Past Exhibitions

Learn about past exhibitions going back as far as 1941 when the National Gallery of Art first opened to the public.

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Michelangelo and His Influence
Closed January 5, 1997
Georges de La Tour and His World
Closed January 5, 1997
A young woman with pale skin sits at a table in a darkened room in this vertical painting. Long chestnut-brown hair drapes over her shoulder and her deep, cream-colored, long-sleeved garment is open at her neck. She rests her chin in her right hand, farther from us, as her left reaches for a skull placed on a thick book on the table in front of her. The scene is lit by a single candle mostly out of sight behind the skull. Shown in profile, she looks into a small mirror next to the skull, which reflects that object and the book.
Encounters with Modern Art
Closed January 26, 1997
Angular, geometric shapes in charcoal and smoke black, pewter and silver gray, white, pale pink, and coral orange pile up to form a rough pyramid shape that fills the height of this square, abstract painting. More fragmented shapes in cobalt, azure, and light blue fill the upper left and right corners to either side of the apex, and one triangular space on its middle left. The artist has inscribed, “LA PROCESSION SEVILLE” in black capital letters near the top right edge and “Picabia” in the lower right.
Adolph Menzel (1815-1905)
Closed January 5, 1997
The image shows a woman seated with her arms on her bent knees. She has dark, center-parted hair and wears a long white dress. She appears relaxed with a slightly tilted head and a soft facial expression. The background is a plain, neutral-colored surface.
Olmec Art of Ancient Mexico
Closed October 20, 1996
Thomas Eakins
Closed September 29, 1996
Two men with pale skin, wearing white sleeveless shirts and royal-blue caps, row in unison in a long, narrow boat on a placid blue river in this horizontal landscape painting. The low, honey-colored wooden boat extends off both sides of the canvas. Both men face our left as they row to our right. The man in front looks ahead of him, beyond the stern of the boat, and the man to our right, closer to the bow, tucks his chin down to look past his shoulder. Their bare, muscled arms are extended straight as the two oars sweep back. The tip of another boat runs close and parallel to the bottom edge of the composition, spanning the left three-quarters of the painting. The opposite riverbank is lined with a dense forest of pine-green trees. People crowd along the decks of a steamboat and a paddleboat near the riverbank to our left. Another narrow skuller, rowed by four people wearing ruby-red shirts, cuts through the water at the back center of the river. The riverbank beyond is lined with people, painted with strokes of black and white, and minuscule touches of red. The horizon comes halfway up the composition. Cream-white clouds float across a muted, topaz-blue sky above the trees.
Masterpieces from the Palazzo Doria Pamphilj, Rome
Closed December 2, 1996
In the Light of Italy
Closed September 2, 1996
Gauguin Drawings from the Armand Hammer Collection
Closed November 10, 1996
This is an image of two separate sketches side by side. On the left, there is a sketch of a monkey's head and a rough outline of a house with a chimney. On the right, there is a more detailed drawing of a figure possibly sitting, with their head slightly ducked and hands positioned in front, depicted with a colored hat and clothes. The drawing on the right is rendered in a sketchy, loose style with some colored accents.
Scenes of Daily Life
Closed August 18, 1996
Jan Steen
Closed August 16, 1996
The Robert and Jane Meyerhoff Collection: 1945-1995
Closed July 21, 1996
Thickly painted, rectangular vertical and horizontal slabs in intense buttercup and mango yellow, shamrock and lime green, burnt orange, raspberry pink, and charcoal gray are layered in this nearly square, abstract composition. In the top half, shapes are smaller, closer together, and separated by strokes of moss green. In the bottom half, the shapes are larger and seem to float against a vivid orange background. Smaller swipes and dabs of cotton candy pink, plum purple, indigo blue, sea glass green, scarlet red, rust brown, and bright white are interspersed around the slabs. The artist signed and dated the painting in green paint in the lower right corner, “hans hofmann 57.”

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