Annual Report 1989

1989 ANNUAL REPORT

1989 Annual Report

National Gallery* of Art Copyright © 1990. Board of Trustees, National Gallery of Art, Washington All rights reserved. No part of this publication may be reproduced without the written permission of the National Gallery of Art, Washington, D.C. 20565 This publication was produced by the Editors Office, National Gallery of Art Edited by Tarn L. Curry Designed by Susan Lehmann, Washington, D.C. Printed by Schneidereith & Sons, Baltimore, Maryland The type is Bodoni Book, set by BG Composition, Baltimore, Maryland Photo credits: Dean Beasom, pp. 20-24, 32, 50, 52, 55, 65, 72, 76, 79, 84, 93 Dennis Brack, Black Star, pp. 17, 34, 43, 48, 61, 74, 123 Kathleen Buckalew, pp. 2-3, 12-14, 37, 45 Richard Carafelli, p. 59 Philip Charles, pp. 30, 75, 78, 106 Jose Naranjo, pp. 6, 8, 10, 11, 18, 27, 28, 42,47,81,87, 96, 98, 116 James Pipkin, cover William Wilson, pp. 13, 14, 36, 86, 89, 136

ISBN 0-89468-146-X

Pages 2-3: Exhibition banners with Japanese heraldic designs for Japan: The Shaping of Daimyo Culture, and Alexander Calder's Untitled mobile Contents

President's Preface 7 External Affairs

Director's Report 9 Development 77

Art Programs Corporate Relations 78 Press and Public Information 80 Acquisitions 19 Special Events 81 Renaissance Painting 25 Visitor Services 82 Baroque Painting 25 Horticulture 82 American Painting 26 Music at the Gallery 82 Modern Painting 27 Twentieth-Century Art 29 Center for Advanced Study Sculpture and Decorative Arts 29 in the Visual Arts 85 Prints and Drawings 30 Staff Activities and Publications Exhibitions 33 Design and Installation 35 Financial Reports 9 9 Lenders 38 Trustees and Staff 109 Conservation 42 Records and Loans 48 Donors 117 Changes of Attribution 51 Loans to Exhibitions 54 Education 59 Library 64 Photographic Archives 67 Editors Office 68 Photographic Services 69 Gallery Archives 70

Administration

Security 73 Publication Sales 73 Gallery Architect 74 Facilities Management 75 Personnel 75 Procurement and Supply 75

President's Preface

In a bold reaffirmation of the vitality of Lessing J. Rosenwald in December. We philanthropy in America, the National also noted with regret the deaths of Gallery's fiscal year ending 30 September Trustee Emeritus Carlisle Humelsine in 1989 was marked by magnificent gifts. January, and Robert Amory, Jr., retired A major bequest of art from the Taft Secretary - General Counsel, in April. Schreiber family and a pledge of Van The enhancement of the collections re- Gogh's Roses from Mrs. W. Averell Harri- mains a priority of the Board of Trustees, man, as well as gifts of acquisition funds and I am pleased to report that the Pa- from the Honorable and Mrs. Walter H. trons' Permanent Fund, the income of Annenberg and the Morris and Gwen- which is dedicated exclusively to the pur- dolyn Cafritz Foundation, greatly chase of works of art, supported several strengthen our national collection. key acquisitions during the year. The Public funds made possible the daily Fund had a market value of $71.9 million operations of the Gallery, and in a time at the close of the fiscal year. In March of fiscal retrenchment my fellow Trustees 1989 Sound Shore Management, Inc., and I are especially gratified by continu- joined First Manhattan Capital Manage- ing congressional support. The 1989 fis- ment and Scudder, Stevens & Clark as cal year operating budget was $50.4 mil- part of the investment advisory team that lion, an increase of $3.6 million over the manages the Gallery's portfolio of assets. previous year, some 80 percent of which The effectiveness of collective patron- came as federal appropriations. age was also powerfully evidenced by the I have been greatly assisted in the exe- contributions the Gallery's support groups cution of my duties as President by meet- made to the collections and special pro- ing monthly with the Director and other grams. The impact of the Collectors Com- executive officers to discuss the ongoing mittee, a group of individuals from across business and operations of the Gallery. the country who contribute funds for the Franklin D. Murphy was reelected as a acquisition of twentieth-century art, came General Trustee and continues as Chair- into dramatic focus during the tenth anni- man of the Board of Trustees. Alexander versary of the East Building. The Com- M. Laughlin, who remains a General mittee has been guided by Ruth Carter Trustee, was succeeded as chairman of Stevenson since its inception, and Edwin the Trustees' Council by John C. White- L. Cox, from Dallas, Texas, joined her head. Lois de Menil remains Council vice this year as co-chairman. chairman. During the year we were de- The Circle of the National Gallery of lighted to welcome Judith Laughlin from Art also acquired works of art for the col- New York City, Robert M. Bass from Fort lections during the year, and supported Worth, Texas, and Richard Kirstein, from film production, music, and conservation. Chevy Chase, Maryland, to the Trustees' Pablo Picasso, Harlequin Musician, 1940, Given in This national membership group, devoted loving memory of her husband, Taft Schreiber, by Council. to realizing projects for which there are Rita Schreiber, 1989.31.2 (detail) We were saddened by the death of Mrs. no public funds, is led by Katharine

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Vincent van Gogh, Roses, 1890, Partial and even- Graham and Robert H. Smith. Members Director and the External Affairs Officer tual gift of Mrs. W. Averell Harriman in honor of the contributed $473,000 for Gallery pro- and reporting to the Director, is coordi- Fiftieth Anniversary of the National Gallery of Art grams in fiscal year 1989, an increase of nating the anniversary campaign. (detail) more than 25 percent in three years. While generously providing for the care Looking ahead to the Gallery's 50th and safekeeping of our national art collec- anniversary in 1991, I am delighted to tion, including operational costs for our report that gifts and pledges to the 50th conservation department, the Gallery's Anniversary Gift Committee made this federal appropriations do not support year have brought us past the halfway training and internship opportunities. To mark toward our goal of $5 million. Mem- address this basic need, the Andrew W. bers of this Committee, whose names ap- Mellon Foundation awarded the Gallery a pear on page 117, are contributing funds $ 1 million challenge grant to create a to purchase a major work of art as an an- core endowment for conservation training niversary gift. The Gift Committee is programs. We were gratified by a major chaired by Trustee Robert H. Smith. grant from the Charles E. Culpeper Foun- Gifts in kind, most notably that of Mrs. dation in response to this challenge. Harriman, also continue to be made in Our deep thanks go to these and the honor of the Gallery's fiftieth anniversary, many other donors to the Gallery this and will be exhibited in a special exhibi- year, of funds, art, or volunteer services. tion in 1991, celebrating the great tradition of philanthropy in America. A steering committee made up of curatorial and John R. Stevenson development staff, headed by the Deputy President Director's Report

In this, the first annual report to appear Conservation efforts germane to the in the new decade, we have decided to maintenance of the collection continued change the format somewhat in the inter- simultaneously with this support for the ests of legibility and compression. systematic catalogue. In addition to mak- I will not be reporting on the year in ing progress on several large ongoing chronological fashion, as I have for some projects, painting conservators this year time, for the Gallery's activities have be- completed twenty-two major conservation come so complex that one inevitably treatments. Among them, two important leaves out much in attempting to be inclu- seventeenth-century Spanish paintings sive. Therefore, this year, this report will were cleaned. Conservators painstakingly present a brief overview of the year's removed layers of darkened varnish from main activities, and readers are encour- El Greco's Saint Jerome and Velazquez's aged to turn to individual departmental The Needlewoman, giving the twentieth- reports for a fuller discussion of the Gal- century viewer access to the masterful lery's principal functions. underpainting and compelling brushwork In fiscal 1989 the National Gallery re- characteristic of each artist's style. An- ceived more than six million visits, a grati- other welcome achievement was the re- fying number during a year marked by a joining of two fifteenth-century Sienese decline generally in Washington tourism. panels by Francesco di Giorgio. At least It continued also to serve a global audi- 150 years ago the painter's Nativity was ence of many tens of millions who, cut into two parts. The Metropolitan Mu- through film, television, slides, and our seum of Art eventually came to own the audiovisual and educational materials, primary image of the Nativity, and the came into contact with works of art in the Gallery acquired the lunette, God the Fa- Gallery's care. ther Surrounded by Angels and Cherubim, The core of the National Gallery is un- given by the Samuel H. Kress Collection. questionably its permanent collection, Working for the first time with the Metro- and considerable energy on the part of politan's painting conservation depart- the staff is directed to the presentation, ment, it was possible to restore the panel research, physical care, and augmenta- to its original visual and iconographic tion of the Gallery's holdings. The ambi- complexity. Furthermore, we have agreed tious project to publish a systematic cata- with our colleagues in New York to share logue of the collection moved forward in the painting, with each institution taking 1989 with the editing of volumes devoted custody for alternate five-year periods. to British and Spanish paintings. Part of The collection grew in 1989 both by the research for this catalogue is done in gift and purchase. Our seventeenth- our conservation laboratories, where century holdings were enhanced by a nearly four hundred examinations were large still life by Abraham Mignon. Sena- completed in connection with this project tor and Mrs. H. John Heinz III made a last year. partial gift of Still Life with Fruit, Fish,

9 teenth century, a particularly important romantic landscape, Horace Vernet's La Chasse dans les Marais Pontins of 1833, was obtained at auction in Paris. Painted when the artist was the director of the French Academy in Rome, Vernet's dark and and moody landscape has a particular resonance for the Gallery's collection, which is so strong in the impressionist and post-impressionist landscapes produced at the end of the nineteenth century and the start of the twentieth. Three remarkable works from our century came to the Gallery by bequest from Rita Schreiber in memory of her husband, Taft Schreiber. Picasso's great synthetic cubist painting of 1924, Harlequin Musician, is the latest addition to a core group of works that document Picasso's allegiance to traditional subject matter while evolving innovative styles. Also included in the bequest was Matisse's 1940 Woman Seated in an Armchair, painted in Nice, and Brancusi's Bird in Space, a 1927 polished bronze cast that reveals, as it soars to its height of more than six feet, the artist's sensitive and loving ex- ploitation of the immaculate surface of re- flective bronze. Other major donations included five early paintings by Barnett Newman donated by his widow, Annalee Newman. Already rich in late works by Newman because of Robert E. and Jane B. Mey- erhoff s 1987 gift of the series of fifteen paintings, The Stations of the Cross— Lema Sahachthani and Be II, the Gallery is profoundly grateful to Mrs. Newman for parting with these works from her personal collection. Francesco di Giorgio, God the Father Surrounded by and a Nest. Benjamin West's 1791 The The Collectors Committee gave two Angels and Cherubim, c. 1470, Samuel H. Kress Expulsion of Adam and Eve from Para- granite settees, executed by Scott Burton Collection, 1952.5.8, rejoined with The Nativity, dise provides the collection with an excel- a year before his untimely death. At once The Metropolitan Museum of Art (after lent example of the grand and monumen- conservation) whimsical and challenging, the Burton tal historical scenes that were so highly stone furniture brings to twenty the num- prized in the late eighteenth and early ber of art works given by the Collectors nineteenth centuries. This canvas, one of Committee in their twelve years of exis- West's mature works, joins a number of tence. Under the able direction of co- earlier paintings in Washington to give a chairs, Ruth Carter Stevenson and Edwin fuller understanding of the American L. Cox, the Committee plays a vital role in painter who succeeded Sir Joshua Rey- strengthening the Gallery's collection of nolds to become the second president of twentieth-century art. The Collectors London's Royal Academy of Arts and Committee gifts made an interesting com- thus enjoys a key position in both British parison with two painted wooden pieces and American art history. From the nine- by Roy Lichtenstein, Brushstroke Chair,

10 Henri Matisse, Woman Seated in an Armchair, Wood, and Brushstroke Ottoman, Wood, that was so important to dada artists in 1940, Given in loving memory of her husband, Taft given by Graphicstudio and the artist. their rejection of European culture at the Schreiber, by Rita Schreiber, 1989.31.1 In the realm of works of art on paper, a time of World War I. Armand Hammer wide range of gifts and purchases was ac- gave two important nineteenth-century cessioned, including objects as diverse as British works, David Cox's Mountain the exquisite Three Feminine Heads by Heights, Coder Idris, and Edward Burne- Parmigianino, given by The Circle of the Jones' Ariadne. Income from the Ailsa National Gallery of Art, and a major Mellon Bruce Fund secured two splendid group of sixty-five of Walker Evans' New Guercino drawings, a red chalk study for York subway photographs from 1939- the Gallery's painting Ammon and Tamar 1941. With income from the Patrons' and a pen and ink landscape with a wa- Permanent Fund, the Gallery acquired its terfall. In 1989 we moved the entire first work by Francis Picabia, Machine American print, drawing, and photograph Turn Quickly. This large and important collection to the West Building and gouache relies on the machine imagery opened an adjacent study room there.

11 The East Building remains the repository for European works on paper. Through advance arrangements, these print study rooms afford unique and secure opportunities for the relaxed and intimate con- templation of works of art on paper, and more than 1,000 visitors availed them- selves of this service during the year. A complete list of acquisitions is published in the section on pages 19-24 of this publication. It is worth recalling that all works of art that come to the National Gallery do so as a result of private generosity, and not from governmental appropriations, as is the case with many national institutions abroad. Since the Gallery's opening in 1941, the government has underwritten the maintenance of the physical plant and has funded the majority of its programs and all but a few of its staff. The entire staff is listed by function for the first time this year at the end of this publication. Perhaps the most visible indication of the public-private partnership at the Gal- lery is the loan exhibition program, where sixteen of the twenty-one exhibitions in 1989 received corporate or foundation support. These demanding projects, a long-standing tradition at the National Gallery, are valuable for a variety of rea- sons. They permit this institution to exhibit a far greater range of art than it will ever own. The special context and temporary status of a loan exhibition go hand- in-hand at the Gallery with new scholarship and a commitment to publishing the latest art historical information. The flexi- bility of the special exhibition program allows the Gallery to mount shows that parallel and amplify the permanent collection and to exhibit works of art from fields in which it would never collect. From the latter category, the highlight of the exhibition year was without a doubt Japan: The Shaping of Daimyo Culture 1185-1868, a show that focused on the art of the daimyo, the feudal lords who ruled Japan for nearly 700 years. The largest exhibition of its kind ever presented in the West or Japan, the show brought together more than 450 Japanese-owned works of art. These were selected for their expression of the aesthetic ideals and social character of the A Japanese garden in the East Building's north garden court (left), displays of armor (above), and a performance of No theater (below) for Japan: The Shaping of Daimyo Culture ',•••• •— W-'MM - *

The Ennan Teahouse in the East Building's central court (left), and a demonstration for The Art of the Tea Ceremony (below) Japanese nation in its feudal age, an era Paris, the show resolved some critical characterized by two primary elements: problems in establishing a secure chro- bu, the martial tradition, and bun, the civ- nology for Cezanne's paintings. England's ilizing arts of peace. Essentially warrior- Fitzwilliam Museum in Cambridge is one aristocrats, the daimyo were virtually un- of the oldest and richest institutions in the known in the West despite their central Western museum tradition. Treasures from and crucial position in the Japanese hier- the Fitzwilliam: The Increase of Learning archy of power—shogun, daimyo, and sa- and Other Great Objects explored the en- murai. Our colleagues in Japan provided cyclopedic approach to collecting and the cooperation at every level, making it pos- influential role of such an institution in a sible to borrow an unprecedented num- university community. ber of major works. Nearly one-third of Two special anniversaries were marked the objects in the show were officially des- by exhibitions. The invention of photogra- ignated by the Japanese government as phy was celebrated in a sweeping survey National Treasures, Important Cultural of some 400 images entitled On the Art of Properties, and Important Art Objects. Fixing a Shadow: 150 Years of Photogra- Coinciding with the exhibition were ed- phy. The tenth anniversary of the East ucational presentations designed to en- Building of the National Gallery was ob- hance the viewer's understanding of served by a greatly expanded reinstalla- daimyo culture. A series of No plays was tion of the twentieth-century collection presented by Japanese master players on along with important loans. Occupying a traditional No stage constructed on the three levels and over 30,000 square feet mezzanine of the East Building. The of space, this massive project presents project was amplified further by a recrea- works from the beginning of the century tion of the traditional Japanese tea cere- through the late 1980s. Slated to run in mony, which included the construction, its original form until the end of 1990, also in the East Building, of a traditional the exhibition is accompanied by a two- tea house and its garden as well as dem- volume publication. One work profiles the onstrations by Japanese tea masters and East Building's architecture, chronicling students and a display of historic tea its ten-year history of exhibitions. The utensils. The exhibition was seen only in other documents the major gifts and ac- Washington. quisitions of modern art since 1978. A wide variety of other special exhibi- Finally, given its role as the nation's art tions characterized the year. One of the gallery in the nation's capital, it is always highlights was Michelangelo: Draftsman/ gratifying to hold an important exhibition Architect, a two-part exhibition of more of American art. American Paintings from than seventy-five drawings illustrating the the Manoogian Collection was on view major phases of the artist's development during Washington's busy summer as well as the key categories of his work. months. Drawn from one of today's finest The show included splendid contempo- private collections of American art, the rary wooden models of two major archi- show included some seventy works docu- tectural projects: the fagade of Florence's menting the richness and variety of paint- San Lorenzo, and the drum and dome of ing in nineteenth-century America. All in Saint Peter's Basilica in Rome. The Art of all, during the year, the Gallery borrowed Paolo Veronese 1528-1588 commemo- more than 2,000 works of art from nearly rated the 400th anniversary of the death 400 lenders in thirty-one states and six- of one of Venice's greatest golden age teen countries. painters in an exhibition that comprised The remarkable panoply of art, dis- fifty paintings and fifty-five drawings. In a played on a permanent or temporary ba- different vein, Cezanne: The Early Years sis in 1989, provided the Gallery with a 1859-1872 chronicled the restless and great number of opportunities to pursue fertile early career of one of the key fig- educational goals. A varied program of ures in the development of modern paint- tours, lectures, and films continued to be ing. Shared with The Royal Academy of available for the National Gallery's visi- Arts in London and the Musee d'Orsay in tors, and an elaborate and effective out-

15 reach program made slide and automated routine acquisition of new publications, a programs as well as films and videocas- major achievement was the purchase this settes available both to educational and year of the van Hattum collection, com- cultural organizations and to public and prising seventeenth- and eighteenth- educational television systems. As is ap- century volumes on Dutch culture. These propriate for the nation's art gallery, ev- rare books bolster the splendid visual re- ery state saw broadcasts of our educa- sources in the Gallery's collection of tional programs. Also during the year the Dutch paintings, drawings, and prints. Gallery established an annual summer art For some time now the library has been institute for teachers, designed to prepare installing an advanced automated system. elementary and secondary level teachers The efficiency of the new technology was to teach art and the humanities more ef- dramatized this year with the closing of fectively. Recent studies published by the further additions to the main card cata- National Endowment for the Humanities logue, eliminating the labor-intensive and the National Endowment for the Arts need to file thousands of cards. While the have indicated that part of the current cri- first to admit to certain pangs of nostalgia sis in American education is the need to about standing at the card catalogue and improve visual literacy. At the Gallery the flipping through the entries, I can testify consensus has been that the most imme- enthusiastically to the neatness and speed diate method for addressing this need is of the new system, which permits readers to find ways to help the teaching of teach- to access titles at a large number of "user- ers. Discussions with colleagues at the friendly" computer screens. National Art Education Association and As the Gallery moves toward its fiftieth the management of Binney & Smith, Inc., anniversary year, a look back reminds us who are providing corporate support, re- that 1989 was the twentieth anniversary sulted in the funding of a new program of the death of one of the Gallery's great- under the supervision of Linda Downs, est patrons, Ailsa Mellon Bruce. Just as who was appointed the head of education her father, Andrew Mellon, did not live to at the National Gallery at the end of July. see the completion of the West Building Downs' duties include participation in the and its public opening, she did not see planning and execution of the Gallery's the completion of the East Building. Nev- major public program initiatives, embrac- ertheless, it seems particularly appropri- ing exhibitions, media projects, and ate that two decades after her death many publications. of her best-loved paintings from her re- Also key in the Gallery's educational markable collection of late nineteenth- efforts are the activities of the Center for century French art constituted a special Advanced Study in the Visual Arts, now loan exhibition to Bologna and Venice, in its ninth year, which continues to im- where, in spite of the great diversity of ar- plement a four-part program of fellow- tistic treasures, the public has no regular ships, meetings, publications, and re- access to French impressionism. Also in search. It also continued its participation 1989 her brother Paul Mellon gave the in the Association of Research Institutes Gallery two letters written by President in Art History, a networking organization Franklin Roosevelt to their father, ex- of twelve North American institutions. pressing the president's support and en- This year the Center co-sponsored the thusiasm for Andrew Mellon's offer to symposium "American Art around 1900: give the nation an art gallery. Lectures in Memory of Daniel Fraad, Jr.," The fourth Andrew W. Mellon dinner with the Metropolitan Museum of Art. took place in April. Conceived as a trib- Crucial to the work of both the Gallery ute to the Gallery's founder, the evening is and the Center is the library, and 1989 traditionally the National Gallery's grand- was an important year for this division. est. President and Mrs. Bush honored us Library usage is up substantially from by attending, and the president made the previous years, reflecting not only an in- first speech of his administration pertain- crease in staff use but also a greater num- ing to the arts and their importance. ber of outside readers. In addition to the The occasion provided an opportunity lery, and, ably supported by our two senior curators, Andrew Robison and Charles S. Moffett, the curatorial and pro- grammatic activities of the Gallery have been reviewed and strengthened on a variety of fronts. Meanwhile, the care and maintenance of our remarkable physical plant has become a crucial aspect of our concern. As- bestos containment and removal continued in the West Building during the year, while investigations began into the replacement of the West Building's original skylights with state-of-the-art counterparts that will provide, with greater efficiency and safety, the natural light that is so de- sirable for the exhibition of our painting collection. Although this is my twentieth annual report as director of the National Gallery, the activities it touches on cannot begin to encompass the satisfactions that come with the inherent variety of this position. Not only is one in contact with extraordinary works of art from a great diversity of cultures, but with people one encounters in growing numbers—donors, supporters, lenders, colleagues, visitors, and members of a superb staff. They enrich one's own life, this institution, and the lives of President and Mrs. Bush with Mr. and Mrs. Paul to reflect on the tremendous number of those whom it touches, immeasurably. Mellon at the Andrew W. Mellon dinner donors to the Gallery, among whom those who have given this year are listed on J. Carter Brown page 117. It is the ongoing generosity Director and loyalty to and widespread affection for this institution that makes working here such a privilege. Particularly notable in the philanthropic year was the announcement of the hauntingly beautiful Van Gogh Roses as a partial and eventual gift by Mrs. W. Averell Harriman in honor of the Gallery's fiftieth anniversary. The Gallery's various support groups continued to flourish, as described in the report of Gallery president, John R. Stevenson, and planning for the fiftieth occupied the attention of many on the Gallery's staff. One of the most significant events for the Gallery in fiscal year 1989 was the assumption of the duties of the deputy director by Roger Mandle, formerly director of The Toledo Museum of Art. His energy, dedication, and freshness of vision have been felt throughout the Gal-

Art Programs

Acquisitions Vernet, Horace, French, 1789-1863 La Chasse dans les Marais Pontins, 1833, canvas, 1989.3.1, Chester Dale Fund

West, Benjamin, American, 1738-1820 PAINTINGS The Expulsion of Adam and Eve from Paradise, 1791, canvas, 1989.12.1, Avalon Fund and Patrons' Permanent Fund Cole, Thomas, American, 1801-1848 Sunrise in the Catskills, 1826, canvas, 1989.24.1, Gift of Mrs. John D. Rockefeller 3rd SCULPTURE Haseltine, William Stanley, American, 1835-1900 Natural Arch at Capri, 1871, canvas, 1989.13.1, Patrons' Permanent Fund Anguier, Michel, French, 1612-1686 Ceres Searching for Persephone, modeled 1652, cast Jonson, Raymond, American, 1891-1982 probably c. 1650s/1670s, bronze, 1989.44.1, Variations on a Rhythm— U, 1933, canvas, Patrons' Permanent Fund 1988.72.1, Gift of Dr. and Mrs. Robert Fishman Brancusi, Constantin, Romanian, 1876-1957 Matisse, Henri, French, 1869-1954 Bird in Space, 1927, bronze, 1989.31.3, Given in Woman Seated in an Armchair, 1940, canvas, loving memory of her husband, Taft Schreiber, by 1989.31.1, Given in loving memory of her Rita Schreiber husband, Taft Schreiber, by Rita Schreiber Burton, Scott, American, 1939-1989 Mignon, Abraham, German, 1640-1679 Rock Settee, 1988, granite (green) Still Life with Fruit, Fish, and a Nest, c. 1675, Rock Settee, 1988, granite (pink) canvas, 1989.23.1, Partial and promised gift of 1988.68.1-2, Gift of the Collectors Committee H. John Heinz III Degas, Edgar, French, 1834-1917 Newman, Bamett, American, 1905-1970 Study of a Mustang, modeled c. 1860/1862, Pagan Void, 1946 cast 1919/1921 Dionysius, 1949 Horse Walking, modeled c. 1860/1870, Yellow Painting, 1949 cast 1919/1921 The Name //, 1950 bronze, 1989.28.1-2, Gift of Mrs. Lessing J. Achilles, 1952 Rosenwald canvas, 1988.57.1-5, Gift of Annalee Newman Hague, Raoul, American, born 1905 Picasso, Pablo, Spanish, 1881-1973 Schwamengang Hills, 1968, wood, 1989.30.1, Harlequin Musician, 1924, canvas, 1989.31.2, Gift of Cynthia Hazen Polsky Given in loving memory of her husband, Taft Schreiber, by Rita Schreiber Lichtenstein, Roy, American, born 1923 Brushstroke Chair, Wood, 1987 Bernhardt, Ad, American, 1913-1967 Brushstroke Ottoman, Wood, 1987 Untitled, 1947, canvas, 1988.60.1, Ailsa Mellon painted wood, 1988.55.1-2, Gift of Graphicstudio Bruce Fund and Gift of The Circle of the National and the Artist Gallery of Art Rodin, Auguste, French, 1840-1917 S a very, Boelandt, Dutch, 1576-1639 Lady Sackville, 1913/1914, plaster, 1988.54.1, Landscape with Animals and Figures, 1624, wood, Gift of the B. Gerald Cantor Art Foundation 1989.22.1, Gift of Robert H. and Clarice Smith Stella, Frank, American, born 1936 Abraham Mignon, Still Life with Fruit, Fish, and Soyer, Baphael, American, 1899-1987 Maquette for La Scienza della Fiacca, 1983, black a Nest, c. 1675, Partial and promised gift of Blond Figure, 1940s, canvas, 1989.25.1, Gift of ink and lithograph glued to sheets of foamcore, H. John Heinz III, 1989.23.1 (detail) James N. Rosenberg 1988.58.1, Gift of Lawrence Rubin

19 Burnand, Eugene, Swiss, 1850-1921 Burnand Sketchbook, 1885/1887, sketchbook with 23 pen and ink drawings and one graphite sketch, 1989.20.l.a-x, Ailsa Mellon Bruce Fund

Burne-Jones, Edward Coley, Sir, British, 1833-1898 Ariadne, 1863/1864, watercolor and gouache over graphite, 1989.2.1, The Armand Hammer Collection

Cox, David, British, 1783-1859 Mountain Heights, Cader Idris, c. 1850, watercolor over chalk on oatmeal paper, 1989.8.1, The Armand Hammer Collection

Cruikshank, George, British, 1792-1878 Fairy Connoisseurs Inspecting Mr. Frederick Locker's Collection of Drawings, 1867, watercolor and graphite, 1989.28.7, Gift of Mrs. Lessing J. Rosenwald

Forain, Jean-Louis, French, 1852-1931 Ballet Dancer, pastel on blue paper, 1989.28.13, Gift of Mrs. Lessing J. Rosenwald

Goltzius, Hendrik, Dutch, 1558-1617 The Holy Family with Saint Elizabeth and Saint John the Baptist, 1595, pen and brown ink, brown wash, and white heightening on brown paper, incised for transfer, 1989.19.1, Patrons' Permanent Fund

Guercino, Italian, 1591-1666 Amnon and Tamar, 1649, red chalk, 1989.14.1 Landscape with a Waterfall, pen and brown ink, 1989.34.1 Ailsa Mellon Bruce Fund

Herz, Johann Daniel, the Elder, German, 1693-1754 Rococo Cartouche with Allegorical Figures, red and black chalk, 1989.43.1, Ailsa Mellon Bruce Fund

Hind, Arthur Mayger, British, 1880-1957 Willow and Pool in Spring, 1947, watercolor over graphite Landscape near Meersburg, 1928, brown wash over graphite Barn near Henley-on-Thames, 1929, pen and black ink with brown wash over graphite 1989.28.14-16, Gift of Mrs. Lessing J. Rosenwald Hendrik Goltzius, The Holy Family with Saint Eliz- DRAWINGS abeth and Saint John the Baptist, 1595, Patrons' Juvara, Filippo, Italian, 1678-1736 Permanent Fund, 1989.19.1 Architectural Fantasies with Temples and Pyramids, 1704, pen and iron gall ink with blue and brown Appian, Adolphe, French, 1818-1898 wash, 1989.6.1, Ailsa Mellon Bruce Fund A Woodland River with a Fisherman, charcoal, chalk, and brushed washes, 1989.16.1, Ailsa Le Moyne, Francois, French, 1688-1737 Mellon Bruce Fund Saint John the Baptist, c. 1717, black chalk with white heightening on brown paper, 1989.42.1, Gift Artaria, Domenico, Italian, active late 18th of Neil and Ivan Phillips century, and various artists Album Amicorum, bound album of 6 watercolors, Marin, John, American, 1870-1953 one graphite sketch, and one gouache, New England Landscape, 1914, watercolor over 1989.39.l.a-h, Ailsa Mellon Bruce Fund graphite, 1989.25.2, Gift of James N. Rosenberg

Bazicaluva, Ercole, Italian, c. 1610-1661 McBey, James, Scottish, 1883-1959 or after Antwerp, 1926, watercolor, 1989.28.25, Gift of Death and the Woodman, in a Coastal Landscape Mrs. Lessing J. Rosenwald with Ruins, pen and brown ink over black chalk, Miel, Jan, Flemish, c. 1599-1663 1988.64.1, Ailsa Mellon Bruce Fund Seated Cavalier with His Arm Akimbo, black chalk Boissieu, Jean-Jacques de, French, 1736-1810 and brush and black ink with white heightening on A Country Road across an Ancient Bridge, brown blue paper, 1989.33.1, Ailsa Mellon Bruce Fund wash over graphite, 1989.41.1, Ailsa Mellon Bruce Fund

20 Naldini, Giovanni Battista, Italian, 1537-1591 PRINTS Studies of a Male Nude, red chalk, 1988.69.2, Gift of William B. O'Neal

Parmigianino, Italian, 1503-1540 Aguilonius, Franciscus (author), Flemish, Three Feminine Heads, c. 1522/1524, red chalk, 1567-1617 1989.1.1, Gift of The Circle of the National Gallery Opticorum Libri Sex, published 1613, bound of Art volume with engravings by Theodor Galle after Peter Paul Rubens, 1989.36.1, Ailsa Mellon Bruce Pennington, Harper, American, Fund c. 1853/1855-1920 Portrait of Whistler with a Paintbrush, pen and ink Antonio da Trento, Italian, c. 1508-1550 or after over graphite, 1988.53.5, Gift of Mark Samuels The Holy Family with Two Saints, after Parmigia- Lasner nino [proof] The Martyrdom of Two Saints (recto and verso), after Peruzzi, Baldassare, Italian, 1481-1536 Parmigianino Seated Female Figure after the Antique, pen and chiaroscuro woodcuts, 1988.65.1-3.a,b, Ailsa brown ink, 1988.69.3, Gift of William B. O'Neal Mellon Bruce Fund

Picabia, Francis, French, 1879-1953 Appian, Adolphe, French, 1818-1898 Machine toumez vite (Machine Turn Quickly), 1916/ At Venice, 1878, etching, 1989.21.1, Ailsa Mellon 1918, gouache and metallic paint, 1989.10.1, Bruce Fund Patrons' Permanent Fund Barbari, Jacopo de\ Italian, c. 1460/1470- Piranesi, Francesco, Italian, c. 1758-1810 1516 or before Palazzo della Consulata, graphite, 1988.70.1, Saint Jerome, c. 1501/1504, engraving, Anonymous Gift 1989.18.1, Ailsa Mellon Bruce Fund

Robson, George Fennel, British, 1783-1833 Bellange, Jacques, French, 1594-1638 A Loch in Scotland, watercolor over graphite, The Blind Hurdy Gurdry Player, etching and 1989.37.1, Ailsa Mellon Bruce Fund engraving, 1989.17.1, Ailsa Mellon Bruce Fund Jacopo de' Barbari, Saint Jerome, c. 1501/1504, Ailsa Mellon Bruce Fund, 1989.18.1 Roihenstein, William, Sir, British, 1872-1945 Bianchini, Francesco (author), Italian, Self Portrait, black chalk, 1988.53.1, Gift of Mark 1662-1729 Samuels Lasner Camera ed Inscrizioni Sepulcrali, published 1727, bound volume with engravings by Girolamo Rossi II Rowlandson, Thomas, British, 1756-1827 after Antonio Buonamici, 1989.15.1, Gift of The Fitting, 1890/1891 Nancy Cock—Clear Starcher, c. 1815, pen and gray Bert Freidus color drypoints and aquatints ink with watercolor over graphite, 1988.66.1, Ailsa 1989.28.4-6, Gift of Mrs. Lessing J. Rosenwald Mellon Bruce Fund Blery, Eugene, French, 1805-1887 Castiglione, Giovanni Benedetto, Italian, Saint-Aubin, Gabriel Jacques de, French, Au ravin de la faille, Auvergne (The Ravine at Auvergne), 1846, etching on chine applique [proof], probably 1610-probably 1670 1724-1780 1988.63.1, Ailsa Mellon Bruce Fund The Nativity with God the Father and the Holy The Epilogue from Voltaire's "Princesse de Navarre," Spirit, c. 1645, etching, 1988.62.1, Gift of Bert red chalk, 1989.5.1, Ailsa Mellon Bruce Fund Bonnet, Louis Marin, French, 1736-1793 Freidus Sandby, Paul, British, 1725-1809 Anna Vanloo, after Carle Vanloo, crayon-manner Celmins, Vija, American, born 1939 Ladies and Gentlemen in a Country Park, pen and engraving on blue paper, 1989.32.1, Ailsa Mellon Bruce Fund Alliance, 1983, aquatint, mezzotint, and drypoint black ink and graphite, 1989.37.2, Ailsa Mellon Jupiter Moon—Constellation, 1983, mezzotint and Bruce Fund Borofsky, Jonathan, American, born 1942 etching Schmutzer, Jakob Mathias, Austrian, Stick Man, 1983, lithograph Constellation—Uccello, 1983, aquatint and etching 1733-1811 Space Head, 1983, lithograph/screenprint Drypoint—Ocean Surface, 1983, drypoint In Search of the Truth, 1982 A Young Man with Flowing Hair, 1777, red and 1988.74.13-16, Gift of Gemini G E L. and the I Dreamed I Found a Red Ruby, 1982 brown chalk, 1989.38.1, Ailsa Mellon Bruce Fund Artist Self Portrait, 1982 Swart van Groningen, Jan, Dutch, c. 1500- lithographs Cochin, Charles-Nicolas, II, French, 1715-1790 1553 or after Subway Dream, 1983, screenprint with pro- Charles Duclos, 1763, engraving over etching, Moses Delivering God's Commandments to the grammed electronic dimmer/incandescent lamp 1988.71.5, Gift of John O'Brien Israelites, pen and black ink and brown wash, I dreamed I was having my photograph taken with a Cruikshank, George, British, 1792-1878 1989.9.1, Ailsa Mellon Bruce Fund group ofpeople. Suddenly, I began to rise up and fly Fairy Connoisseurs Inspecting Mr. Frederick Locker's around the room. Half way around, I tried to get out Collection of Drawings, 1868, etching, 1989.28.8, Tiepolo, Giovanni Battista, Italian, 1696-1770 the door. When I couldn't get out, I continued to fly Gift of Mrs. Lessing J. Rosenwald Classical Figures Gathered around an Urn, late around the room until I landed and sat down next to 1720s, pen and brown ink, 1989.7.1, Pepita my mother who said I had done a good job!, 1983, Dali, Salvador, Spanish, 1904-1989 Milmore Memorial Fund screenprint Lother Greene Calling Card, engraving, 1988.69.1, People Running, 1982 Gift of William B. O'Neal I Dreamed I Found a Red Ruby, 1982 lithographs Davis, Ronald, American, born 1937 All is One, All is One, 1983, two-panel screenprint Green Disc, 1983 Molecule Men, 1982, screenprint Black Disc, 1983 1988.74.1-12, Gift of Gemini G E L. and the Artist Yellow Brick, 1983 Red Brick, 1982 Cassatt, Mary, American, 1844-1926 Disc Slab, 1983 Afternoon Tea Party, 1890/1891, color drypoint and Disc Slab (Black State), 1983 aquatint with touches of gold paint lithographs Woman Bathing, 1890/1891 Copper Block, 1983, aquatint with collage

21 Sky, 1983 lithographs, 1988.74.38-53, Gift of Gemini G.E.L. and the Artist

Heizer, Michael, American, born 1944 Vertical Displacement, 1985, etching and dry point Montana Survey # 1, 1985 Montana Survey #2, 1985 Montana Survey #3, 1985 photo-etchings and drypoint 1988.74.87-90, Gift of Gemini G.E.L. and the Artist

Heyden, Pieter van der, Flemish, active c. 1551-1572 Autumn, after Hans Bol, engraving, 1989.28.3, Gift of Mrs. Lessing J. Rosenwald

Hirschvogel, Augustin, German, 1503-1553 Landscape with High Cliffs, River, and City, 1546, etching, 1989.28.17, Gift of Mrs. Lessing J. Rosenwald

