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mdstamper.bsky.social
“Ritratto di giovane donna (Portrait of a Young Woman)” by Girolamo di Benvenuto (Italian) - Oil on poplar panel / c. 1508 - National Gallery of Art (Washington, DC) #WomenInArt #NationalGalleryofArt #GirolamodiBenvenuto #Benvenuto #ItalianRenaissance #art #artText #arte #RenaissanceArt #ItalianArt
Painted by Italian artist Girolamo di Benvenuto in Siena, Italy around 1508, this portrait turns luxury into biography via a transparent veil, pearls, and jewel-bright pendant that signal wealth, against an empty black backdrop that keeps attention on her steadiness. A young adult woman with very light skin is shown from the chest up. Her body turns slightly while her head tips back toward our right, so she meets us sideways, looking from the corners of brown eyes under faint arched brows. Her features are delicate including a long narrow nose, softly rounded cheeks, and pale pink lips with a hint of dimples and a small cleft chin. Blond hair is drawn back beneath a sheer, gauzy veil that drapes over her shoulders in translucent folds, held by a narrow band around the crown. She wears an asparagus-green gown with a tightly laced bodice over a white chemise. White fabric is pulled through at the shoulders where sleeves would be tied on. The neckline and edges shimmer with gold bands patterned in tiny floral and geometric motifs, echoed by a gold belt at her waist. She wears necklace strand of pearls with a gem-set pendant of red and blue stones ending in three hanging pearls and a second star-linked chain tucked into her bodice. One hand is lifted and lightly cupped near her chest, as if pausing mid-gesture. A painted gold border with knot-like geometry frames the panel. The lifted, lightly cupped hand feels like a practiced pause or an embodied kind of “voice” in a world where many women’s public speech and movement were constrained. Details of her dress like tight lacing and the suggestion of detachable sleeves show fashion as identity and family investment, often linked to portraits made at the threshold of adulthood, even though this woman’s name is unknown. Some painting owners called her “Petrarch’s Laura,” but the painting itself resists any certainty. Instead, it balances ornament with privacy to leave her dignified, present, and intentionally enigmatic.
February 5, 2026 at 4:17 AM
trinaherself.bsky.social
Felt the same way when seeing Mary Cassatt’s box of pastels at a recent exhibit #NationalGalleryofArt #womensart #Impressionism
Box of pastels used by American artist Mary Cassatt. The pastels have French labels except the ones worn down to nubs. Washington, DC (October 2014)
February 4, 2026 at 5:40 PM
wandering-wow.bsky.social
Visiting the National Gallery in DC, taken by this troubled ballerina at the corner of a Degas ballet class masterpiece

#NationalGalleryofArt #Degas #art #impressionism #DC
color photo, closeup of one corner of a Degas painting, ballerina in orange top and white frilly skirt, sits, elbows on knees, looking down and resting her head dejectedly on one hand. Part of the picture frame is in the photo, too
January 18, 2026 at 12:22 PM
intenitineraries.bsky.social
🚀 Day 2 Washington, D.C.
- Air, Art, and Memorial Day Music
#washingtondc #dc #familytravel #thenationalmall #nationalairandspacemuseum #whitehouse #smithsonian #uscapitol #1903WrightFlyer #NationalGalleryofArt
December 20, 2025 at 12:51 AM
intenitineraries.bsky.social
🚀 Washington, D.C. Day 2
- Air, Art, and Memorial Day Music
#washingtondc #dc #familytravel #thenationalmall #nationalairandspacemuseum #whitehouse #smithsonian #uscapitol #1903WrightFlyer #NationalGalleryofArt
🚀 Washington, D.C. Day 2 – Air, Art, and Memorial Day Music
Our second day in D.C.
open.substack.com
December 19, 2025 at 5:19 PM
picturethispost.com
Skate amidst Calders, Miro, Elsworth Kelly and more-- click the link to read the preview in the Picture This Post Museum section--

#NationalGalleryOfArt #Sculpture #Skating #DCMuseums #DCArt #PictureThisPostArt #PictureThisPostMuseums #ClaesOldenburg #LouiseBourgeois #AlexanderCalder #JoanMiro #Art
National Gallery of Art Presents Sculpture Garden Ice Rink - Preview
A spokesperson says--- “...the rink transforms the Sculpture Garden’s central fountain into a festive destination where visitors can skate among modern and
www.picturethispost.com
December 8, 2025 at 4:29 PM
panbello.bsky.social
The program 'The Dorothy and Herbert Vogel Collection: 50 Works for 50 States' (2008) donated 𝟮,𝟱𝟬𝟬 works to 50 institutions across 50 states, and was accompanied by a book with the same name:

