Audio Tour

East Building Tour: Featured Selections

Use your smartphone to explore a wide range of works through the voices of National Gallery of Art curators. Set your own pace by listening to as many stops as you like in the order you choose. Don't forget to bring your headphones! To listen to information about a work of art, enter the stop number in the box below, select "go", and press the play button when the stop appears.

This tour is available in Español, Français, Pусский, 中文, 日本語, and 한국어.

 

25 stops

  • Six black, wedgelike shapes, one dark blue arrowhead shape, and six red triangular shapes with rounded corners are connected with thin rods to form this abstract sculpture. In this photograph, we look up at the piece to where it hangs from the glass ceiling of a light-filled interior space with marble walls. The paddle-like shapes are attached to the end of the curved rods, which are linked together like branches. In our view, the black arm curves up across the top of the picture and the red arm curves down into the lower right corner, and to our left. Each red paddle is smaller as they move from the central armature to the end of the branch.

    Audio Tour Stop 1

    Untitled, Alexander Calder

    NGA, East Building, EG-100, CEILING

    Alexander Calder’s monumental mobile moves solely on the air currents in the East Building Atrium. This motion is possible because the mobile was constructed in aluminum rather than welded steel, which was Calder’s customary choice of material. The sculptor considered installing a motor, but the use of advanced, lightweight materials made this unnecessary. Although the sculpture’s wingspan exceeds 85 feet, the entire work weighs only 920 pounds—two tons less than if it were made of steel.

    Untitled (English)
  • Two pale-skinned women are shown from the waist up behind a counter in an interior space in this nearly square painting. Loosely painted patterns on their clothing, bunches of flowers to our right, and the background to our left create a patchwork of claret red, ivory white, forest green, deep burgundy, and golden yellow. The woman standing closer to us takes up the left half of the composition. She faces our right in profile. Her features are painted with blended strokes so are indistinct. Her auburn hair is pulled up, and her high-collared, garnet-red and white striped shirt has long sleeves with puffy shoulders. She looks down at a red vase of flowers she holds at its base with the hand we see. The second woman stands at the first woman’s far shoulder. She turns her face slightly toward us, and also gazes down at the flowers on the counter. Her high-necked shirt is ruby red. Four wine-red vases in front of the women are filled with dark maroon-red or cream-white flowers, perhaps chrysanthemums, forest-green and tan greenery, and one vivid, tomato-red blossom. A gap between two vases could be another vase either patterned with white and celestial blue or reflecting those colors. A dark red and two white blossoms are in the lower left corner of the composition, next to a long, lidded box with light brown sides and a navy-blue top. A loosely painted form in the upper left corner, over the first woman’s shoulder, could be a figurine or another person. Though the details are vague, there is a suggestion of a face turned leftward. She has blond hair and wears a long, loose marigold-yellow garment. The right arm, to our left, could be raised to shoulder height, and she stands before a crimson background, maybe a curtain. The rest of the background is painted with dots and touches of apple red, maroon, orange, sage green, dark brown, and butter yellow. The artist signed the canvas near the lower right corner, “E. Vuillard.”

    Audio Tour Stop 2

    Woman in a Striped Dress, Édouard Vuillard

    NGA, East Building, EG-103-C, N

    Édouard Vuillard belonged to a quasi-mystical group of young artists that arose about 1890 and called themselves Les Nabis (after the Hebrew word for prophet). The Nabis rejected impressionism and considered simple transcription of the appearance of the natural world unthinking and unartistic. Woman in a Striped Dress is one of five works Vuillard painted in 1895 for Thadée Natanson and his wife Misia Godebska. The introspective woman arranging flowers here may represent the red-haired Misia, whom Vuillard greatly admired.

    Woman in a Striped Dress (English)
  • Audio Tour Stop 3

    stop 3

    Pierre Bonnard belonged to a quasi-mystical group of young artists that arose about 1890 and called themselves Les Nabis (after the Hebrew word for prophet). The Nabis rejected impressionism and considered simple transcription of the appearance of the natural world unthinking and unartistic. Bonnard often captured unguarded moments such as this one and used his work to explore and experiment with color and color harmonies.

