Admission is always free Directions

Open today: 11:00 to 6:00


Image: book cover of "Outliers and American Vanguard Art"

Outliers and American Vanguard Art
Lynne Cooke et al.

Outliers and American Vanguard Art explores the interweaving and shifting relations of schooled and unschooled artists in the United States over the past century. The world of avant-garde artists, art critics, and museum professionals, among others, has historically been both defined by and dependent on its margins. The self-taught artist, by definition at the periphery, is a cultural construct whose identity has been captured over the course of the 20th century under such rubrics as folk, naïve, vernacular, visionary, primitive, and outsider. Exemplars include artists from Henry Darger and Horace Pippin to Morton Bartlett, David Butler, James Castle, Sister Gertrude Morgan, Rosie Lee Tompkins, and Bill Traylor.

In the United States, exchanges between mainstream artists and autodidacts were at their most dynamic and consequential during three distinct periods, which structure the exhibition and catalog: c. 1924 – 1945, 1968 – 1982, and 1993 – 2018. This project contextualizes and probes the progression of primary models — from “center/periphery” to “parallel worlds” to “dissolution/fusion”—informing and shaping the relationship between insiders and outliers, through key exhibitions that brought this material to public debate.

Among the groundbreaking exhibitions, impacting not only the practices of accredited artists but the cultural arena at large, were shows at the Whitney Studio Club (1924), at the Museum of Modern Art in the 1930s and 1940s, and at the Corcoran Gallery of Art (1982) and Los Angeles County Museum of Art (1992). Although a timely subject, no in-depth exhibition with this mandate, combining about 350 works by about 85 artists, both formally trained and untrained, has been mounted to date.

416 pages | 480 illustrations | 10 x 12 inches

Coming January 2018

Image: Book cover of "Michel Sittow: Estonian Painter at the Courts of Renaissance Europe"

Michel Sittow: Estonian Painter at the Courts of Renaissance Europe
John Hand et al.

Undoubtedly the greatest Renaissance artist from Estonia, Michel Sittow (c. 1469–1525) was born in Reval (present-day Tallinn). After relocating to Bruges, where he likely studied with Hans Memling, Sittow went to Spain to work at the court of King Ferdinand of Aragon and Queen Isabella of Castile. He later worked at Danish and Netherlandish courts before returning to Reval during his final years. Sittow painted religious subjects, but was especially renowned as a portraitist.

Through some twenty works, Michel Sittow: Estonian Painter at the Courts of Renaissance Europe represents most of Sittow’s relatively small but artistically impressive output. The exhibition offers an opportunity to consider works attributed to Sittow and to examine his oeuvre in the broader context of his artistic milieu, including Sittow’s possible collaboration with Netherlandish painter Juan de Flandes. An international advisory committee, including John Hand, Greta Koppel, and others, will collaborate to write the fully illustrated catalog. A slimmer volume, published exclusively in Estonian, will focus on Sittow within the cultural framework of his homeland.

176 pages | 130 illustrations | 9.625 x 11.5 inches

Coming January 2018

Image: Book cover of "Sally Mann: A Thousand Crossings"

Sally Mann: A Thousand Crossings
Sarah Greenough et al.

For more than forty years, Sally Mann (b. 1951) has made experimental, elegiac, and hauntingly beautiful photographs that explore the overarching themes of existence, memory, desire, death, the bonds of family, and nature’s magisterial indifference to human endeavor. What unites this broad body of work—portraits, still lifes, landscapes, and other studies—is that it is all “bred of a place,” the American South. Fully immersed in the region’s literary and visual culture, Mann, a native of Lexington, Virginia, has long written about what it means to live in the South and to be identified as a Southerner. Using her deep love of her homeland and her knowledge of its historically fraught heritage, she asks searching questions about history, identity, race, and religion that reverberate across geographic and national boundaries.

This exhibition is the first major exhibition to examine how her relationship with her native land—as place and identity, with a rich literary and artistic tradition and a troubled history—has shaped Mann’s work. Organized into five sections (family, landscape, battlefields, legacy, and mortality) and including many works not previously exhibited or published, Sally Mann: A Thousand Crossings is at once a sweeping overview of this photographer’s artistic achievement of the past four decades and a focused exploration of how the legacy of the South, both homeland and graveyard, refuge and battleground, emerges within her work as a powerful and provocative force that continues to shape American identity and experience.