Hockney, David, British, born 1937 William Burroughs, 1981 John Hockney, 1981 James, 1981 lithographs Celia in a Polka Dot Skirt, 1981, lithograph and screenprint Celia in an Armchair, 1981 Celia with Green Plant, 1981 Celia—Reclining, 1979 Celia—A djusting her Eyelash, 1979 Big Celiaprint # 1, 1982 Philip Guston, Painter, published 1983, Gift of Gaucher, Charles-Etienne, French, 1741-1804 Two Vases of Cut Flowers and a Liriope Plant, 1981 Charles Jean Franqois Henault, after Charles-Nicolas Gemini G.E.L. and the Artist, 1988.74.43 Celia in the Director's Chair, 1981 Cochin II, engraving and etching, 1988.71.6, Gift Celia (La Bergere), 1981 of John O'Brien lithographs Ghisi, Giorgio, Italian, 1520-1582 1988.74.54-65, Gift of Gemini G.E.L. and the Yellow Slab, 1983 Artist Blue Slab, 1983 Hercules Resting from His Labors, 1567, engraving, 1989.26.1, Gift of Ruth and Joseph Bromberg in Red Slab, 1983 Isozaki, Arata, Japanese, born 1931 memory of their son, Michael aquatints and mezzotints MOCA Print, 1981, etching and aquatint, Samson's Lizard, 1983, photogravure and aquatint Goltzius, Hendrik, Dutch, 1558-1617 1988.74.66, Gift of Gemini G.E.L. and the Artist with hand-coloring The Holy Family, 1585, after Bartholomaeus Ito, Wako, Japanese, active 20th century Tri-Box and Grid, 1983, etching Spranger Still Life with Apple and Walnuts Block, 1983, lithograph Robert Dudley, Earl of Leicester, 1586 Still Life with Strawberries 1988.74.17-29, Gift of Gemini G.E.L. and the engravings, 1989.45.1-2, Ailsa Mellon Bruce Fund Artist color mezzotints, 1989.28.18-19, Gift of Goode, Joe, American, born 1937 Mrs. Lessing J. Rosenwald De Looper, Willem, Netherlandish, born 1932 Forest Fire Aftermath, 1985, lithograph, Johns, Jasper, American, born 1930 Tunis (Tunis on My Mind), 1988, 36-color screen- 1988.74.37, Gift of Gemini G.E.L. and the Artist print, 1988.73.1, Gift of the Smithsonian Resident Cicada, 1981 Associate Program Guercino, Italian, 1591-1666 Two Flags (Whitney Anniversary), 1980 Saint Anthony of Padua, etching, 1989.40.1, Ailsa Two Flags, 1981 Delia Bella, Stefano, Italian, 1610-1664 Mellon Bruce Fund Two Flags (Whitney Anniversary), 1980 Four prints from the series Fantastic Vases, etchings, Untitled, 1980 1989.28.9-12, Gift of Mrs. Lessing J. Rosenwald Guston, Philip, American, 1913-1980 lithographs, 1988.74.67-71, Gift of Gemini G.E.L. Sea Group, 1983 Floris, Cornells, II, Flemish, 1514-1575 Studio Corner, 1981 Jones, James, American, active 1932-1942 Grotesque, 1557, engraving, 1989.27.1, Gift of Agean, 1981 Mision San Luis Rey de Francia Arthur and Charlotte Vershbow Gulf, 1983 Mision San Diego de Alcala Studio Forms, 1980 Mision Nuestra Senora La Reina de Los Angeles Francis, Sam, American, born 1923 Painter, 1983 Mision San Carlos de Monterey Generated, 1983, two-panel lithograph View, 1983 Mision San Carlos de Borromeo de Carmelo Dark and Fast, 1983, lithograph Curtain, 1981 Mision San Francisco de Solano Vorstellung, 1983 Group, 1981 Mision San Antonio de Padua Totem, 1983 Scene, 1981 Mision San Francisco de Asis Second Mother, 1983 Pile Up, 1983 Mision Santa Clara aquatints Door, 1981 Mision de Santa Cruz Falling Star, 1981, lithograph Shoes, 1981 Mision San Jose 1988.74.30-36 Objects, 1983 Mision Santa Margarita Paradise of Ash, 1983, two-panel lithograph Easel, 1983 Mision San Fernando Rey de Espana 1988.74.157,158 lithographs, 1989.29.1-13, Gift of Mrs. Holger Gift of Gemini G.E.L. and the Artist Cahill

22 Kelly, Ellsworth, American, born 1923 Concorde II, 1982 Concorde II (State), 1982 Square with Black, 1982 Square with Black (State), 1982 Diagonal with Black, 1982 Diagonal with Black (State), 1982 Concorde V, 1982 Concorde V (State), 1982 Concorde IV (State), 1982 Concorde IV, 1982 Concorde I, 1982 Concorde III, 1982 Concorde III (State), 1982 aquatints (MOCA Print), 1983 St. Martin Tropical Plant, 1981 lithographs 1988.74.72-86, Gift of Gemini G.E.L. and the Artist

Kollwitz, Kathe, German, 1867-1945 Woman with Dead Child (Frau mit totem Kind), 1903, engraving and soft-ground etching with black chalk, graphite, and metallic gold paint, 1988.67.1, Ailsa Mellon Bruce Fund Peasant Woman in a Blue Shawl, lithograph, 1989.28.20, Gift of Mrs. Lessing J. Rosenwald

Lehrer, Leonard, American, born 1935 Island, 1966, drypoint and roulette Welshpool, 1971, lithograph Inlet, 1966, roulette Sabika, 1972, lithograph 1989.28.21-24, Gift of Mrs. Lessing J. Rosenwald

Lempereur, Louis-Simon, French, 1728-1807 Philippe Cayeux, after Charles-Nicolas Cochin II, engraving over etching, 1988.71.1, Gift of John O'Brien

Lichtenstein, Roy, American, born 1923 Two Paintings: Green Lamp, 1984 Painting on Canvas, 1984 Two Paintings: Sleeping Muse, 1984 Two Paintings: Beach Ball, 1984 woodcuts, lithographs, and screenprints Two Paintings: Dagwood, 1984 Painting on Blue and Yellow Wall, 1984 woodcuts and lithographs 1988.74.91-96, Gift of Gemini G.E.L. and the Artist

Master FG, German, active 1534/1537 Penelope and Her Maids Weaving, after Francesco Primaticcio, c. 1545, engraving, 1989.4.1, Ailsa Mellon Bruce Fund Human Companionship, Human Drain, 1981, Mary Cassatt, The Fitting, 1890/1891, Gift of Mrs. Moitte, Pierre Etienne, French, 1722-1780 lithograph Louis-Rene de Caradeuc de la Chalotais, after Lessing J. Rosenwald, 1989.28.6 1988.74.97-106, Gift of Gemini G.E.L. and the Charles-Nicolas Cochin II, 1764, engraving over Artist etching, 1988.71.2, Gift of John O'Brien Pittoni, Giovanni Battista, Italian, 1520-1583 Nauman, Bruce, American, born 1941 Imprese Nobili, published 1583, bound volume of Pearl Masque, 1981 72 engravings, 1988.51.1, Gift of Arthur and Life Mask, 1981 Charlotte Vershbow Double Face, 1981 No, 1981 Rauschenberg, Robert, American, born 1925 No-State, 1981 American Pewter with Burroughs III, 1981 lithographs American Pewter with Burroughs V, 1981 Suspended Chair, 1985, drypoint American Pewter with Burroughs II, 1981 Floor Drain, 1983, drypoint and aquatint American Pewter with Burroughs VI, 1981 House Divided, 1985, drypoint and etching American Pewter with Burroughs IV, 1981 Shit and Die, 1985, drypoint lithographs with embossing LA. Flakes—10,000', and Rising, 1982

23 mmmm Guillaume Coustou, after Charles-Nicolas Cochin II, 1770 Pierre Jeliote, after Charles-Nicolas Cochin II, 1771 P.J. Marco, after Charles-Nicolas Cochin II, 1784 engravings over etchings, 1988.71.3, 7, 9 Gift of John O'Brien

Serra, Richard, American, born 1939 Sketch 1, 1981 Sketch 2, 1981 Sketch 3, 1981 Sketch 4, 1981 Sketch 5, 1981 Sketch 6, 1981 Sketch 7, 1981 lithographs Goslar, 1981, aquatint Back to Black, 1981 Malcolm X, 1981 The Moral Majority Sucks, 1981 Bad Water, 1981 Out the Window at the Square Diner, 1981 lithographs 1988.74.144-156, Gift of Gemini G.E.L. and the Artist

Simon, T. Frantisek, Czechoslovakian, 1877-1942 Winter in Prague, color etching and aquatint with roulette, 1989.28.27, Gift of Mrs. Lessing J. Rosenwald Walker Evans, Untitled (Accordion Player), 1939/ Rosenquist, James, American, born 1933 Various artists after Charles-Nicolas Cochin II and 1940, Gift of Kent and Marcia Minichiello, Amusement Stops, 1982, aquatint and etching Hubert Francois Gravelot Paper Head on a Nuclear Pillow, 1982, aquatint 1988.56.49 Almanach iconologique, published 1764/1781, LAmour, 1982, aquatint and etching eighteen volumes with 233 etched and engraved While the Earth Revolves at Night, 1982, aquatint illustrations, 1988.59.1-18, Ailsa Mellon Bruce Appearance, 1982, aquatint, drypoint, and etching Fund Krapp's Banana, 1982, aquatint and drypoint Blood in Warm Water, 1982, aquatint Velde, Adriaen van de, Dutch, 1636-1672 On Stage, 1982, aquatint and drypoint The Pied Ox, 1670, etching, 1989.35.1, Ailsa Beach, 1982, aquatint and etching Mellon Bruce Fund L.A. Flakes—2,003', and Falling, 1982 Leaky Neck, 1982, aquatint L.A. Flakes—11,000', and Rising, 1982 1988.74.130-139, Gift of Gemini G.E.L. and the Villon, Jacques, French, 1875-1963 L.A. Flakes—13,000', and Rising, 1982 Artist The Hat Pin (LEpingle a chapeau), 1909, drypoint, L.A. Flakes—400', and Falling, 1982 1988.61.1, Ailsa Mellon Bruce Fund Rothenstein, William, Sir, British, 1872-1945 LA. Flakes-19,000', Still, 1982 George Gissing, 1897 Watelet, Claude Henri, French, 1718-1786 L.A. Flakes—400', and Rising, 1982 Arthur Wing Pinero, 1897 L. Bay de Curys, after Charles-Nicolas Cochin II, etchings and open plate bite with embossing William Henley, 1897 1762, engraving and etching, 1988.71.4, Gift of Lily Scent, 1981, lithograph lithographs, 1988.53.2-4, Gift of Mark Samuels John O'Brien Individual, 1982 Lasner Change, 1982 Howl, 1982 Rousseau, Jean Francois, French, born c. 1740 Light, 1982 N.B. Lepicie, after Charles-Nicolas Cochin II, Trunk, 1982 c. 1776, engraving over etching, 1988.71.8, Gift of PHOTOGRAPHS Red Heart, 1982 John O'Brien unique paper and fabric collages made in the People's Republic of China Ruscha, Edward, American, born 1937 L.A. Flakes—22,469', Still, 1982, etching and open It s Recreational, 1982 Evans, Walker, American, 1903-1975 plate bite with embossing People Yawning, 1982 fifty-seven gelatin silver prints from the New York 1988.74.107-126, Gift of Gemini G.E.L. and the Cities, 1982 Subway series, 1939/1941, 1988.56.1-57, Gift of Artist Thermometers, 1982 Kent and Marcia Minichiello lithographs, 1988.74.140-143, Gift of Gemini eight gelatin silver prints from the New York Subway Rockburne, Dorothea, Canadian, born 1934 G.E.L. and the Artist series, 1939/1941, 1989.11.1-8, John Melencolia, 1983 Wilmerding Fund Devine Ray, 1983 Saint-Aubin, Augustin de, French, 1736-1807 Uriel, 1983 Madame de Maintenon, 1801 lithographs on Transpagra, printed on both sides, Le Grand-Conde, 1800 mounted on ragboard, 1988.74.127-129, Gift of Buffon, after Fiat Joseph Sauvage, 1798 Gemini G.E.L. and the Artist Jean Racine, 1806 Jean-Baptiste-Louis Gresset, 1803 Rosati, Tony, American, born 1947 Francois de Malherbe, 1805 Alverthorpe Park, Jenkintown, Pa., 1978, aquatint, Jean de La Fontaine, 1801 with etching, scraping, and burnishing, engravings over etchings, 1988.52.1-7 1989.28.26, Gift of Mrs. Lessing J. Rosenwald

24 Renaissance Painting and CASVA. Again this year a Gallery painting, the Madonna and Child by Botticelli, was The primary activity of the department chosen as the subject for the U.S. Postal of Northern Renaissance painting this Service's traditional Christmas stamp, year has been the research and writing of with the First Day Issue ceremony held at the systematic catalogue of the Gallery's the National Gallery. fifteenth- to seventeenth-century German paintings. Curator John Hand also traveled to The Toledo Museum of Art with Baroque Painting paintings conservator Catherine Metzger to examine three panels depicting mira- This year the manuscript of the system- cles of Saint Anthony of Padua that once atic catalogue of Spanish paintings was were part of the Gallery's Saint Anne Al- completed. New information found dur- tarpiece by Gerard David and workshop. ing the preparation of this volume Michelangelo: Draftsman, a spectacular prompted changes in attribution, title, or exhibition of forty-six drawings by the date for approximately thirty works. Re- Renaissance master, was co-organized by search continued on the Italian and the National Gallery of Art, the Casa French baroque volumes. Buonarroti, Florence, the Royal Library, This was a rich year for exhibitions of Windsor Castle, and the Olivetti Com- southern baroque art. The Pastoral Land- pany, Milan. Selected by Michael Hirst of scape was presented in collaboration with the Courtauld Institute of Art in London, The Phillips Collection. The Legacy of the exhibition included works from every Venice at the National Gallery and The phase of the artist's career: figure studies, Modern Vision at the Phillips explored the ideal heads, and presentation drawings development of the theme from sixteenth- the artist made for friends. An exciting century Venice to the present day. In a discovery made during restoration of kind of "Venetian festival," these were fol- Michelangelo's Cleopatra, undertaken by lowed by the major international loan the Casa Buonarroti in preparation for the exhibition, The Art of Paolo Veronese exhibition, was a second drawing by 1528-1588 commemorating the 400th Michelangelo on the back of the sheet. anniversary of Veronese's death. Treasures This exhibition was joined in Washington from the Fitzwilliam Museum: The In- by Michelangelo: Architect, an exhibition crease of Learning and Other Great Objects of architectural drawings and models or- was the first selection of masterpieces to ganized by Henry A. Millon, dean of the come to America from one of the oldest Gallery's Center for Advanced Study in and most esteemed art museums in Eu- the Visual Arts (CASVA), and Craig Hugh rope. Chosen by the Fitzwilliam's direc- Smyth, Kress Professor at the National tor, Michael Jaffe, the 160 objects, which Gallery. The architectural studies opened ranged in date from antiquity to the early at the Ente Casa Buonarroti in Florence twentieth century and embraced nearly before coming to Washington. The figure every medium, will travel to the Kimbell drawings exhibition opened at the Na- Art Museum, Fort Worth, the National tional Gallery, then traveled to the Musee Academy of Design, New York, the High du Louvre in Paris. Museum of Art, Atlanta, and the Los The Gallery is preparing for an exhibi- Angeles County Museum of Art. tion in the winter of 1990-1991 that will The exhibition Still Lifes of the Golden honor Titian, another Renaissance giant. Age: Northern European Paintings from One of the premier masterpieces in the the Heinz Family Collection consisted of nation's collection, the Feast of the Gods, forty-four paintings from the remarkable painted by Giovanni Bellini and reworked collection of U.S. Senator and Mrs. H. by Titian, will be featured. The restora- John Heinz III. These works, many of tion of this painting was the subject of a which had never been previously exhib- colloquy organized in collaboration with ited, demonstrate the wide range of sub- the painting conservation department jects that evolved in the still-life painting

25 of the Netherlands, Flanders, and Ger- American Painting many during the seventeenth century. At the time of the exhibition Senator Among the most significant additions to and Mrs. Heinz made a partial gift to the the American paintings collection this National Gallery of Abraham Mignon's year was an imposing canvas by Ben- Still Life with Fruit, Fish, and a Nest, jamin West entitled The Expulsion of c. 1675. Mignon, one of the major still- Adam and Eve from Paradise, 1791. Al- life painters of the day, painted in a highly though the Gallery owns two important illusionistic style that emphasizes the var- paintings by West, both date from the ied textures of fruits and flowers. He in- 1770s. The new acquisition, purchased cluded rotten fruit and dead animals with funds from the Avalon Fund and the amid the sumptuous beauty of God's cre- Patrons' Permanent Fund, is a major rep- ation as a reminder of the transience of resentation of the artist's later career. The earthly existence. painting is undergoing conservation in Several Dutch and Flemish paintings on preparation for display. long-term loan have given new dimension Raphaelle Peale was America's first pro- to the Gallery's collection. Among them fessional still-life painter and one of the are Balthasar van der Ast's Basket of finest artists of the new nation. Raphaelle Flowers and Basket of Fruit, Abraham Peale Still Lifes brought together thirty- Bosschaert's Vase of Flowers in a Niche, two exquisite works by this pioneering and Jan Brueghel the Elder's A Basket of artist in the first exhibition devoted to the Mixed Flowers and Vase of Flowers, all subject. The show then traveled to the lent by Mr. and Mrs. Paul Mellon. Emile Pennsylvania Academy of Fine Arts, E. Wolf has placed on long-term loan an where Peale had begun his career. Ameri- important painting of the Rembrandt can Paintings from the Manoogian Collec- school, Gerbrandt van den Eeckhout's tion featured sixty-three works from the The Levite at Gibeah. The Ackland Art wide-ranging collection of Mr. and Mrs. Museum of the University of North Caro- Richard A. Manoogian. Organized by the lina at Chapel Hill has lent two important National Gallery in cooperation with the paintings while their museum undergoes Detroit Institute of Arts, the exhibition restoration: Jan Weenix's Still Life with will be seen in San Francisco and New Dead Deer, Heron, and Hunting Imple- York in addition to Washington and ments, and Peter Paul Rubens' Imperial Detroit. Couple. American Naive Paintings, made up of Research and writing continued on the sixty works from the collection given to systematic catalogue of Dutch and Flem- the National Gallery by Edgar William ish paintings. John Hayes, director of the and Bernice Chrysler Garbisch, was in- National Portrait Gallery, London, com- stalled in the West Building. Many of the pleted work on the systematic catalogue paintings had recently returned from a of the British paintings. Research also tour to Bologna and Venice. Three groups continued on future exhibitions, including of paintings by George Catlin were se- major retrospectives on Frans Hals, lected for exhibition through the Gallery's scheduled for the fall of 1989, and An- National Lending Service: the LaSalle se- thony van Dyck, scheduled for the fall of ries for the Albright Knox Gallery in Buf- 1990. falo, New York; North American Indian Beverly Louise Brown was succeeded subjects for the Whitney Gallery of Amer- as curator of southern baroque painting ican Art, Buffalo Bill Historical Associa- by Diane DeGrazia. tion in Cody, Wyoming; and images of South American Indians for Mexico City, Buenos Aires, and Santiago. Preparations continued on two exhibitions scheduled to open in the fall of 1989: Frederic Edwin Church and John Twachtman: Connecti- cut Landscapes.

26 Benjamin West, Expulsion of Adam and Eve from Much progress was made on the sys- After an exceptionally successful show- Paradise, 1791, Avalon Fund and Patrons' Perma- tematic catalogue volume of American ing at the National Gallery in 1988, The nent Fund, 1989.12.1 (during conservation) naive painting. Research continued on Art of Paul Gauguin traveled to Chicago the collection of Catlin Indian paintings as and Paris in 1988-1989. Final prepara- well as on the Albert Bierstadt retrospec- tions were made for Cezanne: The Early tive to be seen at the National Gallery in Years 1859-1872, which opened at the 1991. Gallery in January 1989 with eighty-five vibrant paintings and drawings, confirm- ing the artist's brilliance and consistent Modern Painting stature from the beginning of his career. Previously seen at the Royal Academy of The department of modern painting coor- Arts, London, and the Musee d'Orsay, dinated the purchase at auction of an Paris, the exhibition was seen in this exceedingly important early nineteenth- country only at the National Gallery. century French landscape, Horace ker- Work proceeded on two exhibitions of nel's La Chasse dans les Marais Pontins impressionist and post-impressionist (The Hunt in the Pontine Marshes). paintings from the Gallery's collection Painted in 1833 during the artist's tenure that traveled to Europe. Impressionisti as the director of the French Academy in della National Gallery of Art di Washing- Rome, this exceptional romantic land- ton was seen at the Museo Correr in Ven- scape adds significantly to the Gallery ice and the Palazzo Reale in Milan. Fran- collections. zoische Impressionisten, opening at the

27 Horace Vernet, La Chasse dans les Marais Pontins, Bayerische Staatsgemaldesammlungen, Preparations were made for The Pas- 1833, Chester Dale Fund, 1989.3.1 Neue Pinakothek, Munich, in January sionate Eye: Impressionist and Other Mas- 1990, consisted of fifty paintings from the ter Paintings from the Collection of Emil National Gallery and twenty-five works on G. Buhrle and Masterpieces of Impression- paper from the Cincinnati Art Museum. ism and Post-Impressionism: The Annen- The department also organized a small berg Collection, which will open at the exhibition of paintings and watercolors by Gallery in May 1990. The initial phases Eugene Boudin from the Gallery collec- of planning for three future exhibitions tions, drawn principally from the Chester were also completed: French Still Life Dale Collection, the Ailsa Mellon Bruce Painting 1848-1906 (1993), Picasso in Collection, and the Collection of Mr. and the Thirties (1994), and Vuillard (1995). Mrs. Paul Mellon. The show took place in Distinguished scholar Lorenz Eitner the East Building galleries that usually has agreed to write the first of two system- contain a selection of impressionist and atic catalogue volumes on the Gallery's post-impressionist works from the Ailsa nineteenth-century French paintings. Mellon Bruce Collection.

28 Twentieth-Century Art dramatic cast joins the Gallery's stone version of the same subject, allowing us to show the artist's complex distinctions be- This year was one of remarkable acquisi- tween the two media. The third object in tions, particularly those gifts made by the bequest is Henri Matisse's haunting Annalee Newman, the Collectors Commit- Woman Seated in an Armchair, 1940. tee, and the bequest of Rita Schreiber. Acquired first by Somerset Maugham, Mrs. Newman presented the Gallery with this work portrays both the articles and five superb early paintings by her late atmosphere of the artist's Nice studio. husband, Barnett Newman. The earliest There is a grave tone to the otherwise lux- is Pagan Void, 1946, a small but highly uriant composition, with the dark floor influential work. The artist would dramat- and black wall to the right adding an in- ically shift his style by the 1949 Diony- trospective weight. sius, a radically abstract painting that es- Other gifts of distinction include an tablished a critical counterpoint to the unusual, early Ad Reinhardt, Untitled, gestural abstract expressionist style of 1947, purchased with Gallery funds and Jackson Pollock or Franz Kline. Yellow with funds provided by The Circle of the Painting, 1949, and The Name II, 1950, National Gallery of Art; and a handsome further refine the characteristic Newman painting, Variations of a Rhythm— U, development of linear "zips," where paint 1933, by the American modernist Ray- is broadly applied up to a taped line. mond Jonson, given by Dr. and Mrs. Ro- Achilles, 1952, is one of Newman's most bert Fishman. profound statements, where a red central Twentieth-Century Art: Selections for the section, with a jagged lower edge, is bor- Tenth Anniversary of the East Building dered by an encroaching black. Added to continued with changes in several gal- our fifteen Newman Stations of the Cross leries of modern works on paper, rehang- and Be II, these recent gifts establish a ing of individual artist's rooms, replace- uniquely broad and historical collection ments of Gallery works lent to other of the artist's major paintings at the Na- museums, and completion of the pam- tional Gallery. phlet, acoustiguide, audiovisual program, The Collectors Committee presented and a related catalogue of recent acquisi- the Gallery with two Scott Burton granite tions. Georgia O'Keeffe: 1887-1986 con- settees, chosen for their pink and green tinued its 1988-1989 tour to the Dallas coloration and boulder shapes with the Museum of Art, The Metropolitan Mu- East Building especially in mind. These seum of Art, New York, and the Los sculptures are a popular feature of the Angeles County Museum of Art. Exten- East Building public spaces, where they sive preparations are being made for sev- function both as art and furniture. eral 1990 exhibitions: Matisse in Mo- By bequest of Rita Schreiber, three rocco; The Drawings of Jasper Johns; European masterpieces from the collec- Kazimir Malevich; and presentations of tion formed by Taft and Rita Schreiber, paintings and sculpture by Robert Los Angeles, greatly strengthen the Gal- Rauschenberg related to our 1991 exhi- lery's collection of twentieth-century art. bition of Rauschenberg Overseas Culture First, historically, is Pablo Picasso's Har- Interchange (R.O.C.I.). lequin Musician, 1924, a large, exuber- ant synthetic cubist painting in which the artist has blended the subject of his great blue period circus harlequins with his Sculpture and Decorative Arts later cubist inventions and a possible portrait of his son, Paulo. The Schreibers' in- The department received a generous terest in sculpture is memorialized by the grant from the Bauman Foundation to gift of their Constantin Brancusi polished develop an audiovisual program as a gen- bronze Bird in Space, 1927, formerly in eral introduction to "The Art of Sculp- the Helena Rubinstein collection. Argua- ture," to be shown alongside the objects bly one of Brancusi's greatest objects, this in the West Building galleries of small

29 and object conservators to undertake a thorough examination of its construction and carving technique, which, along with photographic documentation and marble studies, promises to contribute new knowledge on the design, execution, and restoration of Renaissance marble liturgi- cal furnishings. Work continued on the systematic catalogue of ancient and medieval sculpture and decorative arts, Renaissance plaquettes, and French sculpture. Much progress was made in research on the Re- naissance medals, collaborating with object conservators on technical analyses and extending reports on the physical state of the medals for the catalogue in preparation by Graham Pollard. Alessan- dro Morandotti of Finarte, Milan, a Paul Mellon Senior Fellow at CASVA, is collaborating with the department on research on the Mellon Venus and Bacchus.

Prints and Drawings

The department of prints and drawings helped organize a number of exhibitions this year. Master Drawings from the Na- tional Gallery of Canada featured ninety- two drawings by major European artists from the fifteenth through the nineteenth centuries. This was the first collaboration between the National Gallery of Canada in Ottawa and the National Gallery of Art in Washington, and its opening celebrated the completion of the new Embassy of

Michel Anguier, Ceres Searching for Persephone, sculpture and decorative arts. Work is Canada, just across Pennsylvania Avenue modeled 1652, Patrons' Permanent Fund, proceeding in collaboration with the from the Gallery's East Building where 1989.44.1 education division and audiovisual the exhibition was installed. department. On the Art of Fixing a Shadow: 150 The collection was enhanced by the be- Years of Photography was a collaborative quest of two Degas bronzes, Horse Walk- effort by curators from the Gallery and ing and Study of a Mustang, from the es- from the Art Institute of Chicago. This ex- tate of Mrs. Lessing J. Rosenwald, and by hibition, including more than four hun- the purchase of a splendid early cast of dred works by over two hundred artists, the bronze Ceres Searching for Persephone showed both the extraordinary versatility from the 1652 series of gods and god- and the consistent strength of this rela- desses by the French baroque sculptor tively new artistic medium. Mary Cassatt: Michel Anguier. The Color Prints was based largely on the The superstructure of the Desiderio very fine collection of Cassatt prints given da Settignano Tabernacle was dismantled to the National Gallery by Lessing J. this year for the first time since its instal- Rosenwald, as well as on important loans lation in 1952. This permitted curators from other public and private collections.

30 The exhibition included all twenty-three trait prints this year, adding the depart- of Cassatt's major color prints, many in ment's choice of seven by Augustin de multiple impressions, with related draw- Saint-Aubin and nine after Cochin. ings, paintings, and pastels. Italian Donations of individual prints were led Etchers of the Renaissance and Baroque: once more by Ruth and Jacob Kainen, Parmigianino to Giordano presented for who completed their gift of Kirchner's the first time the finest available impres- great 1913 color lithograph Three Bathers sions of Italian etchings from this creative by Stones. The Gallery was delighted to period. The 135 prints and nine illus- welcome new donors Ruth and Joseph trated books were drawn from collections Bromberg, who gave Ghisi's beautiful and throughout the world. important engraving Hercules Resting in a In the Armand Hammer Galleries an Landscape of 1567, and Bert Freidus, installation of Gauguin drawings, includ- who made possible the purchase of fine ing the Breton sketchbook, coincided with copies of a Castiglione etching and an The Art of Paul Gauguin retrospective in eighteenth-century Italian illustrated the East Building. Following this exhibi- book. In the field of multiples, Graphic- tion were Nineteenth-Century Drawings studio also continued its donations, this from the Armand Hammer Collection; year with Lichtenstein's extraordinarily Master Drawings from the Armand Ham- effective wooden versions of Brushstroke mer Collection: An Inaugural Celebration; Chair and Brushstroke Ottoman. Modem Drawings from the Armand Ham- Among gifts of drawings this year was mer Collection; and lastiy, Drawings of a beautiful Parmigianino sanguine, Three Landscape and Architecture from the Ar- Feminine Heads, purchased with funds mand Hammer Collection. The rotating contributed by The Circle of the National series of exhibitions from the Gallery's Gallery of Art. In conjunction with an ex- collection of prints, providing historical hibition of the Gallery's Italian Renais- surveys of artists' work in all media, con- sance drawings, William B. O'Neal, with tinued into January 1989, containing his usual sensitivity and generosity, do- about one hundred prints from the mid- nated the first drawings by Baldassare fifteenth century through the present day. Peruzzi and by Giovanni Battista Naldini Gifts of prints this year included several to enter the collection. Neil and Ivan Phil- important groups of works. Gemini lips continued their regular support, mak- G. E. L. made a major addition to the ing it possible to purchase a newly discov- Gemini Archive at the National Gallery, ered and charming early Watteau fan donating 155 prints from the 1980s by design, A F&te Galante with Falconers. eighteen artists. This gift expanded the Among nineteenth-century drawings, The collections of Johns, Rauschenberg, Lich- Armand Hammer Foundation contrib- tenstein, and Hockney prints and added uted funds for two major English works, a substantial groups of prints by artists not large and strikingly impressionistic late yet represented in the archive, among watercolor by David Cox, Mountain them Jonathan Borofsky, Vija Celmins, Heights, Cader Idris, and Sir Edward and Dorothea Rockburne. A bequest Coley Burne-Jones' monumental Ariadne, from Edith Rosenwald contained nine- a sepia study for the decoration of John teen prints and six drawings, among Ruskin's new house. which were a fine Hirschvogel landscape Purchases of drawings were highlighted and three Cassatt color aquatints. Mr. and by a large Goltzius composition from Mrs. Kent Minichiello gave critical help to 1595, The Holy Family with Saint Eliza- the Gallery's fledgling photography col- beth and Saint John the Baptist. In roun- lection with a donation of fifty-seven del format, this major work shows Golt- Walker Evans subway photographs from zius' mannerist forms and calligraphy 1939-1941 and the pledge of twenty- transformed by his experience of Italian three further works from the same series. art, both aspects integrated with a refined John O'Brien continued his regular and delicacy of color and expression. From much appreciated strengthening of the the rare earlier Netherlandish draftsmen, Gallery's eighteenth-century French por- the Gallery added Jan Swart van Gron-

31 6EOH6 'OMlh*

Giorgio Ghisi, Hercules Resting from His Labors, ingen's Moses Delivering God's Command- Purchases of prints included a range of 1567, Gift of Ruth and Joseph Bromberg in mem- ments to the Israelites. Seventeenth- centuries and artists, though several rare ory of their son, Michael, 1989.26.1 century drawings included a Bazicaluva works can be singled out. Barbara's allegorical landscape, but were focused charming Saint Jerome, with the saint on two fine Guercinos, a dashing red working hard at his desk, is a particularly chalk study for the Gallery's painting Am- fine impression, rich with burr, of an Ital- non and Tamar and a fresh pen and ink ian Renaissance print. The Gallery con- Landscape with a Large Waterfall. Among tinued to acquire fine chiaroscuro wood- the eighteenth-century purchases were a cuts with three special proofs of subjects drawing by Giovanni Battista Tiepolo by Antonio da Trento. Bellange's Blind from a rare period in the late 1720s, a Hurdy Gurdy Player came available in an Gabriel de Saint-Aubin red chalk drawing excellent impression, and a special proof of a theatrical subject by Voltaire, and a of a Mother and Child, overworked in ex- saucy, hilarious Rowlandson watercolor of traordinary gold paint, joined the exten- Nancy Cock—Clear Starcher. Appian's sive collection of Kollwitz prints from Woodland River with a Fisherman added Lessing Rosenwald. Among purchases of an important mid-nineteenth-century illustrated books, two French works de- drawing, and our twentieth-century works serve special mention: an extremely rare this year were highlighted by a major Pi- complete set of eighteen volumes of Co- cabia gouache, Machine toumez vite. chin and Gravelot's Almanach iconolo-

32 gique in contemporary red morocco, and, supported by The Pew Charitable Trusts and unusually also in red morocco, a sketch- The Circle of the National Gallery of Art book by Eugene Burnand, including a Japan: The Shaping of Daimyo Culture series of wry drawings about the vagaries 1185-1868 30 October 1988-23 January 1989, of plein-air painting. coordinated by D. Dodge Thompson, The expansion of the department into supported by R.J. Reynolds Tobacco the West Building was completed this Company, The Yomiuri Shimbun, Nomura year, and the West Building study room Securities Company, Ltd., and the Federal was opened in January with the entire Council on the Arts and the Humanities American print, drawing, and photograph The Art of the Tea Ceremony 30 October 1988-23 January 1989, collection. The two study rooms received coordinated by D. Dodge Thompson, 1,088 visitors this year, 353 objects were supported by The Asahi Shimbun, the accessioned, and 149 works were lent to Yabunouchi School of Tea, Nomura Securities thirty-six exhibitions in this country and Company, Ltd, and All Nippon Airways abroad. The Pastoral Landscape: The Legacy of Venice 6 November 1988-22 January 1989, coordinated by Beverly Louise Brown, supported by Ford Motor Company, the Morris and Gwendolyn Cafritz Foundation, Exhibitions and the Federal Council on the Arts and the Humanities The exhibitions office oversaw the open- Nineteenth-Century Drawings from The ing of twenty-one exhibitions at the Na- Armand Hammer Collection 6 November 1988-23 April 1989, tional Gallery during the past fiscal year, coordinated by Judith Brodie for which more than 385 lenders from The Art of Paolo Veronese 1528-1588 twenty-one states and sixteen countries 13 November 1988-20 February 1989, lent over 2,300 works of art. The depart- coordinated by Beverly Louise Brown, ment also worked on another thirty-five supported by Ford Motor Company and the exhibitions scheduled to open in the next Federal Council on the Arts and the Humanities five years and administered the tours of seven exhibitions currently traveling. U.S. Twentieth-Century Art: Selections for the Tenth Anniversary of the East Building government indemnity was secured for 4 December 1988-31 December 1990, eight exhibitions, enabling a savings in coordinated by Jack Cowart and Nan excess of $1,000,000 in insurance Rosenthal, supported by American Express premiums. Company Responding to the need for greater fa- Master Drawings from The Armand Hammer cility in providing exhibition information Collection: An Inaugural Celebration 19 January-19 February 1989, coordinated to departments in the Gallery, the office by Judith Brodie acquired personal computers. Files are Cezanne: The Early Years 1859-1872 being converted to the new data base 29 January 1989-30 April 1989, management system. coordinated by Charles S. Moffett, supported Temporary exhibitions at the National by Gerald D. Hines Interests and the Federal Gallery in fiscal year 1989 were: Council on the Arts and the Humanities Gauguin Drawings from the ArmancL Hammer Master Drawings from The National Gallery Collection of Canada continued from the previous fiscal year to 5 March 1989-21 May 1989, coordinated by 23 October 1989, coordinated by Andrew Diane DeGrazia, supported by the Belzberg Robison Family Michelangelo: Draftsman!Architect Modern Drawings from The Armand Hammer [Parts I and II] Collection 9 October 1988-11 December 1988, 5 March-21 May 1989, coordinated by coordinated by David Alan Brown, supported Judith Brodie by Olivetti Company and the Federal Council Paintings by Eugene Boudin from the National on the Arts and the Humanities Gallery of Art Raphaelle Peale Still Lifes 12 March-17 September 1989, coordinated 16 October 1988-29 January 1989, by Charles S. Moffett coordinated by Nicolai Cikovsky, Jr.,

33 Treasures from the Fitzwilliam Museum: The Increase of Learning and Other Great Objects 19 March 1989-18 June 1989, coordinated by Beverly Louise Brown, supported by Philip Morris Companies, Inc. On the Art of Fixing a Shadow: 150 Years of Photography 7 May 1989-30 July 1989, coordinated by Sarah Greenough, supported by Eastman Kodak Company Still Lifes of the Golden Age: Northern European Paintings from the Heinz Family Collection 14 May 1989-10 September 1989, coordinated by Arthur K. Wheelock, Jr. Drawings of Landscape and Architecture from The Armand Hammer Collection 28 May 1989-26 November 1989, coordinated by Diane DeGrazia American Paintings from the Manoogian Collection 4 June 1989-4 September 1989, coordinated by Nicolai Cikovsky, Jr., supported by United Technologies Corporation Mary Cassatt: The Color Prints 18 June 1989-27 August 1989, coordinated by Margaret Morgan Grasselli American Naive Paintings from the National Gallery of Art 3 September-31 December 1989, coordinated by Charles S. Moffett Italian Etchers of the Renaissance and Baroque: Parmigianino to Giordano 24 September 1989-26 November 1989, coordinated by H. Diane Russell, supported by Mellon Bank

Model of the drum and dome of Saint Peter's Basil- ica, Rome, in the West Building's East Garden Court for Michelangelo: Draftsman/Architect Design and Installation leries directly opposite. The Manoogian paintings were arranged by theme and The department this year designed and subject matter in galleries that were installed twenty-one temporary exhibi- painted in colors historically appropriate tions, among which the spectacular Ja- to the groups and themes presented. pan: The Shaping of Daimyo Culture Raphaelle Peale Still Lifes appeared in 1185-1868 represented one of the most ground floor galleries of the East Build- ambitious undertakings in the Gallery's ing, with thirty-two of Peale's paintings history. Work progressed on reinstallation in a large room articulated by early projects in the West Building and on plan- nineteenth-century architectural detail- ning for major reinstallations of the col- ing. The upper section of the walls was lection in coming years. New outdoor painted a deep, saturated green to set off signage as well as temporary screens for the rich palette of the paintings. A smaller the West Building were designed. The de- space adjacent to this gallery contained partment also prepared designs for five works by Peale's father, uncle, and upcoming exhibitions, including the com- brother. At the entrance to the gallery a plicated installation of Indonesian art super graphic blow-up of Peale's Still Life opening in July 1990. with Orange and Book was exceptional in Michelangelo: Draftsman!Architect was that an image originally executed at 8V2 installed in the West Building galleries ad- inches high made such a dynamic impres- jacent to the East Garden Court. The art- sion when enlarged to ten feet. ist's monumental polychrome model for The design and installation of Japan: the drum and dome of Saint Peter's Basil- The Shaping of Daimyo Culture were eas- ica, Rome, occupied the center of the gar- ily among the most expansive and suc- den court, while drawings, prints, paint- cessful undertaken in the Gallery's his- ings, and illustrated texts related to the tory. In addition to the 450 works on view drum and dome were installed in gal- in the central exhibition, the installation leries directly north of the court in line incorporated a No theater with live per- with the great model so that viewers formances, rear-lit transparencies of tea studying the sketches could always see house gardens and daimyo castles, and the model. Adjacent galleries were dean authentic reconstruction of a tea house voted to the fagade of the church of San and garden, including an adjacent area Lorenzo, Florence, and again, drawings, for the exhibition of tea ceremony objects prints, illustrated text panels, and a paint- and the demonstration of the actual tea ing were arranged in relation to a model ceremony. Taken together, these broader of the facade executed under Michelan- aspects of the exhibition created a sense gelo's supervision. Presentation of the di- not only of a daimyo exhibition but of a dactic material was praised by architects, Japanese festival. scholars, and general public alike. The The design of the central exhibition forty-six figure studies, composition required a very different aesthetic than sketches, ideal heads, and presentation used in the past. As a first measure, drawings were installed chronologically in chiefs of design Gaillard Ravenel and adjoining galleries. Individual panels be- Mark Leithauser traveled to Japan with hind each drawing focused attention on guest curator Yoshi Shimizu of Princeton the work and gave scale to the framed im- University, not only to examine the works ages. Lighting of the models, drawings, to be exhibited but to experience the con- and prints was unusually demanding due ventions of Japanese presentation. Study to the juxtaposition of various media, of Japanese architecture and visits to changes in scale, and requirements for Western installations of Japanese art pro- restricted illumination of the drawings. vided further insights. In the end, Japan Following the Michelangelo exhibition, was presented on the mezzanine and up- American Paintings from the Manoogian per levels of the East Building and domi- Collection was installed in the same gal- nated the entire atrium space. leries, an ideal location in that the Gal- The tea house and garden with the No lery's American paintings reside in gal- stage and banners formed an evocative

