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Upcoming Exhibitions

Lynda Benglis, Phool, 1980, plaster, bronze wire, and gold leaf, National Gallery of Art, Washington, The Dorothy and Herbert Vogel Collection, Ailsa Mellon Bruce Fund, Patrons' Permanent Fund and Gift of Dorothy and Herbert Vogel

Lynda Benglis
(Postponed)
March 22, 2020–January 24, 2021

In the late 1960s, American artist Lynda Benglis (b. 1941) expanded the boundaries traditionally assigned to media and gender with her bold, physical, and tactile works. Since then, Benglis's endless innovation has made her a critical figure who has bridged and influenced several generations of artists. An exhibition at the National Gallery of Art, Washington, brings together sculptures, paintings, drawings, prints, and videos by Benglis from the Gallery's collection, the majority of which were given by Dorothy and Herbert Vogel. Made between 1966 and 2003, the 33 works reveal how Benglis has forged new forms by constantly exploring different techniques, materials, and mediums.

The exhibition is organized by Molly Donovan, curator of contemporary art, National Gallery of Art, Washington.

Organized by the National Gallery of Art, Washington

Caption; Lynda Benglis, Phool, 1980, plaster, bronze wire, and gold leaf, National Gallery of Art, Washington, The Dorothy and Herbert Vogel Collection, Ailsa Mellon Bruce Fund, Patrons' Permanent Fund and Gift of Dorothy and Herbert Vogel

 

Giovanni Benedetto Castiglione, 'Adoration of the Shepherds', 1645, oil on canvas, Genova, Fondazione Spinola, Chiesa di San Luca, Copyright Scala / Art Resource, NY

A Superb Baroque: Art in Genoa, 1600–1750
National Gallery of Art, Washington, September 26, 2021–January 9, 2022
Scuderie del Quirinale, Rome, March 4–June 19, 2022

By the 17th century, Genoa was the banking center of Europe with a functioning republican government and enormous wealth that enabled its artists and their patrons to create a singularly rich and beautiful expression of baroque style, with works of extraordinary material sumptuousness, visual splendor, and exuberant feeling. The first major presentation of the Genoese baroque in the United States, this landmark exhibition—accompanied by a fully illustrated catalog—presents some 130 paintings, sculptures, decorative arts, drawings, and prints ranging from 1600 through 1750.

Forming the core of the exhibition are works by the school’s well-known painters—Bernardo Strozzi, Giovanni Benedetto Castiglione, and Alessandro Magnasco—as well as key works by other Italians and foreigners drawn to the city’s flourishing environment—Peter Paul Rubens, Giulio Cesare Procaccini, Orazio Gentileschi, Anthony van Dyck, and Francesco Solimena. Some of the very finest works by such native painters as Valerio Castello, Domenico Piola, and Gregorio De Ferrari are also on view. Monumental decorative ensembles from churches and residences are represented by corresponding oil sketches and presentation models, several grand in scale themselves. Also included are full-size statues by masters—Pierre Puget, Filippo Parodi, and Anton Maria Maragliano—terracotta sketches, and exquisite bronze repetitions of monumental groups, as well as spectacular ceremonial silver from early in the period.

Among the drawings and prints featured are many by the same artists who executed the paintings and objects, with some connected to them. These works reveal the striking characteristics of Genoese draftsmanship: complex techniques, pictorial elaboration, and autonomous function. In fantasy and fluency, the etchings—particularly those of Castiglione and Bartolomeo Biscaino—surpass those of any other Italian school.

The exhibition is curated by Jonathan Bober, Andrew W. Mellon Senior Curator of Prints and Drawings National Gallery of Art; Piero Boccardo, superintendent of collections for the City of Genoa; and Franco Boggero, director of historic and artistic heritage at the Soprintendenza Archeologia, Belle Arti e Paesaggio, Genoa.

Organized by the National Gallery of Art, Washington, and the Scuderie del Quirinale, Rome, with special cooperation from the City and Museums of Genoa

Made possible by the Robert Lehman Foundation

Additional funding provided by The Exhibition Circle of the National Gallery of Art

Caption: Giovanni Benedetto Castiglione, The Adoration of the Shepherds, 1645, oil on canvas, overall: 398 x 218 cm (156 11/16 x 85 13/16 in.), Genoa, Fondazione Spinola, Chiesa di San Luca © Scala / Art Resource, NY


 

Simon de Vlieger, Estuary at Day's End, c. 1640/1645, oil on panel, National Gallery of Art, Washington, Patrons' Permanent Fund and The Lee and Juliet Folger Fund in memory of Kathrine Dulin Folger

Clouds, Ice, and Bounty: The Lee and Juliet Folger Fund Collection of Seventeenth-Century Dutch and Flemish Paintings
October 17, 2021–February 27, 2022

Depicting a rich cross section of 17th-century Dutch and Flemish life and culture, this exhibition brings together 25 paintings acquired through the generosity of the Lee and Juliet Folger Fund over the past two decades, supplemented by one painting from Lee and Juliet Folger’s personal collection. Assembled with care and passion, the collection includes landscapes by Jacob van Ruisdael and Salomon van Ruysdael, winter scenes by Jan van Goyen and Adam van Breen, genre paintings by Dirck Hals and Caspar Netscher, seascapes by Reinier Nooms and Simon de Vlieger, still lifes by Clara Peeters and Frans Snyders, and portraits by Thomas de Keyser and Jan Miense Molenaer. Seen together, this collection offers a unique opportunity to enjoy some of the finest productions of Dutch and Flemish artists of the 17th century. A fully illustrated catalog will consider composition and technique as well as the broader historical context of each work.

