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Untitled by Alexander Calder

https://www.nga.gov/artworks/56517-untitled

Alexander Calder’s monumental mobile moves solely on the air currents in the East Building’s Central Court. The sculptor originally intended the work to have a motor, but the use of advanced, lightweight materials made this unnecessary.
April 28, 1972, Calder composed the original maquette, or small three-dimensional model

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William Glackens | National Gallery of Art

https://www.nga.gov/artists/1347-william-glackens

William James Glackens was born in Philadelphia on March 13, 1870, to Elizabeth Finn Glackens and Samuel Glackens, a clerk for the Pennsylvania Railroad. Both William and his older brother, Louis (American, 1866–1933), who would later become an illustrator, showed an early talent for drawing.
Glackens met Robert Henri (American, 1865–1929), who became a teacher and role model

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Beech Tree, Forest of Fontainebleau by Gustave Le Gray

https://www.nga.gov/artworks/92223-beech-tree-forest-fontainebleau

After viewing the brilliant plates made by Louis-Jacques-Mandé Daguerre, Paul Delaroche, the history painter and esteemed professor of the École des Beaux-Arts, is said to have exclaimed, „From today painting is dead.“1 It was not long, however, before Delaroche realized photography’s potential as both a means of artistic expression and as an aide-mémoire to artists: painters, for instance, could make quick, otherwise unattainable studies using the process.
light and shadow, or he can work for extreme softness or suavity, copying the same model

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Aelbert Cuyp | National Gallery of Art

https://www.nga.gov/artists/1202-aelbert-cuyp

Aelbert Cuyp, one of the foremost Dutch land­scape painters of the seventeenth century, was born in Dordrecht in October of 1620. His father, Jacob Gerritsz Cuyp (1594–1652), was a successful por­trait painter in the city, and from him Aelbert received his earliest training, assisting his father by painting landscape backgrounds for por­trait commissions.
found in his home at the time of his death, proof that nature alone served as his model

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A Vestal by Clodion

https://www.nga.gov/artworks/41714-vestal

Known for playfully sensuous terracotta nymphs and satyrs, Clodion also portrayed more serious subjects from Classical myth and history. An ancient draped figure at the Uffizi in Florence, then known as a vestal, inspired him during a stay in Italy to make several statuettes of a priestess of the Roman hearth goddess Vesta, pouring out oil to feed the sacred fire.
and carved the fine raised folds and clinging panels of drapery to appreciatively model

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