35 only part of the exhibition, which meant that cases and lighting had to be designed for easy access to allow two to four rotations of objects not always of equal size and scale. The environmental consider- ations were among the most rigorous ever encountered due to the vast range of objects and materials: paintings, polychrome wooden sculpture, armor, sad- dles, scrolls, sliding doors, lacquer work, ceramics, domestic textiles, No masks, musical instruments, robes, and tea utensils. Educational materials throughout the exhibition, in the form of chronologies, text labels, and rear-lit transparencies of tea house gardens and No theater performances, elucidated the individual objects and gave structure to the visitor's experience. The department's involvement with the No theater and tea house were limited to assisting the Japanese in production and coordination. These presentations were the work of skilled Japanese designers and, in the case of the tea house, master Japanese craftsmen. The Pastoral Landscape: The Legacy of Venice was installed in the West Building's central gallery. Tracing the development Installation of a Japanese National Treasure, an prelude to the exhibition. A massive yet of landscape painting from Giorgione early thirteenth-century hanging scroll from Jingoji, simple post and lintel gateway echoing through the eighteenth century, the exhi- Kyoto, for Japan I. M. Pei's large doorways marked the en- bition incorporated paintings, prints, and trance, which led to a serene space in drawings. Works in all media were inte- Opposite: wooden sculpture of Hachiman, 1326, installed for Japan, with the eight-foot-tall Amida which two exquisite scroll paintings and a grated here to show the role prints and Nyorai seen in the foreground magnificent sculpture were exhibited in drawings played in the diffusion of the spacious isolation. The basic physical ele- pastoral landscape theme beyond Venice ments of the installation were aged cedar, where it originated. Juxtaposition of natural linen, and muted earth tones. De- paintings and works on paper necessi- sign elements for both platforms and tated extraordinary precision in the focus cases were derived from Japanese archi- and balance of the lighting. tecture. Paramount in the design of de- Nineteenth-Century Drawings from the tails was the need to balance proportion Armand Hammer Collection, followed by and simplicity of surface so that the instal- Master Drawings, Modern Drawings, and lation in no way distracted from the works Drawings of Landscape and Architecture of art. In this regard the aged cedar plat- were installed in West Building ground forms and backgrounds behind the poly- floor galleries as part of the yearly rota- chrome sculptures were the most chal- tion of the selections from the Armand lenging. For the large sculpture, security Hammer Collection. was provided by rails and alarm barriers, Consisting of fifty paintings and fifty- while all other objects were placed be- five drawings, The Art of Paolo Veronese hind secured Plexiglas. This required an 1528-1588 was installed in main floor unusually complex lighting system. galleries of the West Building. Veronese's Given the rarity and fragility of the Jap- monumental Holy Family with Saints anese works of art, most were on view for Catherine and Anthony Abbot, mounted

36 on a baffle constructed in the lobby, could be seen the full length of the west sculpture hall, providing a herald to the exhibition. Paintings were arranged chronologically in large galleries, with smaller rooms of drawings integrated in the sequence so that viewers could ob- serve the role played by drawing in Vero- nese's work. Dark background colors enhanced the jewel-like opulence of Veronese's color. Cezanne: The Early Years 1859-1872, installed in five of the West Building's main floor exhibition galleries, followed a historical presentation. Four intimate and one grand gallery were selected as appropriate to the scale and sequence of the works and were painted in deep, saturated colors to set off the rich colors in the works of art. Drawings and watercolors were integrated with the paintings and massed in tiered hangings in the nineteenth-century manner. The integra- tion of paintings with works on paper ne- cessitated extraordinary control of light levels. Three graphics exhibitions were installed in East Building ground floor galleries, in the basic configuration of four small and two large rooms. For Master Drawings from the National Gallery of Canada accent panels were mounted on the walls, creating bands of color within each room that provided a focus for the viewing of the drawings. Their colors gave richness and variety to the viewing experience while complimenting the tonality of the inks in the drawings. Architectural al- terations were made for Mary Cassatt: The Color Prints, which had to accommodate a greater density of objects as well as a mixture of paintings, drawings, and prints. One special feature of the exhibition was a technical explanation of Cas- sart's working method for producing color prints, a complex process that entailed drawings, multiple copper plates, and proofs. For Italian Etchers of the Renais- sance and Baroque: Parmigianio to Gior- dano the colors of the galleries were changed from deep, cool greens and blues to warm, neutral Tuscan grays. This exhibition was also introduced by a technical section illustrating the etching process. Paintings by Eugene Boudin from the baffle so that it could be viewed from National Gallery of Art was a one-room both sides. exhibition installed in the East Building. American Naive Paintings from the Na- Usually installed against neutral gray tional Gallery of Art was installed in the backgrounds, the paintings were this time West Building central gallery after some hung against saturated red walls, the years in a traveling exhibition. color generally found in paintings of A Presidential Design Award recog- nineteenth-century picture galleries. The nized the National Gallery's design and change made these paintings appear installation department for exhibition richer in color and infused with greater graphics and for its presentation of The luminosity. Treasure Houses of Britain in 1985- The East Building installation of Trea- 1986. sures from the Fitzwilliam Museum had to accommodate 160 works ranging from large paintings to small coins. Upper level Lenders to Special Exhibitions galleries, with greater ceiling height and

natural day light, displayed paintings, PRIVATE COLLECTIONS sculpture, and furniture. Articulated with Akana Hachimangu, Shimane Prefecture period door surrounds, cornices, and Anonymous lenders Mr. and Mrs. Frank Avellino moldings, these rooms were painted in The Bakwin Collection colors derived from galleries at the Barker Welfare Foundation Fitzwilliam Museum. Mezzanine galleries Mr. and Mrs. Bernd Becher Mrs. Edwin Bergman were more simply detailed and exhibited James A. Bergquist coins, arms, and other decorative arts; Stephen A. Bergquist drawings and manuscripts; and ceramics Muriel and Philip Berman Berry-Hill Galleries from antiquity through the eighteenth Sarah Campbell Blaffer Foundation century. Mr. Irving Blum Presenting over four hundred original The Burghley House Collection black and white photographs, On the Art Mrs. Joseph Carson Mr. and Mrs. Robert Cassatt of Fixing a Shadow: 150 Years of Photog- Mr. Jean-Christophe Castelli raphy was the largest exhibition shown in Mr. and Mrs. Daniel Catlin, Jr. the West Building in over a decade. The Ms. Helen Chadwick Chishoin, Kyoto smaller graphics galleries displayed tradi- Chomoji, Aichi Prefecture tional size photographs, while the central Chorakuji, Kyoto gallery contained large-scale contempo- Choreiji, Ishikana Prefecture Choshoin, Kyoto rary works. The visitor was led through Piero Corsini the four major sections and over twenty The Duke of Devonshire and the Trustees subsections by wall graphics and changes of the Chatsworth Settlement Monsieur Herve Dufresne in wall color. A special feature of the in- Mr. and Mrs. Julian I. Edison stallation was the design of a traveling, Mr. Stefan Edlis freestanding case for exhibiting daguerre- Mrs. Robert B. Eichholz Eisei Bunko, Tokyo otypes that were lit by fiber optics. Her Majesty Queen Elizabeth II Still Lifes of the Golden Age: Northern Engakuji, Kanagawa Prefecture European Paintings from the Heinz Fam- Enichiin, Shiga Prefecture Exchange National Bank ily Collection was presented in East Mr. Joan Fontcuberta Building mezzanine galleries. Walls were Fraenkel Gallery painted in deep green and warm earth Collection of Helen Frankenthaler Fujii Akira Collection tones and articulated with cornice, dado, Fukushi Shigeo Collection and door casings all derived from Ganjojuin, Shizuoka Prefecture seventeenth-century Dutch precedents. Jo Ann and Julian Ganz, Jr. Mr. and Mrs. Robert C. Graham, Sr. Wood detailing was glazed and grained Mrs. John W. Griffith in a finish not unlike that of the dark Gyokuhoin, Kyoto wooden frames on many of the exhibited Hallmark Cards Mr. and Mrs. Nathan Halpern paintings. Franciscus Gysbrechts' Trompe The Armand Hammer Foundation L'Oeil Window was hung as a window in a Mr. and Mrs. Charles W. Hare

38 Lord Hare wood, Hare wood House Nagoya City, Aichi Prefecture Gertrude Weber The Heinz Family Collection Nanban Bunkakan, Osaka Mr. Colin Westerbeck Hiroi Akihisa Collection Nanzen'in, Kyoto Stephen White Gallery of Photography, Inc. Hochberg-Mattis Collection Nanzenji, Kyoto Collection of David Whitney Mr. David Hockney Patsy and Raymond Nasher Collection John Winter Hofu Mori Hokokai, Yamaguchi Prefecture Morton Neumann Family Collection Witkin Gallery Hokkeji, Gifu Prefecture Niutsuhime Jinja, Wakayama Prefecture The Ian Woodner Family Collection, Inc. Mr. and Mrs. Jem Horn The Nojima Collection Eric M. Wunsch Insel Hombroich Osaka City, Osaka Yamada Hitoshi Collection, Tokyo Honda Takayuki Collection Pace/MacGill Gallery Richard York Gallery, New York Honzan Jionji, Yamagata Prefecture The Henry and Rose Pearlman Foundation Zabriskie Gallery Jeffrey and Linda Horvitz Penn Camera Richard S. Zeisler Collection Hosenji, Kyoto Mr. and Mrs. David Pincus Edwynn Houk Gallery Polaroid Corporation PUBLIC COLLECTIONS Ii Naoyoshi Collection, Shiga Prefecture Mr. Nicholas Pritzker AUSTRALIA Imperial Household Collection Harry Ranson Collection Canberra, Australian National Gallery Monsieur and Madame Andre Jammes Rauschenberg Overseas Culture Interchange AUSTRIA Jet Propulsion Laboratory Collection Vienna, Albertina, Graphische Sammlung Alber- Jimyoin, Wakayama Prefecture Regional Planetary Image Facilities, tina, Kunsthistorisches Museum, Gemaldegalerie Jingoji, Kyoto Jet Propulsion Laboratory, NASA BELGIUM Jodoji, Hyogo Prefecture Reiun'in, Kyoto Antwerp, Provinciaal Museum voor Fotografie Collection of Jasper Johns Rinkain, Kyoto BRAZIL Stanley Johnson Collection Rinndji, Tochigi Prefecture Museu de Arte de Sao Paulo Josefowitz Collection Mr. C. David Robinson Jotokuji, Fukui Prefecture Andrew Robison CANADA Jozanji (Shisendo), Kyoto Rokuoin, Kyoto The Montreal Museum of Fine Arts Jufukuji, Kanagawa Prefecture Mr. and Mrs. David C. Ruttenberg Ottawa, National Gallery of Canada Jukdin, Kyoto Saikydji, Shiga Prefecture CZECHOSLOVAKIA Jushdin, Kyoto Monsieur Antoine Salomon Prague, Narodnl Galerie, Umeleckoprumyslove Kagoshima Jingu, Kagoshima Prefecture The Richard Sandor Collection Museum Kaihd Hiroshi Collection Mr. Larry Schafran ENGLAND Kawabata Terutaka Collection, Kanagawa Mrs. Frank S. Schwarz Bakewell, The Trustees of the Chatsworth Prefecture Elmar W. Seibel Settlement Kenchdji, Kanagawa Prefecture Seikado Bunko, Tokyo Bath, Royal Photographic Society Kendo Financing SA Panama Seikeiin, Wakayama Prefecture Bradford, National Museum of Photography, Film Kichen-Pauseback Galerie Sekai Kyuseikyo (MOA Art Museum), Shizuoka and Television Kishida Eisaku Collection, Gunma Prefecture Prefecture Cambridge, The Syndics of the Fitzwilliam Kitamura Bunka Zaidan, Kyoto Sekkeiji, Kochi Prefecture Museum Kitano Tenmangu, Kyoto Sen Sosa Collection, Kyoto Lacock, The Fox Talbot Museum Mr. Mark Klett Sennyuji, Kyoto Kodenji, Saga Prefecture Mr. and Mrs. Robert F. Shapiro Liverpool, National Museums and Galleries on Merseyside (Walker Art Gallery) Mr. and Mrs. Alan Koppel Shingetsuji, Fukui Prefecture Kosaka Zentard Collection Shinjuan, Kyoto London, Royal Academy of Arts, Trustees of the Kotokuji, Tochigi Prefecture Shomyoji, Kanagawa Prefecture British Museum, Trustees of the National Gallery, Victoria and Albert Museum Kozu Kobunka Kaikan, Kyoto Shuon'an, Kyoto Kunozan Toshogu, Shizuoka Prefecture The Collection of Candida and Rebecca Smith Oxford, The Ashmolean Museum, The Visitors of Kushibiki Hachimangu, Aomori Prefecture Mr. Joshua P. Smith the Ashmolean Museum, The Governing Body, Christ Church Kyoto City, Kyoto Mr. and Mrs. Marcus Sopher Kyoto Furitsu Sogo Shiryokan Sojiji (Nishiarai Daishi), Tokyo FEDERAL REPUBLIC OF GERMANY Association des Amis de Jacques Henri Lartigue Sotheby's Berlin, Hochschule der Kunste, Staatliche Museen Preussischer Kulturbesitz, Kupferstichkabinett Boris and Sophie Leavitt Sounji, Kanagawa Prefecture Jim and Mary Lewis Sam Spiegel Collection Bremen, Kunsthalle Bremen Michal and R. E. Lewis Mr. and Mrs. Arthur Stanton Darmstadt, Hessisches Landesmuseum Darmstadt Library Company of Philadelphia Kathryn and Robert Steinberg Diisseldorf, Kunstmuseum Diisseldorf Graphische Mr. Harry Lunn Mr. and Mrs. Burton S. Stern Sammlung The Manoogian Collection Mr. John L. Stewart Essen, Museum Folkwang Manshdji, Kanagawa Prefecture Taga Taisha, Shiga Prefecture Hamburg, Museum fur Kunst und Gewerbe Ms. Marsha Mault Takahashi Toshio Collection, Tokyo Jeanne Rowe Mathison Trust Takamori Shigeru Collection, Kumamoto Munich, Bayerische Staatsgemaldesammlungen, Eleanor Searle Whitney McCollum Prefecture Staatliche Graphische Sammlung Mr. and Mrs. Paul Mellon Tenjuan, Kyoto FRANCE Robert and Jane Meyerhoff University of Texas at Austin Aix-les-Bains, Musee Faure Mickelson Gallery Eugene Victor Thaw Besangon, Musee des Beaux-Arts et d'Archeologie Robert Miller Gallery Tokiwayama Bunko, Kanagawa Prefecture Caen, Musee des Beaux-Arts de Lyon Dr. and Mrs. Kent Minichiello Toyosaka Jinja, Yamaguchi Prefecture Paris, Bibliotheque des Arts Decoratifs, Bibliothe- Miyazaki Kazue Collection, Kanagawa Prefecture Ueyama Ikuichi Collection, Nara Prefecture que Nationale, Musee Carnavalet, Conservatoire Dr. Joseph Monsen Umezawa Kinenkan, Tokyo Nationale des Arts et Metiers, Ecole Nationale des Myochiin, Kyoto Unryuin, Kyoto Ponts et Chaussees, Fondation Custodia (Coll. F. Myohoin, Kyoto Mr. and Mrs. Leonard Vernon Lugt), Institut Neerlandais, Musee du Louvre, Myokdji, Aichi Prefecture Arthur and Charlotte Vershbow Musee du Louvre, Departement des Arts Graphi- Mydrenji, Kyoto Mr. John Vinci ques, Musee d'Orsay, Musee de la Ville de Paris, Nagoji, Chiba Prefecture Watanabe Kunio Collection, Tokyo Petit Palais Watanabe Yoshio Collection, Tokyo Rennes, Musee des Beaux Arts

39 HUNGARY Connecticut Houston, Sarah Campbell Blaffer Foundation, The Budapest, Szepmuveszeti Muzeum New Haven, Yale University Art Gallery Museum of Fine Arts ITALY District of Columbia Virginia Bologna, Pinacoteca Nazionale di Bologna Library of Congress, National Archives, National Norfolk, The Chrysler Museum Gallery of Art, National Museum of American Art, Richmond, Virginia Museum of Fine Arts Caserta, S.M.C. Reggia di Caserta National Museum of American History, National Florence, Archivo Buonarroti, Casa Buonarroti, Portrait Gallery, The Phillips Collection Galleria Palatinti, Palazzo Pitti Florida Milan, Pinacoteca de Brera Sarasota, John and Mable Ringling Museum of Art Modena, Galleria Estense Illinois The Art Institute of Chicago, Chicago Historical Lenders of Works of Art Naples, Museo e Gallerie Nazionale de Society, Terra Museum of American Art Capodimonte Maryland Displayed With Gallery Rome, Galleria Borghese, Institute Nazionale Per The Baltimore Museum of Art, The Walters Art La Grafica, Calcografia, Pinacoteca Capitolina Gallery Collections Turin, Biblioteca Reale, Galleria Sabauda Massachusetts The Vatican Museums Boston Public Library, Museum of Fine Arts ACKLAND ART MUSEUM, UNIVERSITY OF Venice, Galleria delTAccademia, Museo Correr, San Cambridge, Harvard University Art Museums, Fogg NORTH CAROLINA AT CHAPEL HILL Francesco della Vigna, San Pan talon Art Museum, The Houghton Library, Harvard University Peter Paul Rubens, Imperial Couple JAPAN Jan Weenix, Still Life with Dead Deer, Heron, and Northhampton, Smith College Museum of Art Chiba Prefecture, National Museum of Japanese Hunting Implements History Springfield, Museum of Fine Arts IRVING BLUM Fukuoka Art Museum Wellesley College Museum Andy Warhol, 32 Soup Cans

Gunma Prefectural Museum of Modern Art Williamstown, Sterling and Francine Clark Art Insti- JEA N-CHRISTOPHE CASTELLI Hyogo Prefecture, Egawa Art Museum, Kobe City tute, Williams College Museum of Art Jasper Johns, Fools House Museum of Nan ban Art Worcester Art Museum Roy Lichtenstein, George Washington Ishikawa Prefectural Museum of Art Michigan DUMBARTON OAKS RESEARCH LIBRARY AND Detroit Institute of Arts COLLECTION Kyoto National Museum Flemish 15th century, The Prince of Wickedness Minnesota Flemish 16th century, April Miyagi Prefecture, Sendai City Museum The Minneapolis Institute of Arts German 15th century, Legend of the Cross Nagano Prefecture, Ueda Municipal Museum Missouri Nara National Museum Kansas City, The Nelson-Atkins Museum of Art MRS. ROBERT B. EICHHOLZ Georges Braque, Glasses and Bottles (The Okayama Prefectural Art Museum The Saint Louis Art Museum Battleship)

Osaka, Masaki Art Museum, Municipal Museum Nebraska COLLECTION OF HELEN FRANKENTHALER Omaha, Joslyn Art Museum Tokyo, Agency for Cultural Affairs, Goto Museum, Helen Frankenthaler, Mountains and Sea New Jersey Idemitsu Museum of Arts, Nezu Institute of Fine JOHN R. GAINES Princeton, The Art Museum, Princeton University Arts, Suntory Museum of Art, Sword Museum, Gian Lorenzo Bernini, Saint Bibiana Tokyo National Museum, Tokyo University of New York Arts, Tokyo Yamatane Art Museum The Brooklyn Museum JO ANN AND JULIAN GANZ, JR. Alfred Thompson Bricher, A Quiet Day Near NETHERLANDS Hamilton, The Picker Art Gallery, Colgate Manchester Amsterdam, Rijksprentenkabinet, Rijksmuseum, University Stedelijk Museum GUIDO GOLDMAN SPRINKLING TRUST Ithaca, Herbert F. Johnson Museum of Art, Cornell Anthony Caro, Scheherazade Haarlem, Teylers Museum University THE ARMAND HAMMER FOUNDATION Leiden, Prentenkabinet der Rijksuniversiteit New York, Giannalisa Feltrinelli Foundation, The Pierre Bonnard, Girl Putting on Her Stocking Rotterdam, Museum Boymans-van Beuningen Metropolitan Museum of Art, Museum of the City Francois Boucher, Landscape with a Rustic Bridge; of New York, The Museum of Modern Art, The Venus Reclining Against a Dolphin SCOTLAND Pierpont Morgan Library, New York Public Mary Cassatt, Margot Leaning Against Reines Knee; Edinburgh, National Galleries of Scotland, Scottish Library Smiling Margot Seated in a Ruffled Bonnet National Portrait Gallery Poughkeepsie, Vassar College Art Gallery Paul Cezanne, Mont Sainte-Victoire (recto); Study of SWITZERLAND the "Ecorche " (recto) Rochester, International Museum of Photography at Basel, Kunstmuseum Basel Antonio Allegri da Correggio, Study for the George Eastman House, Photographic Equipment Madonna della Scodel (recto) Zurich, Kunsthaus Zurich Museum Edgar Degas, Laundresses Carrying Linen UNION OF SOVIET SOCIALIST REPUBLICS Utica, Munson-Williams-Proctor Institute Museum Albrecht Diirer, Tuft of Cowslips Leningrad, The State Hermitage Museum of Art Jean-Honore Fragonard, The Reading; UNITED STATES North Carolina Grandfathers Reprimand; The Little Preacher, Visit to the Nurse Arizona Raleigh, North Carolina Museum of Art Paul Gauguin, Breton Sketchbook, No. 16 (34 Tucson, Center for Creative Photography Wilmington, St. John's Museum of Art pages); Tahitian Heads; Parau No Te Varau Ino; California Ohio Tahitian Legend; Landscape at Pont-Aven Los Angeles County Museum of Art Cincinnati Art Museum Vincent Van Gogh, The Magrot House, Cuesmes; The Palo Alto, Stanford University Museum of Art The Cleveland Museum of Art Zandemennik House; Man Polishing a Boot; Old Man Carrying a Bucket San Diego Museum of Art The Toledo Museum of Art Jean-Baptiste Greuze, A Tired Woman with Two San Francisco, The Fine Arts Museums of San Pennsylvania Children Francisco, Achenbach Foundation for Graphic Philadelphia, The Historical Society of Jean-Auguste-Dominique Ingres, Mrs. Charles Arts, San Francisco Museum of Modern Art Pennsylvania, Pennsylvania Academy of the Fine Badham Arts, Philadelphia Museum of Art San Marino, The Henry E. Huntington Library and Leonardo da Vinci, Sheet of Studies (recto) Art Gallery The Reading Public Museum and Art Gallery Edouard Manet, Man Wearing a Cloak (recto) Michelangelo Buonarroti, Male Nude (recto) Tennessee Santa Monica, The J. Paul Getty Museum Pablo Picasso, Female Nude (recto) Chattanooga, Hunter Museum of Art Colorado Camille Pissarro, Montmorency Road; Pea Harvest The Denver Art Museum Texas (recto) Forth Worth, Amon Carter Museum Raphael Sanzio, Study for a Fresco of the Prophets Hosea and Jonah

40 Rembrandt van Rijn, Study of a Beggar Man and Woman; A Biblical Subject; A Landscape with Farm Buildings Among Trees Pierre Auguste Renoir, Girlhood Andrea del Sarto, Female Head Georges Seurat, Study after "The Models " Giovanni Battista Tiepolo, Saint Jerome in the Desert Listening to the Angels; The Virgin and Child Adored by Bishops, Monks and Women Jean-Antoine Watteau, Young Girl; Couple Seated on a Bank Andrew Wyeth, Brandywine Valley

PETER JAY Gilbert Stuart, John Jay

COLLECTION OF JASPER JOHNS Jasper Johns, Field Painting; No; Target

GILBERT AND ANN KINNEY Hans Hofmann, Staccato in Blue

COLLECTION BORIS AND SOPHIE LEAVITT Paintings: William Baziotes, Tropical Adolph Gottlieb, Coalescence Philip Guston, Beggars Joy Willem de Kooning, Woman Robert Motherwell, Two Figures with Cerulean Blue Stripe David Salle, Aerialist Sculpture: Jean Arp, Hurlou Roy Lichtenstein, Brushstroke Chair and Ottoman

MUS&E DU LOUVRE, REUNION DES MUSSES NATION A UX Venetian School, Cupid on a Dolphin

JEANNE ROWE MATHISON FAMILY IN MEMORY OF ROBERT VINCENT MATHISON James Peale, Fruit Still Life with Chinese Export Basket

COLLECTION OF MR. AND MRS. PAUL From American Paintings from the Manoogian Col- Sculpture: MELLON Augustus Saint-Gaudens, Victory, Amor Caritas; Balthasar van der Ast, Basket of Flowers; Basket of lection, William Merritt Chase, The Nursery, 1890, Robert Louis Stevenson Fruit The Manoogian Collection Frederick MacMonnies, Young Faun with Heron; Abraham Bosschaert, Vase of Flowers in a Niche Bacchante and Infant Faun Jan Brueghel the Elder, A Basket of Mixed Flowers Pablo Picasso, Compote Dish, Glass Bottle, and and a Vase of Flowers RICHARD S. ZEISLER COLLECTION Pipe; Young Girl with Left Arm Raised; Nude Richard Diebenkom, Ocean Park No. 50; Ocean Femand Leger, Two Women Robert Ryman, Register Park No. 61; Ocean Park No. 87; Ocean Park No. Gino Severini, The Argentine Tango ANONYMOUS 89 George Caleb Bingham, The Jolly Flatboatmen Mark Rothko, Red, Black, White on Yellow; Yellow COLLECTION OF THE NEWARK MUSEUM Burgundian or northern French, 15th century, and Blue; White and Greens in Blue; Blue, Green, Thomas Cole, The Arch of Nero Heraclius I and Brown Fitz Hugh Lane, The Fort and Ten Pound Island, Central or northern Italian, 16th century, Madonna Gloucester COLLECTION LOIS AND GEORGES DE MENIL and Child with Saint John Anthony Caro, Prairie RAUSCHENBERG OVERSEAS CULTURE Central Italian, mid-16th century, Feast of the INTERCHANGE COLLECTION Olympian Gods ROBERT AND JANE MEYERHOFF Robert Rauschenberg, Cuban Acre; Wall-Eyed Carp Central Italian, mid-16th century, Apollo and Jasper Johns, Untitled (M. T. Portrait); Untitled Marsyas (Dream) COLLECTION OF CANDIDA AND REBECCA SMITH, COURTESY OF M. KNOEDLER & COMPANY, NEW German or south Netherlandish, 17th century, PATSY AND RAYMOND NASHER COLLECTION YORK Triumph of Wealth Alberto Giacometti, No More Play David Smith, Agressive Character, Black-White Jean Leon Gerome, Bashi Bazouk NATIONAL MUSEUM OF HEALTH AND Forward; Blue Construction; Construction with Arshile Gorky, Grey Painting; Khorkom; Portrait of MEDICINE OF THE ARMED FORCES Forged Neck; Gondola II; Lunar Arcs on 1 Leg; Master Bill; Self-Portrait; Still Life on the Table INSTITUTE OF PATHOLOGY Ninety Father, Ninety Son; Personage from Stove Italian, 16th century, Hercules Thomas Eakins, Dr. John H. Brinton City, Personage of August; Portrait of a Painter, Jasper Johns, Flag on Orange Field, II Sentinel; Sentinel V; Tank-Totem VI; Tank-Totem Ellsworth Kelly, Three Gray Panels; Untitled; Tiger, MORTON G. NEUMANN FAMILY COLLECTION Relief with Blue; Black Square with Blue; Red Alberto Burri, Red Accent IX; Untitled (December 12); Untitled (Zig VI?); Voltri XVI; Woman Bandit; Zig V Curve VI; White Square Robert Delaunay, The Windows Roy Lichtenstein, Rouen Cathedral, Set III; Look Theo van Doesburg, Contra-Composition WHITE HOUSE COLLECTION Mickey, Girl with Hair Ribbon; Still Life with Jean Dubuffet, Antonin Artaud aux Houppes; The Paul Cezanne, House on the Marne; The Forest; Goldfish Bowl; Cosmology; Yellow Brushstroke II Ceremonious One; Leader in a Parade Uniform House on a Hill Edouard Manet, Jeanne—Le Printemps Lucio Fontana, Concetto Spaziale Attese COLLECTION DAVID WHITNEY Joan Miro, Mural Painting for a Temple I; Mural Alberto Giacometti, Observing Head; Seated Jasper Johns, Harlem Light Painting for a Temple II; Mural Painting for a Woman Temple III EMILE E. WOLF Juan Gris, Banjo with Glasses Thomas Moran, Green River Cliffs, Wyoming Yves Klein, The Blue Night Gerbrandt van den Eeckhout, The Levite at Gibeah Netherlandish, second half 16th century, Amorous Femand Leger, Still Life; Man with a Dog ERVING AND JOYCE WOLF Couple Roy Lichtenstein, Live Ammo Paintings: Robert Rauschenberg, Female Figure (Blueprint); Rene Magritte, Underground Fire William L. Picknell, Wingersheek Creek Beach, White Painting; Blue Eagle; Minutiae; Black Francis Picabia, Amorous Parade Gloucester Painting; Automobile Tire Print Francis A. Silva, Indian Rock, Narragansett Bay Thomas Sully, Queen Victoria

41 puterized system is being developed to survey works in the collection in order to assess their condition and determine future conservation requirements. A local area network is planned to allow other institutions to tap the resources of the Gal- lery's computerized Art Information System. Rene de la Rie was appointed head of the science department, coming to the Gallery from the Metropolitan Museum of Art where he was studying the deteriora- tion of varnishes.

PAINTING CONSERVATION

This year twenty-two major painting conservation treatments were completed, and progress was made on several large projects. The technical investigation of Giovanni Bellini's and Titian's Feast of the Gods was completed and prepared for publication in Studies in the History of Art. A colloquy was organized in conjunction with CASVA, and a half-hour film was planned, written, and shot on location in Venice, Ferrara, Mantua, and in the Gal- lery, under the direction of the Gallery's office of external affairs. Numerous lectures were given around the country and abroad on the painting's construction and materials, and an exhibition coinciding with the rehanging of the painting was planned for January 1990. A first-of-its-kind collaboration, undertaken with the painting conservation department of the Metropolitan Museum of Diego Velazquez, The Needlewoman, c. 1640/1650, Conservation Art, rejoined the Gallery's Francesco di Andrew W. Mellon Collection, 1937.1.81 (after Giorgio, God the Father Surrounded by conservation) The growth of the science department has Angels, with its lower part, the Metropoli- been a major focus of the conservation di- tan's Nativity, from which it had been vision over the past year. While technical separated for at least 150 years. Struc- studies and research have always been tural work by the Metropolitan's expert on part of the department's responsibilities, Italian wood panel construction brought a new research section will investigate the the two panels back to their original form, fundamental properties of artists' materi- and extensive reconstruction during in- als and conservation procedures. A joint painting in the National Gallery's studio project with the Conservation Analytical completed work on the Gallery's panel. Laboratory of the Smithsonian Institution, The final rejoining was carried out in time the Canadian Conservation Institute, and for the Metropolitan's exhibition, Master- the Tate Gallery will present the results of works of Siennese Painting. The rejoined recent research and current packing and painting will be shared by the two muse- shipping technology to an international ums, hanging for five years alternately in meeting in London. A prototype of a com- each.

42 Mellon Fellow in the conservation laboratory exam- Paintings left unfinished by an artist of Gilbert Stuart's five portraits of presi- ining Agnolo Gaddi's Madonna Enthroned with provide fascinating information on an art- dents, George Washington, John Adams, Saints and Angels through a microscope with a ist's painting methods. Two such paint- video attachment Thomas Jefferson, James Madison, and ings, Velazquez's Needlewoman and El James Monroe, showed the artist's vigor- Greco's Saint Jerome, were treated, re- ous technique and luminous colors. vealing areas of masterful underpainting Work is progressing on three important that had been hidden by darkened projects, Perino del Vaga's Nativity, varnish. Cleaning of Frederic Edwin Gerard David's The Saint Anne Altar- Church's great late masterpiece, Morning piece, and Toulouse-Lautrec's Moulin de in the Tropics, revealed not only interest- la Galette. Treatment was begun on a ing pentimenti but also a much richer large panel ensemble, Agnolo Gaddi's treatment of the delicate morning light triptych, Madonna Enthroned with Saints bathing the scene than had been sus- and Angels. A study of the construction of pected. Bernardo Daddi's imposing Saint the altarpiece and related Florentine pan- Paul is one of the few fourteenth-century els is the new Mellon Fellow research Italian panel paintings in the collection to project. Other paintings treated during have its original roughly chiseled back, the year are Cezanne's The Artist's Son and during treatment its construction Paul, Morisot's Young Woman with a could be closely studied. Giovanni Bat- Straw Hat, and Tiepolo's Apotheosis of a tista Moroni's Portrait of Jean Federico Saint. Madruzzo has been cleaned, showing Examinations for technical entries in more clearly the beauty of its execution. the systematic catalogue project num- Conservation was completed on two en- bered 232. Study of the British, Spanish, sembles of panel paintings that have been and German paintings was completed, long-term projects. Cleaning and inpaint- and work on the Garbisch collection is ing of Cosimo Tura's small Annunciation nearly complete. Progress has also been with Saints Francis and Maurelius re- made in surveying the condition of the vealed its exquisite delicacy; and cleaning twentieth-century collection. Conservators

43 assisted with inspections and courier exhibition. In conjunction with a graphics travel for numerous exhibitions. exhibition of Rembrandt landscapes opening in 1990, the department contributed an essay to the catalogue that is related to the ongoing Rembrandt water- PAPER CONSERVATION mark project. The current Mellon Fellow While completing 130 major and 220 mi- began research into the history of the nor treatments during the year, the paper treatment of prints. conservation staff also focused on re- With more photographs being added to search and education. Several treatments the graphics collection, paper conserva- required innovative procedures, includ- tors attended a seminar given by the ing work on a small group of tempera Rochester Institute of Technology on the drawings on poor quality papers by Mark identification, storage, and handling of Rothko, a collection of Harper's Weekly black and white photographs. The depart- woodcuts by Winslow Homer, The Tor- ment also offered a conservation work- ment of Ciampolo by William Blake, and shop to the Gallery's prints and drawings Shepherds Peering into a Chasm by Guer- department, presented a seminar on the cino. The Blake chine collee was greatly safe display of rare books to the staff of improved by treatment, in which non- the Smith College Libraries, and initiated alignments and bubbling of the chine pa- a survey of the rare books and photo- per caused by an earlier restoration were graphs in Gallery collections. rectified. The Guercino drawing had A greater number of graphic arts were been endangered by extensive embrittle- lent to or loaned by the National Gallery ment, darkening, and breaking of the this year, necessitating the conditioning of sheet due to the acidity of its iron gall ink, 2,500 prints, drawings, or photographs. and could not even be handled. Treat- Light levels were monitored in all of the ment stabilized the drawing's condition, exhibitions displaying works of art on pa- enabling it to be properly matted and per. Paper conservators assisted with the stored. rotation of objects in Japan: The Shaping Two drawings, The Garden Gate by Hu- of Daimyo Culture and helped the matting bert Robert and The Sacrifice of a Goat to and framing staff handle oversize prints Jupiter by Giulio Romano, were removed that were photographed for the upcoming from poor quality backings during treat- Prints of the Eighties catalogue. ment. A large number of Rothko draw- The East Building matting and framing ings were conserved as part of the on- workshop prepared 395 graphic works going project to treat and house that col- for exhibitions and loans. Approximately lection. And for the Gallery's installation 107 new acquisitions were prepared for of twentieth-century art, conservators storage or exhibition; 75 of these re- brought Matisse's La Negresse out of five quired framing. As part of the continuing years of rolled storage and worked with a maintenance of the collection, 650 works specialist to rehang the collection's largest were matted, most of them sixteenth- cutout. century German prints. Paper conservators worked with curators and the science department to inves- OBJECT CONSERVATION tigate the quality of modern artists' materials, to test the permanence of inks and This year the department divided its time pressure sensitive tapes for Graphicstu- between treatment of the collections and dio, and to disprove the claim that certain work on exhibitions. The 76-foot-long fluorescent lights emit negligible ultravio- mobile designed by Alexander Calder for let light. Responding to loan requests for the central court of the East Building was exhibitions of graphic works by Mary Cas- removed from exhibition for the first time satt and photographs by Alfred Stieglitz, since its installation ten years ago. After the department researched procedures cleaning the multicolored parts, repairing for taking densitometer readings of light- the worn metal surfaces, restoring an sensitive graphics proposed for extended original manufacturing defect, and in-

44 celain Plant Jar with its bronze neoclassi- cal tripod base. The study, cleaning, and repair of the fourteenth-century Italian Cassetta with Gilded Pastiglia Decoration was completed, with surprising results: the original polychromy was recovered, and a black area was found to be silver leaf. The department examined more than 725 objects for loan or for exhibitions such as Treasures from the Fitzwilliam and Michelanglo: Draftsman. Objects from the Shelburne Museum were examined in Denver when An American Sam- pler: Folk Art from the Shelburne Museum closed at the Denver Art Museum. One staff member traveled to Tokyo to oversee outgoing condition reports for the objects in Japan: The Shaping of Daimyo Culture. While the works from Japan were in Washington, the department helped with the unpacking, installation, deinstallation, and three rotations of fragile, light- sensitive objects. The department's involvement with the systematic catalogue project increased Alexander Calder's East Building mobile is dein- creasing the sculpture's variable move- this year. Examination and analysis of the stalled by artist/engineer Paul Matisse (with his ment, the work was reinstalled in time for Benaissance medals collection is nearly back to the camera), assisted by conservators and staff of the registrar the East Building's tenth-anniversary fes- complete. Technical examinations of the tivities. Filming was done during treat- rock crystal and enamel collections have ment for a segment of the "USA Today been completed. A special technical ap- Show" and for a National Gallery feature pendix on the highly decorative sixteenth- production. century Saint Porchaire ware will be The entire department took on the an- published in the Benaissance ceramics nual task of cleaning and waxing the mon- volume. Minute samples of the clay umental bronze Knife Edge Mirror Two bodies were taken for thermolumines- Piece by Henry Moore displayed in front cence testing, and the results confirmed of the East Building. During a prolonged the assigned sixteenth-century dates. Ex- period of rain, the ground became too amination of the French sculpture collec- soft to support the outdoor sculpture tion is in progress. Wandering Rocks by Tony Smith, so The department continues to pursue re- custom-fitted concrete forms were made search on a number of objects in the colin order to provide each piece with a lection, such as Degas wax sculptures and solid, stable base. The deinstallation and ormolu, and on conservation-related is- cleaning of the lead fountain sculpture in sues. Several expanded research projects the West Building's East Garden Court, have emerged from work on the system- Cherubs Playing with a Lyre by Pierre Le- atic catalogue. A manuscript has been gros, required a coordinated effort by a prepared for publication on the technical number of Gallery departments and out- comparison of the Gallery's bronze por- side contractors. trait bust of Pope Paul III Farnese by Treatments on a smaller scale included Guglielmo della Porta to six similar casts the cleaning, filling, and inpainting of an borrowed from various owners. anonymous sixteenth-century Italian gilt The object conservation department bronze Lockplate and Clasp and a Chi'ng performed 19 major and 75 minor treat- dynasty (1662-1722) Famille Verte Por- ments on sculpture and decorative art in

45 the collection or on loan. In addition to including 130 medals, which were stud- the 162 examination reports for the sys- ied by x-ray fluorescence spectroscopy tematic catalogue, staff prepared 78 ma- for the systematic catalogue. Analyses jor and 64 minor examination reports. included identification of pigments and media in the paint and ground layers of TEXTILE CONSERVATION paintings, the inks of drawings, and corrosion products on metal objects. Meth- The department has continued to orga- ods included microscopy, microchemical nize documentation of the textiles in the analysis, x-ray fluorescence spectroscopy, collection in preparation for a general x-ray diffraction analysis, fourier-trans- survey, and this year concluded an initial form infrared spectroscopy, gas chroma- examination and survey of the tapestries tography, and high performance liquid on display. Work has progressed on de- chromatography. velopment of a long-range plan for treat- Study of cross sections of El Greco's ment and preservation of the French up- Saint Jerome showed that a gray toning holstered furniture. Major treatments layer had been applied at an early stage. included stabilization of the tapestries The stratification of Gauguin's Brittany America and Asia and localized treatment Landscape was studied using cross sec- of Oceanie—la mer, a screenprint on linen tions, since x-radiography had revealed designed by Henri Matisse. Altogether, the presence of an underlying painting. twenty major treatments and twenty-five The identification of lead carbonate as minor treatments were performed. the corrosion product on Legros' foun- With the deinstallation and return of tain, Cherubs Playing with a Lyre, will de- the Dumbarton Oaks tapestries, Prince of termine recommendations concerning the Wickedness, Legend of the Cross, and water that circulates. Responding to in- April, the department reinstalled the Ma- quiries from other institutions, an archi- zarin Tapestry, The Triumph of Christ, and tectural sketchbook (the Mellon Codex) two of the Bernard Van Orley tapestries, owned by the Pierpont Morgan Library The Lamentation and The Crucifixion. A was examined by x-ray fluorescence to maintenance and examination schedule help determine the authorship of various of the pieces on display has been estab- portions; wood analysis was performed on lished. The department also assisted with a polychrome Pieta and on two early the examinations at installation and dein- American frames for the National Mu- stallation of the textiles for the Japan seum of American History; and pigment exhibition. and media analyses were made for sev- The department organized the Joseph eral paintings from the Corcoran Gallery V. Columbus Tapestry Symposium to be of Art. held in October 1989 in honor and mem- Study of the effect of pigments on the ory of the Gallery's textile conservator immunological determination of protein- from 1969 to 1989. This international containing media revealed that iron earth meeting will cover art historical, design, pigments decreased the sensitivity of the and conservation issues. assay in egg tempera, although analysis Expansion of the department's facilities can be done with small samples. Immu- included installation of a new wet-sink in nological methods were used to detect the West Building workroom and addi- casein in the glue of Gaddi's Madonna tional equipment at the East Building Enthroned with Saints and Angels. The wash-tank site. department installed an amino acid ana- lyzer that uses high performance liquid SCIENCE DEPARTMENT chromatography (HPLC), and substantial As in previous years, the science progress has been made in applying this department supported curatorial and technique to the identification of proteina- conservation-related research by provid- ceous materials, such as egg yolk and egg ing technical analyses of works of art. white, casein, and animal glue. The blue This year the staff performed over 300 areas in Cosima Tura's The Annunciation examinations on more than 200 objects, with Saints were found to be painted with

46 animal skin glue, while its red areas were painted using egg yolk as the medium. These findings concur with Cennino Cen- nini's recommendations in his fourteenth- century handbook, II Libro dell'Arte. Investigation has continued into the re- movability of aged synthetic surface coatings on paintings. To date, fifty-six paintings have been examined that contain acrylic coatings that become insoluble during accelerated aging experiments due to cross-linking reactions. Although all coatings could still be removed with sol- vents, some need fairly polar solvent mix- tures. A chapter on the pigment Prussian blue is in preparation for the third volume of Artists' Pigments: A Handbook of Their History and Characteristics. The wood analysis survey of American paintings on panel has continued. The department is building an extensive research program that will formulate new analytical methods, particularly for the organic components of art objects and conservation materials, develop stable conservation products, and study the deg- radation of materials and ways to inhibit this. A weatherometer is on order to assist with accelerated aging studies, as are instruments such as an ion trap detector and a diode-array ultraviolet spectrome- ter needed to assess the extent of the deg- radation of materials.