    Nude in an Interior (English)
  • A wood table is piled with stylized and abstracted objects, including a jug, lemons, a knife, guitar, newspaper, and a smoking pipe in this horizontal still life painting. The objects are made up of areas of mostly flat color and many are outlined in black, creating the impression that some shapes are two-dimensional and assembled almost like a collage. We look down onto the top of the table and at the front, where the grain of the wood is painted in tan against a lighter background. Concentric black and white circles make up the knob on the face of the table’s single drawer. There are two rows of objects on the table. Along the front, near the left corner of the table, the knife hangs with its blade slightly over the open drawer. A newspaper with the title “LE JOUR” rests next to the knife. Next to the newspaper are two yellow pieces of fruit, near the front right corner of the table. Behind the fruit, the right third of the pitcher is marine blue and the left two thirds is mostly straw yellow, with one round olive-green area near the handle. Next to the pitcher is a tobacco pipe, and, at the back left edge of the table, the guitar. The instrument rests on its side so the front of the soundboard faces the viewer, and the neck extends to our left. The instrument is bisected lengthwise into two halves that appear to be spliced together, and the edges and features of the halves are not symmetrical or aligned with each other. The bottom half of the guitar is painted a beige color, and is curved like a typical guitar body. The top half is painted black, and the contour of the instrument’s body rises into two pointed peaks instead of mirroring the rounded forms below. The sound hole is markedly smaller on the bottom half, and the two halves of the hole do not exactly line up. A rectangular form behind the table could be a screen. The left side is fern green, the right side black. Behind the screen is a wallpapered wall above wood paneling. The wallpaper is patterned with teardrop shapes, dots, and zigzagging lines in fawn brown against parchment white. The artist signed and dated the painting in the lower right corner, “G Braque 29.”

    Audio Tour Stop 4

    Still Life: Le Jour, Georges Braque

    NGA, East Building, EG-103-B, N

    Georges Braque famously worked alongside Pablo Picasso as the two artists developed the new style of cubism around 1910. This painting is typical of a later phase in Braque’s career, when he incorporated elements of cubism into still lifes and other subjects. In this work, the wood grain on the table, the design of the wallpaper in the background, and the text on the newspaper emphasize the interplay of pattern and texture.

    Still Life: Le Jour (English)
  • The elongated head and neck of a person with stylized features is carved from beige-colored limestone for this freestanding sculpture. Though mostly carved smooth, the surface of the porous limestone is pocked and textured. In this photograph, the face is angled to our right. Short bangs line the narrow forehead of the tall, oval face. The hair flaring around the crown and behind the tidy, oval ear we see is roughly carved. The marquis-shaped eyes are set high on the face. Eyebrows immediately over the eyes join to make a long, blade-like nose that nearly reaches the bottom of the oval face. The arrow-shape of the nose ends just above a half-moon-shaped lip over a round chin. The long neck continues to a block of limestone that acts as the base. The sculpture is photographed in front of a background that lightens from charcoal gray across the top to nearly white across the bottom.

    Audio Tour Stop 5

    Head of a Woman, Amedeo Modigliani

    NGA, East Building, EG-103-A, E

    This sculpture reflects Amedeo Modigliani’s distinctive stylization of figures, with the elongated features and almond-shaped eyes found in many of his paintings. Modigliani focused on sculpture from about 1909 to 1914, before his death from tuberculosis at age 35 in 1920.

    Head of a Woman (English)
  • We look slightly down onto a crush of pedestrians, horse-drawn carriages, wagons, and streetcars enclosed by a row of densely spaced buildings and skyscrapers opposite us in this horizontal painting. The street in front of us is alive with action but the overall color palette is subdued with burgundy red, grays, and black, punctuated by bright spots of harvest yellow, shamrock green, apple red, and white. Most of the people wear long dark coats and black hats but a few in particular draw the eye. For instance, in a patch of sunlight in the lower right corner, three women wearing light blue, scarlet-red, or emerald-green dresses stand out from the crowd. The sunlight also highlights a white spot on the ground, probably snow, amid the crowd to our right. Beyond the band of people in the street close to us, more people fill in the space around carriages, wagons, and trolleys, and a large horse-drawn cart piled with large yellow blocks, perhaps hay, at the center of the composition. A little in the distance to our left, a few bare trees stand around a patch of white ground. Beyond that, in the top half of the painting, city buildings are blocked in with rectangles of muted red, gray, and tan. Shorter buildings, about six to ten stories high, cluster in front of the taller buildings that reach off the top edge of the painting. The band of skyscrapers is broken only by a gray patch of sky visible in a gap between the buildings to our right of center, along the top of the canvas. White smoke rises from a few chimneys and billboards and advertisements are painted onto the fronts of some of the buildings. The paint is loosely applied, so many of the people and objects are created with only a few swipes of the brush, which makes many of the details indistinct. The artist signed the work with pine-green paint near the lower left corner: “Geo Bellows.”

