications following the city's layout. The engraving displays intricate detail with fine lines, typical of such artworks. The color palette is monochromatic with sepia tones. A river with a wooden bridge, flanked by paths and rustic structures, is seen in the foreground. The city is densely packed with buildings suggesting a busy urban area. Towered fortifications of the city walls encircle the city in the background.
Canaletto and Bellotto Etchings from the Collection of the National Gallery of Art
Closed April 24, 1967
The image shows a city square with historical figures in elaborate attire engaged in various activities. The architecture features detailed classical elements, including arched windows and repetitive patterns. The style is a precise line drawing, likely created using etching techniques, with a monochromatic palette emphasizing strong contrasts between dark lines and lighter areas.
Rosenwald Miniatures and Widener French Eighteenth-Century Books
Closed May 2, 1965
Sculpture and Drawings by Rodin
Closed January 10, 1973
Molded in tan-colored terracotta, a person kneels and leans forward against an L-shaped stump-like form in this freestanding sculpture. The person’s head is to our left in this view, and the breasts are visible. She leans forward onto her forearms with her wrists crossed, so her hands are near her chin and closed mouth. She has short hair and full lips. The area around her eyes is loosely sculpted. One knee is bent and the other is mostly straight as if the foot were reaching toward the ground. The stump is especially loosely formed, and the sculpture sits on a wooden plank. The piece is photographed against a gray background.
Graphic Arts from the Chester Dale Collection
Closed August 18, 1965
Six pink-skinned ballerinas stretch of practice in this horizontal pastel drawing. The scene is roughly sketched so some details, like the women’s faces, are indistinct. They all have brown hair and costumes with sleeveless bodices and knee-length tutus. Three dancers cluster close to us. Two at the front have tutus shaded with peacock blue and amethyst purple and dotted with spring green. The bodices of these two and the one standing behind them are copper orange. The woman to our right holds both hands to the small of her back. Another touches her hair with both hands, and the third stands with her feet apart in fourth position, toes pointing outward, and hands clasped gracefully down in front of her. The other three dancers wear pale pink bodices and tutus that match the color of their skin. Taking up the left half of the composition and moving slightly back in space, one dancer leans forward with one arm raised, and the other two bend double to brush one hand by their feet. The floor is tawny brown. The background is loosely drawn with strokes of lime green, pale pink, teal blue, and sand brown. The artist’s name appeared in the lower left corner, “Degas.”
The Chester Dale Bequest
Closed August 18, 1965
A pale-skinned man leans forward so his arms rest on the desk in front of us as he looks out with piercing blue eyes in this horizontal portrait painting. He rests his head in his left hand, to our right, with the first two fingers extended along his temple. His blond hair is carefully combed, and he has arched eyebrows, bags under his eyes, a wide nose, and a bristle mustache over his square, cleft chin. He wears a navy-blue suit jacket over a white button-down and dark tie. The jacket has a white pocket square and a red flower on one lapel. The man wears a red pinky ring on the hand by his face. The other arm is extended so that hand, which holds a cigarette, hangs beyond the edge of the tabletop. We look slightly down onto the desk where a pair of glasses rests on an open book, which shows a self portrait by Van Gogh. A pamphlet partially tucked under one corner of the book would read, in full, “FRENCH PAINTING from the CHESTER DALE COLLECTION.” The man sits in a high-backed chair with cushion mottled with amethyst purple and topaz blue. Close behind him, a shelf to our right holds a copper-green mask and a figurine. Pale green paneling and drawers fill the left two-thirds of the background. The painting is inscribed at the top left, “To my very dear friend Chester Dale Diego Rivera. August 1945.” Brushstrokes are visible in some areas, especially in the background and chair.
French Eighteenth-Century Color Prints from the Widener Collection
Closed October 1, 1964
The image shows two people seated on a luxurious couch in an ornate room. One person is a woman wearing a light-colored dress and a black shawl, holding a fan. The other person is a man in a red coat with white ruffled cuffs and knee-length breeches. They are surrounded by elegant furnishings, including a table with pink flowers, a draped dark curtain, and a framed oval painting on the wall. The room also contains a colorful patterned carpet and a small stand holding a handbag tied with blue ribbons.
Piranesi Etchings of Prisons and Views of Rome from the National Gallery of Art Collection
Closed April 18, 1965
The image features a web of lines and arches creating geometric shapes. Beams and chains hang from the ceilings while multiple levels and platforms intertwine. The overpasses and stone-like textures enhance the sense of an architectural structure.
William Blake
Closed November 22, 1964
The image depicts a surreal scene featuring mythical creatures. A central figure resembling a hybrid creature, possibly a mixture of a serpent, lion, and human, is surrounded by smaller hybrid figures. The drawing is detailed with various textures and intricate line work, creating a dream-like quality. Inscriptions with themes of wickedness, hypocrisy, dreams, visions, and references to Satan and God are included in a border around the central image. The overall style is reminiscent of William Blake's works, combining poetry with visionary art.
Exhibition of Etchings and Mezzotints from J.M.W. Turner's Liber Studiorum
Closed October 13, 1963
The image shows a landscape with a calm body of water, likely a river or pond, viewed from a slightly elevated position. The horizon is high in the composition, obscured by trees and an ancient structure. Lush trees with detailed leaves and shading are on the right, leading to grass and reflective water. In the distance on the left, a round temple with columns is reflected in the water. The sky and distant architectural elements are sketched with minimal detail. The style features fine linework and cross-hatching, with a monochromatic color palette of sepia-like tones.
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