Visualizzazione post con etichetta National Gallery of Art Washington. Mostra tutti i post
Visualizzazione post con etichetta National Gallery of Art Washington. Mostra tutti i post
Textual description of firstImageUrl

Édouard Manet | The Railway / La Ferrovia, 1873

With her back to us, a young girl stands looking through a fence. Facing us directly, a woman sits with a small dog in her lap and a book in her hand.
Billowing steam from an unseen train obscures the center background, but the edge of a bridge juts out at right, identifying the setting as Gare Saint-Lazare - Paris’ busiest train station and emblem of the city’s unsettling 19th-century makeover. Beyond depicting the modern city, The Railway disturbingly suggests how people experienced it.
Pinned against a long black iron fence, these fashionably dressed female figures are physically cut off from the railroad beyond and also seem estranged from each other: facing in opposite directions, they are absorbed in their individual activities. Manet offers us no clues to their relationship, even as we viewers seem to interrupt the woman reading.
She looks up at us directly with an expression that is neutral and guarded - the characteristic regard of one stranger encountering another in the modern metropolis.

Textual description of firstImageUrl

Tintoretto at the National Gallery of Art

The Samuel Kress Collection encompasses more than 3,000 works of European art, and is distinguished for its abundance of Italian Renaissance paintings.
The Collection was donated to scores of regional and academic art museums throughout the United States between 1929-1961, with the single largest donation reserved for the National Gallery of Art in Washington D.C. | © Samuel H. Kress Foundation, New York

Tintoretto | The Conversion of Saint Paul, 1544 | National Gallery of Art, Washington

Textual description of firstImageUrl

Van Gogh | La Mousmé, 1888 | The National Gallery of Art

The intention and determination that inform Van Gogh's🎨 art can be obscured by the sensational legends that have arisen about his life. The artist's correspondence, particularly frdeom his brief mature period of 1888-1890, contradicts popular lore and attests to the deliberateness, sensitivity, and integrity of his work.
On July 29, 1888, Van Gogh wrote his younger brother Theo, an art dealer in a Parisian gallery, that "if you know what a 'mousmé' is (you will know when you have read Loti's Madame Chrysanthème), I have just painted one. It took me a whole week...but I had to reserve my mental energy to do the mousmé well".