    Audio Tour Stop 6

    New York, George Bellows

    NGA, East Building, EG-106-B, W

    Completed in February 1911, New York is a large, ambitious painting in which George Bellows captured the essence of modern life in New York City. Bellows did not intend to represent a specific, identifiable place in the city. He instead drew on several bustling commercial districts to create an imaginary composite, an impossibly crowded image that would best convey a sense of the city’s frenetic pace.

    New York (English)
  • A buoy and a sailboat with three men and a woman tip at an angle on rolling aquamarine and azure-blue waves in this horizontal painting. The white wooden boat sails away from us toward the right side of the composition. Its unfurled sail is tinged with taupe and pale blue and attached to a pale wooden mast. The boat has a low cabin with round portholes on the side we can see. Two of the men are shirtless, tanned, and have their backs to us. One sits in the cockpit wearing a white hat with a short brim as he holds the tiller. The other man stands on the deck with his arms crossed. Beyond the standing man, the woman lies along the roof of the cabin, her head at about the height of the man’s chest. She is barefoot and lies on her stomach wearing long, blue pants and a watermelon-pink halter top and matching kerchief covering her hair. The third man stands to her right, his slender body angled toward us while holding onto the mast with one hand and rigging with the other. The woman and third man have noticeably pale skin. A buoy near the boat is battleship-gray with streaks of rust along its base and a copper-green bell inside. It floats just to the left of and tips toward the boat on a rising swell. The scene is lit by bright sunlight coming from the left side of the baby-blue sky with bands of feathery clouds, which takes up the top two-thirds of the composition. The artist signed the lower right, “EDWARD HOPPER.”

    Audio Tour Stop 7

    Ground Swell, Edward Hopper

    NGA, West Building, G-006, N

    The blue sky, sun-kissed figures, and vast rolling water of Ground Swell strike a calm note in the picture; however, details in the painting call into question this initial sense of serenity. A buoy confronts the small catboat in the middle of an otherwise empty seascape. Its purpose, to sound a warning bell in advance of unseen or imminent danger, renders its presence in the scene ominous. The cirrus clouds in the blue sky—often harbingers of approaching storms—reinforce this impression of disturbance.

    Ground Swell (English)
  • An abstracted painting of a roughly oval-shaped jack-in-the-pulpit flower fills this vertical composition with cool, saturated blues, grays, and greens. A royal-blue elongated, rounded core at the bottom center is surrounded by a pale gray flame-like shape. Petals flare outward and up around the core to reach toward the sides and top of the canvas. A thin white line extends upward from the top center of the core to meet the pointed tip of the unfurling, innermost midnight-blue petal. Layers of green, reminiscent of leaves, curl outward around the top half of the flower. Pale blue in each of the four corners creates the impression of a background behind the flower, and fades to white at the top corners.

    Audio Tour Stop 8

    Jack-in-the-Pulpit No. IV, Georgia O’Keeffe

    NGA, West Building, G-006, S

    In her youth, Georgia O’Keeffe had been particularly fascinated by the jack-in-the-pulpit. In 1930, she executed a series of six paintings of the common North American flowering plant at Lake George in New York. Jack-in-the-Pulpit No. IV presents a magnified view of the tongue-like spadix set against the spathe’s cavernous, dark purple interior. Green foliage and a hint of cloudy sky are confined to the upper right and left corners.

    Jack-in-the-Pulpit No. IV (English)
  • A winged person blowing a horn stands silhouetted in lilac purple against a field of alternating celery and muted lime-green bands in this abstracted vertical painting. The person’s body is angled toward us but they look over their shoulder, to our left in profile, as they hold a horn to their lips. The horn reaches into the top left corner of the composition, and the wings extend off the top edge of the canvas. A shallowly curving slit indicates the eye. The person stands with each foot on two rounded forms like stylized hills. The mound on our right is higher so the knee is bent, and the person holds a skeleton key in the hand propped on that knee. The hill to our right has wavy bands of muted pine and sage green, and the hill to our left has a zigzag line of the sage across the darker green. Farther from us, four people, smaller in scale, are outlined as amethyst-purple silhouettes. One person to our right of the angel kneels and raises their hands high overhead, face turned to the sky. Two more people standing on or behind the left mound are framed between the trumpeter’s legs. The fourth person stands with hands clasped, also looking up. Concentric arcs of lemon yellow and pale green suggest a sun in the upper left corner. The artist signed and dated the work with dark green paint in the lower right corner: “A. Douglas ’39.”