LOANS AND EXHIBITIONS CONSERVATION

The department coordinated conservation efforts for fifteen exhibitions opening at the National Gallery in 1989, while assisting other museums with seven earlier shows and preparing for many more. Records are kept of the condition of each work of art on arrival and departure from the National Gallery. Occasionally, works are examined at the lending institution before shipment to the Gallery, to assess condition, design packing procedures, and ascertain the environmental requirements for specific objects. Such examinations were done for Michelangelo: Draftsman/Architect, Japan: The Shaping

El Greco, Saint Jerome, c. 1610/1614, Chester of Daimyo Culture, and Treasures from the Dale Collection, 1943.7.6 (after conservation) Fitzwilliam.

47 Frame conservator working with a sixteenth-century Gemini G.E.L.: Art and Collaboration, were made of frames in the galleries. Fi- Italian frame in the Kress Collection The Human Figure in Early Greek Art, nally, 347 frames were examined, 134 and Sweden: A Royal Treasury, which received minor treatment, and 23 tempo- opened in previous years, continued to rary frames were constructed for works travel to other venues in 1989. The de- lent to National Gallery exhibitions. partment assisted other institutions with the installation, preparing of condition records, and packing of the works of art. Work on future exhibitions included spe- Records and Loans cial arrangements for The Drawings of Jasper Johns, The Art of Indonesia, An- The systematic catalogue of the paintings, thony Van Dyck, and Circa 1492: The sculpture, and decorative arts holdings of World of Christopher Columbus. the National Gallery made progress on In matting and framing the department many fronts during the year. The volumes devised special mounts for daguerreo- on British and Spanish paintings are in types and very large photographs in The the hands of the editors office. The manu- Art of Fixing a Shadow: 150 Years of Pho- script for one of three decorative arts vol- tography and created a new type of ad- umes is virtually complete, and several justable support for books in the Japan other volumes are well advanced. Gener- show. The staff matted 1,007 standard ous grants were awarded by the Luce and oversized works and framed 855, Foundation toward the volume on Ameri- while acquiring 545 new frames, con- can academic paintings, and by the Getty structing 105 frames from lengths of Trust in support of the volumes on French molding, and preparing 95 works for the fifteenth- to eighteenth-century painting National Lending Service. Frame conser- and on French sculpture. vators completed two major and 416 mi- In conjunction with preparation of the nor treatments, constructed 33 new catalogue, every object is receiving a frames for works in the collection, and ex- thorough examination in the conservation amined 658 frames for possible loan to laboratories, including, where appropri- other institutions. Routine examinations ate, x-radiography, infrared reflecto-

48 graphy, and various analytical tests to de- handled the packing and shipping of termine how the object was made. The 2,364 outgoing works of art, 2,548 works results will be incorporated into the cata- coming to the Gallery for exhibition, and logue, providing extremely valuable new 1,203 loans for other purposes, such as information to art historians and conser- study or purchase consideration. The to- vators. Technical appendices, where ap- tal number of objects entering and leav- propriate, present this data more fully or ing the Gallery came to 6,115, or an av- explore specific problems. Although all erage of 118 per week, a 22 percent Gallery conservators are participating in increase over the previous year. Sixteen this campaign of examinations, several paintings, 8 sculptures, 65 photographs, new conservators have been appointed and 288 other graphics were acces- whose primary responsibility is systematic sioned. Ninety-four copyists' permits catalogue work. were issued. To these statistics for in- The department of curatorial records house activity should be added the de- and files has been assisting systematic partment's responsibility for managing catalogue authors with research into the shipment of exhibitions organized by the provenance of Gallery works, developing National Gallery between later venues on biographical files on former owners and their tour. An average of eight or ten such histories of the major auction houses. The exhibitions were circulating throughout department has begun to build a com- the year—having left Washington months puter data base for provenance informa- or even years before—in places as far tion, which will later be subsumed in a flung as Japan, the Soviet Union, Lon- complex relational data base on art ob- don, and Paris, and all across the United jects in the Gallery's mainframe. A proto- States. type for the larger system was developed In addition to this active program, the during the year by consultants working department of the registrar was able to with the Gallery's data processing depart- carry out other important activities. A ment and others. It will enable the Gal- large portion of the graphic holdings, pri- lery to automate many functions relating marily American works, were moved to the loan of objects, exhibition manage- from the overcrowded East Building into ment, and the creation of a history of a new study/storage facility in the West changes to collection information. Staff Building. The registrar took part in a will be able to query the data base on-line Gallery-wide study of the potential for off- in sophisticated ways and to create re- site storage, and the department was able ports to meet a variety of needs. Plans to move bulky non-art items such as call for testing and refining the prototype crates to a new storage facility. Training during the coming year before full imple- sessions were organized for staff mem- mentation begins. bers who are on duty on weekends and Files maintained by the department holidays to insure that they are familiar that contain documentation, correspon- with procedures for protecting works of dence, and publications about works in art in emergencies. Further training was the collection can be consulted by offered to new staff members who would scholars on request and also circulate to be serving as couriers of works of art to some offices within the Gallery. A circula- other institutions. tion system based on barcodes, an off- The department of loans and the Na- shoot of the library's VTLS system, is be- tional Lending Service in 1988 launched ing installed to make it easier to keep a new program of circulating exhibitions. track of these circulating files. During this first full year of operation, its The pace in the department of the reg- exhibition of paintings of North American istrar during the year was dictated by the Indians by George Catlin was shown at active exhibition program, the movement the Buffalo Bill Historical Center in Cody, of objects in conjunction with systematic Wyoming. An exhibition of paintings of catalogue research, and the many Gallery South American Indians, by the same works lent to other institutions. During peripatetic artist, opened at the Museo the course of the year this department Franz Mayer in Mexico City and will tour

49 company the Catlin exhibition, an exhibition of early paintings by Mark Rothko, as well as two exhibitions featuring contemporary prints from the Tamarind Lithog- raphy Workshop. In addition to the shows for its formal circulating exhibition program, the department organized two large-scale loans of Gallery objects: forty-five French nineteenth-century paintings to the Museo Correr, Venice, and Palazzo Reale, Milan, and fifty paintings of the same period, to be shown in Munich in early 1990. An exhibition of sixty American naive paintings was shown at the Ca'Pesaro, Venice, after closing in Bologna. The department also handles individual loans to temporary exhibitions and extended loans to museums, government officials, and embassies. In all, during the year, it administered the loan of 370 objects to sixty-one temporary exhibitions at eighty-six institutions, and of 308 extended loans to fifty- nine sites. Of these, works in the National Lending Service comprised 236 loans to thirty-one temporary exhibitions at forty- two institutions and 304 of the extended loans. Two paintings were on temporary exchange loan. Loans of 170 works to the Gallery for display with the permanent collection were also processed by this department.

Francis Picabia, Machine toumez vite (Machine several Latin American cities under the Turn Quickly), 1916/1918, Patrons' Permanent auspices of the United States Information Fund, 1989.10.1 Agency. A handsome full-color booklet was published in Spanish by USIA for the Latin American tour. A third exhibition, Wood and Wood Carving from, the Index of American Design, was shown at the Guild Hall Museum on Long Island, New York. In the planning stages are booklets to ac-

50 Changes of Attribution PAINTINGS

The following changes of attribution, ap- Former attribution Changed to: proved by the National Gallery of Art's Anonymous American 19th century, Burning of Old South Church, John Hilling board of trustees in fiscal year 1989, are Bath, Maine, c. 1854, Gift of Edgar William and Bernice Chrysler the result of scholarly research and scien- Garbisch, 1958.9.7 tific examination. It is the policy of the Anonymous American 19th century, Eliza R. Read, 1833, Gift of Royall Brewster Smith National Gallery to publish such changes Edgar William and Bernice Chrysler Garbisch, 1978.80.17 regularly. This list is arranged in alpha- Anonymous American 19th century, John G. Read, 1833, Gift of Royall Brewster Smith betical order according to former attribu- Edgar William and Bernice Chrysler Garbisch, 1978.80.18 tion; where more than one work by an Anonymous British 16th century, The Earl of Essex, c. 1597, Gift of artist was reattributed, the objects appear Studio of Marcus Gheeraerts the Mrs. Henry R. Rea, 1947.18.1 Younger, Robert Devereux, Second Earl alphabetically by title. of Essex, 1596/1601

Anonymous British 18th century, The Singing Party, c. 1740, Gift Attributed to Philip Mercier, c. 1737/ of Duncan Phillips, 1952.4.2 1760

Anonymous British 18th century, James Massy Dawson (?), c. 1790, Attributed to Henry Singleton, Called Andrew W. Mellon Collection, 1954.1.11 James Massy Dawson, c. 1785/1790

Anonymous British 18th century, The Earl of Beverley, third James Millar, Lord Algernon Percy, quarter 18th century, Gift of Howard Sturges, 1956.9.4 c. 1777/1780

Anonymous British 18th century, The Countess of Beverley, third James Millar, Lady Algernon Percy, quarter 18th century, Gift of Howard Sturges, 1956.9.5 c. 1777/1780

Anonymous British 18th century, Portrait of a Little Girl, 18th Attributed to anonymous British 18th century, Chester Dale Collection, 1963.10.144 century, Portrait of a Girl, c. 1730

Anonymous Portuguese 17th century, Four-Panel Screen, 17th Anonymous Portuguese 15th century, century, Timken Collection, 1960.6.30 c. 1475/1500

Anonymous unknown nationality 18th century, Portrait of an Attributed to Enoch Seeman, Officer, c. 1700, Andrew W. Mellon Collection, 1947.17.26 c. 1700/1715

Anonymous unknown nationality 18th century, Portrait of a Lady, Attributed to anonymous British 18th mid-18th century, Andrew W. Mellon Collection, 1947.17.31 century, c. 1730/1750

Joseph Goodhue Chandler, The Gage Family, 1846, Gift of Edgar Anonymous American 19th century William and Bernice Chrysler Garbisch, 1980.61.2

Erastus Salisbury Field, Man Named Hubbard Reading "Boston Anonymous American 19th century, Atlas" c. 1843, Gift of Edgar William and Bernice Chrysler 1843 or later Garbisch, 1978.80.2

Studio of Thomas Gainsborough, George IV as Prince of Wales, Gainsborough Dupont, 1781 1780/1788, Andrew W. Mellon Collection, 1937.1.98

Francisco de Goya, Charles IV of Spain as Huntsman, probably Workshop of Francisco de Goya, 1799, Andrew W. Mellon Collection, 1937.1.86 c. 1799/1800

Francisco de Goya, Maria Luisa, Queen of Spain, probably 1799, Workshop of Francisco de Goya, Andrew W. Mellon Collection, 1937.1.87 Maria Luisa of Spain Wearing a Mantilla, c. 1799/1800

Francisco de Goya, The Duke of Wellington, probably 1812, Gift of Workshop of Francisco de Goya, Mrs. P. H. B. Frelinghuysen, 1963.4.1 c. 1812

Attributed to Francisco de Goya, The Bullfight, c. 1827, Gift of Eugenio Lucas Villamil, c. 1890/1900 Arthur Sachs, 1954.10.1

El Greco, Saint Martin and the rar, 1604/1614, Andrew W. Workshop of El Greco, c. 1600/1614 Mellon Collection, 1937.1.84

Joseph Highmore, A Scholar of Merton College, Oxford, c. 1750, Attributed to George Knapton, A Gift of Mrs. Richard Southgate, 1951.7.1 Gentleman Commoner of Merton College, Oxford, c. 1754/1760

Sir Peter Lely, Barbara Villiers, Duchess of Cleveland, c. 1662, Probably chiefly studio of Sir Peter Timken Collection, 1960.6.26 Lely, c. 1665

51 Former attribution Changed to:

Reuben Moulthrop, Amelia Martha Daggett, c. 1795, Gift of Edgar Anonymous American 18th century, William and Bernice Chrysler Garbisch, 1956.13.9 Miss Daggett of New Haven, Connecticut (possibly Amelia Martha)

Sir Henry Raeburn, Jean Christie, c. 1820, Gift of Jean McKinley Style of Sir Henry Raeburn, Miss Jean Draper, 1954.9.1 Christie, c. 1810/1830

Follower of Sir Joshua Reynolds, The Honorable Mrs. Gray, n.d., Daniel Gardner, The Hon. Mrs. Gray, Widener Collection, 1942.9.73 c. 1785/1790

William Smith, Mr. Tucker of Yeovil, c. 1760, Gift of Dr. and Mrs. Anonymous British 19th century, Henry L. Feffer, 1976.62.1 c. 1800/1820

Sodoma, Madonna and Child with the Infant Saint John, c. 1505, Attributed to Fernando Yanez de la Samuel H. Kress Collection, 1939.1.305 Almedina

Diego Velazquez, Pope Innocent X, c. 1650, Andrew W. Mellon Circle of Diego Velazquez Collection, 1937.1.80

Francisco de Zurbaran, Saint Jerome with Saint Paula and Saint Francisco de Zurbaran and workshop, Eustochium, c. 1640, Samuel H. Kress Collection, 1952.5.88 c. 1640/1650

GRAPHICS

il Cigoli, Study of a Standing Woman, n.d., Ailsa Mellon Bruce Anonymous Italian 18th century Fund, 1973.48.1

Aniello Falcone, Venus, Cupid, and Satyr, 1555/1565, Andrew W. Angiolo Falconetto, Decorative Panel Mellon Fund, 1978.97.7 with Mythological Figures

Anonymous French 18th century, Interior of a Farmhouse with Attributed to Hubert Robert Figures, late 18th century, Samuel H. Kress Collection, 1963.15.8

Anthonie Waterloo, In the Hague Woods, n.d., Ailsa Mellon Bruce Simon de Vlieger Fund, 1987.32.1

Attributed to anonymous French, 19th century, Two Riders Anonymous French 18th century Accompanied by Footmen, 19th century, 1980.45.56 (after Jean-Baptiste Oudry), Arrival at an Inn

Francois Boucher, Second Day, Seventh Story: The Fiancee of the Hubert Francois Gravelot (after KingofGarbo, 1757, Widener Collection, 1942.9.703 Francois Boucher) Seventh Day, Seventh Story: The Duke of Athens Contemplating the Sleeping Princess Alatiel

Nicolas Lancret, Sheet of Sketches, Gift of Myron A. Hofer in Jacques-Andre Port ail, Sketches of a memory of his mother, Jane Arms Hofer, 1944.9.2 Gentleman

Jacques Bellange, The Blind Hurdy Gurdy Player, Ailsa Mellon Bruce Fund, 1989.17.1

Loans ENGLAND London, United States Ambassador EXTENDED LOANS FROM THE Sir William Beechey, General Sir Thomas Picton; Francis Cotes, Miss Elizabeth Crewe; Jacob Eich- GALLERY'S COLLECTIONS holtz, William Clark Frazer; Thomas Gainsborough, William Yelverton Davenport; George Peter Alexan- All works are part of the National Lending Service der Healy, Roxanna Atwater Wentworth; Michiel van unless markedt Miereveld, Portrait of a Lady with a Ruff; John AUSTRALIA Singer Sargent, Miss Grace Woodhouse; Gilbert Stuart, Luke White; Benjamin West, Self-Portrait Canberra, United States Ambassador Anonymous American 19th century, Stylized Land- FEDERAL REPUBLIC OF GERMANY scape (returned); George Catlin, three paintings of Indian life (returned) Bonn and Berlin, United States Ambassador Anonymous American 19th Century, Bucks County AUSTRIA Farm Outside Doylestown, Pennsylvania (returned);

Vienna, United States Ambassador George Catlin, three paintings of Indian life (re- Gilbert Stuart, Mr. Ashe; Sir John Dick; George Wash- turned); Jurgen Frederick Huge, Composite Harbor ington; Thomas Sully, Joseph Dugan; Henry Pratt; Scene with Castle (returned) Robert Walsh FRANCE Vienna, United States Ambassador to the Mutual Paris, Musee du Louvre Balanced Force Reduction Negotiations tSevero da Ravenna, The Christ Child Anonymous American 19th century artists, Brother and Sister; Steamship Erie; George Catlin, two paint- Paris, United States Ambassador ings of Indian life; attributed to Reuben Rowley, Dr. Anonymous American 19th century, Washington at John Safford and Family Valley Forge; George Catlin, three paintings of In- dian life (returned); Thomas Eakins, Louis Husson; BELGIUM A. A. Lamb, Emancipation Proclamation; John Singer Sargent, Mrs. Joseph Chamberlain; James Brussels, United States Ambassador Anonymous American 19th Century, Sisters in McNeill Whistler, Head of a Girl; Benjamin West, Black Aprons; Leila T. Bauman, U.S. Mail Boat; Mrs. William Beckford Joseph Blackburn, A Military Officer, attributed to HUNGARY James Reid Lambdin, Daniel Webster, Charles Peale Polk, Anna Maria Cumpston Budapest, United States Ambassador Thomas Chambers, Storm-Tossed Frigate; Asher B. Brussels, United States Ambassador to NATO Durand, Gouveneur Kemble; George Inness, Lake Gilbert Stuart, George Pollock; Mrs. George Pollock; Albano, Sunset; Thomas Sully, Abraham Kintzing Thomas Sully, Ann Biddle Hopkinson; Francis Hopkinson; The Leland Sisters ITALY

Rome, United States Ambassador BRUNEI Walt Kuhn, Green Apples and Scoop Bandar Seri Begawan, United States Ambassador Anonymous American 19th century, After the Wed- LUXEMBOURG ding in Warren, Pennsylvania (returned); George Luxembourg, United States Ambassador Catlin, four paintings of Indian life (returned) George Catlin, four paintings of Indian life; J. G.

CANADA Tanner, Engagement between the Monitor and the Merrimac Ottawa, United States Ambassador John James Audubon, Farmyard Fowls (returned); THE NETHERLANDS studio of John James Audubon, Long-Tailed Weasel The Hague, United States Ambassador (returned); John Woodhouse Audubon, Black- Anonymous American 18th century, Hunting Scene Footed Ferret (returned); Long-Tailed Red Fox (re- with a Pond; Frederick Carl Frieseke, Memories; turned); attributed to John Woodhouse Audubon, Robert Henri, Volendam Street Scene; Walt Kuhn, A Young Bull (returned) Pumpkins; Thomas Sully, John Quincy Adams

COLOMBIA NEW ZEALAND Bogota, United States Ambassador Wellington, United States Ambassador Anonymous American 19th century, Miss Ryan; Anonymous American 19th century, Twenty-Two George Catlin, four paintings of Indian life Houses and a Church (returned); George Catlin,

CZECHOSLOVAKIA three paintings of Indian life (returned)

Prague, United States Ambassador NORWAY Anonymous American 19th century, Child with a Oslo, United States Ambassador Rocking Horse (returned); Dana Smith, Southern Re- Anonymous American 19th century, Farmhouse in sort Town (returned); George Catlin, two paintings of Mahantango Valley; Winslow Homer, Sunset; Walt Indian life (returned) Kuhn, Zinnias; Gilbert Stuart, Captain Joseph An-

EGYPT thony; Alexander H. Wyant, Peaceful Valley

Cairo, United States Ambassador PARAGUAY Anonymous American 20th century, Horizon of the Asuncion, United States Ambassador New World; George Catlin, four paintings of Indian George Catlin, four paintings of Indian life life

54 SAUDI ARABIA

Riyadh, United States Ambassador Walt Kuhn, Hare and Hunting Boots

SWITZERLAND

Bern, United States Ambassador Anonymous American 19th century, Matilda Caro- line Cruger, "We Go For the Union"; George Wash- ington Mark, Marion Feasting the British Officer on Sweet Potatoes; Thomas Sully, The Vanderhemp Chil- dren; Marguerite Zorach, Christmas Mail

Geneva, United States Ambassador to the United Nations Mission Anonymous American 19th century, Abraham Lin- coln; T. Davies, Ship in Full Sail; George Catlin, Falls of the Snake River, Gilbert Stuart, Ann Barry; Mary Barry

URUGUAY

Montevideo, United States Ambassador Thomas Hart Benton, Trail Riders (returned); George Catlin, four paintings of Indian life; Thomas Chambers, The Hudson Valley, Sunset

VENEZUELA

Caracas, United States Ambassador George Catlin, two paintings of Indian life; Rem- brandt Peale, George Washington; Matthew Pratt, Madonna of Saint Jerome

YUGOSLAVIA

Belgrade, United States Ambassador Charles S. Humphreys, Budd Doble Driving Gold- smith Maid at Belmont Driving Park

UNITED STATES Guercino, Landscape with a Waterfall, Ailsa Mellon turned); Edward Savage, George Washington (re- ALABAMA Bruce Fund, 1989.34.1 turned); Douglas Volk, Abraham Lincoln (returned); Birmingham Museum of Art George Benjamin Luks, The Bersaglieri (returned) Anders Zom, Hugo Reisinger The Secretary of Education

DISTRICT OF COLUMBIA, WASHINGTON Maurice Utrillo, Street at Corte, Corsica

The Architect of the Capitol The Secretary of Health and Human Services National Portrait Gallery, Smithsonian Institution Franklin C. Courter, Lincoln and His Son, Tad George Catlin, A Small Crow Village; Andre Derain, Gardner Cox, Earl Warren; Chester Harding, Self- Abandoned House in Provence; Still Life; Leonid, Blair House Portrait; Daniel Huntington, Dr. James Hall; Henry Faradurro, Portugal; Allen Tucker, Madison Square, Anonymous American 18th century, Portrait of a Theodore Tuckerman; John Wesley Jarvis, Thomas Snow Lady; Anonymous American 19th century, Portrait Paine; Gilbert Stuart, Stephen Van Rensselaer; Irv- The Secretary of Housing and Urban Development of a Lady (returned); John Singleton Copley, Harri- ing R. Wiles, Miss Julia Marlowe son Gray, Georgia Timken Fry, Flock of Sheep; Jo- Anonymous French 19th century, Race Course at National Trust for Historic Preservation seph Bartholomew Kidd after John James Audubon, Longchamps (returned); Dutch 17th century, Bernard Hailstone, David E. Finley Black-Backed Three-Toed Woodpecker; Orchard Ori- Flowers in Classical Vase (returned) ole; attributed to Benjamin Marshall, Race Horse The Octagon, The American Institute of Architects The Secretary of State and Trainer, Fritz Muller, Capture of the "Savan- Foundation Jean Beraud, Paris, Rue du Havre (returned); nah" by the U.S.S. "Perry"; Gilbert Stuart, William Gilbert Stuart, William Thornton; Mrs. William Thomas Chambers, Boston Harbor (returned); New Hartigan(F); Thomas Wilcocks Sully and Thomas Thornton York Harbor with the Pilot Boat "George Washing- Sully, Major Thomas Biddle The Secretary of Agriculture ton" (returned); George Peter Alexander Healy, Department of State, Diplomatic Reception Rooms Anonymous American 19th century artists, Bucks Roxanna Atwater Wentworth (returned); Henri George Catlin, six paintings of Indian life County Farm Outside Doylestown Pennsylvania; Moret, The Island of Raguenez, Brittany (returned); Washington at Valley Forge (returned); style of Hen- after Gilbert Stuart, James Lloyd (returned) Director, Office of Management and Budget drick van Anthonissen, Ships in the Scheldt Estuary Raoul Dufy, Regatta at Henley The Secretary of Transportation (returned); follower of Canaletto, The Courtyard, the Style of Hendrick van Anthonissen, Ships in the Dumbarton House, The National Society of Colonial Doges Palace, with the Procession of the Papal Scheldt Estuary; George Catlin, two paintings of Dames of America Legate; Lamar Dodd, Winter Valley; Amzi Emmons Indian life (returned); follower of Claude Lorrain, John Trumbull, William Rogers Zeliff, The Barnyard Harbor at Sunset; Hugues Merle, Children Playing National Museum of American Art, The Secretary of Commerce in a Park; Rene Pierre Charles Princeteau, Horses Smithsonian Institution Pierre Bonnard, Stairs in the Artist's Garden; The Secretary of the Treasury Jacob Eichholtz, James P. Smith Thomas Chambers, New York Harbor with Pilot Boat George Catlin, seven paintings of Indian life National Museum of American History, "George Washington "; Raoul Dufy, Music and the Supreme Court of the United States Smithsonian Institution Pink Violin; Philip van Kouwenbergh, Flowers in a Mr. Chief Justice William H. Rehnquist Robert Edge Pine, General William Smallwood; Vase; Leonid, Derrynane Harbor, Ireland Anonymous American 19th century artists, Boy and Charles Peale Polk, General Washington at Prince- The Secretary of Defense Girl; Boy in Blue; Memorial to Nicholas M. S. Cat- ton After Jean-Baptiste Greuze, Benjamin Franklin (re- lin; Pink Roses; anonymous Chinese, Ch'ing dy-

55 nasty, Archery Contest; anonymous unknown nation- NORTH CAROLINA Essen, Kulturstiftung Ruhr, Villa Hugel PRAGUE AROUND 1600; ART AND CULTURE ality 18th century, Portrait of a Man; George Catlin, Charlotte, Mint Museum three paintings of Indian life; George Cuitt the Larry Poons, Tristan da Cugna; Mark Rothko, AT THE COURT OF RUDOLF 11,10June-30October Younger, Easby Abbey, Near Richmond; Andre De- Untitled (Black and Gray); Georges Rouault, The 1988 Adriaen de Vries, Empire Triumphant over Avarice; rain, Road in Provence; Jean-Louis Forain, Behind Breton Wedding the Scenes; attributed to Sturtevant J. Hamblin, Lit- Joris Hoefnagel, Aqua, Circulated to Kunsthisto- Raleigh, North Carolina Museum of Art tle Girl with Pet Rabbit; Edward Molyneux, Chapel risches Museum, Vienna, 23 November 1988- Mark Rothko, Number 8 in Provence; Ammi Phillips, Jane Storm Teller; 26 February 1989 Thomas Sully, Thomas Alston; Augustus Vincent VIRGINIA FRANCE Tack, Charles Evans Hughes; Frits Thaulow, River Fairfax, George Mason University Scene; John Toole, Skating Scene; Eugene Laurent Aries, Hopital Van Gogh Alfredo Halegua, America; Lila Katzen, Antecedent Vail, The Flags, Saint Mark's, Venice—Fete Day VAN GOGH ET ARLES, 3 February-15 May 1989 Vincent van Gogh, Farmhouse in Provence, Aries Mr. Justice Anthony Kennedy Anonymous French 19th century, Race Course at Chartres, Musee des Beaux-Arts Longchamps; Jean Beraud, Paris, Rue du Havre; LOANS TO TEMPORARY CH AIM S0UTINE, 20 June-30 October 1989 *Chaim Soutine, Pastry Chef Dutch 17th century, Flowers in a Classical Vase; EXHIBITIONS John Ferneley, In the Paddock; Karl Knaths, Marble Lyons, Musee Saint-Pierre Art Contemporain Mantle (returned); Henri Moret, The Island of Ra- THE COLOR ALONE, THE MONOCHROME guenez, Brittany Works in the National Lending Service marked* EXPERIMENTS October-12 December 1988 *Mark Rothko, Untitled (1963); * Untitled (1964) Mr. Justice Thurgood Marshall AUSTRIA Anonymous American 19th century, Leaving the Marseille, Musee Cantini Vienna, Historisches Museum der Stadt Wien, Manor House; Enrique Castro, Untitled; imitator of EDWARD HOPPER,24 June-24 September 1989 Messepalast van Gogh, Landscape * Edward Hopper, Cape Cod Evening WUNDERBLOCK,26 April-6 August 1989 Mme. Justice Sandra Day O'Connor William Blake, The Descent of Peace Paris, Reunion des musees nationaux, Musee George Catlin, five paintings of Indian life d'Orsay BELGIUM Mr. Justice John Paul Stevens CEZANNE: THE EARLY YEARS 1859-187 2, Anonymous American 19th century, Portland Har- Brussels, North Atlantic Treaty Organization 15 September-31 December 1988 bor, Maine; George Catlin, Scene from the Lower Mis- Headquarters Paul Cezanne, The Artist's Father; Antony sissippi; Eduard Gaertner, City Hall at Torun; Al- CELEBRATION OF THE 40th ANNIVERSARY Valabregue phonse Legros, Hampstead Heath; Franz Xaver OF N A T O , 4 April-30 September 1989 ITALY Winterhalter, Queen Victoria * Edward Savage, George Washington Bologna, Pinacoteca Nazionale, Palazzo Pepoli The United States Trade Representative DENMARK Campogrande Anonymous American 19th century artists, Imagi- AMERICAN NAIVE PAINTINGS FROM THE nary Regatta of the America's Cup Winners; Indians Copenhagen, Ordrupgaardsamlingen N AT IONAL GALLERY OF ART, 3 September- Cooking Maize (returned); Mounting of the Guard; MANET, 15 September-10 December 1989 Edouard Manet, Oysters; The Dead Toreador; Still 30 October 1988 New England Farm in Winter (returned); View of Ab- Life with Melon and Peaches 60 American naive paintings, (including 56 National erdeen, Washington; George Catlin, two paintings of Lending Service works), Circulated to Galleria Inter- Indian life (returned); Thomas Chambers, Bay of ENGLAND nazionale d'Arte Modema di Ca' Pesaro, Venice, New York, Sunset; Boston Harbor London, Dulwich Picture Gallery 26 November 1988-8 January 1989 The Vice President's House A NEST OF NIGHTINGALES: THOMAS Brescia, Civici Musei d'Arte e Storia, Monastero di Anonymous American 19th century artists, Girl GAINSBOROUGH THE LINLEY SISTERS, S. Giulia with Toy Rooster, Flowers and Fruit (returned); John 21 September-30 December 1988 ALESSANDRO BONVICINO IL MORETTO, Bradley, Little Girl in Lavender (returned); George Thomas Gainsborough, Mrs. Richard Brinsley 18 June-20 November 1988 Catlin, three paintings of Indian life; Lydia Field Sheridan Moretto da Brescia, Portrait of a Lady in White Emmet, Olivia; after Jean-Baptiste Greuze, Ben- jamin Franklin; Charles S. Humphreys, The Trotter, Sunderland, Northern Centre for Contemporary Art Mantua, Palazzo Te Gary Melchers, The Sisters (returned); "("Grant Wood, WINSLOW HOMER: ALL THE CULLERCOATS GIULIO ROMANO: PITTORE E ARCHITETTO, Haying (returned); f New Road (returned) PICTURES, 20 September-5 November 1988 L'ARTISTA E IL SUO TEMPO, 1 September- Winslow Homer, Girl Carrying a Basket; Mending 12 November 1989 Preservation Office, The White House the Nets; On the Sands Giulio Romano, Saint Michael; River God; The Anonymous American 18th century, Attack on Sacrifice of a Goat to Jupiter Bunkers Hill with the Burning of Charles Town; A. FEDERAL REPUBLIC OF GERMANY Udine, Civici Musei e Gallerie di Storia e Arte, Villa Hashagen, Ship "Arkansas" Leaving Havana; John Berlin, Martin-Gropius-Bau Manin di Passariano Wesley Jarvis, Commodore John Rogers; John STATIONEN DER M0DERNE, 25September- SEBASTIANO RICC1, 24 June-30 October 1989 Neagle, Colonel Augustus James Pleasonton; John 14 November 1988 Sebastiano Ricci, A Miracle of Saint Francis of Vanderlyn, John Sudam *Lyonel Feininger, The Bicycle Race; Albert Gleizes, Paola; The Finding of the True Cross; The Last The White House Football Players Supper George Catlin, thirty-three paintings of Indian life Berlin, Staatliche Museen Preussischer Kultur- Venice, Museo Correr (21 returned); John Frederick Kensett, Landing at besitz, Nationalgalerie, Orangerie des Schloss IMPRESSIONIST! DELLA NATIONAL Sabbath Day Point, Lake George; A. A. Lamb, C harlottenburg GALLERY OF ART DI WASHINGTON, 5 May- Emancipation Proclamation (returned); Thomas BILDER AUS DER NEUEN WELT: AMERI- 10 September 1989 Sully, Andrew Jackson; Jean-Baptiste-Camille Corot, KANISCHE MALEREI DES 18. UND 19. 45 impressionist paintings, (including 10 National The Eel Gatherers; Jules Dupre, The Old Oak; Dietz JAHRHUNDERTS,22 November 1988-5 February 1989 Lending Service works), Circulated to Palazzo Edzard, Flowers in a Vase; f Three Flowers in a Vase John Singleton Copley, Watson and the Shark; Jas- Reale, Milan, 22 September-29 October 1989 per Francis Cropsey, Autumn, on the Hudson River, FLORIDA Eastman Johnson, The Brown Family.; James Venice, Palazzo Grassi St. Petersburg, Museum of Fine Arts McNeill Whistler, The White Girl (Symphony in ARTE ITALIANA 1 900- 1 945, 30 April- Studio of Gerard Terborch II, The Concert White, No: I), Circulated to Kunsthaus Zurich, 5 November 1989 3 March-15 May 1989 Amadeo Modigliani, Head of a Woman

56 JAPAN Carriere; Te Pape Nave Nave, Circulated to the State National Portrait Gallery, Smithsonian Institution

Nagoya City Art Museum Hermitage Museum, Leningrad, 30 July-4 October THE FIRST FEDERAL CONGRESS: 1789-1791, RENOIR RETROSPECTIVE, 15 0ctober- 1989 2 March-23 July 1989 11 December 1988 * Attributed to William Dunlap, Samuel Griffin UNITED STATES Auguste Renoir, Madame Hagen; The Vintagers, Cir- ALABAMA The Phillips Collection culated to Hiroshima Museum of Art, 17 December THE PASTORAL LANDSCAPE: THE MODERN The University of Alabama at Birmingham, The 1988-12 February 1989; and Nara Prefectural VISION, 6 November 1988-22 January 1989 Visual Arts Gallery Museum of Art, 18 February-9 April 1989 *Paul Cezanne, The Battle of Love; Jean-Baptiste- FIN-DE-SIECLE FACES: PORTRAITURE IN Tokyo, Bridgestone Museum of Art Camille Corot, Ville d'Avray, Paul Gauguin, Breton THE AGE OF PROUST, 25 September-20 November GUSTAVE COURBET, 3 June-6 August 1989 Girls Dancing, Pont-Aven; George Inness, The Lack- 1988 Gustave Courbet, La Grotte de la Lone awanna Valley; Georges Seurat, Study for "La * James McNeill Whistler, Brown and Gold: Grande Jane"; William Blake, The Pastorals of Tokyo, The National Museum of Western Art Self Portrait; Henri de Toulouse Lautrec, Cleo de Virgil; Samuel Palmer, Morning of Life; The Rising JAPONISME.23 September-11 December 1988 Merode; At the Renaissance: Sarah Bernhardt in Moon; The Sleeping Shepherd Winslow Homer, Right and Left; Alfred Stieglitz, "Phedre " From My Window, New York, 1902 GEORGIA Montgomery Museum of Fine Arts

MEXICO THE GRAND TOUR: THE TRADITION OF Atlanta, High Museum of Art PATRONAGE IN SOUTHERN ART MUSEUMS, MONET IN LONDON, 9 October 1988-8 January 1989 Mexico City, Museo Franz Mayer 18 September 1988-5 February 1989 Claude Monet, Waterloo Bridge, London, at Dusk; SUDAMERICA: PINTURAS DE GEORGE Follower of Michelangelo Merisi da Caravaggio, Still Waterloo Bridge, London, at Sunset C AT LIN,29 May-31 July 1989 Life; * Benjamin West, Mrs. William Beckford National Lending Service exhibition of 35 paintings ILLINOIS by George Catlin depicting Indian life, Circulated to CALIFORNIA The Art Institute of Chicago Museo Nacional de Bellas Artes, Buenos Aires, Los Angeles County Museum of Art THE ART OF PAUL GAUGUIN, 17September- 22 August-30 September 1989 THE FLAG PAINTINGS OF CHILDE HASSAM, 11 December 1988

