paintings became separated from the others, all of which were destined for the Musée
How do visual artists of the Harlem Renaissance explore black identity and political empowerment? How does visual art of the Harlem Renaissance relate to current-day events and issues? How do migration and displacement influence cultural production?
linocut in black with chine collé on wove paper, Corcoran Collection (Gift of E.
Painted in August 1907, Forty-two Kids depicts a band of nude and partially clothed boys engaged in a variety of antics—swimming, diving, sunbathing, smoking, and possibly urinating—on and near a dilapidated wharf jutting out over New York City’s East River. A sharp observer of urban life, George Bellows has sketched his streetwise subjects with characteristic vigor and economy of means, and he has carefully rendered their varied ethnic backgrounds.
New York Evening Mail (14 March 1908): 6. K[ay], C[harles] de.
See the portraits of antislavery activists, including Frederick Douglass and Sojourner Truth.
œrunaway slave.â€� Truth sold cartes-de-visite like this one at those talks (and by mail
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In the spring of 1871 Thomas Moran traveled to the American West for the first time. Immediately upon his return, he began producing the paintings that would change the course of his career.
the painting by the Kachurians was kindly provided by the Gerald Peters Gallery (e-mails
From a distance of ten feet or so, Monet’s brushstrokes blend to yield a convincing view of the Seine and the pleasure boats that drew tourists to Argenteuil. Up close, however, each dab of paint is distinct, and the scene dissolves into a mosaic of paint—brilliant, unblended tones of blue, red, green, yellow.
Diana Kostyrko (see her e-mails from October through December 2008 in NGA curatorial
Diana Kostyrko (e-mails, October through December 2008, in NGA curatorial files)
Fragonards to Ambatielos, refers to the NGA painting and three others (see her e-mails
watercolor over graphite, National Gallery of Art, Washington, Gift of Eugene and Agnes E.