    Audio Tour Stop 9

    The Judgment Day, Aaron Douglas

    In 1927 James Weldon Johnson, a key figure in the Harlem Renaissance, published his masterwork, God’s Trombones: Seven Negro Sermons in Verse. Each sermon-poem was accompanied by an illustration by Aaron Douglas, a young African American artist who had recently settled in Harlem. Several years later, Douglas began translating his illustrations into large oil paintings. The Judgment Day is the final work in a series of eight. At the center, a powerful angel Gabriel stands astride the earth and sea. With the trumpet call, the archangel summons nations of the earth to judgment.

    The Judgment Day (English)
  • Five rectangles, each in a single, saturated hue of canary yellow, watermelon pink, blood orange, bright white, or ink black, fit together to make a nearly square abstract painting. In rectangles of descending sizes, the yellow, pink, and orange shapes create a band across the top of the composition. The bottom three-quarters of the composition is made up of the white and black vertical rectangles. The white form takes up two-thirds of the left side, and is topped by the yellow shape. The black rectangle is narrower, and it fills in the space below the pink and orange forms above.

    Audio Tour Stop 10

    Tiger, Ellsworth Kelly

    The colors for Tiger were taken from study collages Ellsworth Kelly made from a type of colored gummed paper sold by Parisian stationers and used in French primary schools. Kelly’s use of this material reveals his particular interest in the objet trouvé (found object), which is a key to understanding his visual world. Kelly found his abstract forms and contours in the negative spaces of his natural or urban environment. During the period when this was painted, Kelly spent a lot of time looking at art and architecture in Europe. The geometric structures he saw probably provided source material for Tiger, however indirect.

    Tiger (English)
  • A group of three men, two children, and one woman gather in an empty, dusky rose-pink landscape under a blue, cloudy sky in this nearly square painting. Most of the people have muted, peachy skin, and the woman and the youngest boy have cream-white skin. The woman sits on the ground to our right, apart from the rest of the men and children. She wears a coral-red skirt, a beige shawl, and straw hat, and she looks into the distance to our right. The others stand in a loose semi-circle on the left half of the composition. A man wearing a multicolored, diamond-patterned costume stands with his back to us to the left. He looks to our right in profile and holds the hand of a little girl who also stands with her back to us. She wears a pink dress and white stockings, and her right hand rests on the tall handle of a white basket. A portly man wearing a scarlet-red jester’s costume and pointed hat stands opposite this pair, facing us to our right. Next to him to our right a young man wears a tan-colored leotard with a black bottom. He holds a barrel over his right shoulder and looks over to our right. The sixth person is the youngest boy, who wears a baggy blue and red outfit, and he looks toward the woman. The eyes of all the figures are deeply shadowed.

    Audio Tour Stop 11

    Family of Saltimbanques, Pablo Picasso

    NGA, East Building, EM-217-C, E

    Family of Saltimbanques is the most important painting Pablo Picasso made during his early career. For him, these wandering saltimbanques (acrobats, dancers, and jesters) stood for the melancholy of the neglected underclass of artists, a kind of extended family with whom he identified. Like them, the Spanish-born Picasso was impoverished during the first years he spent in Paris striving for recognition. The brooding Harlequin—in the diamond-printed costume, at far left—bears the face of the dark, intense young artist himself.

    Family of Saltimbanques (English)
  • A French window with its sill lined with flowerpots opens into a view of boats floating in a body of water in this loosely painted, vibrantly colored, stylized, vertical painting. The doors open inward, and they are painted with coral orange and cranberry red. The wall behind the door to the left is peacock blue and the wall to our right is fuchsia pink, and those colors are reflected in the opposite windows of the doors. Three flowerpots in crimson red, marmalade orange, or royal blue sit on the windowsill in front of us. Foliage in the pots is painted with short strokes of cardinal red and turquoise blue. Over the window, a two-paned transom window pierces a forest-green wall. The view through the panes has a band of salmon pink across the top and dabs of celery green and banana yellow below. The dabs and dashes of pine and lime green continue down the sides of the window and across the sill, suggesting vines growing up around the opening. A band of ultramarine blue beyond the flowerpots could be a balcony. Several rust-orange masts of ships with hulls painted with swipes of indigo blue, flamingo pink, forest green, and marigold orange float in the water beyond. The water is painted with parallel strokes in pale pink and butter yellow. The sky above is painted with thick, wavy lines of steel blue, periwinkle purple, and seafoam green. The artist signed the work in red paint in the lower right, “Henri Matisse.”