The exhibition is curated by Marjorie Wieseman, curator and head of the department of northern European paintings.

The exhibition is organized by the National Gallery of Art, Washington.

Image: Simon de Vlieger, Estuary at Day's End, c. 1640/1645, oil on panel, overall: 36.8 x 58.4 cm (14 1/2 x 23 in.), National Gallery of Art, Washington, Patrons' Permanent Fund and The Lee and Juliet Folger Fund in memory of Kathrine Dulin Folger

 

Ilse Bing, Self-Portrait with Leica, 1931, gelatin silver print, Michael Mattis and Judith Hochberg

The New Woman Behind the Camera
The Metropolitan Museum of Art, New York, July 2–October 3, 2021
National Gallery of Art, Washington, October 31, 2021–January 30, 2022

The New Woman of the 1920s was a powerful expression of modernity, a global phenomenon that embodied an ideal of female empowerment based on real women making revolutionary changes. Featuring more than 120 photographers from over 20 countries, this groundbreaking exhibition explores how women emerged as a driving force in modern photography from the 1920s to the 1950s, bringing their own perspectives to artistic experimentation, studio portraiture, fashion and advertising work, scenes of urban life, ethnography, and photojournalism. Photographers include Berenice Abbott, Lola Álvarez Bravo, Madame d'Ora, Florence Henri, Elizaveta Ignatovich, Germaine Krull, Dorothea Lange, Dora Maar, Niu Weiyu, Eslanda Goode Robeson, Tsuneko Sasamoto, Gerda Taro, and Homai Vyarawalla.

The exhibition is curated by Andrea Nelson, associate curator in the department of photographs, National Gallery of Art, Washington.

Organized by the National Gallery of Art, Washington, in association with The Metropolitan Museum of Art, New York.

The Robert and Mercedes Eichholz Foundation has provided major support for this exhibition. Trellis Fund also kindly provided a leadership gift for this exhibition.

Additional funding is provided by The Exhibition Circle of the National Gallery of Art and the Phillip and Edith Leonian Foundation.

Caption: Ilse Bing, Self-Portrait with Leica, 1931, gelatin silver print, image: 26.67 x 30.48 cm (10 1/2 x 12 in.). Michael Mattis and Judith Hochberg

 

James McNeill Whistler, Symphony in White, No. 1: The White Girl, 1862, oil on canvas, National Gallery of Art, Washington, Harris Whittemore Collection

The Woman in White: Joanna Hiffernan and James McNeill Whistler
Royal Academy of Arts, London, February 23–May 23, 2022
National Gallery of Art, Washington, July 3–October 10, 2022

The American-born artist James McNeill Whistler (1834–1903) and Irish-born model Joanna Hiffernan (1839–1886) met in 1860 and began a close professional and personal relationship that lasted for two decades. Bringing together for the first time nearly all of Whistler’s depictions of Hiffernan, The Woman in White explores their partnership and the iconic works of art resulting from their life together. Featuring approximately 60 paintings, drawings, and prints, and related ephemera, the show unites one of the Gallery’s most renowned works—Symphony in White, No. 1: The White Girl—with the second and third “Symphonies in White,” from Tate Britain and the Barber Institute of Fine Arts, respectively. The exhibition will also present a selection of paintings on the Victorian theme of the woman in white by several of Whistler’s fellow artists, including Dante Gabriel Rossetti, John Everett Millais, John Singer Sargent, and Fernand Khnopff. These works will help to situate Whistler’s depictions of Hiffernan among the late 19th-century currents of realism, classicism, aestheticism, and symbolism in Europe and America while addressing the question of how Symphony in White, No. 1: The White Girl came to occupy its unique place in the history of art.

The exhibition has been curated by Margaret F. MacDonald, professor of art history, University of Glasgow, in collaboration with Ann Dumas, curator, Royal Academy of Arts, and consulting curator of European art, Museum of Fine Arts, Houston, and Charles Brock, associate curator, department of American and British paintings, National Gallery of Art.

The exhibition is organized by the National Gallery of Art, Washington, and the Royal Academy of Arts, London.