#NationalGalleryofArt #NEA #IMLS
November 21, 2025 at 12:40 PM
panbello.bsky.social
𝑭𝒐𝒓 𝒕𝒉𝒆 𝒍𝒐𝒗𝒆 𝒐𝒇 𝑨𝒓𝒕....🫶

R.I.P., Dorothy F. #Vogel, née Hoffman [°May 14, 1935 - Nov. 10, 2025]🕯️😔🌹

#NationalGalleryofArt #ConceptualArt #MinimalistArt #NEA #NationalEndowmentfortheArts #IMLS #InstituteofMuseumandLibraryServices #BrooklynPublicLibrary #HerbertVogel #DorothyFayeHoffman #DorothyVogel
November 21, 2025 at 12:32 PM
jonsam1961b.bsky.social
The National Gallery of Art

artsandculture.google.com/project/nati...

#Art
#NationalGalleryOfArt
The Nation's Art Museum - Google Arts & Culture
Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.
artsandculture.google.com
November 16, 2025 at 9:45 PM
mdstamper.bsky.social
Woman with a Cat (Femme au chat) by Pierre-Auguste Renoir (French) – Oil on canvas / c. 1875 – National Gallery of Art (Washington, DC) #WomenInArt #CatArt #arte #artText #art #BlueskyArt #PierreAugusteRenoir #Renoir #Impressionism #NationalGalleryOfArt #NGA #FrenchArt #19thCenturyArt #CatsInArt
Painted around 1875, just after the first Impressionist exhibition in 1874, this painting captures French artist Pierre-Auguste Renoir’s turn from outdoor bustle to intimate, modern interiors. The sitter is unidentified, yet she’s rendered with affectionate immediacy. A young woman, light-skinned with flushed cheeks, sits angled in a cushioned armchair, cradling a brown-black tabby cat held upright so its head nuzzles her cheek. Her light brown hair is swept up. A pale dress with soft blue notes and a tied kerchief almost shines against the chair’s muted burgundy. An emerald ring glints on her supporting hand as the cat stretches its forepaws with her body tucked into the crook of of the woman's left arm. Behind her, a sea-green wall and a slip of a yellow floral curtain frame the scene while loose, multicolored strokes to the right suggest a bouquet of flowers. The brushwork is blended and luminous, softening contours without losing structure as light pools gently across skin, fabric, and fur. The cat, was a common part of Renoir’s use of domestic motifs and it likely represents warmth, tactility, and modern private life. Renoir’s silvery light, supple modeling, and tender color harmonies advance the Impressionist project of depicting contemporary experience without academic finish. Early ownership of the paintng by Ernest Hoschedé, an ardent patron of the Impressionists, placed the work within avant-garde networks that helped propel Renoir toward wider recognition. Subsequent exhibitions across Europe and the U.S. cemented its status as a gem of Renoir's early maturity, when he refined the glowing surfaces and humane intimacy that shaped late 19th-century portraiture.
November 5, 2025 at 6:49 PM
r1carvajal.bsky.social
Flying over the heart of Washington, D.C. — the National Mall in full view. Off to Houston with this breathtaking sendoff! 🏛️ 🛫

#TheWashingtonMall
#WashingtonDC
#TheWashingtonMonument
#TheUSCapitol
#NationalGalleryOfArt
#SmithsonianMuseum
#USBotanicGarden
October 26, 2025 at 2:42 PM
guymunsch.bsky.social
Admiring “Boy in a Red Waistcoat”, 1888, Cezanne.