    Audio Tour Stop 13

    Open Window, Collioure, Henri Matisse

    NGA, East Building, EM-217-B, E

    Today, Henri Matisse’s Open Window, Collioure may appear gentle and lyrical, but originally its thick brushstrokes and intense colors were seen as violent. A small but explosive work, this icon of early modernism is celebrated as one of the most important paintings of the fauve school, a group of artists who focused on freeing color and texture from strict representations of natural appearance. Open Window, Collioure represents the beginning of this new approach in Matisse’s art.

    Open Window, Collioure (English)
  • Two nude women, painted in vibrant coral peach and bubblegum pink, stand under a red umbrella in a landscape in this stylized, vertical painting. The scene is painted with areas of flat or streaked color with visible brushstrokes throughout. The women and umbrella take up most of the picture. The woman on our left stands facing our right almost in profile. Her skin is vivid peach. Slashes of red outline her breasts, groin, and legs. Her hair, eyes, and eyebrows are painted with black strokes. She stands on one leg and stretches the other in front of her to overlap the far foot of the other woman. The first woman hooks her arm through the elbow of the other, who stands facing us to our right. This second woman has vivid pink skin also outlined in red. Her face is a darker shade of pink, resembling a mask, and her eyes are parallel strokes of black and blue. Her left arm, on our right, hangs by her side, and she holds the umbrella with the other arm. She either wears a hat or her hair is painted with alternating bands of black, red, and brown, and there is a red flower or bow to one side. Black lines in the candy-red umbrella suggest a rib on the underside and the handle. Cobalt-blue branches of a tree above the women has blue and green leaves. The landscape beyond them is made up of bands of acid green, yellow, saturated blue, and cool green.

    Audio Tour Stop 14

    Two Girls under an Umbrella, Ernst Ludwig Kirchner

    NGA, East Building, EM-217-A, S

    This work dates to early in Ernst Ludwig Kirchner’s prolific career, when he was a founding member of the expressionist group called Die Brücke (The Bridge) in Dresden in 1905. In this painting, Kirchner has depicted two nudes in a natural setting, rather than in the contrived space of an academic studio. This work is also an example of the artist’s use of bold, often crude, forms and vibrant color.

    Two Girls under an Umbrella (English)
  • Black lines and one small, black triangular shape stand out against patches of color, in indigo and sky blue, pumpkin orange, butter yellow, emerald green, and ruby red, against a white background in this vertical, abstract painting. The paint seems thinly applied, resembling watercolor. Near the lower right corner, the black shape is roughly triangular and has five curving, parallel lines emanating from the bottom. Given the title of this painting, Improvisation 31, Sea Battle, the black lines could represent tall masts and outlines of sails amid areas of vibrant color that make up a boat and water around it.

    Audio Tour Stop 15

    Improvisation 31 (Sea Battle), Wassily Kandinsky

    NGA, East Building, EU-415-A, S

    Wassily Kandinsky’s painting has some connection to the real world, but the details here have been distorted and adjusted to convey a mood. Although the amorphous shapes and colorful washes of paint may at first appear entirely abstract, they form a number of recognizable images. The central motif of Improvisation 31 (Sea Battle) is a pair of sailing ships locked in combat, their tall masts appearing as slender black lines. Kandinsky’s subject, found in a number of the Improvisations, was probably inspired by the apocalyptic imagery of the Book of Revelation.

    Improvisation 31 (Sea Battle) (English)
  • Carved from a slab of white marble, the top surface of this sculpture is covered with shallow, cuplike and deep rectangular depressions of various sizes. We look slightly down onto the slab in this photograph. The surface is divided into three vertical sections, which are defined by incised lines. The cuplike depressions are in the sections to the left and right. Two tiny, carved, dark wooden objects, like game pieces, stand upright in a cup with one the left and one to the right. Each piece is flat with a symmetrical design and a point at the bottom that inserts into the cup. The left piece has a disk flanked by triangular protrusions with a clover shape at top. The second piece has four stacked, small circles, and a U-shaped form to suggest the outline of a person with raised arms. Three smaller but deep rectangular cavities are carved into the middle section, and each one has a lid. Two lids sit askew on the top surface of the board near their respective openings, and inside are additional wooden pieces. A blank, rectangular section outlined with lightly inscised lines in the lower right is carved with reversed script letters that read, “on ne joue plus.” The entire surface has beveled edges, so it sits on a stepped base.

