No one parties like the gods—at least not like the mythological ones in this painting, a collaboration by the Renaissance artists Giovanni Bellini and Titian. The picture was the first in a series of bacchanals commissioned by Duke Alfonso d’Este to decorate the camerino d’alabastro (alabaster study) of his castle in Ferrara.
"Pictures lost to the Nation."
This bold composition reveals the influence of the flat, patterned surfaces, simplified color, and unusual angles of Japanese prints, which enjoyed a huge vogue in Paris in the late 1800s. The dark figure of the man compresses the picture onto the flat plane of the canvas, and the horizon is pushed to the top, collapsing a sense of distance.
America’s National Gallery of Art: A Gift to the Nation.
Art for the Nation no. 64 (Fall 2021): 20-21, repro.
Indigenous Participation in Brazilian Society� by Eliane Potiguara (Potiguara Nation
Information on this painting can be found in the Gallery publication American Paintings of the Nineteenth Century, Part I, pages 318-322, which is available as a free PDF at https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/american-paintings-19th-century-part-1.pdf
Museum of Art; The Art Institute of Chicago, 1973, no. 38. 1986 Gifts to the Nation
[1942]: 1-4. 1944 "Kress Makes Important Donation of French Painting to the Nation
After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. Upon completion of his training Rembrandt returned to Leiden.
The Nation (8 March 1911): 1000–1001. Holmes, Charles John.
With this monumental painting, Samuel F. B.
At the far right in the visitors’ gallery is Chief Petalesharo (Pawnee Nation),
Cassatt was known for her sensitive depictions of children. Rather than showing them as miniature adults, she painted them as individuals with moods and personalities.
National Gallery of Art, Washington, 1970, no. 11, repro. 1986 Gifts to the Nation
The Last of the Buffalo is Albert Bierstadt’s final, great, western painting. Measuring six by ten feet, it mirrors in size his first massive oil, Lake Lucerne (1858), also in the National Gallery of Art collection.
Nature as Nation: 19th-Century American Landscapes from the Collection, Corcoran