NEW ZEALAND 21 August-30 October 1988 Paul Gauguin, The Bathers; * Haystacks in Brittany, *Childe Hassam, Allies Day, May 1917, Circulated Landscape at Le Pouldu; *Parau na te Varua ino; Auckland City Art Gallery to the Amon Carter Museum, Fort Worth, 7 Janu- Pere Paillard; Self-Portrait Dedicated to Carriere; Te PICASSO BEFORE NATURE, 22 September- ary-12 March 1989; and the IBM Gallery of Sci- Pape Nave Nave; Nave Nave Fenua; Nave Nave 12 November 1989 ence and Art, New York, 28 March-3 June 1989 Fenua; Oviri; The Pony; Two Marquesans, Circulated Picasso, Self-Portrait The Fine Arts Museums of San Francisco to Reunion des musees nationaux, Galeries na- SPAIN GERICAULT: ROMANTIC PAINTINGS AND tionals du Grand Palais, Paris (with Te Atua; Le cal- D R AW INGS, 28 January-26 March 1989 vaire breton; LEnlevement d'Europe; LUnivers est Barcelona, Museo Picasso Theodore Gericault, Trumpeters of Napoleon s Impe- cree; and Soyez amoureuses replacing last five works HENRI LAURENS, 15 March-18 June 1989 listed above), 10 January-20 April 1989 Henri Laurens, L'Instrument de Mnsique rial Guard ON THE ART OF FIXING A SHADOW: 150 Madrid, Fundacion Hispano-Britanica, Museo DISTRICT OF COLUMBIA, WASHINGTON YEARS OF PHOTOGRAPHY, 16September- Municipal Commission on the Bicentennial of the United States 26 November 1989 LA ALIANZA DE DOS MONARQUIAS: WEL- Senate, Russell Senate Office Building Walker Evans, Subway Portraits: Two Men Dozing; LINGTON EN ESPAN A, 19 October-11 December 1988 A NECESSARY FENCE: THE UNITED STATES Alfred Stieglitz, From '291'; Georgia O'Keeffe: A Francisco de Goya, The Duke of Wellington SENATE IN ITS FIRST ONE HUNDRED YEARS, Portrait—Hands and Thimble; Georgia O'Keeffe: A Madrid, Museo del Prado 6 June-5 November 1989 Portrait—Torso; Music—A Sequence of Ten Cloud GOYA AND THE SPIRIT OF ENLIGHTENMENT, Gilbert Stuart, Samuel Alleyne Otis Photographs, No. 1; A Venetian Gamin; Untitled— 6 October-18 December 1988 Grasses, Lake George; Steerage; Going to Post, Morris The Corcoran Gallery of Art Francisco de Goya, The Marquesa de Pontejos; Don Park; The Flat-Iron; Old and New New York; Equiva- OSCAR BLUEMNER: LANDSCAPES OF Bartolome Sureda, Circulated to Museum of Fine lent, Set C2, No. 3; Equivalent, Set C2, No. 4; SORROW AND JOY, 10 December 1988-19 February Arts, Boston, 18 January-26 March 1989; and The 1989 Equivalent, Set C2, No. 5 Metropolitan Museum of Art, New York, 9 May- Oscar Bluemner, Study for a Painting, Circulated to KANSAS 16 July, 1989 the Amon Carter Museum, Fort Worth, 18 March- Lawrence, Spencer Museum of Art PINTURA BRITANICA: DE HOGARTH A 14 May 1989; and the New Jersey State Museum, THE ENGRAVINGS OF GERMAN LITTLE TURNER, 18 October 1988-8 January 1989 Trenton, 17 July-27 August 1989 MASTERS, 1 500- 1550,4 September-23 October 1988 Joseph Mallord William Turner, The Evening of the Hirshhom Museum and Sculpture Garden, Deluge; Joseph Wright, The Corinthian Maid Heinrich Aldegrever, Night; Two Spoons, Circulated Smithsonian Institution to Yale University Art Gallery, 20 November 1988- ALBERTO GIACOMETTI 1901-1966, SWITZERLAND 8 January 1989; and Minneapolis Institute of Arts, 15 September-13 November 1988 5 February-26 March 1989 Kunsthalle Basel Alberto Giacometti, The Chariot, Circulated to San MARKROTHKO: KAABA IN NEW YORK, Francisco Museum of Modern Art, 15 December MAINE 19 February-7 May 1989 1988-5 February 1989 Portland Museum of Art *Mark Rothko, Mural Sketch; * Untitled (Seagram National Museum of American History, Smithsonian Mural) WINSLOW HOMER: PAINTINGS OF THE CIVIL Institution WAR, 9 October-19 December 1988 Offentliche Kunstsammlung Basel MEN AND WOMEN DRESSING THE PART, Winslow Homer, Zouave, Circulated to the Amon PAUL CEZANNE: THE BATHERS, lOSeptember- 19 September-19 December 1989 Carter Museum, Fort Worth, 7 January-12 March 10 December 1989 * Ralph Earl, Dr. David Rogers; * Martha Tennet 1989 *Paul Cezanne, The Battle of Love Rogers and Daughter Saco, York Institute Museum UNION OF SOVIET SOCIALIST REPUBLICS The National Museum of Women in the Arts CHARLES HENRY GRANGER, 16 August 1988- IRENE RICE PEREIRA'S LIBRARY: A 26 January 1989 Moscow, The State Pushkin Museum of Fine Arts METAPHYSICAL JOURNEY, * Charles Henry Granger, Muster Day GAUGUIN, 20 May-20 July 1989 3 October 1988-20 January 1989 *Paul Gauguin, Haystacks in Brittany; Landscape at *1. Rice Pereira, Green Mass Le Pouldu; Pair of Wooden Shoes; *Parau na te Va- rua ino; Pere Paillard; Self Portrait Dedicated to

57 MARYLAND MISSOURI in-the-Pulpit No. IV; Jack-in-the-Pulpit No. V, Circu- lated to The Metropolitan Museum of Art, New York, Kansas City, The Nelson-Atkins Museum of Art Annapolis, Saint John's College, Elizabeth Myers 19 November 1988-5 February 1989; and the Los Mitchell Art Gallery THOMAS HART BENTON: AN AMERICAN Angeles County Museum of Art, 30 March-18 June IMAGE AND WORD, 17 September-31 October 1989 ORIGINAL, 15 April-18 June 1989 1989, where O'Keeffe, Jack-in-the-Pulpit No. VI Master of the Orpheus legend, Apollo and Daphne; *Thomas Hart Benton, Trail Riders, Circulated to was also on loan. Moderno, Hercules and Antaeus; north Italian, Ink- The Detroit Institute of Arts, 4 August- stand with Bound Satyrs and Three Labors of Hercu- 15 October 1989 Fort Worth, Kimbell Art Museum POUSSIN: THE EARLY YEARS IN ROME, les; * follower of Titian, Allegory (Alfonso d'Este and ART BY CHANCE: FORTUITOUS 24 September-27 November 1988 Laura Dianti); Master of the E-Series Tarocchi, Pru- IMPRESSIONS, 22 July-3 September 1989 Nicolas Poussin, The Assumption of the Virgin; Mo- dencia; school of Andrea Mantegna, Virtus Com- David Hockney, Snow; Wind; Rain; Lightning; Mist busta: An Allegory of Virtue; Giovanni Battista Pa- dello for a Ceiling: Diana and the Dead Endymion, lumba, Faun Family.; Master NA.DAT with the NEW JERSEY the Judgment of Paris, and the Death of Adonis; attributed to Poussin, Figures Bathing in a Stream Mousetrap, Virgin and Child Enthroned with Saint New Brunswick, The Jane Voorhees Zimmerli Art Anne; Anonymous Italian 16th century, Saint Museum, Rutgers University Houston, The Museum of Fine Arts Jerome in Penitence; Anonymous German 15th cen- THE NABIS AND THE PARISIAN THE ART OF PHOTOGRAPHY: 1839-1989, tury, The Way to Salvation; Albrecht Diirer, Knight, AVANT-GARDE, 4 December 1988-14 February 1989 11 February-30 April 1989 Death, and Devil; after Pieter Bruegel the Elder, Edouard Vuillard, Four Ladies with Fancy Hats; Alfred Stieglitz, The Terminal; From the Shelton; Every Man; Triumph of Saturn; Temperance; Rem- Woman in Bed, Circulated to Rijksmuseum Vincent From the Back Window—"291"; Georgia O'Keeffe: A brandt van Rijn, Return of the Prodigal Son; William van Gogh, Amsterdam, 10 March-28 May 1989 Portrait; Georgia O'Keeffe: A Portrait—Neck; Un- Blake, The Circle of Thieves: The Six-Footed Serpent titled—Porch and Grape Leaves, Lake George; Attacking Agnolo Brunelleschi; The Circle of the NEW MEXICO Music—A Sequence of Ten Cloud Photographs, No. Lustful: Paolo and Francesca; Honore Daumier, Santa Fe, Museum of New Mexico VIII, Circulated to the Royal Academy of Arts, Lon- L'Ane et les deux voleurs; Une discussion litteraire a HISPANIC ART IN THE UNITED STATES: don, 23 September-23 December 1989 la deuxieme galerie; Peter Milton, Daylilies THIRTY CONTEMPORARY PAINTERS AND WASHINGTON The Baltimore Museum of Art SCULPTORS, 30 July-27 November 1988 BENJAMIN WEST (1738-1820), 4 June-20 August * Robert Graham, Olympic Torso (Female); * Olympic Seattle, Museum of History and Industry 1989 Torso (Male), Circulated to the Los Angeles County WASHINGTON SALUTES WASHINGTON: THE Benjamin West, The Battle of La Hogue; Angel of the Museum of Art, 2 February-16 April 1989; and PRESIDENT AND THE STATE, 18 February- Resurrection The Brooklyn Museum, 10 June-4 September 13 August 1989 1989 * George Ropes, Mount Vernon, Circulated to MASSACHUSETTS Cheney Cowles Memorial Museum, Spokane, PENNSYLVANIA Boston, Museum of Fine Arts Washington, 8 September-19 November 1989 PAINTINGS BY FITZ HUGH L A N E, 5 October- Philadelphia, The Pennsylvania Academy of the Fine WISCONSIN 31 December 1988 Arts Fitz Hugh Lane, Lumber Schooners at Evening on RAPHAELLE PE ALE STILL LI FES, 16 February - Milwaukee Art Museum Penobscot Bay 16 April 1989 RENAISSANCE AND BAROQUE BRONZES, Rembrandt Peale, Rubens Peale with a Geranium 22 June-24 September 1989 ITALIAN ETCHERS OF THE RENAISSANCE Anonymous Italian 16th century, A Door-Knocker, AND BAROQUE, 24 January-2 April 1989 RHODE ISLAND Lock Face Plate and Lock Strap; Florentine 15th Stefano della Bella, Flight into Egypt; Giovanni Bat- Providence, David Winton Bell Gallery, List Art century, Romulus and Remus Suckled by a Wolf; tista Bracelli, four plates from Bizzarie; Jacques Cal- Bertoldo di Giovanni, Lorenzo de' Medici, II Magnif- lot, War of Love; Angelo Falconetti, Venus, Cupid OVER HERE: MODERNISM, THE FIRST EXILE, ico, and the Pazzi Conspiracy (obverse)IGiuliano I and a Satyr, Claude Lorrain, Brigands in a Land- de' Medici, and the Pazzi Conspiracy (reverse); Mo- scape; Landscape with Ruins, Pastoral Figures, and 1914-1919, 15 April-29 May 1989 Alfred Stieglitz, N. Y. ; The Mauretania; Untitled— derno, Cacus Stealing the Cattle of Geryon from Her- Trees; Niccolo Nelli, Land of Cockaigne; Parmi- Military Parade; Georgia O'Keeffe: A Portrait—Torso cules; Paduan 15th century, One of Three Panels of gianino, Entombment; Bartolommeo Passarotti, a Writing Casket, Top (Head of Medusa); *Severo da Saint John the Evangelist; Marcantonio Raimondi, TEXAS Ravenna, Kneeling Satyr Supporting the Figure of an Woman Tearing Her Hair, Giuseppe de Ribera, The Austin, Archer M. Huntington Gallery Emperor, Andrea Riccio, Altar with a Female Bust; Poet; Elisabetta Sirani, Holy Family with Saints; An- THE SFORZA COURT: MILAN IN THE A Crab on a Toad; Venetian 16th century, Female tonio Tempesta, Defeat of the Ethiopians; Camillo RENAISSANCE 1450-1535,27 October- Figure with Raised Arms (A Niobid?) Procaccini, Rest on the Flight into Egypt 18 December 1988 MARY CASSATT: THE COLOR PRINTS, Cardosso, Giangiacomo Trivulzio and Inscription; WYOMING 9 September-5 November 1989 Gianfrancesco Enzola, Francesca I Sforza and Ga- Cody, Buffalo Bill Historical Center Mary Cassatt, four drawings and thirty-one prints leazzo Maria Sforza; Milanese 15th century, Lo- A GALLERY REVIVED: NORTH AMERICAN Lexington, Museum of Our National Heritage dovico Maria Sforza and Beatrice d'Este; Lodovico INDIAN PAINTINGS BY GEORGE CATLIN, FACE TO FACE: M. W. HOPKINS AND NOAH Maria Sforza and Crowned Shield; Milanese 16th 1 March-31 May 1989 NORTH, 11 September 1988-15 January 1989 century, Giangaleazzo Maria Sforza and Lodovico National Lending Service exhibition of 50 paintings * Anonymous American 19th century, Aphia Salis- Maria Sforza; The Man of Sorrows; Gian Paolo di by George Catlin depicting Indian life bury Rich and Baby Edward Negroli, Helmet in the Form of a Grotesque Mask; Sperlandio, Francesca I Sforza and Renaissance FOLK ROOTS, NEW ROOTS: FOLKLORE IN TEMPORARY LOANS TO OTHER Building with Four Cupolas; after Leonardo da AMERICAN LIFE, 16 October 1988-25 June 1989 MUSEUM COLLECTIONS Vinci, First Knot; Fourth Knot; Sixth Knot, Circu- Rose Campbell-Gerke, Child's side saddle; Beverly lated to the University Art Museum, University of FRANCE Chichester, Doll bed applique patchwork quilt; M. California, Berkeley, 18 January-12 March 1989; Rosenshield-von Paulin, Chest; John Davis, Cigar Caen, Musee des Beaux-Arts Yale University Art Gallery, New Haven, 16 April- store Indian; Mary Berner, Quilt; Francis Borelli, 13 November 1988-20 February 1989 4 June 1989. Kneeling Angel by Giovanni Antonio Chest of drawers; Emma M. Krumrine, Birth certifi- Jacopo Tintoretto, Christ at the Sea of Galilee Amadeo was shown only at the Archer M. Hun- cate; Robert Clark, Toy train, Circulated to The Uni- tington Gallery. UNITED STATES versity of South Carolina McKissick Museum, Co- lumbia, 20 August-26 November 1989 Dallas Museum of Art MARYLAND GEORGIA O'KEEFFE: 1887-1986, Baltimore, The Walters Art Gallery 31 July-16 October 1988 13 November 1988-20 February 1989 Georgia O'Keeffe, Jack-in-the-Pulpit No. Ill; Jack- Jacopo Tintoretto, A Procurator of Saint Mark's

58 Performance of Matisse s Circus at the Gallery by Education Division West Buildings during public hours the Amherst Ballet Theatre Company throughout the year. In addition, this The education division aims to make the group provides a unique service among National Gallery's resources available as American art museums by responding to widely as possible, providing art informa- telephone and written inquiries that en- tion and interpretive material to visitors of compass the whole range of Western art all ages and nationalities. Among the history. The interpretive unit seeks to or- broad range of programs offered by the ganize effective, balanced, innovative education division, Gallery visitors can programming related to the Gallery col- choose tours, lectures, film series, lections and special exhibitions to deepen teacher training, brochures, and audiovi- the public's understanding and pleasure sual presentations. In August 1989 Linda in art. Downs became head of education at the Tours and Lectures: Gallery staff present Gallery. Major changes in programming, lectures and lead regularly scheduled organization, and visibility are anticipated tours each day free of charge to inter- with this appointment. ested visitors. Group tours can also be ar-

PUBLIC PROGRAMS ranged on request. In 1989 the Gallery offered a fourteen-session slide lecture This department consists of two broad course on the history of art. sections: an information unit and an interpretive unit. Professional staff in the art Teacher and School Programs-. In re- information service train and supervise sponse to the growing interest in the na- over one hundred volunteers, who serve tion's schools for art in the curriculum, at four information desks in the East and the Gallery continues to develop and offer

59 workshop series and materials for teach- The Summer Graduate Internship Program ers. This year the department initiated a matched thirteen graduate students with Summer Institute on American Art for various departments in the Gallery, pro- 150 teachers from across the nation, with viding individuals interested in museum three week-long sessions, including slide careers an opportunity to gain practical lectures, gallery talks, and visits to other work experience. Interns learned first- local galleries and historic sites. More hand from curators, conservators, and than 240 volunteer docents, trained by administrative personnel about the work- Gallery professionals, guide children ings of the museum. from preschool through high school on art Interactive Educational Technology is ex- appreciation tours and special topic tours ploring current developments in the field and programs relating to classroom cur- of interactive audiovisual technology and ricula. The department this year pro- plans to produce innovative applications duced a children's self-guided tour for the in the 1990s. As a participant in the Mu- exhibition Japan: The Shaping of Daimyo seum Education Consortium—with the Culture. The Gallery also invites children Museum of Fine Arts, Boston, Brooklyn ages six to twelve and their parents to Museum, Art Institute of Chicago, Metro- meet for about IV2 hours every Saturday politan Museum of Art, Museum of Mod- morning during the school year for a film ern Art, and Philadelphia Museum of or performance followed by a gallery tour Art—the National Gallery is helping to de- on the same theme. It conducts, in addi- velop a prototype interactive program tion, foreign language tours and a series based on the collections of the seven of highlight tours tailored especially to se- member museums. nior adults. National Gallery docents continued preparations to host the fifth Na- Academic Programs: Appealing both to tional Docent Symposium in November the general public and to undergraduate 1989. and graduate students, the Gallery orga- Exhibition Programs: To reach as broad a nizes academic programs such as the public as possible in enhancing under- Mellon lectures, Sunday lectures, and standing and appreciation of special exhi- other lectures, courses, and seminars. bitions, the department produces a vari- Courses by guest lecturers this year com- ety of materials, including recorded tours, plemented Japan, Photography, and brochures, wall texts, and audiovisual Michelangelo exhibitions, and a two-day programs. In fiscal year 1989 educa- program of eleven guest speakers was tional materials were supplied for sixteen held in conjunction with Japan. A semi- temporary exhibitions, concentrating es- nar for graduate students and scholars pecially on Japan to help elucidate dai- was conducted in the galleries for the Still myo culture, the tea ceremony, and the Lifes of the Golden Age exhibition. New in No drama. In addition, audiovisual pro- 1989, the graduate lecturing fellowship grams for Twentieth-Century Art and On program sponsored two participants, who the Art of Fixing a Shadow: 150 Years of each gave twenty-four gallery talks. Photography served large segments of the The Andrew W. Mellon Lectures in the audience for these exhibitions. Fine Arts have been presented annually since 1952, addressing the history, criti- Radio Programs reaches another audi- cism, and theory of the visual and per- ence through talks and interviews it pre- forming arts. They generally consist of no pares to accompany the Sunday broad- fewer than six lectures delivered in se- casts of the National Gallery concerts on quential weeks during the spring. The radio station WGMS. Presented during lectures are then published through the concert intermission, these weekly trans- National Gallery of Art and Princeton missions, from 2 October to 25 June, in- University Press as part of the Bollingen clude talks with various Gallery staff Series. This year Oleg Grabar delivered members and guest curators on a wide lectures on "Intermediary Demons: Or- range of topics, including special nament as Mediation." exhibitions.

60 Michael Jaffe, The Fitzwilliam Museum, Cambridge, England, "Treasures from the Fitzwilliam Museum" Eugenia Parry Janis, University of New Mexico, "Early Photography in Search of its Subject" Joop Joosten, Stedelijk Museum, Amsterdam, "Malevich Beconsidered: The Stedelijk Collection and the Malevich Exhibition" Patricia Leighten, University of Delaware, "Politics and Picasso" William L. MacDonald, George Mason University, "Hadrian and the Mediterranean High Noon" Nancy Mathews, Williams College Museum of Art, "The Color Prints in the Context of Mary Cassatt's Art" Amy Meyers, Henry Huntington Library and Art Galleries, "Joint Ventures: Artists and Scientists on the American Frontier" W. R. Rearick, University of Maryland, "Paolo Veronese: A Summation" Sue Welsh Reed, Museum of Fine Arts, Boston, "Etching: The Painter's Choice" Theodore Reff, Columbia University, "From Darkness to Light: The Early Still Lifes of Cezanne" Joseph Rishel, Philadelphia Museum of Art, "Impressionism and Post-Impressionism from the Annenberg Collection" David Rosand, Columbia University, "Pastoral Possibilities: Meaning in the Landscape"

Visitor to the Maillol and Modigliani installation in SUNDAY LECTURES Robert Rosenblum, New York University, » the Twentieth-Century Art exhibition "The Dog in Art from Bococo to Post- Albert Boime, University of California at Modernism" Los Angeles, "Mad Astronomer Meets Sane Margarita Russell, Bass Museum of Art, Painter: Van Gogh's Starry Night" Miami Beach, "Aelbert Cuyp: The Maas at Mimi Cazort, National Gallery of Canada, Dordrecht" Ottawa, "Master Drawings from the National Virginia Spate, The Power Institute of Fine Gallery of Canada" Arts, The University of Sydney, New South Jane Clark, National Gallery of Victoria, Wales, "Boccioni and the Cult of Virility" Melbourne, "Golden Summers: Nineteenth- Barbara Stern Shapiro, Museum of Fine Century Australian Landscape Painting" Arts, Boston, "Black and White Impression- Martin CoUcutt, Princeton University, "Art ism: Prints by Degas, Cassatt, and Pisarro" and Power: The Daimyo as Patron of the Arts Mary Anne Stevens, Boyal Academy of Arts, in Feudal Japan" London, "Cezanne Before 1872" Caroline Elam, The Burlington Magazine, Gabriel Weisberg, University of Minnesota, London, "The Early Medici and the Face of "Whistler and His Circle" Florence" Jay McKean Fisher, Baltimore Museum of Art, "The Prints of Edouard Manet: Sunday talks were also given by National Originality and Beproduction" Gallery of Art staff: Mary D. Garrard, The American University, Beverly Brown, guest curator of southern "Art History and the Gender Gap: The Case baroque painting, "A Venetian Festival in of Artemisia Gentileschi" Celebration of The Art of Paolo Veronese and John Gossage, photographer, Washington, The Pastoral Landscape" B.C., "The New York School: Photography of J. Carter Brown, director, "The Tenth the 1940s and 1950s" Anniversary of the East Building"

61 Nicolai Cikovsky, Jr., curator of American and critics. These events, which often fo- art, "'Blest with Genius': The Still Lifes of cus on the ways in which film interacts Raphaelle Peale"; and "Images of America: with other art forms, attracted more than Paintings from the Manoogian Collection" 85,000 viewers. Sarah Greenough, research curator, "The In conjunction with the Michelangelo Curious Contagion of the Camera: Amateur exhibition, the Gallery hosted the Wash- Photography from the Turn of the Century" ington area premiere of Michelangelo: Nicholas Ishell, summer intern, "Art and Revolution: Impressionism and the Paris Self Portrait as well as the Nippon televi- Commune" sion program Return to Glory: Michel- Philip Leonard, lecturer, "Art and angelo Revealed, which documents the Revolution: The Vision of Thomas Jefferson" first six years of the Sistine Chapel resto- Ross Merrill, chief of conservation, ration. A series of twenty-four Japanese "Bierstadt's Painting Method in His Yosemite period films complemented the Japan ex- Pictures" hibition, and a survey of Canadian film- Henry A. Millon, dean, Center for the making coincided with the drawings exhi- Advanced Study in the Visual Arts, bition from the National Gallery of "Michelangelo: Architect" Canada. A series of films at the time of Dennis P. Weller, lecturer, "Scenes of the Photography exhibition studied the Everyday Life in Seventeenth-Century Haarlem" complex and enduring relationship be- Christopher With, lecturer, "Art and tween the still photograph and the motion Revolution: German Art" picture image. Annette Michelson of New York University, Douglas Gomery of the Statistical Summary of Interpretive Programs University of Maryland, and Patrick for Fiscal Year 1989: Loughney of the Mary Pickford Theater, Estimated, Library of Congress, collaborated on the Number Audience selection of films for this series and on its Art information inquiries 1,611 1,611 catalogue, The Art of Moving Shadows. Tours announced in the In addition to exhibition-related pro- Calendar of Events 1,331 34,938 Special appointment tours 3,983 69,478 grams, a twelve-part film and lecture pro- Foreign language tours 194 3,445 gram examined the work of French film- Family programs 68 2,253 maker Jean-Luc Godard, while another Teacher programs 41 1,769 series, organized with assistance from Special auditorium Robert P. Kolker of the University of programs 51 11,511 Sunday lectures 50 16,820 Maryland, studied "The Domestic Melo- Subtotal 5,718 141,825 drama from Griffith to Hitchcock." This department coordinates other ac- Films 324 85,292 tivities in the two East Building audito- Recorded tours available 6 142,536 riums and West Building lecture hall. Audiovisual programs 2 103,220 Lectures by staff, and by guest speakers Radio programs produced 37 847,300 when they permit, are recorded and Subtotal 369 1,178,348 available to the public or to interested

Exhibition brochures 6 515,100 scholars on request. Teacher packets 5 635 Family/children's guides 2 50,150 AUDIOVISUAL PRODUCTION Subtotal 13 565,885 TOTAL 6,100 1,886,058 The scope and volume of audiovisual production services increased substantially this year. Public service announcements of exhibitions included 30-second and AUDITORIUM PROGRAMS 10-second spots for Raphaelle Peale Still This year, in addition to 300 film Lifes\ a 60-second spot for Japan; and a programs—series, documentaries, retro- 30-second spot for American Paintings spectives, area premieres—the National from the Manoogian Collection. In Gallery hosted twenty-six presentations progress at the close of the year was a by visiting film historians, filmmakers, 30-second announcement for the Frans

62 Hals exhibition. The department pro- ment in cooperation with Videodisc Pub- duced a 10-minute program to serve as lishing, Inc., showed a 30 percent in- an orientation to Twentieth-Century Art, crease in use over the previous year. The the first Gallery production for which an PBS adult learning service provided satel- independent firm evaluated audience re- lite transmission of nineteen extension sponses to the presentation. The Gallery program titles as an art education series videotaped the Amherst Ballet Theater to college and university campuses and Company's performance of Matisse's Cir- local PBS stations in more than 189 cities cus; the summer 1989 Teacher Institute across the country and in American Sa- sessions, both for documentation and for moa, Guam, Puerto Rico, and the U.S. production of an overview program; and Virgin Islands. ACSN, "The Learning various press conferences and special Channel," continues frequent presenta- events. Planning is underway for an origi- tion of Gallery extension programs nal videotape project sponsored by the through broadcast to over 1,100 stations National Gallery of Art and the Bauman throughout the country. Foundation, which will begin with an in- Within the overall audience, the num- troduction to the sculpture collection. ber of organizations across the country using extension programs through the af- SLIDE LIBRARY filiate, or long-term loan system, continued to grow. These borrowers—school The slide library revised its circulation policy, enabling staff to complete the cata- systems, instructional media centers, libraries, other educational and cultural loguing of many slides of Gallery objects and of works of art from special exhibi- organizations—as well as those using ma- tions. Slides in the collection now number terials on short-term (direct) loan, report 179,842, with 6,133 items catalogued showing each program title many times during fiscal year 1989 and 38,173 on a single order. slides in circulation. The slide library The department continues to provide extension programs—mainly films and initiated the production of a brochure to videocassettes—to U.S. embassies abroad publicize the offices within the Gallery that provide slides, films, videotapes, and through USIA, this year in such diverse cities as Helsinki, Manila, Beijing, and photographs for purchase or loan. Dakar. The entire range of programs is used by Department of Defense schools DEPARTMENT OF EXTENSION abroad and by military installations in the PROGRAMS U.S., Europe, and Asia. Films such as Continuing efforts to promote programs to John James Audubon: The Birds of Amer- educational and cultural organizations, to ica,, Winslow Homer: The Nature of the offer a wide range of distribution options, Artist, and William Merritt Chase at Shin- and to reach untapped public and educa- necock represented the U.S. in film festi- tional television systems enabled the Gal- vals in Italy, France, and England. lery this year to maintain a high level of Program development this year centered program use. Extension programs were on research, writing, and production of shown a total of 167,261 times, with another film in the Gallery's American viewership reported at 80,135,173. Pub- series, this one on nineteenth-century he and educational television broadcasts American painter Frederic Edwin in every state in the nation account for Church, produced in connection with the over half of the total presentations, while Church exhibition scheduled to open at the remaining showings represent direct the Gallery in October 1989. Narrated by use of program materials through the the Gallery's curator of American art, short-term direct loan system and through Nicolai Cikovsky, Jr., the film presents long-term loans to affiliate organizations. Church's paintings along with views of Again this year, videocassette distribu- "Olana," Church's home overlooking the tion was an important aspect of total Hudson River, and sites in the CatskiU program use. The National Gallery video- Mountains. disc, produced in 1983 by the depart- Production was completed this year on

63 a color slide program derived from the eighteenth-century English auction cata- Gallery's 1988 exhibition of The Human logues, art looting investigation unit re- Figure in Early Greek Art. Newly available ports, and Mary Cassatt letters. Diana Vo- for videocassette circulation were Paul gelsong, head of the audiovisual library at Gauguin: The Savage Dream and American University, compiled an anno- Daimyo, both made in conjunction with tated bibliographic guide to the micro- major Gallery exhibitions. The Gallery film, microfiche, and text-fiche collec- began a project for hearing-impaired tions. Vertical files on artists and audiences in fiscal year 1989, making institutions were revised, with duplicate closed-captioned masters for the Audu- records discarded, acid-free folders pro- bon, Homer, and Whistler videocassettes vided, and VTLS records prepared for and for The Christmas Story in Art. each file. In addition, vertical files now The number of subscriptions to Art & contain information on the architecture of Man, the art education magazine pub- both East and West Buildings of the Na- lished by Scholastic, Inc., in cooperation tional Gallery, including architects' bibli- with the Gallery, was well over 200,000, ographies, floor plans, drawings, and sustaining the high level reached in the other ephemera. previous year. Department staff has edito- On-line files for artists, authors, institu- rial review of content of the publication. tions, and subject terms continued to be refined. Author and title entries for arti- Summary Statistics of Extension Programs cles in the Gallery's Studies in the History Showings Audiences of Art are being added. Plans were made

Direct Loan System: for automating the library's collection of Color slide programs 14,429 604,550 doctoral dissertations, and a secondary Automated programs 96 15,865 data base was installed to facilitate the Films 17,469 926,908 use of VTLS software for curatorial Videocassettes 8,475 327,280 Special long-term loans 1,630 163,100 records and other of the Gallery's bibliographic needs. Affiliate System: A handbook was compiled to facilitate Extended loans 37,270 1.011,945 the work of the reference desk staff, and Public/educ. TV Stations 11,344 35,405,731 a retention policy for annuals was pre- Public/educ. TV pared, with updated procedures for their Systems/networks 76,908 41,680,444 withdrawal and deaccessioning. Barcode 167,261 80,135,723 labeling of books in the collection was begun over the summer, and holdings summary statements and check-in records were established for many of the library's Library serials titles. Acquiring research material continues The library's advanced automation sys- to be a vital component of the library's tem, installed over the past several years, operation, and this year was outstanding, has vastly improved service. Ninety per- with the acquisition of many important cent of the titles in the card catalogue are titles on Italian, French, and German art. now available on-line, and regular trans- The most spectacular purchase was of the fer of newly catalogued titles from the magnificent van Hattum collection on national network is underway. With auto- Dutch seventeenth- and eighteenth- mation of the circulation and ordering century culture. functions, the Gallery library becomes Important additions to the reference one of the few in the museum community collection include: to be within reach of full automation. Heinrich Fuchs, Die osterreichischen Maler der Reader services introduced a monthly Geburtsjahrgange 1881-1900 (Vienna, 1976- list of contents pages of current periodi- 1977); Mortimer G. Davidson, Kunst in Deutsch- land, 1933-1945: eine Wissenschqftliche En- cals in the library. Reference librarians zyklop'adie der Kunst im Dritten Reich (Tubingen, responded to queries relating to such 1988-); Knaurs Kulturfuhrer in Farbe (Engle- materials as the seventeenth- and wood Cliffs, N.J., 1985-); Pierre Kjellberg, Les

64 Various artists, after Charles-Nicolas Cochin II, bronzes du XIX' siecle: dictionnaire des sculpteurs (Rome, 1544). Seventy-two individuals Almanack iconographie, published 1774, Ailsa (Paris, 1987); and Historia de la arquitectura es- also made important gifts to the library, Mellon Bruce Fund, 1988.59.1-18 pahola (Barcelona, 1985-1987). among them Charles Rahn Fry, who Important additions to the microform added several hundred titles to his earlier collection include: gifts of materials on Eastern European art Emblem Books: A Microfiche Project (Zug, Switz- and architecture; Mark Samuels Lasner, erland, 1981); Victoria and Albert Museum who added to his previous gifts of books Library Subject Catalogue (London, 1983); and on nineteenth-century English art; and National Gallery of Canada Exhibition Catalogs, Mrs. John A. Pope, who, in what has be- 1919-1959 (Toronto, 1980). come an annual tradition, made substan- The library added a single videodisc, tial donations to research material on Van Gogh, to its collection. oriental art. Egon Verheyen gave a large The J. Paul Getty Trust continued its group of rare doctoral dissertations from generous support for the acquisition of German universities, and Mrs. Maria source materials on the history of Italian Petschek Smith donated an important art and architecture. The Circle of the Na- group of early private collection cata- tional Gallery of Art this year made pos- logues and artist monographs. Paul Mel- sible the purchase of one of the most im- lon gave a magnificent limited edition portant early books on Rome, Bartolomeo facsimile of two English herbals and Marliani's Urbis Romae Topographia bestiaries of the thirteenth century. The

65 most touching gift was from the bequest In the van Hattum collection some of of Mrs. Lessing J. Rosenwald, with many the more important titles include: of her late husband's personal copies of Matthys Balen, Beschryvinge der Stad Dordrecht, exhibition catalogues relating to the Vervatende haar Begin, Opkomst, Toeneming, en verdere Stant. ..,2 vols. (Dordrecht, 1677); Ja- Rosenwald collections. cobus Basnage, Histoire du Vieux et du Nouveau Other notable books acquisitions Testament. .. (Amsterdam, 1705); Biblia dat is include: de gantsche Heylige Schrifture. . .,4 vols. Francesco Domenico Bisagno, Trattato della pit- (Leiden, 1663); Antonio A. Burgundia, Mundi tura fondato nelV auttorita di mold eccellenti in Lapis Ludius siue Vanitas per Veritate Falsi, accu- questa professione. .. (Venice, 1642); Dirck van sata & conuicta .. . (Bruges, Antwerp, 1639); Bleyswijck, Beschryvinge der stadt Delft. . . Jacob Cats, /. Cats Klagende Maeghden en Raet (Delft, 1667); Catalogue raisonne, ou description voor de selve. Alle Maeghden van Hollandt door exacte de plusieurs excellens tableaux . . . (Parma, de Maechit van Dordrecht gunstelijck toe-geevgent 1796); Jacob Cats, Houwelyck, dat is: de (Tot Dordrecht Ghedruckt in 't Hof, 1633); Se- gantsche gheleghentheydt des Echten-Staets bastien Le Clerc, Godturugtige Almanach of Lof- (Haarlem, 1642); Gaetano Chiaveri, Breve dis- Gedactenis der Heyligen . . . (Amsterdam, 1730); corso di Gaetano Chiaveri Romano . . . (Pesaro, Jeremias de Decker, Alle de Rym-Oeffeningen 1767); Vicenzo Follini, Firenze antica e moderna ...,2 vols. (Amsterdam, 1726); Delft, Af illustrata (Florence, 1789-1802); Girolamo beeldingen zoo van de Platte Grond, A Is van de Franzini, Le cose maravigliose dell'alma citta di voornaamste Gebouwen der Stad Delft (Amster- Roma (Rome, 1585); Johann Caspar Fiiesslin, dam (1703)); Jacob Eyndius, Chronici Zelandiae Geschichte und Abbildung der besten Mahler in Libri Duo (Middelburg, 1634); S. Fokke, Convoi- derSchweitz (Zurich, 1755-56); Karl Heinrich Funbre de Son Altesse Roy ale Anne, Princesse von Heinecken, Nachrichten von Kunstlern und Royale de la Grande Bretagne (La Hague, 1761); Kunstsachen (Leipzig, 1768-1769); Franciscus Wilhelmus Goerre, Joodse Oudheden ofte voor- Junius, Depictvra vetervm libri tres (Amsterdam, bereidselen tot de Bybelsche Wysheid. ..,2 vols. 1637); Kern: Historie allerfreien Kuenste und (Amsterdam, 1690); W. van Gouthoeven, schoanen Wissenschaften. . . (Leipzig, 1748- D'oude Chronijcke ende Historien van Holland 1752); Jean Balthassar Lauterbach, Kort begrip (met West-Vriesland) van Zeeland ende van van de burgerlyke bouwkonst, volgens de proportie Utrecht. ..,2 vols, in one (The Hague, 1636); der antique en moderne (Rotterdam, 1705); Do- Francesco Guicciardini, Description de touts les menico Martinelli, II ritratto di Venezia divisa in Pays-Bas (Amsterdam, 1625); Franciscus Ha- due parti.. . (Venice, 1684); Johannes Michael, raeus, Annales Ducem sue Principum Brabantiae Antiquitatum goslariensium et vicinarum re- totiusq Belgii, 3 vols, in 2 (Antwerp, 1623); [J. gionum libri sex e genuinis vetustatis monumentis van Heemskerck], Batavische Arkadia (Amster- ... (Frankfurt, 1707); Giovanni Battista Nelli, dam, 1647); Carel van Mander, Het Schilder- Discorsi di architettura ... e due ragionamenti Boeck . . . (Amsterdam, 1618); Frans van Mieris, sopra le cupole, di Alessandro Cecchini. .. (Flor- Beschryving der stad Ley den, 3 vols. (Leiden, ence, 1753); Georg Wolfgang Franz Panzer, Ver- 1762-1784); Zeevsche Nachtegael, ende des zeichnis von nurnbergischen Portraiten aus alien selfs Dryderley Gesang. . . door Verscheyden trejfe- Staenden (Nuremberg, 1790-1801); Giovanni lijcke Zeevsche Poeten be een ghebracht (Mid- Pietro Puricelli, Ambrosianse Mediolani Basili- delburg, 1623); P. Ovidius Naso, Metamor- cae, ac monasterii, hodie cistertiensis, monumen- phoses: Argumentis Breuioribus et Luctatio tarum singularis descriptio .. . (Leiden, [1722]); Grammatico collectis expositae . . . (Antwerp, Tobias Querfurt, Handbuch fur die Mahler oder 1591); Jacob de Riemer, Beschryving van Auszuege aus Gerards de Lairesse, grossem 'sGraven-Hage . . . Mitsgaders Stigtinge van het Mahlerbuche (Prague, 1776); Jean Richard, Hof, der Kerken, Kloosters, Kapellen, Godshuizen, Antiquitatum Divionensium, et de Statuis noviter en andere voornaame Gebouwen, 3 vols. (Delft, Divione Repertis in Collegio Godraniorum, Liber 1730-1739); Erasmus Roterodamus, Deside- (Paris, 1585); Baron Jacques Le Roy, Brabantia rius. Opera omnia emendatiora et auctiora, ad illustrata (Amsterdam, 1705); Girolamo Rus- optimos editiones praecipue quas ipse Erasmus celli, Le imprese illustri. . . (Venetia, 1566); Scrit- postremo curavit..., 10 vols, bound in 11 ture concernenti i danni della cupola di S. Pietro (Lugduni Batavorum, 1703-1706); Johann Ja- e i loro rimedi (Venice, 1744); Frans van Stam- cob Scheuchzer, Physique Sacree, ou Histoire Na- part, Prodromus, seu Praeambulare lumen reserati turelle de la Bible, 8 vols. (Amsterdam, 1732- portentosae magnificentiae theatri. . . (Vienna, 1737); Gallaeus Servatius, Dissertationes de 1735); Bartholomaeus Wagner, Der Layen Kir- Sibyllis, earumque Oraculus con figuris aeneis chen spiegel: inn dem ainer sechen kan, wass er (Amsterdam, 1688); Taferelen der Voornaamste bey jedem Catholischen Tempel an Kirch- Geschidenissen van het Oude en Nieuwe Testa- weihungen . . . (Thierhaupten, 1593); and Jo- ment, 3 vols. (The Hague, 1728); and Cornelis hann Joachim Winckelmann, Storia delle arti del van der Woude, Kronck van Alckmaar. . . (Am- disegno presso gli antichi (Rome, 1785). sterdam and Alkmaar, 1743).