    Audio Tour Stop 16

    No More Play, Alberto Giacometti

    NGA, East Building, EU-415-B, CENTER

    One of the great surrealist sculptors, Alberto Giacometti often incorporated themes of games and play into his early work, as with this sculpture. The form the artist used here resembles a board game with moveable pieces, yet the nature of the game is unclear. The ambiguous space and unknowable rules of the “game” represented in No More Play make this feel like an object one might encounter in a dream.

    No More Play (English)
  • This free-standing sculpture is a French window with a teal-colored frame and black, leather-lined glass panes standing on a flat, shallow base. Each door is made up of four, vertically stacked, equally sized panes. The doors are hinged on a narrow frame and open with small, clear knobs placed next to the second pane down from the top. The doors are slightly ajar. Black writing in capital block letters on the top surface of the base is legible in this photograph. It reads, “FRESH WIDOW COPYRIGHT ROSE SELAVY 1920.”

    Audio Tour Stop 17

    Fresh Widow, Marcel Duchamp

    NGA, East Building, EU-415-B, CENTER

    Marcel Duchamp sought to challenge basic assumptions that informed traditional approaches to painting and sculpture. Fascinated by the American idea of cheap and easy reproductions, Duchamp began to appropriate found objects for his readymades, a term he borrowed from the clothing industry while living in New York. He shocked the art world by attempting to show these commonplace objects, often unaltered except for the addition of his signature, in exhibitions. The title of this work, a pun formed by dropping the letter "n" from the words "French" and "Window," refers to the double windows common in Parisian apartments as well as the women recently widowed by World War I. Duchamp himself did not make the miniature window, but rather outsourced the design to an American carpenter.

    Fresh Widow (English)
  • The top section of this abstract sculpture is made up of a vertical, elongated form cast in gleaming brass that swells gently at the center and tapers to a point at either end. Near the bottom point, the form flares out slightly to make a tall, conical foot. This sits atop a short, cylindrical, white limestone base on a wood pedestal. The pedestal is carved to look like a disc at the center flanked above and below by semicircles with the flat edges facing up and down. The sculpture is photographed against a pale gray background.

    Audio Tour Stop 18

    Bird in Space, Constantin Brâncuși

    NGA, East Building, EU-415-C, CENTER

    While this sculpture might seem abstract, Constantin Brancusi insisted that his works revealed the inner essence of his subjects. His work drew on traditions of African sculpture and Romanian folk carving, and he turned the pedestal into an integral component of the art. Brancusi worked on the Bird in Space series for years, imagining it as an ensemble that would be his crowning achievement. Unlike other sculptors, Brancusi did not have a large workshop; rather, he worked alone with his materials, in this case carving the stone and polishing the brass.

    Bird in Space (English)
  • This abstract, geometric painting has been tipped on one corner to create a diamond form rather than a square. The surface of the canvas is crisscrossed by an irregular grid of black lines running vertically and horizontally like offset ladders. The black lines create squares and rectangles of different sizes, and the width of the lines vary slightly. One complete square sits at the center of the composition and is painted white. Other rectangles are incomplete, their corners sliced by the edge of the canvas, and each is a different shade of white with hints of pale blue and gray. The black grid creates triangular forms where it meets the angled edge of the canvas in some places, and some of these are filled with flat areas of color. A tomato-red triangle is placed to the left of the top center point, and a vibrant yellow triangle is to the left of the lower center point. A black triangle is next to it at the bottom center, and a cobalt-blue triangle is situated just below the right point. The painting is signed with the artist’s initials at the lower center: “PM.”

    Audio Tour Stop 19

    Tableau No. IV; Lozenge Composition with Red, Gray, Blue, Yellow, and Black, Piet Mondrian

    NGA, East Building, EU-415-C, W

    Piet Mondrian intended his abstract paintings to express his spiritual notion that universal harmonies preside in nature. The horizontal and vertical elements of his compositions, carefully calibrated to produce a balanced asymmetry, represented forces of opposition that parallel the dynamic equilibrium at work in the natural world. Mondrian said the diamond compositions were about cutting, and indeed the sense of cropping here is emphatic. Forms are incomplete and sliced by the edge of the canvas, implying a pictorial continuum that extends beyond the physical boundary of the painting.

