Fruit, Jug, and a Glass by Jean Siméon Chardin https://www.nga.gov/artworks/12202-fruit-jug-and-glass
Admission is always free 6th and Constitution Ave NW Washington, DC 20565 Only
Admission is always free 6th and Constitution Ave NW Washington, DC 20565 Only
Painted during a period of labor unrest in 1925, The Fire Boss was intended as a life-size personification of a profession rather than a portrait of a specific individual. Despite his downcast, bedraggled appearance, the miner exudes defiance and inner resolve.
Admission is always free 6th and Constitution Ave NW Washington, DC 20565 Only
Admission is always free 6th and Constitution Ave NW Washington, DC 20565 Only
A disheveled figure with knee and head injuries and a crutch sits in a mostly empty tavern. Holding a glass of hard cider, he tells his tale to the tavern keeper, the younger man across from him.
Admission is always free 6th and Constitution Ave NW Washington, DC 20565 Only
It might be said that with paintings like this one, Annibale Carracci invented the landscape as a subject for Italian baroque painting. Nature here is appreciated first and foremost for herself and not as the backdrop for a story.
Admission is always free 6th and Constitution Ave NW Washington, DC 20565 Only
Admission is always free 6th and Constitution Ave NW Washington, DC 20565 Only
Admission is always free 6th and Constitution Ave NW Washington, DC 20565 Only
Information on this painting can be found in the Gallery publication American Paintings of the Eighteenth Century , pages 265-266, 268-270, and 273, which is available as a free PDF https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/american-paintings-18th-century.pdf
Admission is always free 6th and Constitution Ave NW Washington, DC 20565 Only
This painting is an outstanding example of the abstract elegance characteristic of Rogier’s late portraits. Although the identity of the sitter is unknown, her air of self–conscious dignity suggests that she is a member of the nobility.
National Gallery of Art, Washington.
This painting, one of two views of Mortlake Terrace painted by Turner, is a view from the house, looking directly west into the luminous glow of the setting sun. Turner established the quiet mood of the late-afternoon scene with two ivy-covered elm trees, whose soft, feathery leaves and curving limbs frame the painting.
National Gallery of Art, Washington.