Caption: James McNeill Whistler, Symphony in White, No. 1: The White Girl, 1862, oil on canvas, overall: 213 x 107.9 cm (83 7/8 x 42 1/2 in.), framed: 244.2 x 136.5 x 8.3 cm (96 1/8 x 53 3/4 x 3 1/4 in.), National Gallery of Art, Washington, Harris Whittemore Collection, 1943.6.2

 

Vittore Carpaccio, Two Women on a Balcony, c. 1492/1494, oil on panel, Musei Civici Veneziani, Museo Correr, Venice

Vittore Carpaccio: Master Storyteller of Renaissance Venice
National Gallery of Art, November 20, 2022–February 12, 2023
Palazzo Ducale, Venice, March 18, 2023–June 18, 2023

A leading figure in the art of Renaissance Venice, Vittore Carpaccio (c. 1460/1466–1525/1526) is best known for his large, spectacular narrative paintings that brought sacred history to life. Although for centuries he has been loved and celebrated in his native city for his observant eye, fertile imagination, and storytelling prowess, this exhibition marks the first retrospective of the artist ever held outside Italy. In a focused selection of some 45 paintings and 30 drawings, large-scale canvases painted for charitable societies will be seen alongside smaller works that originally decorated the homes of prosperous Venetians. Some of the paintings, notably two celebrated canvases from the Scuola degli Schiavoni in Venice, and the Gallery's own The Virgin Reading (c. 1505),have been newly conserved for the occasion. The drawings, characterized by a marvelous freshness of invention, include sketches for complete compositions as well as meticulously observed studies for individual figures. A fully illustrated catalog with essays by the curators and other leading scholars will explore the full range of Carpaccio's creativity.

The exhibition is curated by Peter Humfrey, internationally recognized scholar of 15th- and 16th-century Venetian painting and professor emeritus of art history at the University of St Andrews, Scotland, in collaboration with Andrea Bellieni, director, Museo Correr, Fondazione Musei Civici di Venezia, and Gretchen Hirschauer, curator of Italian and Spanish painting at the National Gallery of Art.

The exhibition is organized by the National Gallery of Art, Washington, and Musei Civici di Venezia.

Image: Vittore Carpaccio, Two Women on a Balcony, c. 1492/1494, oil on panel, overall: 94.5 x 63.5 cm (37 3/16 x 25 in.), Musei Civici Veneziani, Museo Correr, Venice

 

Special Installations

Caption: John and/or Hugh Finlay, Grecian couch, 1810-1840, walnut, cherry; white pine, poplar, cherry, National Gallery of Art, Washington, Promised Gift of George M. and Linda H. Kaufman

Masterpieces of American Furniture from the Kaufman Collection, 1700–1830
National Gallery of Art, Washington, October 7, 2012–ongoing

One of the largest and most refined collections of early American furniture in private hands―acquired over the course of four decades by George M. and Linda H. Kaufman―was promised to the National Gallery of Art in October 2010. This permanent installation on the Ground Floor of the West Building highlights nearly 100 examples of the Kaufmans' early American furniture and decorative arts, presented with a selection of porcelains as well as watercolors by Pierre Joseph Redouté also from the Kaufman Collection. National Gallery paintings by such celebrated American artists as Gilbert Stuart are integrated into the display. The Kaufman gift dramatically transforms the Gallery's collection, augmenting its fine holdings of European decorative arts with equally important American works of art, and it is the first major display of early American decorative arts on continual public view in the nation's capital.

Organized by the National Gallery of Art, Washington

Caption: John and/or Hugh Finlay, Grecian couch, 1810-1840, walnut, cherry; white pine, poplar, cherry, National Gallery of Art, Washington, Promised Gift of George M. and Linda H. Kaufman

 

Exhibitions on Tour

Léon-François-Antoine Fleury, 'The Tomb of Cecaelia Metella', c. 1830, oil on canvas, National Gallery of Art, Washington, Gift of Frank Anderson Trapp

True to Nature: Open-Air Painting in Europe, 1780-1870
Fitzwilliam Museum, Cambridge, June 22–September 19, 2021
Fondation Custodia, Collection Frits Lugt, Paris, October 21, 2021–January 23, 2022

An integral part of art education in the late 18th and early 19th centuries, painting en plein air was a core practice for avant-garde artists in Europe. Intrepid artists such as Jean-Baptiste-Camille Corot, John Constable, Simon Denis, Jules Coignet, and André Giroux—highly skilled at quickly capturing effects of light and atmosphere—made sometimes arduous journeys to paint their landscapes in person at breathtaking sites, ranging from the Baltic coast and Swiss Alps to the streets of Paris and ruins of Rome. Drawing on new scholarship, this exhibition of some 100 oil sketches made outdoors across Europe during that time includes several recently discovered works and explores issues such as attribution, chronology, and technique.

The exhibition is accompanied by a comprehensive catalog with essays by leading experts in the field and will present new information about this key aspect of European art history.

The exhibition is curated by Mary Morton, curator and head of the department of French paintings, National Gallery of Art, Washington; Ger Luijten, director, Fondation Custodia, Collection Frits Lugt, Paris; and Jane Munro, keeper of paintings, drawings and prints, Fitzwilliam Museum, Cambridge.

The exhibition is organized by the National Gallery of Art, Washington; the Fondation Custodia, Collection Frits Lugt, Paris; and the Fitzwilliam Museum, Cambridge.

Caption: Léon-François-Antoine Fleury, The Tomb of Cecaelia Metella, c. 1830, oil on canvas, National Gallery of Art, Washington, Gift of Frank Anderson Trapp, 2004.166.16

 

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