#ColorADay #RedWed #NationalGalleryOfArt
#EastCoastKin
#PhotographersUnited #PhotographersOfBluesky #photography
#dailyart #art #painting #artchallenge #artprompt
#Cezanne
Art Museum gallery
October 23, 2025 at 1:48 AM
trinaherself.bsky.social
Color: blue | ‘Farbe: Blau’
#FotoVorschlag #Photography
#NationalGalleryOfArt #sculpture #art
Cocky blue rooster💙
A huge blue rooster statue called “Hahn/Cock” by German artist Katarina Fritsch stands high on the roof of the National Gallery of Art, its beak open and lifted to the blue sky as if to awaken the city. Washington, D.C. (August 2022)
October 2, 2025 at 1:58 PM
picturethispost.com
The best of Australia's indigenous art-- courtesy of a leading museum in Australia-- tours many top US museums. Click the link for tour ino--

#PeabodyMuseum #NationalGalleryofArt #DenverMuseumofArt @portlandartmuseum.bsky.social #BostonMuseums #PictureThisPostMuseums #PictureThisPostArt #Aborigines
Stars We Do Not See: Australian Indigenous Art, US Tour — Preview
WHEN & WHERE: National Gallery of Art Washington: October 18, 2025 – March 1, 2026 Denver Art Museum, Colorado April 19–July 26, 2026 Portland Art
www.picturethispost.com
September 25, 2025 at 5:37 PM
evanmichio.bsky.social
Angles by I. M. Pei.
#BlueskyartShow #Angles #IMPei #DailyArt #NationalGalleryofArt
September 20, 2025 at 4:32 PM
mdstamper.bsky.social
“Woman Holding a Balance” by Johannes Vermeer (Dutch) - Oil on canvas / c. 1664 - National Gallery of Art (Washington DC) #WomenInArt #Art #artwork #artText #Vermeer #JohannesVermeer #NGA #balance #DutchArt #DutchArtist #allegory #NationalGalleryofArt #OilPainting #FineArt #BlueskyArt #DutchBaroque
“Woman Holding a Balance” is a superb example of Dutch artist Johannes Vermeer’s exquisite sense of stability and rhythm. A very pale woman dressed in a peacock blue jacket with a white hood and white fur trim plus a voluminous mustard yellow skirt stands (facing our left) serenely at a table in a corner of a room with a window partially covered by a canary-yellow curtain. Small scales in her right hand are at equilibrium, suggestive of her inner state of mind. A large painting of the “Last Judgment,” framed in black, hangs on the back wall. A shimmering blue cloth, open boxes, two strands of pearls, and a gold chain lie on the sturdy table. Soft light comes in through the window and illuminates the scene. The unidentified woman is so pensive that we almost hesitates to intrude on her quiet moment of contemplation. The visual juxtaposition of the woman and the “Last Judgment” is reinforced by thematic parallels: to judge is to weigh. This scene has religious implications that seem related to Saint Ignatius of Loyola’s instructions, in his Spiritual Exercises, that the faithful, prior to meditating, first examine their conscience and weigh their sins as if facing Judgment Day. Only such introspection could lead to virtuous choices along the path of life. “Woman Holding a Balance” thus allegorically urges us to conduct our lives with temperance and moderation. The woman is poised between the earthly treasures of gold and pearls and a visual reminder of the eternal consequences of her actions. Vermeer emphasized this message through his superbly refined composition and lighting. The hand holding the balance occupies a position directly in front of the frame’s dark corner, while the scales are set off against the bare plaster wall for an effect that Vermeer created through subtle spatial manipulation. For instance, the bottom of the frame for the “Last Judgment” is slightly higher to the left of the woman than it is behind her back, creating room for the balance.
September 20, 2025 at 3:23 PM
siga.spainculture.us
Don’t miss the chance to immerse yourself in two months of dedicated research at the National Gallery.