66 Three library exhibitions were in- many objects and sites damaged or de- stalled: Renaissance Architecture: Theory stroyed over the years. The third project and Practice, October-December 1988, was assessing the condition of over coordinated by Caroline Backlund and 40,000 photographic negatives made at Neal Turtell; The van Hatturn Collection, the Munich Central Collecting Point in January-June 1989, coordinated by Neal 1945. These negatives recorded the ob- Turtell; and The French Revolution 1789- jects found by Allied military officers of 1799, July-October 1989, coordinated the Monuments, Fine Arts, and Archives by Caroline Backlund. Service in the salt mines at Alt Aussee, Use of the library has increased sub- Austria. The works, which had been stantially, with a corresponding increase stolen by the Nazis, were taken to Munich in the number of outside readers. and photographed before being returned Scholars and students came from across to their original owners. Conservation the country this year as well as from Aus- problems presented by the Munich nega- tralia, Austria, Canada, England, France, tives and other negatives and photographs Israel, Japan, Poland, Sweden, Switzer- in the archives prompted the assessment land, and the U.S.S.R. Interlibrary loans of the whole collection by Gary Albright show a 31 percent increase in borrowing of the Northeast Document Conservation and a 49 percent increase in lending to Center, who found the collection on the other libraries, not including the Library whole in excellent condition. of Congress. International transactions The archives is grateful to John this year involved Canada, England, In- Wilmerding for a gift of 438 photographs dia, Italy, and the Netherlands. of the work of John Peto, and to William Brumfield for allowing us to make over 600 prints from his negatives of Russian Library Statistics for Fiscal Year 1989 architecture. This year the archives Total volumes (monographs, bound added to the collection of commemorative serials including auction catalogues, picture books of international fairs and pamphlets, microforms) 151,597 expositions with the acquisition of several Titles/volumes acquired with federal funds 1,801/2,046 albums from the early twentieth century. Tides/volumes acquired with trust These complement the collection of simi- funds 647/964 lar nineteenth-century albums, the earli- Titles/volumes acquired by gift 1,296/1,347 est of which is the 1855 Exposition Uni- Titles/volumes acquired by exchange 576/584 versale held in Paris. Added microform titles 47 Added vertical file material 9,130 The Gallery is grateful for the Kress Foundation's continued support of the Reference inquiries 15.097 photographic archives and its projects. Computer-based bibliographic searches (RUN, OCLC, ARTQUEST, This year, through their subvention of DIALOG, WILSONLINE) 2,185 photography, the archives was able to Outside visitors 2,952 participate in acquiring photographs of

Titles/volumes catalogued 2,626/4,509 architecture and sculpture in Tuscany initiated by the Conway Library, Courtauld Institute of Art, London. The archives now has 1,220,000 photographs in its PHOTOGRAPHIC ARCHIVES collections and 4,135,900 images in During the past fiscal year the photo- microform. graphic archives has undertaken three projects relating to material acquired some time ago. The first, sorting and classifying several thousand photographs of tapestries, was made possible by the Kress Foundation. The second consisted of sorting and classifying several large collections of late nineteenth- and early twentieth-century postcards, which record

67 From the Peale exhibition, Raphaelle Peale's Still Editors Office Building was published in 1989 in con- Life with Strawberries and Ostrich Egg Cup, 1814, currence with the opening of the new in- private collection (detail) The editors office continued to serve the stallation of the Gallery's collection of Gallery's many audiences through the ed- twentieth-century art. iting and design of an array of publica- Among the exhibition-related publications. As in the past, the principal efforts tions the office produced are nine cata- of the office were dedicated to the pro- logues: Frederic Edwin Church; Still Lifes duction of exhibition catalogues and bro- of the Golden Age: Northern European chures. Fiscal year 1989 was also a pe- Paintings from the Heinz Family Collec- riod for reflection and reorganization, tion; Japan: The Shaping of Daimyo Cul- with the aim of giving more attention to ture; American Paintings from the Ma- non-exhibition-related publications. At noogian Collection; Raphaelle Peale Still the close of the year two volumes in the Lifes; On the Art of Fixing a Shadow: 150 systematic catalogue, those on British and Years of Photography; The Art of Moving Spanish paintings, were being edited. In Shadows; Twentieth-Century Art: Selec- addition, work was progressing on six vol- tions for the Tenth Anniversary of the East umes of Studies in the History of Art, and Building; and The Art of Paolo Veronese. on the book planned to commemorate the The editors office produced educational Gallery's fiftieth anniversary. A revised brochures for seven exhibitions: Treasures version of the popular Profile of the East from the Fitzwilliam; Japan; The Art of

68 the Tea Ceremony; Pastoral Landscape: eliminating a time-consuming step for The Legacy of Venice; Photography, Gallery staff in the design and installation Twentieth-Century Art; and Veronese. The department. office also produced wall texts, object la- The editors office received the Presi- bels, and press kits for nearly all exhibi- dential Design Award for Piranesi: The tions as well as stationery and posters for Early Architectural Fantasies and Ameri- a number of exhibitions. can Furniture from the Kaufman Collec- The editors office succeeded in narrow- tion, and an award from the American ing the gap between CASVA symposia Association of Museums for Japan: The and the appearance of volumes in the Shaping of Daimyo Culture. Studies in the History of Art symposium series. Italian Plaquettes, volume 22 in PHOTOGRAPHIC SERVICES this series, was published this year, along with Stained Glass before 1700 in Ameri- Photographic services provides color can Collections, Midwestern and Western transparencies and black and white pho- States, volume 28 in the monograph se- tographs to museums, scholars, institu- ries. Center 8 and Center 9: Research Re- tions, publishers, visitors, and Gallery ports and Record of Activities, Sponsored staff; authorizes reproductions of works in Research 8. A variety of CASVA publica- the Gallery collections; and coordinates tions, including symposia announcements requests for work to be performed by the and invitations, also appeared in fiscal photographic laboratory. In addition, sev- year 1989. The editorial board of Studies eral large groups of photographs were ex- decided to suspend publication of vol- changed, through the Gallery's depart- umes of collected papers. ment of photographic archives, with such Brochures for the Teacher Institute, diverse institutions as the Yale University trustee and teacher packets, the docent Art Gallery and the Jawlensky Archiv in symposium booklet, gallery leaflets, let- Locarno, Switzerland. terhead, forms, the monthly calendar of This year photographic services as- events, and brochures for the National sumed responsibility for obtaining photo- Sculpture Garden, visual resources, film graphs and transparencies for works of series, and a personnel symposium are art to be loaned to temporary exhibitions among the numerous ephemeral publica- at the Gallery, and for coordinating the tions edited, designed, and produced by photographic needs of all Gallery depart- the editors office. Federal funds were ap- ments as well as museums participating in propriated for several publications pro- exhibition tours. The coordinator of pho- duced through the Government Printing tography also serves as executive secre- Office, while National Gallery of Art pub- tary to the Gallery's committee for media lication funds continued to be used for projects, which reviews and oversees all the majority of other publications. The of- audiovisual projects involving the Gallery. fice sought copublishers and distributors The photographic laboratory serves for all major publications and reached nearly every department in the Gallery, agreements in 1989 with Abbeville Press, responding to an ever-increasing number George Braziller, Bulfinch Press, and of requests for photography. This year Smithsonian Institution Press. University more than 1,500 individual works of art Press of New England continues to dis- were photographed. The conservation de- tribute Studies in the History of Art. partment made voluminous requests in The editors office upgraded its in-house 1989. Work on Bellini's Feast of the Gods, typesetting system through the purchase for instance, required extensive photo- of a Macintosh II computer, LaserWriter graphic documentation over many Printer, and Linotronic 200 imagesetter. months, including a series of infrared re- This equipment allows the office to save flectographs, which required more than on costly photographic paper and film by 250 photographs of small areas of the using regular printouts as an intermediate painting. step in processing and makes it possible The department supplies extensive pho- to set type for wall graphics at actual size, tographic support for temporary exhibi-

69 ply of pure water for processing equipment, which includes two automatic black and white processors and one automatic color processor. In fiscal year 1989 photographic services added 20,427 black and white photographs and 2,605 color transparencies to the files, issued 2,333 permissions for reproduction, and lent 3,395 color transparencies for reproduction. At the same time, the photographic laboratory produced 6,412 black and white negatives, 42,771 black and white prints, 20,242 35mm slides, 3,702 color transparencies, and 3,905 color negatives.

Gallery Archives

An interview with Paul Mellon this year inaugurated the National Gallery's oral history program. The interview, conducted by Robert L. Bowen, Jr., provides a valuable new source of information about the Gallery's past that will have long-term importance for historians and other researchers. Former curator of education Margaret Bouton was interviewed only a few months before her death by From 150 Years of Photography, William Henry Fox dons. In 1989 it photographed a great Lynn Russell under the auspices of the Talbot, Ships at Low Tide, c. 1844, National Mu- number of objects for the catalogues On program. Other oral history interviews seum of American History, Smithsonian Institution the Art of Fixing a Shadow: 150 Years of with individuals who were observers or Photography; Edvard Munch: Master participants in the Gallery's history Prints from the Epstein Family Collection; helped fill gaps in existing documentation John Marin; and Gardens on Paper: Prints of significant events. Among those who and Drawings, 1200-1900. Staff also have participated in the program are produced original color photography for Thomas Baird, Richard Bales, Catharine several of the large outdoor signs used to Bonner, John Craig, Robert Feller, Eliza- announce exhibitions. beth Foy, John Jones, Mrs. Rush Kress, During the year the department ex- Agnes Mongan, Elizabeth Mongan, panded its facilities, adding a new studio Charles Parkhurst, Malcolm Rice, Katrina and laboratory space in the East Building Van Hood Taylor, and Theodore Young. for photography of graphic works. The An oral history advisory committee was two darkrooms are dedicated to process- established to guide the program. Mem- ing black and white film and to serving bers of the committee are Richard Bales, the archives photographer. A new light- Elizabeth Croog, and Elise V. H. Ferber, ing system for photographing three- Elizabeth Foy, John Hand, William Moss, dimensional objects has been suspended and Frances Smyth. from the ceiling in the original West Paul Mellon this year gave the National Building studio. It provides greater flexi- Gallery two important letters that Franklin bility in light placement and increases the D. Roosevelt wrote to Andrew Mellon in safety of the works of art. A new water fil- December 1936, expressing the presi- tration system ensures an adequate sup- dent's pleasure with Mellon's proposal for

70 a National Gallery of Art. The original Archivists made substantial progress documents are major enhancements of preserving and organizing architectural the Gallery's archival holdings. Hugh documents during the year. Shop draw- Eagleton, son of Sterling Eagleton, do- ings, construction office records, East nated an important group of unique mem- and West Building specifications, and orabilia relating to his father's career at files of the architectural firm of John Rus- the National Gallery. Richard Bales gen- sell Pope and its successors were orga- erously continued to expand archival nized and prepared for use. A major holdings that relate to the music depart- project to flatten and organize architec- ment and his career. The archives were tural blueprints and drawings also was further augmented by substantial trans- completed. fers of historical materials from offices Visitors this year conducted research in throughout the Gallery. archival files on a wide range of subjects. Elise V. H. Ferber completed a com- Sir Joseph Duveen, postage stamps, pres- prehensive census of exhibitions held at idential visits, Alexander Calder, the Mel- the National Gallery from 1941 through lon lecture series, the use of Biltmore 1988. This history includes entries for during World War II, and composers of nearly 600 special exhibitions and is music performed at the Gallery were based on painstaking research in a wide among the topics. The tenth anniversary variety of archival sources. of the East Building generated extensive Archivists arranged and described an interest in records of building design and extensive array of historical files for reconstruction. To help make these materi- search use and long-term preservation. als more easily available to architecture Among these was a small group of partic- students, study sets of key drawings were ularly interesting files from the office of given to architecture departments in sev- David Finley, the Gallery's first director, eral local universities. Preliminary re- including correspondence with Samuel search for a number of projects commem- Kress, 1942-1949; information about re- orating the Gallery's fiftieth anniversary productions for the White House and in 1991 also began during the year. presidential yacht during Harry Truman's The Gallery's archival facility was administration; and files concerning ship- toured by a number of visitors interested ment, storage, and exhibition of paintings in museum archives and archives admin- from Berlin museums after World War II. istration. Among these were representa- Other materials processed during the tives of the Museum of Modern Art, the year include files of the A. W. Mellon Ed- Hirshhorn Museum and Sculpture Gar- ucational and Charitable Trust; records of den, the Freer Gallery of Art, the Hawaii Gallery special events; files from the of- State Archives, the National Building Mu- fices of the director, assistant director, seum, the National Archives of Canada, chief curator, secretary-general counsel, and the Musee d'Art Contemporain of and registrar; and extensive groups of his- Bordeaux, France. torical slides and Gallery publications.

71 Parmigianino, Three Feminine Heads, c. 1522/ 1524, Gift of the Circle of the National Gallery of Art, 1989.1.1

72 Administration

The National Gallery of Art recorded Publication Sales 6,221,786 visits in fiscal year 1989. Be- tween December 1988 and the end of The publications service experienced its September 1989 almost 800,000 visitors fourth highest year in sales. Best-selling took in the exhibition of Twentieth- exhibition catalogues were Japan: The Century Art: Selections for the Tenth Anni- Shaping of Daimyo Culture, Photography, versary of the East Building. Three other and Cezanne. Sales of catalogues for exhibitions this year drew over 200,000 Michelangelo: Draftsman/Architect, visitors each: On the Art of Fixing a Raphaelle Peale Still Lifes, and Ameri- Shadow: 150 Years of Photography had can Paintings from the Manoogian Collec- almost 300,000, Cezanne: The Early tion were also strong. In total, over Years brought in over 280,000, and The 100,000 Gallery collection and special Paintings of Eugene Boudin attracted ap- exhibition catalogues were sold this year. proximately 230,000. Visitors also purchased more than two Darrell R. Willson joined the adminis- million printed reproductions, including trator's staff as chief of administrative op- postcards, note cards, greeting cards, erations, consolidating and strengthening framed and unframed large and small re- the daily management of the operation of productions, and posters. Although spe- the National Gallery. cial exhibitions contribute notably to poster sales, the overall strength of the reproductions program continues to be the breadth of selections representing the Security Gallery's collection. In addition to the permanent sales Francis Verrier, who served the Gallery shops on the ground floor of the West for almost ten years as both the chief of Building and the concourse level between security and the security coordinator, re- East and West Buildings, the publications tired this year. Darrell Willson, in addi- service operated temporary sales areas tion to assuming responsibilities as chief for the Michelangelo, Japan, Cezanne, of administrative operations, is the acting Treasures from the Fitzwilliam, Photogra- chief of security. phy, and Manoogian exhibitions, as well The Office of Personnel Management as a third permanent sales shop on the approved a special, higher salary sched- concourse level of the East Building near ule for the Gallery's guards and for other the auditorium. The latter served the guards employed by the federal govern- Twentieth-Century Art, Peale, Still Lives of ment. In addition, the first class of guards the Golden Age, and Mary Cassatt: The specially trained in emergency and first Color Prints exhibitions. The Gallery's aid procedures graduated as part of a ca- bookstores continue to be recognized for reer enhancement program planned for the excellent selections of books on all as- the security force. pects of the history of art and architec-

73 vice is expanding its outreach by pursuing wholesale as well as retail opportunities both in the United States and abroad.

Gallery Architect

The architect's office oversaw several significant projects in 1989. I. M. Pei & Partners was retained to undertake a comprehensive study of the use of space in the East Building, focusing particularly on the need for art storage; offices for the education division; offices, bookshelves, and support areas surrounding the main reading room of the library; and a suit- able entrance in the East Building for large works of art moving into twentieth- century exhibition spaces. Work on the National Sculpture Garden began in ear- nest this year, with eight prominent architectural and landscape architectural firms invited to make formal presentations to the Gallery. The architect's office is coordinating architectural aspects of the design, with the deputy director and the administrator serving as project managers and a group of other Gallery representa- tives advising. Preparation is underway for replacing the outdated single-glazed skylights that cover most of the West Building roof area with a technologically advanced system. This effort is expected to continue for the coming four years. The architect's office designed and coordinated construction of a number of work stations this year for the curatorial, personnel, payroll, and exhibition programs staffs in the East Building. The fifth floor conference room was converted to two private offices and a copy area. In the West Building a second phase of renovation was completed for the conservation division, with additional work counters constructed for the objects and textile conservation laboratories and for the of- In a time-honored tradition, an artist sketches from ture, and book sales were substantial. As fices; work is in progress for the third and an earlier master in the past, income from these activities final phase of renovation. Work counters supports the sales program and provides were also constructed for the publication funds for special exhibition catalogues sales warehouse operations. and the publication of other scholarly A new photographic laboratory was works in the history of art. constructed on the lower level of the East Over 600,000 visitors were served in Building, including a studio and two dark- person this year and another 7,000 rooms. New offices, a storage room, and a through the mail. The publications ser- remodeled print study room (including

74 new map cases) were completed in the were completed as part of what will be an West Building for the graphic arts depart- annual and five-year capital planning ment. Designs are ready for special cus- process. tom storage units to house oversized prints and drawings. New flooring was installed in the cafeteria, and to better serve Personnel the international patronage of the Gallery, graphics at the cafeteria entrance and the A major accomplishment of the personnel checkrooms were expanded to include division this year was securing the ap- other languages. Stone inscriptions of the proval of the Office of Personnel Manage- names of twenty-one benefactors were ment for a special salary schedule for the completed and a design approved for the Gallery's guards and other federally paid final list of patrons' names to be inscribed guards in the Washington, D.C., metro- in the East Building. politan area. This was the result of pains- As technical support for the mainte- taking efforts and comparative studies ini- nance and repair program of the facilities tiated by the office in 1988, continuing management office, the architect's office into early 1989. It is believed that the is conducting studies on marble flooring special rate will enhance the Gallery's for the East Building, cobblestone paving ability to attract and retain well-qualified for the the Fourth Street Plaza, non-toxic security personnel. The personnel office paint for silver-gray metal surfaces, glaz- has also been involved in a year-long ing in the East Building, and bronze re- process of converting existing personnel finishing for the West Building. Architec- data systems to the National Finance Cen- tural planning and design work is in ter system, which is expected to provide progress for a new silkscreen laboratory, additional management information capa- new guard and labor locker rooms, and bilities, more efficient management con- improvements in office and storage trols, and significant cost savings. spaces on the concourse level of the con- The personnel office this year spon- necting link. sored and hosted the 2nd Seminar on Personnel and Administrative Manage- ment, offering a cross section of museum Facilities Management directors, administrators, human resource professionals, and staff specialists This division works closely with other of- from across the country the opportunity to fices at the National Gallery to maintain discuss shared challenges and to hear and upgrade existing facilities. Several such speakers as former U.S. Senator key personnel joined the restructured di- William Proxmire. vision this year: Craig MacFarlane is the new manager of the work control center, and Tom Lillis became maintenance man- Procurement and Supply ager. The head of facilities management worked closely with the Smithsonian Insti- The division added three key personnel tution during the year to improve safety to the staff in 1989: Joseph Brown as- Former Senator William Proxmire with Gallery measures in the Gallery, including in- sumed responsibilities as chief of pro- deputy director Roger Mandle and a guest at a creased fire protection for works of art. curement and supply; Carolyn Perry personnel symposium sponsored by the Gallery The operations section undertook a num- joined the Gallery as a contract specialist; ber of important projects, among them and Tom Briscoe became supervisor for the engineering of a control system for the the off-site warehouse operation imple- Calder mobile in the East Building, devel- mented this year. Major changes are opment of a comprehensive safety and as- planned in the procurement and supply bestos abatement program, planning for office in the next fiscal year, including an replacement of the West Building roof, automated system that will provide for a and improvements to Gallery elevators. more efficient, controlled procurement of Detailed capital improvement plans for supplies and services for the entire the next two years and the next five years Gallery.

75 Adolphe Appian, A Woodland River with a Fisher- man, Ailsa Mellon Bruce Fund, 1989.16.1 (detail) External Affairs

The office of external affairs was estab- giving programs to commemorate the lished four years ago to coordinate the event. The 50th Anniversary Gift Com- Gallery's relationships with the "outside mittee, chaired by trustee Robert H. world" and to serve the Gallery's many Smith, has exceeded the half-way mark constituencies, including friends, donors, toward its goal of $5 million. These funds governments, corporations, foundations, will be used to purchase one or more the press, and the public. The office is works of art for the permanent collection. also actively involved in film and televi- The development office has been working sion production and is overseeing plans closely with the director, deputy director, for the Gallery's fiftieth anniversary in and curators to encourage gifts of works 1991. of art from private collections commemorating this landmark in the Gallery's history. Development Office An important leadership grant was made by The Morris and Gwendolyn Ca- The objective of the development office is fritz Foundation for art acquisition, the to broaden the National Gallery's base of Gallery's most pressing and continuing support by encouraging the participation private-sector need. The Honorable and of the private sector. The Gallery relies on Mrs. Walter H. Annenberg made a highly the generosity of individuals, foundations, generous commitment for art acquisition. and corporations for all art acquisitions as The Lila Acheson Wallace Fund contin- well as many special projects that cannot ued its valued support for the acquisition be funded through federal appropria- of twentieth-century art. The Patrons' tions. The development office also pro- Permanent Fund, the Gallery's perma- vides staff support for the Resources nent endowment fund for art acquisition Planning Committee, which aims to meet established through private donations, long-range and current needs by generat- made possible the purchase of the following new and increased support for Gallery ing works this year: Francis Picabia's Ma- programs. chine tournez vite (Machine Turn Quickly); In fiscal year 1989 the National Gallery Hendrik Goltzius' The Holy Family with received $2.7 million in donations from Saint Elizabeth and Saint John the Bap- individuals and $6.3 million from foun- tist; and Michel Anguier's Ceres Searching dations. In addition, $362,000 was for Persephone. raised from corporations for purposes The Andrew W. Mellon Foundation other than exhibition support. We are awarded the Gallery a $ 1 million chal- most grateful to the many donors, and lenge grant, to be matched on a one- acknowledge all of them in a listing on to-one basis, for a special endowment pages 117-122 in this report. supporting the Gallery's conservation pro- The approach of the Gallery's fiftieth grams. A generous gift from the Charles anniversary in 1991 has inspired special E. Culpeper Foundation, applied to the

77 Center for Advanced Studies in the Visual Arts. Two predoctoral fellowships in non- Western art at the Center were made possible by the Ittleson Foundation, Inc. The Circle of the National Gallery of Art is a membership program led by co- chairs Robert H. Smith and Katharine Graham and administered by the development office. In its third year the Circle welcomed fifty-one new members, joining Circle members from the Washington area and twenty-five states across the country. Funds raised through this program are used to sponsor special projects. This year the Circle made possible the acquisition of a Parmigianino drawing, Three Feminine Heads. Funds were provided for the film covering the restoration of the Bellini and Titian painting The Feast of the Gods, for the production of a recording by the award-winning National Gallery Vocal Arts Ensemble, and for the Joseph V. Columbus Tapestry Sympo- sium. Thanks to the Circle, the Gallery's library was able to acquire an important resource on Roman art and architecture, Bartolomeo Martiani's Urbis Romae Topo- graphia (1544). The library also received funds to acquire a large group of works that form a core collection of scientific books and journals on conservation. We look forward to the continuing support of the private sector in the coming year as we approach the Gallery's fiftieth anniversary.

Roy Lichtenstein, Brushstroke Chair, Wood, and conservation challenge, has provided in- Brushstroke Ottoman, Wood, 1987, Gift of Graphic- spiration to other donors for this worth- Corporate Relations studio and the Artist, 1988.55.1-2 while program. The 1990 exhibition Matisse in Mo- The office of corporate relations secures rocco is being sponsored by a major grant corporate support for Gallery exhibitions from the Richard King Mellon Founda- and works with corporate contributors to tion. The Arnold D. Frese Foundation ensure that their relationship with the continued its commitment to support the Gallery is mutually beneficial. The office international exchange and exhibition of also seeks corporate support for art. The Henry Luce Foundation has exhibition-related projects such as films given substantial support to the systematic and videos, advertising, press materials, catalogue project, for preparation of the educational programs, brochures, audio- volume on eighteenth- and nineteenth- visual programs, special events, and cata- century American paintings. The J. Paul logues. In the past year the office has Getty Trust made a generous grant for continued to explore new exhibition- two volumes on the French painting and related opportunities for corporations, in- sculpture collections. The Samuel H. cluding consortium sponsorship and the Kress Foundation continued its support of reinstallation of the permanent collection. a professorship and fellowships at the Nineteen corporations and two founda-

78 tions made contributions amounting to $6,897,000 in support of sixteen exhibitions and related projects in fiscal year 1989, and another eight corporations and one foundation provided support for ten exhibitions and related projects scheduled from October 1988 through 1991, totaling $5,602,500. New opportunities for joint sponsorship were forged in 1989 with Philip Morris' and British Telecom's support of Treasures from the Fitzwilliam and a partnership between R. J. Reynolds and a consortium of fifteen Japanese corporations in support of Japan: The Shaping of Daimyo Culture. Gerald D. Hines Interests provided support for Cezanne: The Early- Years. Additionally, sponsors were secured for two exhibitions in 1990 that celebrate aspects of the development of modern painting from impressionism to abstraction: GTE for Masterpieces of Im- pressionism and Post-Impressionism: The Annenberg Collection (GTE's sixth sponsorship at the National Gallery), and graphs from museums and private collec- American Express Company chairman James D. Philip Morris for Kazimir Malevich. tions in the United States and abroad. In Robinson III and Gallery director J. Carter Brown with artists Ellsworth Kelly and Roy Lichtenstein at In the realm of Italian art, Olivetti addition, a grant from Southwestern Bell the opening of Twentieth-Century Art provided support for Michelangelo: Foundation enabled the National Gallery Draftsman!Architect and the Mellon Na- to inaugurate a program of minority in- tional Bank supported Italian Etchers ternships in the museum profession for from the Renaissance and Baroque: Par- African Americans, Hispanic Americans, migianino to Giordano. In the last weeks and Native Americans. of the fiscal year, the Gallery was pleased Ford Motor Company continued its to secure support from Salomon Inc. for support of the exhibition program with the 1990 reinstallation of the masterpiece The Pastoral Landscape and The Art of by Bellini and Titian, The Feast of the Paolo Veronese in 1989 and The Draw- Gods, and from Galileo Industrie Ottiche ings of Jasper Johns in 1990. In 1989 S.p.A. for the Titian: Prince of Painters United Technologies returned to the Gal- exhibition in 1990-1991. lery for its fifth sponsorship, with support Twentieth-Century Art: Selections for the for American Art from the Manoogian Col- Tenth Anniversary of the East Building, a lection. The Gallery continued to work major installation of the Gallery's own col- with two new Washington sponsors who lection and important loans that will re- initiated their commitment to the exhibi- main on view through 1991, was spon- tion program in fiscal year 1988. Martin sored by American Express. This Marietta will sponsor The Passionate Eye: relationship introduced a new program of Impressionist and Other Master Paintings corporate support relating to the perma- from the Collection of Emil G. Biihrle in nent collection. early 1990. In celebration of the move of Eastman Kodak Company sponsored its corporate headquarters to Washington, the national tour of On the Art of Fixing a Mobil Oil Inc. will support The Sculpture Shadow: 150 Years of Photography. of Indonesia later the same year. Southwestern Bell Foundation offered Building on this support from both Mo- support for an international tour in bil and Martin Marietta, the corporate re- 1990-1991 of The Art of Paul Strand, lations office has begun a three-year chal- which will include loans of original photo- lenge to seek additional support from

79 corporations in Washington and throughout the nation in celebration of the fiftieth anniversary of the National Gallery in 1991. Other programs with this important anniversary in mind include the research and writing of a book, The Corporate Pa- tron, which will pay tribute to the many innovative national and international corporations that have provided support at the National Gallery. The publication is made possible by a grant from Fortune magazine. A further three-year challenge initiated in fiscal year 1989 focuses on the forth- coming celebration of the 500th anniversary of Columbus' first voyage to Amer- ica, Circa 1492. This exhibition will be held in 1991-1992 only at the National Gallery and will present an image of the world of Columbus' lifetime, seen through the medium of great works of art. The corporate relations office is seeking to identify the leading representative of four industries concerned with the theme of "globalism" so vividly explored in the exhibition. Ameritech and Republic Na- tional Bank have joined the National Gallery as the first members of the projected consortium.

Press and Public Information

The public information office continued to serve as a liaison between the National Gallery and a growing number of media contacts, which in 1989 represented more than 2,000 daily and weekly news- papers, over 100 magazines, and numerous radio and television outlets worldwide. In the 1989 fiscal year The New York Times alone ran more than thirty major articles about the Gallery. Highlights of the information office activities this year included generating tremendous press response for Michel- angelo: Draftsman/Architect and Japan: The Shaping of Daimyo Culture. The sur- prise announcement at the press conference opening the Michelangelo show of a newly discovered drawing of Cleopatra on the back of a famous work from the Casa Buonarroti, Florence, was reported on From the Veronese exhibition, Paolo Veronese's Holy Family with Saints Catherine and Anthony Abbot, the front page of The New York Times and 1551, San Francesco della Vigna, Venice widely around the world. The daimyo

80 show of rarely seen Japanese treasures Special Events and the auxiliary No performances and tea ceremonies were reported by print The office of special events coordinates and electronic media worldwide, with such activities at the National Gallery as particular interest by the Japanese press. state visits and visits of other distin- Both The New York Times and The Wash- guished guests, opening events for special ington Post, in addition to major critical exhibitions, receptions, film premieres, reviews, ran advance stories on the show. and meetings of the trustees, Trustees' Overflow crowds of successively larger Council, and Collectors Committee. numbers attended each of the public No Most important of these are the events performances, and an impressive 2,500 held by trustees for donors and lenders to showed up for the single outdoor torch-lit exhibitions. This year the trustees held performance. Advance publicity for the the fourth Andrew W. Mellon dinner in theater was particularly effective, and the honor of the founder of the Gallery. Presi- No performances were reviewed by the- dent and Mrs. George Bush joined Mr. ater critics for The Washington Times and and Mrs. Paul Mellon in receiving the WJLA-TV (ABC) as well as by a number Gallery's benefactors and donors. After of feature writers. The popularity of No dinner in the Rotunda of the West Build- was so great that additional performances ing, the president, Mr. Mellon, and Gal- were added at the end of the exhibition lery president John R. Stevenson offered run. Likewise, the tea ceremonies were brief remarks before the assembled reported extensively by the media, and guests. great press interest followed the reloca- The office of special events organized tion of the tea house to Virginia's Chris- sixteen major exhibition preview events to topher Newport College. thank its donors and lenders this year. The director and deputy director of the Among the most memorable was the eve- National Gallery, J. Carter Brown and ning in honor of Michelangelo: Roger Mandle, appeared on US IA Draftsman/Architect, as guests gathered Worldnet with museum directors, art his- in the East Garden Court around the art- Trustee Ruth Carter Stevenson with Supreme Court Justice O'Connor, the speaker for a Federal torians, and art critics from Mexico, Ar- ist's monumental wooden model of Saint Women's Program event at the National Gallery gentina, and Chile to discuss the Gallery's Peter's Basilica. For the opening of Ja- loan of thirty-five paintings of South pan: The Shaping of Daimyo Culture, the American Indian subjects by nineteenth- mood of the dinner was enhanced both century American artist George Catlin to by a premiere performance of the No the- leading museums in these three coun- ater and by the presence of the Ennan tries. They expressed hopes for continued Tea House constructed inside the East cooperative efforts. The traveling Catlin Building. The tenth anniversary of the exhibition, offered in cooperation with East Building brought artists and donors USIA's Arts America program, generated together in the galleries to view the rein- extensive publicity throughout Latin stallation of the twentieth-century collec- America. tion. Each opening event took its theme In June, J. Carter Brown was invited to from the exhibition it previewed, from the speak at the National Press Club in Wash- gala reception for American Paintings ington in honor of his twentieth anniver- from the Manoogian Collection to the sary as director of the National Gallery. Dutch dinner in honor of the Heinz family His speech was broadcast live over Na- collection of northern European still lifes. tional Public Radio and C-Span and was The exhibitions also occasioned impor- covered by more than 300 print and tant events for the diplomatic community. broadcast journalists in attendance. His Congress, the Administration, and corpo- announcement of Mrs. W. Averell rate sponsors of the exhibitions. Harriman's future gift of Van Gogh's This year Mrs. Bettino Craxi, wife of Roses generated front-page coverage in the president of Italy, came to the Gallery The Washington Post and countless other to see the Michelangelo exhibition; articles and broadcasts worldwide. Sosuke Uno, then foreign minister and later prime minister of Japan, visited the

81 daimyo exhibition; and Mrs. George Bush raphy, and American Paintings from the toured Cezanne: The Early Years on the Manoogian Collection. weekend of the presidential inaugural. Changes in the exterior landscape in Arrangements for these visits were over- fiscal year 1989 included replacing the seen by the office of special events. sod in major areas around the East Build- For the first time this year the National ing and smaller areas around the West Gallery held a reception and viewing of Building, and replacing crab-apple trees the Gallery's award-winning film Paul with fifteen crape myrtles on the seventh- Gauguin: The Savage Dream in Paris to floor terrace of the East Building. thank lenders, colleagues, and donors, both private and institutional, who could not cross the Atlantic to come to trustees' Music at the Gallery events in Washington. Thirty-nine Sunday evening concerts were presented in the West Garden Court of the National Gallery in fiscal year Visitor Services 1989. Concerts were supported by funds bequeathed to the Gallery by William The objective of the visitor services office Nelson Cromwell and F. Lammot Belin, is to provide millions of visitors to the Gal- with additional subvention from the Music lery with the most positive and enjoyable Performance Trust Funds of the Becord- experience possible. Visitor services en- ing Industry through Local 161-170 of sures an equitable pass system for major the American Federation of Musicians, special exhibitions and ensures quick and and from the Embassy of Canada. smooth entry into all of the Gallery's exhi- The National Gallery Orchestra per- bitions, films, lectures, and concerts. This formed ten concerts under the direction department is also responsible for ad- of George Manos. The National Gallery dressing the concerns of visiting patrons. Vocal Arts Ensemble, also under Manos, During 1989 the visitor services de- performed two concerts at the Gallery partment assisted 300,000 people visit- and three concerts and a master class at ing Japan: The Shaping of Daimyo Cul- universities in Maryland and North Caro- ture and another 300,000 seeing On the lina. Their second summer tour of Eu- Art of Fixing a Shadow: 150 Years of Pho- rope comprised seven concerts in Ger- tography. A total of 6,257 people at- many and Austria, including appearances tended the Japanese No performances, at the Salzburg and Bheingau Festivals including 2,675 attending the outdoor No and an appearance on Germany's na- performance. The visitor services depart- tional television network. The ensemble ment oversaw crowd control for these also recorded a program for a tape that performances. will be released in conjunction with the Gallery's fiftieth anniversary. The American Music Festival, which Horticulture ran from 2 April through 28 May, featured new as well as neglected American To give context to the various aspects of works, with Paul Hume joining George Japan: The Shaping of Daimyo Culture, Manos for the broadcast intermission the horticulture department created four commentaries. John Lewis and the Mod- Japanese gardens in the East Building: a ern Jazz Quartet drew a record audience tea garden surrounding the Ennan Tea for the jazz presentation in this, the forty- House in the center court; an area remi- sixth year of the longest-running Ameri- niscent of Zen meditation gardens and a can Music Festival in existence. Atten- small courtyard garden on the mezzanine dance at the festival concerts was higher level; and a garden in the East Building's than in previous years, as was attendance north garden court. Many other exhibi- in general throughout the season. tions incorporated extensive plantings, in A concert of Italian music by the Na- particular Cezanne, 150 Years of Photog- tional Gallery Orchestra marked the

82 opening of Michaelangelo: Draftsman/ Architect, and Japanese violinist Masuko Forty-Sixth American Music Festival APRIL Ushioda presented a recital in honor of 2 National Gallery Orchestra Japan: The Shaping of Daimyo Culture, 9 Ramon Salvatore, piano which included the Washington premiere 16 National Gallery Vocal Arts Ensemble of a work by the renowned Japanese com- 23 Lois Shapiro, piano 30 John Lewis and the Modern Jazz Quartet poser Torn Takemitsu. All regions of the United States were represented by the MAY 7 Lynne Edelson Levine, viola, and musicians who performed at the Gallery Myriam Teie, piano in the 1988-1989 season, as were 14 Elisabeth Small, violin, and Christina Puerto Rico, Brazil, Canada, Japan, and Dahl, piano several European countries. The Mary- 21 The Manchester String Quartet land Camerata appeared twice with the 28 National Gallery Orchestra National Gallery Orchestra, performing J. S. Bach's Christmas Oratorio and Maurice JUNE Durufle's Requiem, Opus 9. 4 Weekley and Arganbright, piano duo The Gallery Concerts were the subject 11 Nana Mukhadze, piano of thirty-four reviews in various media, 18 Paul Maillet, piano eighteen newspaper previews and a fea- 25 National Gallery Orchestra ture article in The Washington Times. WORLD PREMIERES A complete listing of the 1988-1989 concert season follows: BERNARD RANDS .. .in the receding mist. . . 23 October OCTOBER 1988 2 National Gallery Orchestra 9 National Gallery Orchestra SOTERIOS VLAHOPOULOS 16 Rita Bouboulidi, piano Ode and Fugato, 29 January 1989

23 Ondine Ensemble PHILLIP RAMEY 30 Masuko Ushioda, violin, and Mi Hai Lee, Canzona, 9 April 1989 piano

NOVEMBER FIRST WASHINGTON 6 National Gallery Orchestra PERFORMANCES 13 Frederick Moyer, piano 20 National Gallery Vocal Arts Ensemble TORU TAKEMITSU 27 Ruth Waterman, violin, and Morey Ritt, Hika, 30 October 1988 piano DAVID AMRAM Quintet Premiere, 26 February 1989 DECEMBER 4 Sanford Sylvan, baritone, and David DOMINICK ARGENTO Breitman, piano Overture to "The Boor," 2 April 1989

11 Lawrence Schubert, piano HENRY COWELL 18 National Gallery Orchestra and Maryland Symphony No. 11,2 April 1989 Camerata JOHN CORIGLIANO JANUARY Fantasy on an Ostinato, 9 April 1989 8 National Gallery Orchestra DONALD WAXMAN 15 Thomas Schumacher, piano Four Songs of the Seasons, 16 April 1989 22 The Whitney Trio Overture to "Serenade Concertante," 28 May 29 Brian Ganz, piano 1989 FEBRUARY MARTIN BRODY 5 Catherine Robbin, soprano, and William Tesserae, 23 April 1989 Hicks, piano 12 National Gallery Orchestra YEHUDI WYNER 19 Rafael Figueroa, cello, and Wu Han, piano Toward the Center, 23 April 1989 26 The Atlanta Chamber Players STEVENGERBER Fantasy for Violin Solo, 14 May 1989 MARCH 5 Neil Penesis, piano 12 National Gallery Orchestra and Maryland Camerata 19 Nina Tichman, piano 26 Continuum Chamber Singers

83 Augustin Hirschvogel, Landscape with High Cliffs, River, and City, 1546, Gift of Mrs. Lessing J. Rosenwald, 1989.28.17 (detail) Center for Advanced Study Reponf ,he in the Visual Arts Academic" Year 1988-1989

At the founding of the Center in 1980, a dowment and Ittleson Foundation also four-part program of fellowships, meet- made grants for predoctoral fellowships. ings, publications, and research was insti- The Center has received support for vari- tuted. In its ninth year, in addition to on- ous scholarly meetings, programs, and going activities in these four areas, the events: from Olivetti Milan for the sympo- Center continued meetings with the Con- sium "Michelangelo Drawings," the Gra- sortium of Washington Area Universities ham Foundation for Advanced Studies in to discuss such cooperative ventures as the Fine Arts for the Architectural Draw- the creation of a course in conservation ings Cataloguing Project, the Arthur Vin- and listings of all Consortium art history ing Davis Foundations, and The Circle of faculty members and their areas of re- the National Gallery of Art for photo- search. The Center belongs to the Associ- graphs of architectural drawings. ation of Research Institutes in Art His- Members of the board of advisors serve tory, comprising twelve institutions in overlapping appointments, usually for North America that support advanced re- three-year terms. In December 1988 search through fellowship and related Wanda Corn of Stanford University, Jan programs. Incorporated in spring 1987, Fontein of the Museum of Fine Arts, Bos- ARIAH enables member institutions, as a ton, and Cecil Striker of the University of group, to develop and seek funding for Pennsylvania completed their terms. In jointly sponsored programs and projects January 1989 Donald Preziosi of the Uni- and to share visiting scholars. The Center versity of California, Los Angeles, John hosted meetings of the Washington Colle- Rosenfield of Harvard University, and gium for the Humanities, made up of nine John Wilmerding of Princeton University research institutions, and this year spon- began their terms. Four others continued sored a lecture by Emily D. T. Vermeule to serve: Anne d'Harnoncourt of the in a Collegium series entitled "Death and Philadelphia Museum of Art, Egbert Afterlife in Art and Literature." Haverkamp-Begemann of New York Uni- A variety of private sources support the versity, Juergen Schulz of Brown Univer- programs of the Center. Senior, predoc- sity, and Linda Seidel of the University of toral, and curatorial fellowships are Chicago. Members of the board also com- funded by endowments from the Andrew prise the selection committees that review W. Mellon Foundation and the Chester fellowship applications. Dale bequest, and by Robert H. and The resident community of scholars at Clarice Smith for the Smith predoctoral the Center in 1988-1989 included the fellowship in Northern Renaissance paint- Samuel H. Kress Professor, the Andrew ing. The Samuel H. Kress Foundation W. Mellon Lecturer, six senior fellows, provides funds for the Kress Professor, one Ailsa Mellon Bruce curatorial fellow, for Kress senior fellowships, Kress and eleven visiting senior fellows, two associ- Davis predoctoral fellowships, and Kress ates, two postdoctoral curatorial fellows, postdoctoral fellowships. The Wyeth En- and two predoctoral fellows. Non-resident

85 SAMUEL H. KRESS PROFESSOR, 1988-1989 Sylvie Beguin, honorary chief curator of paintings, Musee du Louvre, has received many honors, including Chevalier de la Legion d'Honneur in 1975, and recently, the Prix Louis Fould and the Prix Rich- terberger from the Academie des Arts et Belles Lettres and the Academie des Beaux Arts of the Institut de France. She was president of the Societe de VHistoire de l'Art Franpais in 1979. Mme. Beguin has prepared more than thirty exhibitions and catalogues and over half a dozen separate monographs on Italian and French art of the sixteenth century, as well as catalogues on Leonardo, Titian, Perugino, Raphael, the school of Fontainbleau, mannerism, and numerous contributions to scholarly journals. While at the Center, Mme. Beguin worked on Felice Giani, Pietro Negroni, Andrea del Sarto, the French period of Rosso Fiorentino, and the school of Fontainbleau.