    Tableau No. IV; Lozenge Composition with Red, Gray, Blue, Yellow, and Black (English)
  • Tall, narrow, black building fronts fill this abstracted, horizontal painting. Partitions separating the buildings extend above the rooflines, and those, along with low domes atop some of the buildings, brush the top edge of the canvas. The narrow band of sky between the flat rooflines and the top of the composition is filled with cream-white paint, applied heavily in thick strokes. The buildings are painted with wide, horizontal strokes of black paint. The outlines of doors, windows, and the brick partitions between the buildings were incised into wet paint to delineate those features. Some of the outlines are also streaked with cobalt blue, butter yellow, brick red, and plum purple. Six people with oversized, round, peach-colored heads on spindly black bodies look out at us from windows across the composition. Cartoon-like eyes, noses, and smiling mouths are incised into wet paint. Along the bottom level, the buildings are numbered 78, 80, 82, and 84. Signs, also incised in wet, black paint to reveal white outlines, appear over the doors. The leftmost building reads “OPTICIEN” above “Leroy.” The next store is “PARFUMS,” then “MODES,” “Coiffeur,” “JOURNEAX,” “PRIMEURS,” and “BAR.” Under “PRIMEURS,” a sign on the store front reads “FRUITS ET LEGUMES.” Two people walk along the street, at the bottom of the canvas. One is to our left of center and stands facing us, smiling. The other is to our right, also smiling as he walks to our left in profile.

    Audio Tour Stop 20

    Façades d'immeubles (Building Façades), Jean Dubuffet

    NGA, East Building, EU-407-A, N

    Feeling as though painting needed to start from scratch after World War II, Jean Dubuffet turned for inspiration to the art of the untrained, particularly by children or self-taught artists, which he collected and dubbed art brut (rough or raw art). In Façades d’immeubles (Building Façades), Dubuffet showed his own art brut. Using the schoolroom technique of scratching through black paint to a previously applied colored ground, Dubuffet elaborated a view of a Parisian street as it might appear to a child. However, the carefully controlled grid and imposing, allover wall of paint testify to Dubuffet’s awareness of modernist tactics.

    Façades d'immeubles (Building Façades) (English)
  • Abstracted forms are painted in grass green, black, pepper red, butter yellow, tawny beige, rose pink, and a few touches of ocean blue in this horizontal composition. The paint is applied thinly, almost like watercolor wash. Translucent layers of paint drip down the canvas and knit the colors and shapes together. Most of the forms create a roughly pyramidal shape at the center. Some are vaguely square-shaped while others are oval, circular, or triangular. Many of the forms are outlined in black, and some have spots of color at their centers. For instance, a cluster of shapes near the lower right includes two canted parallelograms outlined with black. One has an emerald-green oval at its center and the other a black oval. Other shapes in that area include a rust-red triangle, a solid black anvil-shaped form, and a butternut-orange circle surrounded by vibrant yellow. A caramel-brown area spans the bottom edge of the canvas. The artist signed and dated the lower left corner, “A. Gorky 44.”

    Audio Tour Stop 21

    One Year the Milkweed, Arshile Gorky

    NGA, East Building, EU-407-B, E

    In One Year the Milkweed, one of several so-called color veil paintings Arshile Gorky made in 1944, films of paint have been washed unevenly across the canvas, and evocative but indistinct forms have been brushed in. The painting’s overall green and brown hues suggest a landscape, but there are no identifiable landscape forms and no spatial recession. Instead, vertical drips and the alternation of light and deep tones create a shifting, shimmering effect across the entire picture surface.

    One Year the Milkweed (English)
  • Densely spaced lines and splatters in black, white, pale salmon pink, teal, and steel gray crisscross a rectangular cream-colored canvas in this abstract horizontal painting. The lines move in every direction. Most are straight but some curve slightly. The density eases a bit near the edges. Two sets of ghostly white handprints are visible at the upper corners. The artist signed and dated the painting in black paint in the lower left corner: “Jackson Pollock ’50.”

    Audio Tour Stop 22

    Number 1, 1950 (Lavender Mist), Jackson Pollock

    NGA, East Building, EU-407-B, W

    Jackson Pollock’s mural-size drip paintings met with mixed reactions when they debuted in 1948. For this painting, he laid a large canvas on the floor of his studio barn, nearly covering the space. Using house paint, oil paint, enamel, and aluminum, he dripped, poured, and flung pigment from loaded brushes and sticks while walking around it. He said that this was his way of being in his work, acting as a medium in the creative process. He “signed” the painting in the upper-left corner and at the top of the canvas with his handprints.