#ArtHistory #ResearchFellowship #NationalGalleryOfArt #VisitingFellowship #VisualCulture #AcademicOpportunities #ArtScholarship
(5/5)
September 17, 2025 at 12:49 PM
mdstamper.bsky.social
Untitled (woman in subway) by Mark Rothko, American, born Russia (now Latvia) - Oil on gesso board / c. 1938 - National Gallery of Art (Washington DC) #WomenInArt #art #rothko #artwork #MarkRothko #artText #subway #NationalGalleryofArt #NGA #OilPainting #BlueskyArt #AmericanArt #1930s #bskyart
Like a haunting snapshot of urban solitude and emotional depth, this oil painting by artist Mark Rothko shows a solitary woman standing on a subway platform. She wears a long, dark coat and hat, her body slightly angled, hands folded before her. The background suggests tiled walls and shadowed passageways, painted in muted earth tones and soft blues. Broad, loose brushstrokes blur architectural details, giving the space an indistinct, dreamlike quality. The platform is empty, emphasizing her isolation. Subtle light falls across her figure, highlighting her presence yet merging her into the surrounding haze, evoking quiet stillness, detachment, and urban solitude. In the late 1930s, Rothko explored New York’s urban landscape, painting subways and interiors with a sensitivity that foreshadowed his later abstractions. “Untitled (Woman in Subway)” captures the loneliness of modern life showing not a bustling station but an emptied stage, where one figure embodies both presence and absence. Rothko painted multiple subway scenes around this time, like “Entrance to Subway” (1938), “Underground Fantasy” (1940), where commuters appear elongated, faceless, almost spectral. In these works, architecture looms as much as the human subjects, echoing themes of alienation and fleeting connection. Though representational, the painting reveals Rothko’s break from strict realism. As a founding member of “The Ten,” he opposed the Whitney Museum’s insistence on Social Realism, instead pursuing mood, psychology, and lyrical expression. His loose brushwork and muted palette turn an ordinary commuter into a study of emotional resonance. The 1924–1939 period was transitional for Rothko: he experimented with impressionistic figuration, theatrical settings, and urban motifs while edging toward the color and abstraction that defined his later career. After his death in 1970, the work passed from his estate to the Mark Rothko Foundation in 1979, and in 1986 to the National Gallery of Art.
August 31, 2025 at 11:05 PM
mdstamper.bsky.social
Woman of the "Orient" by Henri Lehmann (German-French) - Oil on canvas / 1837 - National Gallery of Art (Washington DC) #WomenInArt #art #artText #OilPainting #PortraitofaWoman #Romanticism #Exoticism #artwork #BlueskyArt #FineArt #Orientalism #1830s #HenriLehmann #Lehmann #NGA #NationalGalleryofArt
Henri Lehmann's 1837 "Woman of the 'Orient'" is an oil on canvas painting by the German-born French artist. The artwork features a sensuous figure in rich, romantic attire against a seaside landscape, reflecting the influence of Lehmann's mentor, French painter Jean Auguste Dominique Ingres. The artwork's rich colors and sensuous portrayal of the figure align with the Romanticism prevalent at the time. The painting combines detailed brushwork with imaginative details, such as the stylized leaves, vines, and flowers in the pattern on her clothing and the misty peach and blue of the distant horizon. Lehmann used a classical realist touch, foregrounding its female subject with mirror-like perfection. A young woman, seemingly of classical or antique inspiration, is seated on a balcony. Her dark hair is neatly arranged under a light-colored lace wrap. Her expression is almost melancholic with her gaze is directed away from us. Her skin tone is relatively fair, with subtle shading. She wears a simple, pale-cream sleeveless tunic, falling loosely over her shoulders, and a dark teal robe with a subtle, repeating pattern. The fabric of her clothes shows deep folds and shadows, hinting at their texture and weight. Her hands rest gently in her lap. She sits on a stone balustrade of a balcony that overlooks a calm expanse of cool blue sea. The tranquil sky above is a soft blue, almost cloudless. Lehmann's approach made Easternness as exotic as the Grecian antiquity from which the West has drawn its wealth of foundational ideas. Although the painting is as crystal clear and sharply defined as an icon, there is not a trace of Christian symbolism. Its model is a figment of purity, as clean and innocent as the clothes in which she is draped like the curtains that round out the beautifully lit, seaside vista. Ultimately, the realism of Lehmann's anonymous portrait is unconvincing, as the woman could have easily been identified as any Roman goddess or Mother Mary.
August 22, 2025 at 6:07 AM
“A Meadow at Sunset.” Paul Huet (French; 1803–1869). Pastel on gray-blue paper, ca. 1845. National Gallery of Art, Washington, D.C.

#PaulHuet
#NationalGalleryofArt
@ngadc
August 3, 2025 at 9:46 PM
altframes.bsky.social
Moment captured: four scenes from the National Gallery of Art: unexpected geometry; glorious stairwell; Dancer & Gazelles by Paul Manship; a gallery, devoid of art.

#washington #dc #art #architecture #eastcoastkin #scape #museum #gallery #nga #nationalgalleryofart #bnw #blackandwhite #photography
July 29, 2025 at 12:50 PM
jonsam1961b.bsky.social
Extensive art works from the National Gallery of Art:

artsandculture.google.com/project/nati...

