This groundbreaking presentation brings to life the artistic traditions of the influential pre-colonial states that developed in Niger, Mali, Mauritania, and Senegal between the sixth and the nineteenth century.
—Washington Post The exhibition is made possible by the William Randolph Hearst
A master such as Tilman Riemenschneider transcended the limitation of monochromy, relying exclusively on his carving skills to achieve direct emotional appeal.
Washington, D.C.: The National Gallery of Art, 1999.
Villanova, Pa., 1881–New York, 1952
The Gallery of Living Art opened on December 12, 1927, at 100 Washington Square East
Scarborough, England, 1887–London, 1964
Additional correspondence can be found at the Washington State University Libraries
Search art at the Metropolitan Museum.
urne Duplessis) (one of a group of three) Vincennes Manufactory ca. 1752 George Washington
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
1855–56 The White Captive Erastus Dow Palmer 1857–58; carved 1858–59 Washington
Fund, 1924 Object Number: 24.216.1 [ Yamanaka & Co. , until 1924; sold to MMA] Washington
Watteau, the son of a roofer, left Valenciennes for Paris about 1702 to work there as a copyist and assistant to Claude Gillot (1673–1722) and Claude III Audrun (1658–1734). He became interested in theater and fell under the spell of Peter Paul Rubens (1577–1640)
Washington. National Gallery of Art.
[Ambroise Vollard, Paris, sold by winter 1924 to Reber]; Dr. Gottlieb Friedrich Reber, Lugano and Lausanne (1924–37; sold in November 1937 to Cooper); Douglas Cooper, London (1937–d. 1984; inv. no. 65; estate no. DC 35/34; his bequest to McCarty-Cooper); his partner and adopted son, William McCarty-Cooper, London (1984–86; sold in November 1986 to Lauder); Leonard A. Lauder, New York (1986–2013; transferred on April 8, 2013 to the Leonard A. Lauder Cubist Trust); The Leonard A. Lauder Cubist Trust, New York (2013–21; gift to MMA)
Washington, D.C. National Gallery of Art.
This painting has been dated convincingly to about 1658 (Gudlaugsson 1948–49). The careful dovetailing of shapes between the man and woman is similar to Vermeer’s approach to design at about the same time, but Ter Borch’s style differs strongly in most respects
An Officer Dictating a Letter while a Trumpeter Waits (National Gallery of Art, Washington