SENIOR FELLOWS Caroline Astrid Bruzelius, Duke University, Samuel H. Kress Senior Fellow, fall 1988 Allan Ceen, Cornell in Rome, American Over- seas School of Rome, Ailsa Mellon Bruce Senior Fellow, 1988—1989 William L. Eisler, Art Gallery of New South Wales, Ailsa Mellon Bruce Senior Fellow, 1988-1989 Frederick Hartt, University of Virginia Kress Professor Sylvie Beguin with dean of the scholars included ten predoctoral fellows. (emeritus), Samuel H. Kress Senior Fellow, Center, Henry A. MiUon Research by the scholars in residence in- 1988-1989 volved diverse media, including architec- Joseph M. Levine, Syracuse University, Paul ture, manuscripts, photography, painting, Mellon Senior Fellow, 1988-1989 sculpture, and prints, originating in cul- Tod A. Harder, Rutgers University, Ailsa tures ranging from ancient Near East to Mellon Bruce Senior Fellow, spring 1989 twentieth-century North America. Some VISITING SENIOR FELLOWS focused on historiography, aesthetics, Constance Hoffman Berman, University of criticism, style, or iconography; others Iowa, Paul Mellon Visiting Senior Fellow, questioned the relation between art and summer 1989 the history of ideas, or examined art as John Correia-Afonso, Heras Institute of Indian propaganda or as evidence for patterns of History and Culture, St. Xavier's College, Bombay, Paul Mellon Visiting Senior, Fellow, social organization. spring 1989 Joop M. Joosten, Stedelijk Museum, Paul Mel- lon Visiting Senior Fellow, summer 1989 Gert Kreytenberg, Ruhr-Universitat Bochum, Kunstgeschichtliches Institut, Ailsa Mellon Bruce Visiting Senior Fellow, summer 1989 Royston Simeon Landau, Architectural Associ- ation School of Architecture, London, Paul Mellon Visiting Senior Fellow, fall 1988

86 Tomasz Milcocki, University of Warsaw, Jill Pearlman [University of Chicago], Chester Institute of Archaeology, Ailsa Mellon Bruce Dale Predoctoral Fellow, 1988-1989 Visiting Senior Fellow, spring 1989 Sarah Schroth [New York University, Institute Alessandro Morandotti, Finarte Auction of Fine Arts], David E. Finley Predoctoral House, Milan, Rome, Paul Mellon Visiting Fellow, 1987-1990 Senior Fellow, summer 1989 Christopher Thomas [Yale University], Samuel Werner Oechslin, Eidgendssische lectin. H. Kress Predoctoral Fellow, 1988-1990 Hochschule, Zurich, Institute for History and Jejfrey Weiss [New York University, Institute of Theory of Architecture, Paul Mellon Visiting Fine Arts], Paul Mellon Predoctoral Fellow, Senior Fellow, fall 1988 1987-1990 Joseph Polzer, University of Calgary, Ailsa Mellon Bruce Visiting Senior Fellow, winter 1989 Timothy James Standring, Pomona College, MEETINGS Ailsa Mellon Bruce Visiting Senior Fellow, summer 1989 Colloquia Dieter Wuttke, University of Bamberg, Ailsa Sylvie Beguin, "Rosso Fiorentino: New Mellon Bruce Visiting Senior Fellow, fall Approaches to the French Period" 1988 Caroline Bruzelius, "Kings, Queens, and ASSOCIATE APPOINTMENTS Church Building in the Kingdom of Sicily, 1266-1343" Jane Clark, National Gallery of Victoria, November-December 1988 Allan Ceen, "Bufalini and the Imago Urbis: From the Iconic to the Topographic in Plans of Robert Patten, Rice University, 1988-1989 Rome" AILSA MELLON BRUCE NATIONAL William Eisler, "Celestial Harmonies and GALLERY OF ART CURATORIAL Hapsburg Rule: Levels of Meaning in a Tri- FELLOW, 1988-1989 umphal Arch for Philip II (Antwerp 1549)" Nan Rosenthal, curator of twentieth-century Frederick Hartt, "Michelangelo—Imprint and art Image" Joseph Levine, "The Battle of the Books and SAMUEL H. KRESS POSTDOCTORAL English Architecture (1660-1730)" CURATORIAL FELLOWS, 1988-1989 Tod Marder, "Bernini's Architecture" Elizabeth Brown, department of twentieth- Robert L. Patten, "Diagrams of Drunkenness: century art George Cruikshank's Temperance Art" Thomas Willette, department of southern baroque painting Shop Talks Marc Gotlieb, "From History to Genre: PREDOCTORAL FELLOWS Studies in the Decline of French Salon Paint- Robert Mark Antlijf [Yale University], Mary ing, 1850-1890" Davis Predoctoral Fellow, 1988-1990 Annette Leduc, "Gavarni's Human Comedy: Mark Crinson [University of Pennsylvania], The London Years (1847-1851) and Their Chester Dale Predoctoral Fellow, 1988- Aftermath" 1989 John Davis [Columbia University], Wyeth Pre- Symposia doctoral Fellow, 1988—1990 MICHELANGELO DRAWINGS,

Isabelle Frank [Harvard University], Paul 7-8 October 1988 Mellon Predoctoral Fellow, 1988-1991 Participants: Giovanni Agosti, Casa Alessandra Galizzi [The Johns Hopkins Uni- Buonarroti; David Alan Brown, National versity], David E. Finley Predoctoral Fellow, Gallery of Art; Howard Burns, Harvard 1988-1991 University; Marco Collareta, Scuola Norm ale Marc Gotlieb* [The Johns Hopkins Univer- Superiore, Pisa; Caroline Elam, The sity], Samuel H. Kress Predoctoral Fellow, Burlington Magazine; Creighton Gilbert, Yale 1987-1989 University; Frederick Hartt, University of Elizabeth Honig [Yale University], Robert H. Virginia (emeritus); Michael Hirst, Courtauld and Clarice Smith Predoctoral Fellow, 1988- Institute of Art; Paul E. A. Joannides, 1989 University of Cambridge; Fabrizio Mancinelli, Annette Leduc* [The Johns Hopkins Univer- Musei Vatican!; Henry A. Millon, Center for sity], David E. Finley Predoctoral Fellow, 1986-1989 Advanced Study in the Visual Arts; Andrew Morrogh, Massachusetts Institute of Technology; Konrad Oberhuber, Graphische *in residence 19 September 1988-31 August 1989 Sammlung Albertina; Anna Maria Petrioli

87 Tofani, Galleria degli Uffizi; Pina Ragionieri, [University of Pennsylvania]; Mary Woods, Casa Buonarroti; Jane Roberts, The Royal Cornell University and Columbia University, Library, Windsor Castle; Howard Saalman, Buell Center Carnegie Mellon University; Claudio Tiunin, THE PASTORAL LANDSCAPE, Laboratorio di Restauro T.L.T., Florence; 20-21 January 1989 William E. Wallace, Washington University; Co-sponsored with the Center for Renaissance Kathleen Weil-Garris Brandt, Institute of Fine and Baroque Studies, University of Maryland, Arts, New York University; Matthias Winner, held at the University of Maryland at College Bibliotheca Hertziana Park and National Gallery of Art

ART AND POWER IN SEVENTEENTH- Participants: Carolyn Abbate, Princeton

CENTURY SWEDEN,28-29October 1988 University; Bettina Bergmann, Mt. Holyoke Co-sponsored with University of Minnesota College; David Alan Brown, National Gallery and the Minneapolis Institute of Arts, held in of Art; Howard M. Brown, University of Minneapolis Chicago; Louise George Clubb, University of Participants: Michael Conforti, The Minnea- California at Berkeley; Alfred Frazer, polis Institute of Arts; Allan Ellenius, Univer- Columbia University; Louise K. Horowitz, The sity of Uppsala; Ann Friedman, University State University of New Jersey, Rutgers of Minnesota; Kurt Johannesson, University Campus at Camden; Eleanor Winsor Leach, of Uppsala; Arne Losman, Skokloster Castle; Indiana University; Leo Marx, Massachusetts Borje Magnusson, National Museum, Stock- Institute of Technology; John A. Pinto, holm; Michael F. Metcalf, University of Princeton University; William L. Pressly, Minnesota; Margareta Revera, University of University of Maryland; W. R. Rearick, Uppsala; G^ran Rystad, University of Lund; University of Maryland; David Rosand, Herman Schiick, University of Stockholm; Columbia University; Marie Spiro, University Hans Soop, Wasa Ship Museum, Stockholm; of Maryland; Jeremy Strick, National Gallery Guy Walton, New York University of Art; Gary Tomlinson, University of Pennsylvania; Richard Wexler, University of THE ARCHITECTURAL HISTORIAN IN Maryland AMERICA, 8-9-10 December 1988 Co-sponsored with Society of Architectural AMERICAN ART AROUND 1900: Historians LECTURES IN MEMORY OF DANIEL Participants: Richard Betts, University of FRAAD, JR. Illinois, Champaign-Urbana; Lauren Bricher, Co-sponsored with The Metropolitan Museum [University of California, Santa Barbara]; of Art, 4 March 1989 at National Gallery, Michael Brooks, West Chester University; 18 March at the Metropolitan David Brownlee, University of Pennsylvania; Participants: Doreen Bolger, The Metropolitan J. A. Chewning, University of Cincinnati; Peter Museum of Art; Nicolai Cikovsky Jr., National Fergusson, Wellesley College; Renata Holod, Gallery of Art; Trevor Fairbrother, Museum of University of Pennsylvania; William Jordy, Fine Arts, Boston; Linda S. Ferber, The Brown University (emeritus); Lisa Brooklyn Museum; Kathleen A. Foster, The Koenigsberg, Landmarks Preservation Pennsylvania Academy of the Fine Arts and Commission, New York; George Kubler, Yale Indiana University Art Museum; John K. University (emeritus); Elisabeth Blair Howat, The Metropolitan Museum of Art; MacDougall, Harvard University (emerita); Franklin Kelly, The Corcoran Gallery of Art Tod Marder, Rutgers University; Henry A. THE ARTIST'S WORKSHOP, 10-11 March 1989 Millon, Center for Advanced Study in the Co-sponsored with The Johns Hopkins Visual Arts; Keith N. Morgan, Boston University University; Richard Pommer, New York Participants: David Brownlee, University of University, Institute of Fine Arts; William B. Pennsylvania; Gail Feigenbaum, National Rhoads, State University College at New Paltz; Gallery of Art; Mojmir Frinta, State University Helen Searing, Smith College; Linda Seidel, of New York at Albany; Hellmut Hager, University of Chicago; Eduard Sekler, Pennsylvania State University; Peter Lukehart, Harvard University; Nancy Shatzman George Mason University; Larry Lutchman- Steinhardt, University of Pennsylvania; singh, Bowdoin College; John Rosenfield, Suzanne Stephens, Barnard College; Homer A. Harvard University; Marianna Shreve Thompson, Institute for Advanced Study, Simpson, Center for Advanced Study in the Princeton (emeritus); Dell Upton, University Visual Arts of California, Berkeley; David Van Zanten, Northwestern University; Robert Wojtowicz,

88 Curatorial colloquy on Bellini's and Titian's MIDDLE ATLANTIC SYMPOSIUM IN THE Curatorial Colloquy II The Feast of the Gods HISTORY OF ART: NINETEENTH THE FEAST OF THE GODS,

ANNUAL SESSIONS, 1 April 1989 21-24 February 1989 Co-sponsored with the Department of Art Colloquy Chairs: David Alan Brown, curator History, University of Maryland of Italian Renaissance painting, National Participants: Michele Ciana Farrell [University Gallery of Art; David Bull, conservator of of Pittsburgh], introduced by Anne Weis; paintings, National Gallery of Art Scott Crittenden [University of Virginia], Participants: Jaynie Louise Anderson, introduced by Lawrence Goedde; Randall C. University of Oxford; Sylvie Beguin, Center Griffin [University of Delaware], introduced for Advanced Study in the Visual Arts; Hans by Wayne Craven; Pamela Potter-Hennessey, Belting, Universitt Miinchen; Beverly Louise introduced by John Peters-Campbell; Brown, National Gallery of Art; Sydney J. Margaret Fitzgerald Farr [University of North Freedberg, National Gallery of Art (emeritus); Carolina, Chapel Hill], introduced by Mary Joyce Plesters Brommelle, National Gallery, Pardo; Martina Roudabush Norelli [George London (emerita); Rona Goffen, Rutgers, The Washington University], introduced by Melvin State University of New Jersey; Gretchen P. Lader; Kurt Pitluga [Pennsylvania State Hirschauer, National Gallery of Art; Joseph University], introduction Craig Zabel Manca, National Gallery of Art; Hubertus F. von Sonnenburg, Bayerische Staatsgemalde- Seminars sammlungen, Munich Veronese Reconsidered, 9 November 1988 Cezanne: The Early Years 1859-1872, Lectures 17 March 1989 Emily D. T. Vermeule, Harvard University, Medieval Ornament, 14-15 May 1989 "The Drama of Death in Ancient Greece," 20 October 1988

89 Terisio Pignatti, Civici Musei Veneziani d'Arte and research programs, along with the e de Storia, "The Style of Paolo Veronese in roster of the board of advisors and the the Sale dei Dieci, Palazzo Ducale (1553- members of the Center, and the list of ac- 1556)," 9 November 1988 tivities for 1988-1989. Center 9 also con-

RESEARCH PROGRAMS tains summary reports on research conducted by the resident members of the The Architectural Drawings Advisory Center in 1988-1989, and by several Group after five years was transformed predoctoral fellows from the previous aca- into an independent incorporated project demic year. called Foundation for Documents of Ar- Publication of the proceedings of the chitecture (FDA). The Center's associated Center symposia in Studies in the History research project is now called the CASVA of Art continued with the appearance of Cataloguing Project, supported by the volume 22, Italian Plaquettes. Symposia J. Paul Getty Trust. Together, the FDA volumes nearing publication are Retain- and the CASVA Cataloguing Project con- ing the Original: Multiple Originals, tinued to prepare international standards Copies, and Reproductions; The Fashion- for the cataloguing and sharing of infor- ing and Functioning of the British Country mation about architectural drawings in re- House; Cultural Differentiation and Cul- positories in North America, Europe, and tural Identity in the Visual Arts; The Ar- England. Project staff developed concep- chitectural Historian in America; and tual designs, dictionaries, and other docu- Winslow Homer. Volumes being edited in- mentation necessary for automation. The clude The Mall in Washington, 1791- cataloguing system is intended to be a 1991; Urban Form and Meaning in South flexible standard for research and cata- Asia: The Shaping of Cities from Prehis- loguing of architectural drawings, al- toric to Precolonial Times; and American bums, sketchbooks, and archives. Art around 1900. Other volumes are in the hands of scholarly editors. PUBLICATIONS Another regular publication of the Cen- The Center annually compiles a record of ter is the directory of art history research the scholarly events and research of the projects supported by granting institu- preceding year. Center 9, published in tions in the United States and abroad: October 1989, contains general informa- Sponsored Research in the History of Art 8 tion about the fellowship program, the lists awards for 1987-1988 and 1988- program of meetings, and the publication 1989.

90 Staff Activities and Publications

J. Carter Brown, director, served ex officio ling and Francine Clark Art Institute, and on the Federal Council on the Arts and the served as honorary trustee of the Toledo Mu- Humanities, the National Trust for Historic seum of Art, and on the education committee Preservation, and the Pennsylvania Avenue and the museum assessment advisory commit- Development Corporation. Reappointed by tee of the American Association of Museums. President Reagan in 1985, he continued as He was an instructor for the J. P. Getty Trust chairman of the Commission of Fine Arts, Museum Management Institute, and a mem- and, ex officio in that capacity, on the board of ber of the agenda committee for the Getty trustees of the John F. Kennedy Center for the Trust's museum focus group study. He contin- Performing Arts as a member of its executive ued as a member of the advisory committee and fine arts accessions committees. He con- for the Charles Hosmer Morse Foundation tinued as a member of the President's Com- and chairman of the Netherlands-American mittee on the Arts and Humanities, as Amity Trust cultural advisory committee. He treasurer of the White House Historical was also appointed to the cultural advisory Association, and on the board of trustees of committee for the New Zealand-United States the National Geographic Society, and the Arts Foundation. boards of the Winterthur Museum, the Corn- Henry A. Millon, dean, CASVA, continued ing Museum of Glass, the Storm King Art Cen- as vice chairman of the board of trustees of ter, and the American Federation of Arts, of the American Academy in Rome, as chairman whose national exhibitions committee he is of the senior fellows of the program of studies chairman. In addition, he served on the Har- in landscape architecture at Dumbarton Oaks, vard College visiting committee for the arts, as on the advisory committee of the Getty Art vice president of the U.S. National Committee History Information Program, as scientific for the History of Art, and as a member of the secretary of the working group for art history advisory boards of the Morris and Gwendolyn information of the International Committee of Cafritz Foundation, the Brown University de- the History of Art, on the U.S. committee partment of art, and the Federal Reserve Sys- overseeing the merger of the U.S.-based Rep- tem. He also continued as a member of the ertoire Internationale de la literature d art and National Portrait Gallery Commission, serving the French Repertoire d art et archeologie, as on its acquisition committee. He was named vice chairman of the Council of American Commander, Royal Order of the Polar Star, Overseas Research Centers, as a delegate to Sweden. the International Committee of the History of Roger Mandle, deputy director, was ap- Art, and on the architecture advisory group pointed by President Reagan to the National for the Art and Architecture Thesaurus. He Council on the Arts. He served on the Na- also served on the visiting committee of the tional Endowment for the Art's Task Force on Arthur M. Sackler Gallery, and on the boards Art Education. He continued as chairman of of the Canadian Centre for Architecture, the the executive committee and a member of the Foundation for Documents of Architecture, search committee for the director of exhibi- and the National Building Museum. He con- tions of the American Federation of Arts, and tinued on the review panel for the Gladys as a member of the visiting committee of the Krieble Delmas Foundation and as visiting Williams College Museum of Art. He was professor at Massachusetts Institute of Tech- elected vice president of the board of the Ster- nology. He presented papers on Michelan-

91 gelo's architectural drawings at the American Richard Amt, chief of photographic services, lamazoo Institute of Arts; "Democratic Illu- Academy in Rome, Columbia University, the exhibited four photographs in the alumni art sions: The Still Lifes of Raphaelle Peale" at Center for Contemporary Art in Chicago, the exhibition celebrating the 125th anniversary the National Museum of American Art; and University of Minnesota, and the University of of Concordia College, River Forest, Illinois. "Winslow Homer's (National) Style" for the Conference on Relations between European Maryland; a paper on Filippo Juvarra at Penn- Susan M. Arensberg, curator of educational and American Art during the Eighteenth and sylvania State University; a paper on Paul programs for exhibitions, taught a course on Nineteenth Centuries at the Aspen Institute in Manship and the American Academy in Rome early Christian and Byzantine art and archi- Berlin. at the National Museum of American Art; and tecture as a professorial lecturer at George- a paper on the Palatine at the annual meeting town University. Tracy E. Cooper, research assistant, CASVA, of the Society of Architectural Historians in presented a paper on "'Com'era anco avanti Caroline Backlund, librarian, was co- Montreal. . . .': Invoking the Past in Late Renaissance chairman of the Washington Art Library Venice" at the College Art Association annual Anne Evans, administrator, participated in Resources Committee. She was given the the meeting of the Association of Museum Ad- meeting. ARLIS/NA distinguished service award at the ministrators held at the Art Institute of Chi- annual Art Libraries Society of North Amer- Jack Cowart, curator of twentieth-century cago in June. ica conference, only the third person to art, lectured on Georgia O'Keeffe at the Mil- Daniel Herrick, treasurer, continued as receive this citation. waukee Art Museum and for the trustees of the Archives of American Art, and on chairman of the board of trustees and chair- Daphne S. Barbour, assistant object conser- "Matisse in Morocco" for the Hermitage man of the executive committee of the Foun- vator, was awarded a Robert H. Smith Fellow- Foundation Auxiliary in Norfolk. He contin- dation Center, New York, on the board of di- ship to pursue research on Degas' wax sculp- ued on the advisory committee for the Penn- rectors for the American Council for the Arts, tures. She presented a talk at the Washington sylvania Avenue Development Corporation's and as a member of the financial officers Conservation Guild meeting on the "Compari- "Arts Walk: Collaboration in Art/Design," on group of the Museum Presidents Conference. son of Blasting Media for Use on Outdoor the sculpture committee for Georgetown Uni- He was appointed co-chairman of an Ameri- Bronzes," and was a conservation project sup- versity, as humanities advisor to Public Art can Association of Museums task force to port field reviewer for the Institute of Museum Films, Inc., for a projected PBS series on study various accounting policies. He is also Services. on the board of directors of the New York Life "The Comics and America," and on the fine Fund and two smaller investment funds that Ira Bartfield, coordinator of photography, arts committee for the Morris Arboretum of served as membership chairman for the inter- are subsidiaries of the New York Life Insur- the University of Pennsylvania. He was juror national Visual Resources Association. ance Company. for the "Florida Annual," an all-media exhibi- Barbara Berrie and Lisha Glinsman, con- tion of contemporary art sponsored by the Philip C. Jessup, Jr., secretary and general servation scientists, presented a poster on Boca Raton Museum of Art. counsel, chaired a panel on corporate spon- "Ariad: A program for analyzing relative in- sorship of museum activities at the American Elizabeth A. Croog, associate secretary and tensities and (Z-spacings from x-ray powder Law Institute/American Bar Association general counsel, participated in a panel on im- course on "Legal Problems of Museum Ad- diffraction film strips" at the annual meeting munity from judicial seizure for cultural ob- ministration" for which he was on the plan- of the American Institute of Conservation. jects imported from abroad for temporary ning committee. He continued on the national David Alan Brown, curator of Italian Re- exhibition at the American Law Institute/ advisory committee of the Hubert H. Hum- naissance painting, taught courses at George- American Bar Association course on "Legal phrey Fellowship Program, and the advisory town University on the International Gothic Problems of Museum Administration." committee of the Asia Society/Washington style, Leonardo, and High Renaissance Flor- Maygene Daniels, chief of Gallery Archives, Center of which he was appointed chairman, ence. He gave a paper on Leonardo's Last was appointed U.S. representative to the In- as president of Friends of the Hospital for Sick Supper for a symposium on the "Great Age of ternational Council on Archives Working Children (Toronto), Inc., and as vice chairman Fresco from Masaccio to Titian" at the Metro- Group on Architectural Records, 1988- of the Obor Foundation. politan Museum, and spoke on "Raphael, 1992, and appointed by the Archivist of the Leonardo, and Perugino" for a symposium at Joseph J. Krakora, external affairs officer, U.S. to serve on a planning advisory commit- Georgetown University's center at Fiesole, continued on the boards of Bennington Col- tee for the new National Archives building. Italy. He delivered the 29th annual "Lettura lege, and the Cultural Policy Institute, for She continued as a member of the governing Vinciana" at the Biblioteca Leonardiana, on which he also served as vice president. He council of the Society of American Archivists Leonardo's role in the creation of the contro- continued as executive editor for Design for and as chairman of the search committee for versial Madonna Litta in the Hermitage Mu- Arts in Education, and as founding director of director of the Archives of American Art. She seum. He served on the organizing committee the Fund for New American Plays. He is also served on the 1989 review committee for the for the Savoldo exhibition to be held in Bre- a member of the board of advisors for the Smithsonian Institution Research Resources Washington Dance Exchange, an advisor for scia in 1990. Grant program, and gave a presentation on the Historic Georgetown Foundation, and a Nicolai Cikovsky, Jr., curator of American the program to the Smithsonian's Archives member of the advisory panel for J. Paul painting, served on the advisory committee for Council. She directed a workshop on museum Getty Trust and Metropolitan Museum of Art the Archives of American Art and the art advi- archives administration for the Association of joint program for art on film. sory panel for the Internal Revenue Service. Hawaiian Archivists and the Hawaii Associa- He delivered the lectures "William Merritt tion of Museums, with on-site visits to several Chase: 'An Artist Every Inch of Him'" at Ka- Hawaiian museum archives. She presented an

92 illustrated lecture "In Search of Alexander Calder in the Gallery Archives" at a seminar of the Archives of American Art, and served \ as chair and commentator for a program session on archival appraisal of the mid-Atlantic Regional Archives Conference. Eric Denker, coordinator of tours and lectures, taught "Printmaking in the Nineteenth Century" as a visiting professor at George Mason University, "Nineteenth-Century Paint- ing" as an adjunct professor at Georgetown University, and "Mary Cassatt and Color Printmaking in the Nineteenth Century" for a Georgetown alumni college. He lectured at the Little Rock Art Museum on "American Women Etchers," and at the Minnesota Insti- tute of Art on "Whistler as Etcher." He continues to serve as vice president and program chairman for the Washington Print Club. He was awarded a Robert H. Smith Fellowship for work on impressionist prints. Lamia Doumalo, head of reader services, co-chaired a session on "Concerns of the Ar- chitecture Library" at the annual conference of the Association of Architectural Librarians. She serves on the advisory board of the AAL, is book review editor for the AAL Newsletter, and was recorder for the ARLIS Newsletter, writing a report on the automation session at the Art Librarians Conference. She reviewed several projects for the National Endowment for the Humanities. Sabine Eiche, senior research associate, CASVA, was appointed one of the editors of the journal Ricerche di Storia dell'Arte. Suzannah Fabing, managing curator of records and loans, was elected vice president of the Museum Computer Network's board of trustees and served on the visiting committee for the Wellesley College Museum of Art and Frances Feldman, lecturer and intern coor- Giovanni Battista Naldini, Studies of a Male Nude, its acquisitions subcommittee. She was dinator, spoke on "Mary Cassatt: The Color Gift of William B. O'Neal, 1988.69.2 awarded the Robert H. Smith Fellowship to Prints" for the Smithsonian Resident Associ- pursue research on Etruscan bronzes in Italy, ates program's Museum Mornings series. Denmark, and Germany. Ruth E. Fine, curator of prints and draw- Sarah E. Fontana, legal assistant, spoke to Massumeh Farhad, research assistant, ings, was awarded the first Pyramid Atlantic students at the University of Maryland on pro- CASVA, delivered lectures on "Timurid Paint- Award for Excellence for her contributions to fessional and ethical standards of a paralegal. ing" for the Smithsonian National Association the field of prints and drawings. She contin- She is past president and member of the Na- and on "Timur and the Princely Vision" at the ued on the board of directors of the College tional Capital Area Paralegal Association. Women's Democratic Club of Washington. Art Association, on the advisory boards of the Gail Feigenbaum, coordinator of academic Philadelphia and Washington Print Clubs and Margaret Morgan Grasselli, assistant cura- programs, was awarded a National Endow- of Pyramid Atlantic, and on the artist-in- tor of prints and drawings, was elected to the ment for the Humanities "Travel to Collec- residence committee of Sidwell Friends Print Council of America and awarded the tions" grant to do research in Leningrad and School. She gave a lecture on "Gemini CASVA curatorial fellowship for 1989-1990 Moscow on Lodovico Carracci. She was a G.E.L.: Art and Collaboration" at the National to continue work on the drawings of Antoine visiting scholar in art history at the Johns Museum of Art, Osaka, and at the Machida Watteau. She juried the annual print exhibi- Hopkins University. City Museum of Graphic Arts, Japan. She tion of the Art League of Alexandria and gave joined the national alumni advisory board of lectures on old master prints and drawings to the University of the Arts, Philadelphia. two classes from Gallaudet College.

93 Margot Grier, library automation coordina- Painter and Sculptor Collaborators" at the Gallery, Washington, and painting at the tor, was elected to the executive committee of Walters Art Gallery, and "A Church Model of Watkins Gallery of the American University. He participated in a four-person exhibition the VTLS Users' Group. 1714 by Domenico Rossi" at the annual meeting of the Society of Architectural Histo- that opened at the Alex Gallery, Washington, Janice Gruver, editorial assistant for conser- rians. He led a graduate seminar on "Italian and traveled to Bonn, Germany. vation, taught art appreciation for the Anne Renaissance Sculpture" as visiting lecturer at Arundel County adult education program. Therese O'Malley, assistant dean, CASVA. the University of Maryland, a museum semi- completed her dissertation, "Art and Science John Oliver Hand, curator of Northern Re- nar on "Neo-Classic, Romantic, and Realist in American Landscape Architecture: The Na- naissance painting, lectured on "Futurism in Art" and a study tour of northern Italy as pro- tional Mall, 1791-1852," and received her America" at the Metropolitan Museum of Art, fessorial lecturer at Georgetown University, Ph.D. from the University of Pennsylvania. in conjunction with the exhibition Boccioni: A and seminars on "Washington's Victorian Ar- She delivered lectures for the University of Retrospective. chitecture" for a Georgetown alumni college Virginia and Historic Charleston on the aes- Gretchen Hirschauer, assistant curator of and on "Renaissance Art" for Georgetown's thetics of the pastoral landscape, and at Dum- Italian painting, spoke to students in the School of Summer and Continuing barton Oaks on the history of botanic gardens. American University Washington semester in- Education. She was appointed senior fellow for the pro- ternship program on the role of a curator in Ysabel Lightner, assistant chief of publica- gram in landscape architecture at Dumbarton modern art museums, and directed a Tuscan tion sales, served as vice president of the Mu- Oaks and served on the advisory committee countryside study tour for the Smithsonian As- seum Store Association. Her four-year term for George Washington University's program sociates programs. ended in May 1989. of historic landscape design. She was also a consultant for two historic sites: Middleton Andrew Krieger, art services specialist, ex- Suzanne Quillen Lomax, organic chemist, Place, Charleston, and Old Economy, hibited drawings at the Georgia Museum of gave a talk on "The Application of Chemistry Pennsylvania. Art, the University of Georgia, and in the ret- to the Examination of Works of Art" to the rospective "Twenty Years of Artists at Cor- northeast section of the American Chemical Judy L. Ozone, associate object conservator, tona, Italy," at the Palazzo Grassi in Venice. Society and to the Washington and Maryland was technical editor for the post-conference He participated in a group show, "Still Life: sections of the American Institute of Chemical publication of the Gilding Conservation Sym- Variations of a Theme," at the Vanderbilt Art Engineers. She also spoke on "Chemistry as posium and continued as an abstractor for Art Gallery, Nashville. Applied to the Understanding of Works of and Archaeology Technical Abstracts. Roger Lawson, head of cataloguing, deliv- Art" to the art department of Northern Ohio Michael Palmer, conservation scientist, pre- ered a paper on "New Monographs on Archi- University and to the northern Ohio section of sented a talk on mineral pigment identification tecture" at the annual conference of the Asso- the American Chemical Society. to students in the Furniture Conservation ciation of Architectural Librarians, and Alison Luchs, assistant curator of sculpture, Training Program sponsored by the Conserva- organized and participated in a panel presen- did research on the ideal portrait sculpture of tion Analytical Laboratory. tation on "Loading Bibliographic Records into Tullio Lombardo under a Robert H. Smith cu- Anna Rachwald, librarian, gave a paper on a Local System" at the annual conference of ratorial fellowship. She spoke on "The Mirac- "Esthetics of Polish Books Published Abroad the Art Libraries Society of North America. ulous Image a Generator of Italian Renais- in the Nineteenth Century" at the national Douglas Lewis, curator of sculpture and sance Church Architecture" at the College Art convention of the American Association for decorative arts, continued as chairman of the Association annual meeting, and continued as the Advancement of Slavic Studies. quality assurance subcommittee and vice vice president of the Dupont Circle Gregg Reynolds, facilities manager, spoke chairman of the citizens' stamp advisory com- Conservancy. on the organization, implementation, and op- mittee for the U.S. Postal Service. He served Donna Mann, lecturer, was technical advisor eration of safety programs in museums at a on the committee for the arts at the Lawrence- for a George Washington University communi- symposium co-sponsored by the Mid-Atlantic ville School, as chairman of the acquisitions cations class and art consultant for the Wash- Association of Museums and the Smithsonian program for the Mount Holyoke College Art ington Antiques Show. Institution. Museum, on the visiting committee of the Smith College Museum of Art, the American George Manos, assistant to the director for Mervin Richard, head of loans and exhibi- fellowship committee of the Belgian-American music, continued on the board of the Kindler tions conservation, co-authored a paper for Educational Foundation, the friends of the Foundation, the music committee of the Cos- the American Institute for Conservation an- Folger Shakespeare Library, the boards of the mos Club, the Philadelphia New Music Group, nual meeting on the use of environmentally Washington Collegium for the Humanities and Alea III Boston University, the National Press controlled vitrines for paintings, and lectured the Bauman Foundation, and the trustees' Club, and the Cultural Alliance of Washing- on exhibitions conservation and packing committee of Belzalel Academy of Jerusalem. ton, and as an honorary member of the Levine works of art for transit at the National Gallery He was sponsor for the Washington research School of Music. He also continued on the na- of Canada, the art conservation program at campaign of distinguished Fulbright scholar tional alumni council for the Johns Hopkins Buffalo State College, the Conservation Ana- Agnieszka Morawinska, curator of Polish University to evaluate the Peabody Conserva- lytical Laboratory of the Smithsonian Institu- painting at the National Museum of Warsaw, tory of Music, and adjudicated that school's tion, and the Williamstown Regional Conser- and juror for the National Parks Foundation's 1989 Sylvia Green Vocal Competition. vation Laboratory. He was named the North "Arts for the Parks" program. He gave lec- Thomas O'Callaghan, assistant slide librar- American coordinator for the Art in Transit tures on "Andrea Palladio" and "Palladio's ian, exhibited drawings and prints at the City Working Group of IC 0 M.

