Vuillard belonged to a quasi-mystical group of young artists that arose in about 1890 and called themselves the Nabi, a Hebrew word for prophet. The Nabi rejected impressionism and considered simple transcription of the appearance of the natural world unthinking and unartistic.
Vuillard, Frankfurter Kunstverein, 1964. no. 26, repro. 1986 Gifts to the Nation
regional Mini-Institutes for Educators, hosted by partner museums in “Across the Nation
National Gallery of Art, Washington, 1966, no. 129, repro. 1986 Gifts to the Nation
Cole’s renowned four-part series traces the journey of an archetypal hero along the „River of Life.“ Confidently assuming control of his destiny and oblivious to the dangers that await him, the voyager boldly strives to reach an aerial castle, emblematic of the daydreams of „Youth“ and its aspirations for glory and fame. As the traveler approaches his goal, the ever-more-turbulent stream deviates from its course and relentlessly carries him toward the next picture in the series, where nature’s fury, evil demons, and self-doubt will threaten his very existence.
America’s National Gallery of Art: A Gift to the Nation.
Associated Names Jeffrey Gibson Artist, Mississippi Band of Choctaw Indians/Cherokee Nation
America’s National Gallery of Art: A Gift to the Nation.
Gallery of Art, Washington, D.C., 1978-1979, no. 18, repro. 1986 Gifts to the Nation
Join award-winning poet MarÃa Fernanda for an in-gallery poetry writing workshop inspired by the exhibition Photography and the Black Arts Movement, 1955–1985.
at the Brooklyn Museum’s American Art Galleries for the exhibition Soul of a Nation
Born in 1844 to a working-class family in Laval, France, Henri Rousseau worked briefly for a lawyer and served a stint in the military before taking a position at a French customs post in 1868; the nickname “ Le Douanier “ (the customs inspector) remained with him even after his retirement in 1893.
Nacional de Arte Antiga, Lisbon, Portugal, 1994, no. 42, repro. 1998 Gifts to the Nation
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.
National Gallery of Art, Washington, 1966, no. 83, repro. 1986 Gifts to the Nation