    Number 1, 1950 (Lavender Mist) (English)
  • The Disney cartoon characters, Donald Duck and Mickey Mouse, fish off a dock in this horizontal painting. The scene and characters are painted entirely flat areas of canary yellow, cobalt blue, tomato red, and white. To our left, Donald leans over the edge of the dock with his feet spread and duckbill hanging open. He has a white body outlined in blue, big eyes filled with a pattern of tiny blue dots, and yellow feet and duckbill. He wears a blue sailor’s hat and jacket with a red bow tie and yellow circles indicating buttons. He holds a fishing pole with an oval, red bobber near the fishhook high over his head. The pole has bent back with the fishhook snagged on the back hem of Donald’s jacket. A white speech bubble over Donald’s head is outlined in blue, and blue text inside reads, “LOOK MICKEY, I’VE HOOKED A BIG ONE!!” Mickey stands to our right, covering his smiling mouth with his left hand, on our right, and holding an upright fishing pole with the other hand. His round face is filled with a pattern of tiny red dots, and his curving hairline and ears are blue. He wears blue pants, a red shirt and shoes, and white gloves. The dock is mostly yellow with a white area on the right. Its planks and three white, round posts supporting it are outlined in blue. Rippling water surrounding the dock is defined by wavy lines and undulating bands of blue against a yellow background. The artist signed his initials in the lower left, “rfl.”

    Audio Tour Stop 25

    Look Mickey, Roy Lichtenstein

    Look Mickey may be the first time Roy Lichtenstein transposed a scene and a style from a source of popular culture: the 1960 children’s book Donald Duck: Lost and Found. Lichtenstein subtly altered the original to turn it into a more unified image, omitting background figures, rotating the point of view by 90 degrees, organizing the colors into bands of yellow and blue, and simplifying the characters’ features. Stylistically, Lichtenstein imitated printed media—its heavy black outlines, primary colors, and, in Donald’s eyes and Mickey’s face, the ink dots of the Benday printing process then used to produce inexpensive comic books and magazines.

    Look Mickey (English)
  • A long, rectangular strip of yellowed painted fabric is draped over a horizontal wooden rod that hangs from the ceiling in this sculptural piece. The dowel is perpendicular to the wall so juts into the gallery space. In this photograph, we are almost in front of the piece, near the wall to look onto one of the long sides. The cheesecloth hangs straight down either side of the dowel so it is longer in the back, and the ends do not touch. An uneven application of latex paint on most of the fabric gives the work a rubbery appearance, and causes some variation in the surface to create shiny areas. The loose weave of the cheesecloth is visible at the ends where the fabric was not painted. The cloth and dowel seem to float in midair because the filament from which the rod hangs is invisible in this photograph.

    Audio Tour Stop 27

    Test Piece for "Contingent", Eva Hesse

    Eva Hesse did not want to produce what she saw as a conventionally beautiful sculpture. She rejected traditional media used for sculpture, such as metal or stone, preferring instead more flexible material such as fiber, plaster, or latex, the latter of which is used in this test piece. It was one of several studies for the final Contingent work, which is made up of eight similar banners that now hang in the National Gallery of Australia. Hesse described it as “not painting, not sculpture. . . . It is really hung painting.”

    Test Piece for "Contingent" (English)
  • Two black bands span the height of this vertical canvas against a field of white mottled with shades of ivory, bone, and parchment in this abstract painting. A narrow, solid black stripe lines the left edge of the canvas, like the spine of a book. About a quarter of the way in from the right edge, black paint swirls and wafts like smoke on either side of a narrow white stripe the same color as the background. The artist signed and dated the painting in black paint in the lower right corner of the canvas: “Barnett Newman 1958.”

    Audio Tour Stop 29

    First Station, Barnett Newman

    NGA, East Building, ET-615-B, W

    One of the great figures of the abstract expressionist movement, Barnett Newman was an intellectual who developed his ideas in his painting, sculpture, and writing. In the mid-1940s he made his first works using his signature vertical elements, or “zips,” to punctuate the single-hued fields of his canvases. This painting is the first in a series of 14 paintings that Newman eventually named The Stations of the Cross (along with a coda in the form of a 15th painting, Be II). The Stations of the Cross was Newman’s most ambitious attempt to address what he called a “moral crisis” facing artists after World War II and the Holocaust: “What are we going to paint?”

    First Station (English)
  • Audio Tour Stop 31

    Mountains and Sea, Helen Frankenthaler

    Mountains and Sea is a perfect example of Helen Frankenthaler’s technique of making works by staining, a process in which she poured thinned paint onto raw, unprimed canvas. This method results in fields of transparent color that seem to float in space, with the weave of the canvas emphasizing the flatness of the image. Her arrangements of colors and shapes often evoke the natural environment, and each work creates a unique visual space and atmosphere.

    Mountains and Sea (English)