320 pages | 240 illustrations | 10.75 x 11.375 inches

Coming March 2018

Image: Book cover of "Sally Mann: A Thousand Crossings"

Sharing Images: Renaissance Prints into Maiolica and Bronzes
Jamie Gabbarelli et al.

Inspired by the acquisition of the important William A. Clark maiolica (glazed Italian ceramics) collection from the Corcoran Gallery of Art, and drawing largely on the Gallery’s newly expanded holdings, this exhibition brings together some 90 objects to highlight the impact of Renaissance prints on maiolica and bronze plaquettes, the two media most dramatically influenced by the new technology of image replication. Focusing on designs by major artists such as Andrea Mantegna, Antonio del Pollaiuolo, Raphael, Michelangelo, Parmigianino, and Albrecht Dürer, the exhibition tells the story of how printed images were transmitted, transformed, and translated onto ceramics and small bronze reliefs, creating a shared visual canon across artistic media and geographical boundaries. The first exhibition of its kind in the United States, Sharing Images is accompanied by a publication that provides a comprehensive introduction to different aspects of the phenomenon, from the role of 15th-century prints and the rediscovery of ancient art to the importance of illustrated books and the artistic exchanges between Italy and northern Europe.

156 pages | 98 illustrations | 9.5 x 10.75 inches

Coming March 2018

Image: Book cover of "Sally Mann: A Thousand Crossings"

Corot’s Women
Mary Morton et al.

Camille Corot (1796–1875) is best known as the great master of landscape painting who bridged the French neoclassical tradition with the impressionist movement of the 1870s. His figure paintings constitute a much smaller portion of his oeuvre and are less well known but arguably of equal importance to the history of art, in particular for founders of modernist painting such as Paul Cézanne, Pablo Picasso, and Georges Braque.

The exhibition at the National Gallery of Art and its accompanying catalog focus on Corot’s images of women. While these works constitute the bulk of his figural work, only three female figures were publicly exhibited during the artist’s lifetime. Dressed in rustic Italian costume or stretched nude on a grassy plain, Corot’s women read, dream, and gaze, conveying a mysterious sense of inner life. Corot’s sophisticated sense of color and his deft, delicate touch applied to the female form resulted in pictures of quiet majesty.

The exhibition includes some 40 works organized into sections: single-figure bust- and full-length images of women from the 1840s through the 1860s; nudes, both studies and allegories; and Corot’s series devoted to the model in the studio. Catalog essays address Corot’s debt to the old masters, the impact of his figural works on both contemporary and 20th-century painting, the theme of the female figure in Corot’s oeuvre, the relationship of his figural work with his more famous landscape practice, and the effect of his ardent love of reading and symphonic music on his art.

144 pages | 104 illustrations | 9.5 x 12 inches

Coming October 2018

Image: Book cover of "Tintoretto 500"

Tintoretto 500 
Robert Echols et al.

Jacopo Tintoretto (1518 /1519 – 1594) was described by his contemporary Giorgio Vasari as “the most extraordinary brain that painting has ever produced.” Considered to be one of the three great painters of sixteenth-century Venice, along with Titian and Paolo Veronese, Tintoretto is particularly admired for his bold and expressive brushwork, his dramatic treatments of sacred narrative subjects, and his insightful portraits of the Venetian aristocracy.

The five-hundredth anniversary of Tintoretto’s birth provides the occasion for a major comprehensive exhibition of his oeuvre, the first in his native city of Venice in three generations and the first ever in America. Tintoretto 500 will feature more than forty of the artist’s paintings, including many large-scale works that convey the breadth and power of his narrative paintings, along with a sample of his finest drawings.

The exhibition catalog, edited by guest curators Robert Echols and Frederick Ilchman, will feature contributions from an international group of leading Tintoretto scholars, based upon the most recent research. Using the works included in the exhibition to explore the full range of Tintoretto’s activity, this lavishly illustrated volume will provide a fundamental point of reference for modern scholarship and an ideal introduction to the artist’s career and oeuvre for the general reader.

320 pages | 210 illustrations | 9.5 x 12 inches

Coming February 2019