#NationalGalleryOfArt
#Art
#ArtSky
The Nation's Art Museum - Google Arts & Culture
Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.
artsandculture.google.com
July 27, 2025 at 1:17 AM
mdstamper.bsky.social
“Symphony in White, No. 1: The White Girl” by James Abbott McNeill Whistler (American) - Oil on canvas / 1862 - National Gallery of Art (Washington DC) #WomenInArt #ArtText #art #artwork #JamesAbbottMcNeillWhistler #Whistler #PortraitofaGirl #AmericanArt #NationalGalleryofArt #AmericanArtist #1860s
A young woman with pale, peachy skin, wearing a long, flowing white dress, stands in front of a white curtain in this vertical portrait painting. Her auburn-red hair cascades down over and behind her shoulders. She looks to our left with green eyes, and her pink, full lips are closed. Her dress has puffed shoulders above a white-on-white striped pattern on the long sleeves. She stands on an animal pelt; it is not clear whether it is a wolf or a bear. The pelt spans the width of the painting and overlaps a blue patterned carpet. The animal’s mouth gapes to show sharp teeth. Its glassy eyes are open as it seems to look at us. The edges of the animal skin are red. The woman holds a white lily by her side in her left hand, while yellow and purple flowers lie scattered on the pelt. When “The White Girl” debuted in London in 1862, it puzzled viewers. At the time, portraits of this scale usually featured well-known people. It epitomizes American artist James Abbott McNeill Whistler’s departure from the established norms of the era, and was perhaps his most reviled work. When he submitted it to the 1863 Paris Salon, the jury rejected the painting and the artist instead showed “The White Girl” at Napoleon III’s exhibition of snubbed artwork, the Salon des Refusés. The woman is Joanna Hiffernan, an Irish immigrant with little standing in British society. Hiffernan was Whistler’s primary model and collaborator during the early 1860s. Whistler opts for the customary full-scale society portrait format and reproduces her features in a seemingly realistic and honest fashion; however, “The White Girl” is less a faithful portrait painting and more an experimentation in color, pattern, and texture. Whistler created two more paintings of Hiffernan in white dresses, eventually grouping all three under the shared title “Symphony in White.” Surprising audiences yet again, he declared that, like music, these works were solely about abstract qualities such as line and color.
July 20, 2025 at 4:30 AM
snelsonus.bsky.social
Learning about the incredible array of projects by Center fellows and guests, working with the Center team, and partnering with the #NationalGalleryofArt has been an honor. I will cherish this experience always. (3/3)
July 15, 2025 at 2:07 AM
paullecomtephoto.nz
The photographer (& one time Art History teacher) & the masterpieces.

Barnett Newman's Stations of the Cross: National Gallery of Art, Washington DC.

#Nikon #Photography #Art #AbstractExpressionism #BarnettNewman #NationalGalleryOfArt
A stupidly rare photo of me standing next to some of the panels of the amazing works of Abstract Expressionism from the mid century Barnett Newman’s greatest achievement—The Stations of the Cross. Newman began the cycle of 15 canvases in 1958 while recovering from a heart attack. The abstract expressionist painter continued the series over the next eight years, finally adding a coda, Be II. Newman’s title for the series was met with confusion when it was first exhibited in 1966. The artist explained that the paintings were not a story but rather “a complete statement of a single subject,” namely Jesus’s cry from the cross, lema sabachthani (Why have you forsaken me?). Newman did not intend for the series to represent the narrative but rather be an expression “of each man's agony.” The Stations of the Cross is a series of fifteen abstract expressionist paintings created between 1958 and 1966 by Barnett Newman, often considered to be his greatest work.[1] It consists of fourteen paintings, each named after one of Jesus's fourteen Stations, followed by a coda, Be II. Unlike most depictions of the Stations of the Cross, Newman did not intend for this to be a narrative journey of Jesus's suffering. Rather, it was intended to evoke the central question of the Passion, lema sabachthani (why have you forsaken me?).[2] The secular, Jewish Newman used this central theme of Christian theology to probe the human condition rather than towards its historical purpose of devotion or worship.[3] The series has been seen as a memorial to the victims of the Holocaust.[4] The painting series was unveiled at the Solomon R. Guggenheim Museum in 1966, in an exhibition titled The Stations of the Cross: Lema Sabachthani.[5][6][7] The National Gallery of Art bought the paintings in 1987 from Newman's widow for an estimated $5 to $7 million, through a donation from Robert and Jane Meyerhoff.[8][9] They were put on permanent display.[10]
July 5, 2025 at 11:31 PM