Woven Histories: Textiles and Modern Abstraction | National Gallery of Art https://www.nga.gov/exhibitions/woven-histories-textiles-and-modern-abstraction
Rosemarie Trockel and Jeffrey Gibson (Mississippi Band of Choctaw Indians/Cherokee Nation
Rosemarie Trockel and Jeffrey Gibson (Mississippi Band of Choctaw Indians/Cherokee Nation
Few individuals have exerted as strong an influence on 20th-century American art and culture as the photographer and art dealer Alfred Stieglitz. Born in Hoboken, New Jersey, in 1864 during the Civil War, Stieglitz lived until 1946.
wars, the Great Depression, and the growth of America from a rural, agricultural nation
In her tribute to the late George Morrison, Ojibwe artist Andrea Carlson asks, how can Indigenous artists be called back to the land?
artists—including Jeffery Gibson (Mississippi Band of Choctaw Indians/Cherokee Nation
„The eye must grasp, bring things together,“ Cézanne said, „The brain will give it shape.“ In a still life, where the artist also creates the world he paints, each object, each placement, each viewpoint represents a decision. Cézanne painted and repainted the objects pictured here many times.
America’s National Gallery of Art: A Gift to the Nation.
America’s National Gallery of Art: A Gift to the Nation.
On this decorative screen, Edouard Vuillard painted the Place Vintimille (now the Place Adolphe-Max), as seen from his fifth-floor apartment. Vuillard was an avid photographer, and he took snapshots from his window to use as reference for these panels.
Vuillard, Musée des Arts Décoratifs, Paris, 1938, no. 135. 2000 Art for the Nation
Two of Magritte’s favored themes were the „window painting“ and the „painting within a painting.“ The Human Condition is one of Magritte’s earliest treatments of either subject, and in it he combines the two, making what may be his most subtle and profound statement of their shared meaning. The Human Condition displays an easel placed inside a room and in front of a window.
America’s National Gallery of Art: A Gift to the Nation.
In December 1872, Sisley traveled to Port-Marly, a village in the western suburbs of Paris. There he produced four paintings showing the flooding of the Seine River.
, National Gallery of Art, Washington, 1966, no. 73, repro 1986 Gifts to the Nation
Gallery of Art, Washington, D.C., 1987-1988, no. 27A, repro. 1991 Art for the Nation
; The Metropolitan Museum of Art, New York, 1983, no. 165. 1986 Gifts to the Nation