94 Rene de la Rie, taught a course at the Insti- "The Floral Imagery of Georgia O'Keeffe" for Virginia chapter of the Art Libraries Society of tute of Archaeology of the University of Lon- the Boston Museum of Fine Arts, and "As- North America. don in July 1989. pects of American Impressionism" for the do- D. Dodge Thompson, chief of exhibitions cents of the Baltimore Museum of Art. For the Charles M. Ritchie, assistant curator of programs, conceived the exhibition Paris third consecutive year, he gave the annual prints and drawings, was on the review panel 1889: American Artists at the Universal Expo- scholarship lecture for the Academy of the for the art competition for high school stu- sition for the Chrysler Museum in Norfolk, the Arts in Easton, Maryland, this year on "The dents sponsored by the Congressional Arts Pennsylvania Academy of the Fine Arts in Art of Paul Cezanne: A Disciplined Chaos." Caucus. Philadelphia, and the Memphis Brooks Mu- He served as juror of the Maryland Federa- seum of Art. He was appointed to the Yale Andrew Robison, curator of prints and tion of the Arts annual Works on Paper exhibi- University Council Committee on the Art Gal- drawings and senior curator, lectured on con- tion, and continued as a member of the plan- lery and British Art Center. noisseurship and collecting of master draw- ning and zoning commission in Annapolis. ings at the Drawing Society's 30th-anniversary Neai Turtell, executive librarian, served as Daniel Shay, art services technician, exhib- symposium. He continued on the international co-chairman of the Washington Art Library's ited paintings and drawings at Marlboro Gal- editorial advisory board of Master Drawings, Resources Committee; on the steering com- lery, Prince George's College. He continues to the board of directors of the Drawing Society, mittee of the Research Library Group art and teach "Drawing the Human Figure" for the and the advisory board of the Washington architecture program, and on the board of Print Club. Smithsonian Resident Associates Program at Pyramid Atlantic. the Ripley Center. H Diane Russell, curator of prints and Kathleen A. Walsh, curator of teacher and Claire Sherman, senior research associate, drawings, was adjunct professor of art at school programs, presented a session on "Art C ASVA, gave a paper on "The Department of American University and taught a seminar in and Creative Writing" for the National Art Ed- landscape painting in early modern Europe. Art, Wellesley College, and the History of Art ucation Association Conference; participated and Classical Archaeology, Bryn Mawr Col- She lectured on Claude Lorrain's "Nature" in a panel for the Association of Arts Adminis- lege, 1875-1914," at the College Art Associ- drawings at the Pierpont Morgan Library, was tration Educators' Conference; and served on ation annual meeting. a juror for the David Lloyd Kreeger award in the board of the education committee for the art history at Georgetown University, and was Marianna Shreve Simpson, associate dean, American Association of Museums, and on a member of the Folger Institute Colloquium CASVA, taught a course on "Introduction to the education committee of the Association of on Women in the Renaissance. Islamic Art: From the Dome of the Rock to the Art Museum Directors. Lynn P. Russell, curator of public programs, Taj Mahal" at Georgetown University. She Keith Webb, chief of publication sales, spoke judged the annual art exhibition of the Ameri- spoke on "Narrative Images in Persian Manu- to the Direct Marketing Association of Wash- can Academy of Dermatology and was a pan- scripts of the Fourteenth to Sixteenth Cen- ington's Catalog Council about current trends elist in the Smithsonian program "Careers in tury" for the Smithsonian Residents Associate in museum mail order catalogues, and to the the Arts." program, and on "Some Reflections on the Museum Store Association's annual meeting Current State of Studies in Persian Art" for a about installing computer systems. J. Russell Sale, special assistant to the cura- symposium at the Arthur M. Sackler Gallery. tor in charge of education, was a delegate to Arthur K. Wheelock, Jr., curator of north- She completed a three-year term on the board the conference "Inheriting the Theory: New ern baroque painting, also served as professor of trustees of the Holton-Arms School in Be- Voices and Multiple Perspectives on DBAE," of art history at the University of Maryland thesda, and was appointed chair of the art his- sponsored by the J. Paul Getty Center for Ed- and taught graduate seminars there on Ver- tory program for the 1991 annual meeting of ucation in the Arts. the College Art Association. meer and on Van Dyck. He was an advisor for Michael B. Sassani, head of audiovisual pro- the traveling exhibition Seventeenth-Century Julie A. Springer, coordinator of teacher duction, produced a video program for the Netherlandish Paintings from Swiss Collec- programs, gave a lecture on "WPA Artists and tions, organized by the Trust for Museum Ex- U.S. Department of Justice, Immigration and the American Scene" for the Cornell Fine Naturalization Service, entitled "Standing Out hibitions and the Jacob Briner Foundation, Arts Center at Rollins College in Winter Park, Winterthur, Switzerland. He organized a ses- in a Crowd." He was consultant on a project Florida. sion on "Standards of Attribution: Rubens for the office of the chairman of the Joint and Rembrandt" for the College Art Associa- Chiefs of Staff, and served on the city of Ta- Shelley G. Sturman. head of object conser- tion annual meeting, presenting a paper of the koma Park, Maryland, cable television board. vation, was recently elected president of the Washington Conservation Guild. She served as same title. He gave the following lectures: Wilford W. Scott, coordinator of special ex- co-chair of the poster session at the annual "How do We Know It's Really by Rem- hibition projects, continued as an assistant meeting of the American Institute for Conser- brandt?" for the annual meeting of the Inde- professorial lecturer at George Washington vation and co-authored a poster on the treat- pendent Schools Art Instructors Association, University, teaching "An Introduction to the ment of the East Building's Calder mobile for Mary Washington College, and the J. Paul Arts in America." He gave lectures on "Photo- the same meeting. She served as one of three Getty Museum; "Dutch and Flemish Paintings graphic Visions: Fact or Fantasy?" for a conservators on the review panel for conserva- in the Munich Exhibition" for the Cincinnati Georgetown University alumni college, tion and collection maintenance grants for the Art Museum; "Looking at Vermeer: The Art- "Chance Meetings: When Photographs Be- National Endowment for the Arts. ist's Working Methods" for the Art Institute of came Art" and "Winslow Homer's Women Chicago and University of North Carolina; William Taylor, chief slide librarian, served and the Image of Women in American Art" "Transience and Permanence in the Paintings as chairman of the Washington-Maryland- for the Smithsonian Resident Associates, of Vermeer" for Northwestern University;

95 Raphael Soyer, Blond Figure, 1940s, Gift of James "Images of Reality, Images of Arcadia: spoke on "American Impression" and on N. Rosenberg, 1989.25.1 Seventeenth-Century Netherlandish Paintings "Twentieth-Century American Art" for the do- from Swiss Collections" for Oberlin College cents at the National Museum of American and the Allentown Art Museum; "Fantasy and Art, and on "American Art and Music" for A Reality in Dutch Still Life Painting," for the Salon in Washington. He delivered a slide lec- San Antonio Museum of Art; and "Dutch ture on German expressionism for the opening Paintings in the Clark Collection" for the Yel- of an exhibition of German prints at the Ran- lowstone Art Center, Billings, Montana. dolph Macon University Art Museum in Christopher B. With, curator of art informa- Lynchburg, Virginia, and spoke on the life tion, lectured on new interpretations of im- and career of Andy Warhol for the Art Semi- pressionism for the Smithsonian National As- nar Group in Baltimore, and on Marc Chagall sociates program. For the Smithsonian for the Bedford Springs Music Festival in Resident Associates, he taught a course on the Pennsylvania. history and culture of the Rhine river valley in honor of the fortieth anniversary of the founding of the Federal Republic of Germany. He

96 Publications Fletcher, Shelley, co-author with Pia DeSan- by J. Biirgel. Middle East Studies Association tis Pell. "Degas: The Search for His Tech- Bulletin 23 (1989). Barbara Berrie, co-author with Shelley Stur- nique Continues." The Burlington Magazine Shelley G. Sturman, co-author with Barbara man. "Technical Examination of Riccio Pla- (March 1989). Berrie. "Technical Examination of Riccio Pla- quettes." In Italian Plaquettes, edited by Ali- Grasselli, Margaret Morgan. "A Drawing quettes." In Italian Plaquettes, edited by Ali- son Luchs. Studies in the History of Art 22. by Jean-Baptiste Nattier." Master Drawings son Luchs. Studies in the History of Art 22. National Gallery of Art, Washington, 1989. 26, no. 4 (1988): 356-357, pi. 41. National Gallery of Art, Washington, 1989. Brown, David Alan. Review of Pietro —. "A Curious Link Between Watteau and La Thompson, D. Dodge. "'Loitering Through Marani, Leonardo e i Leonardeschi a Brera Fosse." The Watteau Society Bulletin (1986- the Paris Exposition': Highlights of the Ameri- and of Designi e dipinti Leonardeschi dalle 1988). can Paintings." In Paris 1889: American Art- collezioni milanesi. The Burlington Magazine —. "News from the U.S.A." The Watteau Soci- ists at the Universal Exposition. Exh. cat., 131, no. 1036 (July 1989): 491-492. ety Bulletin (1986-1988). Chrysler Museum. Norfolk, 1989. Cikovsky, Nicolai, Jr. "Forum: A Homer Hand, John Oliver. Review of Netherlandish —. "John LaFarge's Masterpieces in Stained Drawing of the English Period." Drawing 10 Fifteenth- and Sixteenth-Century Paintings in Glass." Antiques 135, no. 3 (March 1989): (January-February 1989): 108. the National Gallery of Ireland by Chris tiaan 708-717. —. "American Paintings in the Manoogian Vogelaar, and Netherlandish Paintings in So- Walsh, Kathleen A. "Teachers and Re- Collection." Antiques 136 (July 1989): 132- viet Museums by Nikolai Nikulin. The source Centers." Museum Education Anthol- 143. Burlington Magazine 131 (January 1989): ogy. National Art Education Association, —. "American Landscapes." Three Hundred 39-40. 1989. Years of American Painting: The Montclair Art Lawson, Roger. Review of International De- Museum Collection (New York, 1989), 29-37. Wheelock, Arthur K., Jr. Introduction. sign Yearbook 4, edited by Arata Isozaki. AAL In Images of Reality, Images of Arcadia: Collins, Jane. Review of Japanese Gardens: Newsletter 8, no. 2 (April 1989):4. Seventeenth-Century Netherlandish Paintings Design and Meaning by Mitchell Bring and —. Review of Bruce Goff: Toward Absolute Ar- from Swiss Collections, by Margarita Russell. Josse Wayembergh. A A I. Newsletter 7, no.4 chitecture by David G. DeLong, and Gordon Exh. cat., The Trust for Museum Exhibitions, (October 1988):5. Bunshaft of Skidmore, Owings & Merrill by The Jakob Briner Foundation, Winterthur, Daniels, Maygene F. "Records Appraisal Carol Herselle Kinsky. AAL Newletter 8, no. 3 Switzerland, 1989. and Disposition." In Managing Archives and (July 1989):3-5. —. "Still Life: Its Visual Appeal and Theoreti- Archival Institutions, edited by James Gregory Lewis, Douglas. "Introduction: The Past cal Status in the Seventeenth Century." Still Bradsher. London, 1988. and Future of the Italian Plaquette" and "The Lifes of the Golden Age: Northern European DeGrazia, Diane. "L'altro Carracci della Plaquettes of 'Moderno' and His Followers." Paintings from the Heinz Family Collection. In Italian Plaquettes, edited by Alison Luchs. Galleria Farnese: Agostino come inventore." Exh. cat., National Gallery of Art, Washing- Studies in the History of Art 22. National Gal- Le Carrache et les decors profanes, 97-113. ton, 1989. lery of Art, Washington, 1989. Actes du Colloque organise par l'ecole fran- —. "History, Politics, and the Portrait of a gaise de Rome. Rome, 1988. Luchs, Alison, editor. Italian Plaquettes. City: Vermeer's View of DelftV In Urban Life Studies in the History of Art 22. National Gal- in the Renaissance, edited by Susan Zimmer- Denker, Eric. Review of Prints: Washington lery of Art, Washington, 1989. man and Ronald F. E. Weissman. Newark, exhibition at The Phillips Collection. Journal Del., 1989. of the Print World (winter 1989), 20. —. "Tullio Lombardo's Ca' d'Oro Relief: A —. "Mary Cassatt: The Color Prints." Museum Self-Portrait with the Artist's Wife?" Art Bulle- and Arts Washington (July-August 1989), tin 71 (June 1989): 231-236. 42-43. Mann, Donna. Sudamerica: Pinturas de —. "Mary Cassatt Printmaker." The Lamp (fall George Catlin. Washington, 1989. 1989). —. "The Picture of Innocence: American Na- ive Children's Portraits from 1700 to 1860." Douraato, Lamia. "Louisa TuthilTs Unique Contribution." In Architecture: A Place for The 34th Annual Washington Antiques Show Women. Washington, D.C., 1989. Catalogue. Washington, 1989. —. Review of Julia Morgan, Architect by Sara Millon, Henry A. Introduction. Holmes Boutelle. AAL Newsletter 8, no. 1 "Architecture-Society-History." In Giancarlo (January 1989): 4-5. de Carlo. Milan, 1988. —. Review of Samuel F. B. Morse by William —, co-author. "Pirro Ligorio, Michelangelo, Kloss. Choice (March 1989), 98. and St. Peter's." In Pirro Ligorio Artist and —. Zaha Hadid. Monticello, 111., 1989. Antiquarian, edited by Robert W. Gaston. Eiche, Sabine, co-author. "The Mausoleum Milan, 1988. Plan of Galeazzo Maria Sforza." Mitteilungen de la Rie, Rene, co-author. "Stabilized Dam- des Kunsthistorischen Institutes in Florenz 32 mar Picture Varnish." Studies in Conservation (1988). 34(1989). —. "Architetture sforzesche." In Historica Pi- Simpson, Marianna Shreve. "Islamic saurensia, edited by R. Valazzi. Venice, 1989. Painting and History." Asian Art 1 (fall 1988). Fine, Ruth. "Donald Saff: A Life in Art." —. "The Vever Collection in Washington, Donald Saff "Mixed Metaphors," 1956-1989. D.C." Marq (December 1988). Exh. cat., Tampa Museum of Art. Tampa, —. Review of "Mehdi Bahrami, Gurgan Fa- 1989. iences Iranian Studies 21 (1988). —. John Marin Watercolors. Exh. cat., Ama- —. Review of "The Feather of Simurgh: The rillo Art Center. Amarillo, 1988. Licit' Magic of the Arts in Medieval Islam,"

Financial Report

The operating funds of the National maintained and the works of art exhibited Gallery of Art for the 1989 fiscal year regularly to the public free of charge. amounted to $50.4 million, of which Since the Gallery opened to the public, $40.5 million were federal funds appro- federal funds have supported all major priated to the National Gallery by Con- operations of the Gallery, including cura- gress. The remaining $9.9 million repre- torial and education departments, secu- sented private funds in the form of rity, maintenance, and day-to-day opera- income from endowment and special pur- tions. At the same time, all purchases of pose funds as well as grants from corpo- works of art have been made with private rations to support special exhibitions. The funds. Construction of the East Building sources of funding 1989 operations are was also privately financed. summarized below: In 1989 Gallery federal expenditures ($ millions) % of total amounted to $40.5 million, a 4.4% Federal funds 3.5 increase over the prior year. Seven government-supported full-time equiva- Private funds Unrestricted 2.1 lent (FTE) staff were added, making a Restricted to special new total of 835 PTE's. Salaries and exhibitions, CASVA, fringe benefits, including a 4.1% pay conservation, raise effective 1 January 1989, account and other 7.£ for $25.3 million, or 62.5% of the gov- Total private funds 9.9 20 ernment funds utilized. Total operating funds $50.4 100% ($ millions) % of total Salaries and benefits $25.3 62.5% Utilities 4.3 10.6 FEDERAL FUNDS Special exhibitions 3.3 8.1 Renovation and The use of federal funds to operate the equipment 2.4 5.9 Gallery stems from a 1937 Joint Resolu- Supplies, material, and tion of Congress which accepted an un- contracted services 4.4 10.9 precedented gift that Andrew W. Mellon Other .8 2.0 made to the people of the United States. Total $40.5 100.0% The gift consisted of his art collection, funds to construct a building (now the West Building), and an endowment fund. PRIVATE FUNDS The Congress pledged the faith of the Unrestricted Funds United States to provide funds for the up- keep, administration, and operations (in- Unrestricted funds consist primarily of cluding the protection and care of works the income from the Andrew W. Mellon Ad Reinhardt, Untitled, 1947, Aiisa Mellon Bruce Fund and Gift of The Circle of the National Gallery of art acquired by the board of trustees) Endowment Fund originally established of Art, 1988.60.1 (detail) so that the Gallery would be properly in the early years of the Gallery. The in-

99 per, object, and science conservation Operating Expenses departments.

Fiscal Year 1 989 Administration Research Services and Music: Supplement- ing federal funds, the purchases of library Security Fellowships books and photographs for the Gallery's photographic archives were made with Curatorial private funds ($477,217) designated for Conservation those purposes. The Gallery's music department, which arranges and presents Music the regular Sunday evening concerts, was Education partly funded by private sources at a level of $237,493 in 1989. Editorial

Research Exhibitions INVESTMENTS

The investment portfolio of the Gallery had a market value of approximately

Operations/Maintenance $201 million at the end of the fiscal year. Development It is primarily made up of endowment Equipment/Renovations funds and, to a lesser extent, funds for $50.4 Million special purposes that may be expended for the purposes designated. The largest single portion of endowment funds is the Patrons' Permanent Fund, dedicated to the purchase of works of art. Its market value amounted to $71.9 million at the end of the fiscal year. The portfolio is su- come from these funds is used for the costs of the exhibitions program contin- pervised by the finance committee of the compensation of executive officers, pay- ued to be funded by designated federal board of trustees and managed by an in- ment of professional fees, insurance, funds. The $1,534,439 excess of support vestment advisory team made up of Scud- fundraising, and other operating costs not and revenues in 1989 non-federal funds der, Stevens & Clark, First Manhattan covered by federal funds. (as shown in the Operating Statement) Capital Management, both of New York, primarily represents grants made in sup- and, as of March 1989, Sound Shore Restricted Funds port of the exhibition program that are Management, Inc., of Greenwich, Con- available for use in future years. Special Exhibitions: Exhibition expendi- necticut. The custodian of securities is the tures of $9.1 million in 1989 were sub- CASVA: Funding for the Center for Ad- Riggs National Bank of Washington, D C. stantially greater than the $5.9 million vanced Study in the Visual Arts is derived The early endowment fund established spent in 1988. The increase was primar- from the income of two Andrew W. Mel- by Andrew W. Mellon has been supple- ily attributable to the more than $3 millon Foundation endowments and grants mented over the years by endowments lion devoted to Japan: The Shaping of from the Kress Foundation, individuals, given by the Andrew W. Mellon Founda- Daimyo Culture and the related events. and other supporting foundations. Ex- tion and Mr. Paul Mellon to operate the These funds were raised by a consortium penses are shown in the Operating State- Center for Advanced Study in the Visual of fifteen Japanese corporations, the Ja- ment under the headings "Educational Arts and to provide for art conservation pan Foundation, and R. J. Reynolds. services" ($504,243) and "Fellowships" and building funds. During 1989 the Ca- More than 60% of exhibition program ($423,353). Fellowships supported fritz Foundation made a second special costs were supported by other corpora- thirty-five scholars in 1989. gift of $2.5 million as an addition to an tions and foundations, including American art fund previously established. Many Express, Ford Motor Company, Philip Conservation: Conservation of works of art generous individuals made other contri- Morris, Olivetti Company, Eastman Ko- was primarily funded (86%) by federal butions for the purchase of works of art, dak, United Technologies, Gerald D. appropriations, while fellowships, interns, fellowships, and scholarly endeavors in Hines Interests, the Pew Foundation, staff research, and seminars were sup- fiscal year 1989. First City Financial, and the Mellon Rank. ported by private funds amounting to Opening events, films, brochures, sympo- $228,998. The Gallery funded four ad- sia, and other related events were also vanced training fellowships as well as funded by the private sector. The core part-time fellowships in the painting, pa-

100 PUBLICATIONS FUND courses of action have been completed. get, who, despite severe fiscal limitations, In addition, the audit committee meets in have made it possible for this institution Sales of art books, exhibition catalogues, executive session with the internal auditor to operate at a standard appropriate to posters, and prints amounted to $9.3 mil- and the public accounting firm. This free the nation's art museum. Their efforts, lion in this fiscal year, approximately 24% access of auditors to the audit committee coupled with the generous support of cor- lower than the prior year's sales levels. of the board of trustees parallels a similar porations and friends, made our service The decline was related to fewer numbers process in many American corporations. to the public in 1989 a successful and of visitors to the Gallery. The net pro- satisfying year. ceeds of publications sales are used to CONCLUSION finance, in a revolving manner, the production of catalogues of the Gallery's col- The Gallery is deeply indebted to all lections, Studies in the History of Art, those in Congress, the Administration, Daniel Herrick and other scholarly publications directly and the Office of Management and Bud- Treasurer related to the programs of the Gallery. In fiscal year 1989 the Gallery made significant investments that will benefit publication sales operations in future years, including the rental of a warehouse in Cheverly, Maryland, which allows improved control of inventories; a new computer and point-of-sale cash register system; and additional staff to keep up with the increasing complexity of the sales operations.

AUDITING

To insure financial integrity, the Gallery maintains a comprehensive system of auditing, internal controls, and follow up. Report of Independent Accountants The Gallery's independent certified pub- To the Board of Trustees of lic accountants, Coopers & Lybrand, per- The National Gallery of Art We have audited the accompanying balance sheet of the form an annual examination of financial National Gallery of Art as of September 30, 1989, and the related statements of activity of the funds for operations and changes in statements and a study and evaluation of fund balances for the year then ended. These financial statements are the responsibility of the Gallery's management. the internal accounting controls and sys- Our responsibility is to express an opinion on these financial statements based on our audit. We previously audited and tems of the Gallery in accordance with reported on the financial statements of the National Gallery of Art for the year ended September 30, 1988, totals of which are included in the accompanying financial statements for comparative generally accepted auditing standards purposes only.

and standards set forth by the General We conducted our audit in accordance with generally accepted auditing standards and generally accepted governmental Accounting Office for federally funded auditing standards. Those standards require that we plan and perform the audit to obtain reasonable assurance about whether activities. Coopers & Lybrand observes the financial statements are free of material misstatement. An audit includes examining, on a test basis, evidence supporting the amounts and disclosures in the financial statements. An the taking of art inventories as well as the audit also includes assessing the accounting principles used and significant estimates made by management, as well as evaluating inventories of retail merchandise. The in- the overall financial statement presentation. We believe that ternal audit office of the Gallery, headed our audit provides a reasonable basis for our opinion. In our opinion, the financial statements referred to by Larry Lewis, works closely with the above present fairly, in all material respects, the financial position of the National Gallery of Art as of September 30, 1989, public accounting firm and reports on a and the results of its operations and changes in its fund balances for the year then ended in conformity with generally regular basis directly to the director. accepted accounting principles. The members of the audit committee of the board of trustees meet three times a year to receive reports of both Coopers & Washington, D.C. Lybrand and the Gallery's internal audit November 30, 1989 staff. Audit comments are reviewed by the audit committee with management and agreement made on a course of action to implement recommendations. At each meeting prior reports are reviewed to make sure that the agreed-upon

101 BALANCE SHEET 30 SEPTEMBER 1989 (with comparative totals as of 30 September 1988)

1989 1988

Non-federal Federal Total Total

ASSETS Cash, including amounts on deposit with U.S. Treasury and interest-bearing demand deposits (Note 1) $ 1,945,724 $ 9,076,822 $ 11,022,546 $ 14,144,532 Receivables (Notes 1 and 3) 11,372,278 30,206 11,402,484 8,341,563

Investments (Notes 1 and 2) 201,177,585 — 201,177,585 168,460,394

Publications inventory (Note 1) 3,495,633 - 3,495,633 2,608,417 Deferred charges 1,271,689 404,907 1,676,596 2,718,970 Fixed assets (Notes 1 and 4) 123,615,181 22,897,207 146,512,388 146,190,932 Total assets $342,878,090 $32,409,142 $375,287,232 $342,464,808

LIABILITIES AND FUND BALANCES Liabilities: Accounts payable, accrued expenses, and undelivered orders (Note 1) S 9,734,381 $ 5,007,961 $ 14,742,342 $ 9,708,646 Deferred grants and appropriations 4,847,118 404,907 5,252,025 6,918,376 Total liabilities 14,581,499 5,412,868 19,994,367 16,627,022

Commitments and contingencies (Note 8)

Fund balances (Note 5):

Funds for operations 3,648,859 — 3,648,859 2,192,396

Funds for special purposes 39,143,648 - 39,143,648 33,839,173

Endowment funds 161,888,903 — 161,888,903 138,721,939

Unobligated appropriations — 4,099,067 4,099,067 4,893,346 204,681,410 4,099,067 208,780,477 179,646.854 Capital invested in fixed assets 123,615,181 22,897,207 146,512,388 146,190,932 Total fund balances 328,296,591 26,996,274 355,292,865 325,837,786 Total liabilities and fund balances $342,878,090 $32,409,142 $375,287,232 $342,464,808

The accompanying notes are an integral part of the financial statements

102 STATEMENT OF ACTIVITY OF THE FUNDS FOR OPERATIONS FOR THE YEAR ENDED 30 SEPTEMBER 1989 (with comparative totals for the year ended 30 September 1988)

1989 1988

Non-federal Federal Total Total

SUPPORT AND REVENUES U.S. Government appropriation utilized (Note 1) $ — $40,463,638 $40,463,638 $38,815,230 Return from endowment funds, less $1,651,879 and $1,398,632 respectively for 1989 and 1988, returned to

principal (Note 1) 3,017,000 — 3,017,000 2,902,974

Grants for special exhibitions 6,897,808 — 6,897,808 4,492,293

Income from special purpose funds utilized 1,177,009 — 1,177,009 864,006

Interest income 314,843 — 314,843 167,329

Income from cafeteria, recorded tours, and reimbursements 105,673 — 105,673 493,344 Total support and revenues 11,512,333 40,463,638 51,975,971 47,735,176

OPERATING EXPENSES Programs: Curatorial 980,463 4,305,856 5,286,319 5,304,319 Conservation 228,998 1,362,751 1,591,749 1,376,427 Special exhibitions 5,877,393 3,240,576 9,117,969 5,910,256

Editorial and photography — 868,987 868,987 842,585 Research services 477,217 1,808,037 2,285,254 1,998,112 Educational services 560,569 2,706,434 3,267,003 3,045,964

Fellowships 423,353 — 423.353 397,892 Music 237,493 137,487 374,980 317,456 Total program expenses 8,785,486 14,430,128 23,215,614 19,193,011 Operations, security, and administration: Operations and maintenance 106,375 10,382,895 10,489,270 11,222,264

Security — 7,834,958 7,834,958 7,353,203 Administration, fiscal and legal 680,254 5,359,981 6,040,235 5,400,043 Development (Note 1) 405,779 72,235 478,014 334,157 Total operations, security, and administration 1,192,408 23,650,069 24,842,477 24,309,667

Renovation expenditures — 1,626,752 1,626,752 2,290,495

Equipment expenditures — 756,689 756,689 979,594 Total expenses 9,977,894 40,463,638 50,441,532 46,772,767 Excess of support and revenues over expenses $ 1,534,439 $ $ 1,534,439 $ 962,409

103 STATEMENT OF CHANGES IN FUND BALANCES FOR THE YEAR ENDED 30 SEPTEMBER 1989 (with comparative totals for the year ended 30 September 1988)

1989 1988

Non-federal Federal No- Year Funds for No-year special Funds for special Endowment One-year renovation exhibitions operations purposes funds funds funds funds Total Total

BALANCES, BEGINNING OF YEAR $2,192,396 $33,839,173 $138,721,939 - $3,043,783 $1,849,563 $179,646,854 $179,562,792

Additions: U.S. Government appropriation received — — — 35,661,000 750,000 2,320,000 38,731.000 37,352,000 Return from endowment funds restricted to special

purposes - 4,186,375 - - - - 4,186,375 3,545,820 Endowment fund income returned to

principal (Note 1) 1,651.879 - - - - - 1.651,879 1,398,632

Investment income - 2,387,985 - - - - 2,387,985 1,599,536 Change in investment

appreciation (Note 2) 25,869 2,238,568 19,406,214 - - - 21,670,651 (11,509,694)

Gifts and bequests - 5,015,648 1,972,995 - - - 6,988,643 6,746,853 Excess of support and

revenues over expenses 1,534,439 - - - - - 1,534,439 962,409

Publications revenue - 9,300,684 - — — — 9,300,684 12,275,633 Total additions 3,212,187 23,129,260 21,379,209 35,661,000 750,000 2,320,000 86,451,656 52,371,189 Deductions:

Art purchases - 6,722,841 - - - - 6,722,841 1,842,201

Publications expenses - 8,841,985 - - — - 8,841,985 9,260,702 Fixed asset

expenditures - 1,050,919 - - - 1,050,919 471,102 Fellowships, projects,

and other - 1,177,009 - — — — 1,177,009 864,006 Federal operating

expenses obligated — — — 35,646,211 1,626,752 2,237,527 39,510,490 39,844,717 Returned to U.S. Treasury 14,789 — — 14,789 4,399 Total deductions - 17,792,754 35,661,000 1,626,752 2,237,527 57,318,033 52,287,127 Transfers—In (out): Endowment fund income returned to

principal (Note 1) (1,651,879) - 1,651,879 — - — — —

Other (103,845) (32,031) 135,876 — — — - - Balances, end

of year $3,648,859 $39,143,650 $161,888,903 ' — $2,167,031 $1,932,036 $208,780,477 $179,646,854

The accompanying notes are an integral part of the financial statements

104 Notes to the Financial Statements

Note 1. Summary of Significant dowment are subject to restriction by the ART OBJECTS—In conformity with ac- Accounting Policies Gallery's board of trustees. counting policies generally followed by Federal funds represent appropriations art museums, the value of art has been FUND ACCOUNTING—To ensure observ- from Congress for the operations of the excluded from the balance sheet. The ance of limitations and restrictions placed Gallery. The Gallery receives "one-year" Gallery acquires its art collections on the use of resources available to the appropriations, which, when not obli- through purchase or by donation-in-kind National Gallery of Art (the Gallery), the gated or expended, must be returned to of works of art. Only current year pur- accounts of the Gallery are maintained in the United States Treasury, and "no- chases, and not donations-in-kind, are re- accordance with the principles of fund ac- year" appropriations for the repair, reno- flected in the statement of changes in counting. This is the procedure by which vation, and restoration of its buildings fund balances. resources for various purposes are classi- and for special exhibitions. No-year ap- fied for accounting and reporting pur- propriations are retained until expended. CA SH—Non-federal cash represents poses into funds established according to The accounts of the federal funds are amounts held on deposit by banks includ- their nature and purposes. Separate ac- prepared on the obligation basis of ac- ing interest-bearing demand deposits. counts are maintained for each fund; counting, which is in accordance with ac- Federal cash represents appropriated however, in the accompanying financial counting principles prescribed by the amounts not yet disbursed by the United statements, funds that have similar char- Comptroller General of the United States States Treasury. acteristics have been combined into fund as set forth in the Policy and Procedures groups. Accordingly, all financial transac- Manual for Guidance of Federal Agencies. INVESTMENTS—Investments are carried tions have been recorded and reported The obligation basis of accounting differs at current market value based upon the by fund group. in some respects from generally accepted last reported sales price at the end of the The assets, liabilities, and fund balances accounting principles. Under this basis of fiscal year or, in the absence of a reported of the Gallery are reported in four self- accounting, commitments, such as pur- sale, upon the average of the bid and balancing fund groups as follows: chase orders and contracts, are recog- asked prices. Purchases and sales of securities are reflected on a trade-date ba- Operating funds, which include unre- nized as expenses and the related obliga- sis. Gain or loss on sales of securities is stricted and restricted resources, repre- tions are carried as liabilities even though based on average historical value (cost of sent the portion of expendable funds the related goods or services have not securities if purchased or the fair market available for support of the Gallery's been received. Such amounts are in- value at the date of receipt if received by operations. cluded in undelivered orders and are available until expended. donation). Dividends and interest are recorded on the accrual basis. In accor- Funds for special purposes include the Operating funds restricted by the do- dance with the policy of stating invest- publications fund, which is used to fi- nor, grantor, or other outside party for ments at fair value, the net change in nance, in a revolving fund manner, the particular operating purposes are deemed unrealized appreciation or depreciation production of catalogues of the Gallery's to be earned and reported as revenues of for the year is reflected in the statement collections, Studies in the History of Art, the operating fund when the Gallery has of changes in fund balances (see Note 2). and other scholarly publications directly incurred expenditures in compliance with related to the programs of the Gallery. the specific restrictions. Such amounts re- PUBLICATIONS INVENTOR Y—Publi- Publications revenue and expenses are ceived and receivable but not yet earned cations inventory is carried at the lower of recorded as an addition and deduction, are reported as deferred income. cost or market. Cost is determined using respectively, in the statement of changes All gains and losses arising from the the retail cost method. in fund balances. Other funds for special sale, collection, or other disposition of as- purposes are restricted to art acquisitions, sets are accounted for in the fund that capital construction, and fellowships, owned the assets. Ordinary income from FIXED ASSETS —The land occupied by the Gallery's buildings was appropriated among other restricted purposes. investments, receivables, and the like is accounted for in the fund owning the as- and reserved by the Congress for that Endowment funds are subject to restric- sets, except for income derived from in- purpose, and no value has been assigned tions of gift and bequest instruments re- vestments of endowment funds, which is in the accompanying financial statements. quiring in perpetuity that the principal be accounted for, if unrestricted, as revenue Buildings are recorded at cost and not de- invested and the income only be used. of the operating fund or, if restricted, as preciated since they are considered na- Permanent endowment funds are subject additions to funds for special purposes. tional landmarks. Equipment, furniture, to restriction by donor, grantor, or other and computer software are also recorded outside party. Funds functioning as en- at cost and depreciated on a straight-line

105 basis over estimated useful lives ranging and dividends available for expenditures with federal law and regulations. The cost from five to twenty-five years. Upon reis equal to 5.5% of the four-year average of leave is recorded as salaries expense tirement of fixed assets, the related cost market value of the funds. All income in only as leave is taken. and accumulated depreciation are re- excess of this amount is returned to the moved from the accounts. principal of the endowment. In addition, RECLASSIFICATIONS—Certain 1988 Depreciation of equipment, furniture, any amounts that were made available for amounts have been reclassified to con- and computer software is charged directly expenditures yet were unused at year-end form with the 1989 presentation. against "Capital invested in buildings and are also returned to the principal of the equipment" and is excluded from the endowment. Total income generated by FUTURE IMPA CT OF A CCOUNTING statement of activity of the funds for oper- endowments for operations was PRONOUNCEMENT—The Financial Ac- ations and statement of changes in fund $4,668,879 and $4,301,606 for the counting Standards Board has issued balances. Depreciation in the amount of years ended 30 September 1989 and Statement No. 93, "Recognition of De- $1,428,258 in 1989 is comprised of 1988, respectively. Of these amounts, preciation by Not-for-Profit Organiza- $283,317 of non-federal funds and $3,017,000 and $2,902,974 was used tions." The application of this statement is $1,144,941 of federal funds. Deprecia- for operating purposes and, pursuant required for the Gallery's fiscal year be- tion expense for 1988 was $1,502,279. to the trustees' policy noted above, ginning 1 October 1990. Application of $1,651,879 and $1,398,632 was re- the statement will require that the Gallery depreciate its buildings, the effect of REVENUE RECOGNITION—Grants, gifts, turned to principal for these respective which will decrease fixed assets and capi- and bequests are recognized as support years. tal invested in fixed assets. and revenues or additions to funds for special purposes or endowment funds in ANNUAL LEAVE—The Gallery's em- the year received or receivable, except ployees earn annual leave in accordance support received for special exhibitions, which is deferred, along with related expenses, until such exhibitions are held. Pledges for the purchase of works of art are recorded when collected. Contributions received by the Gallery in support of special exhibitions occurring at one or more participating museums are recorded as revenue to the Gallery to the extent that shared costs are incurred by the Gallery.

OPERATING INCOME FROM ENDOW- MENT FUND—A 1942 trust indenture established a National Gallery Endowment Fund for the purpose of providing income to support certain nongovernment expenditures of the Gallery. Subsequent to the original endowment, other funds have been established to support the Center for Advanced Study in the Visual Arts, conservation of art works, fellowships, and various other operating purposes in addition to the purchases of works of art. In order to minimize the inflationary erosion of the endowment funds for operations, it is the policy of the board of trustees to limit the amount of dividends and interest available for expenditures in any year and to return unused income to the prin- Edgar Degas, Horse Walking, modeled c. 1860/ cipal of those endowments. In keeping 1870, Gift of Mrs. Lessing J. Rosenwald, with this policy, the amount of interest 1989.28.2

106 Note 2. Investments Investments are composed of the following as of 30 September:

1989 1988

Cost Market value Cost Market value Permanent loan to the U.S. Treasury $ 5,000.000 $ 5,000,000 $ 5,000,000 $ 5,000,000 Other U.S. Treasury obligations 58,168,797 58,644,462 77,772,784 77,915,143 Cash equivalents and certificates of deposit 26,923,944 26,941,074 16,948,190 16,948,190 Bonds and notes 23,140,119 23,170,289 8,712,319 8,666,776 Common and preferred stocks 72,904,453 87,421,760 56,216,746 59,930,285 Total $186,137,313 #201,177,585 $164,650,039 $168,460,394

In 1942 the Gallery, under authority of during fiscal year 1989). Interest in- an Act of Congress, made a $5,000,000 come on this loan was $431,389 and permanent loan to the United States Trea- $442,847 for the years ended 30 Sep- sury. This loan bears interest at lk% be- tember 1989 and 1988, respectively. low the average monthly rate for long- The change in investment appreciation term funds paid by the United States for the years ended 30 September 1989 Treasury (ranging from 7.75% to 9.0% and 1988 is as follows:

1989 1988 Net increase (decrease) in market value of investments $11,229,917 $(14,664,042) Realized gain on sale of investments, net 10,440,734 3,154,348 $21,670,651 $(11,509,694)

Note 3. Receivables Receivables are composed of the following as of 30 September:

1989 1988 Special exhibition grants and reimbursements $ 4,639,676 $4,218,991 Due from brokers from sales of securities 4,176,993 963,463 Accrued investment income 2,328,181 2,264,378 Other 257,634 894,731 Total receivables $11,402,484 $8,341,563

107 Note 4. Fixed Assets 1987. Permanent employees of the Gal- Buildings and equipment consist of the following as of 30 September: lery participating in the CSRS had the option to transfer into FERS before 31 De- 1989 1988 cember 1987. Under FERS, employees

Non-federal Federal Total funds Total funds pay full Social Security taxes in addition Buildings $122,215,656 $11,118,451 $133,334,107 $132,670,319 to their contribution to the Basic Benefit Equipment 2,768,363 21,785,206 24,553,569 22,692,656 Plan. Additionally, they have the option to make tax-deferred contributions to a Construction-in- progress 120,575 120,575 1,028,350 Thrift Savings Plan and receive a match- 124,984,019 33,024,232 158,008,251 156,391,325 ing portion from the Gallery. The Gallery funds all retirement contri- Accumulated depreciation on butions on a current basis, and accord- equipment (1,368,838) (10,127,025) (11,495,863) (10,200,393) ingly, there are no unfunded retirement $123,615,181 $22,897,207 $146,512,388 $146,190,932 costs. Total pension expense of the Gal- lery was approximately $2,077,000 and $1,793,000 for the years ended 30 Sep- tember 1989 and 1988, respectively. Note 5. Non-Federal Fund Balances Non-federal funds include the following as of 30 September: Note 7. Income Taxes The Gallery is a nonprofit organization 1989 1988 exempt from federal income taxes under Funds for operations 3,648,859 2,192,396 the provisions of §501(c)(3) of the Inter- Funds for special purposes nal Revenue Code and the applicable in- Accumulated income, gifts, grants, and bequests come tax regulations of the District of Co- available for: lumbia. Art purchases 15,386,846 12,952,441 Capital construction 6,951,808 5,831,959 Note 8. Commitments and Publications 14,931,923 13,353,593 Contingencies Fellowships, projects, and other 1,873,071 1,701,180 The Gallery entered into an operating Total funds for special purposes 39,143,648 33,839,173 lease for a warehouse beginning 1 No- vember 1988. The Gallery has the right Endowment Junds to cancel this lease upon twelve months' Endowment funds, the income of which is available for: written notice to the lessor after the initial 79,753,746 68,364,087 Restricted purposes five years. Future minimum rental com- Gallery operations 61,067,631 52,020,195 mitments under this lease at 30 Septem- Funds functioning as endowment funds, the principal ber 1989 are approximately as follows: and income of which are available for:

Special purposes 9,757,071 8,687,457 For the year ended Federal Publications Unrestricted purposes 11,310,455 9,650,200 30 September fund fund Total endowment funds 161,888,903 138,721,939 1990 $230,000 $115,000 1991 237,000 118,000 Total non-federal funds $204,681,410 $174,753,508 1992 244,000 122,000 1993 251,000 126,000 1994 21,000 10,000 $983,000 $491,000

Note 6. Retirement Benefits Rent expense on the above lease was All permanent employees of the Gallery, $191,596 for the year ended 30 Septem- both federal and non-federal, hired prior ber 1989. to 1 January 1984 participate in the Civil Service Retirement System (CSRS), and those hired subsequent to 1 January 1984 participate in both the Social Secu- rity Retirement System and the new Fed- eral Employees' Retirement System (FERS), which went into effect 1 January

108 Trustees, Committees, and Officers

Franklin D. Murphy John R. Stevenson Chairman President

Board of Trustees Art and Education Resources Planning (as of September 1989) Committee Committee Franklin D. Murphy, John R. Stevenson, Chairman John R. Stevenson, Chairman Chairman Franklin D. Murphy Charles F. Adams William H. Rehnquist James A. Baker III John R. Stevenson, President Ruth Carter Stevenson Robert M. Bass The Chief Justice of the The Secretary of State William H. Rehnquist, Robert H. Smith Theodore F. Brophy Supreme Court The Chief Justice of the Alexander M. Laughlin ..V United States J. Carter Brown J. Carter Brown Lois de Menil James A. Baker III, James T. Dyke The Secretary of State Trustees' Council Edward E. Elson Nicholas F. Brady, John C. Whitehead, Chairman The Secretary of the Katharine Graham Lois de Menil, Vice Chairman Treasury R. L. Ireland III Arthur G. Altschul Robert McCormick Adams, George F. Jewett, Jr. Perry R. Bass The Secretary of the Alexander M. Laughlin JK Smithsonian Institution Robert M. Bass Frederick R. Mayer Nicholas F. Brady Robert McCormick Adams Ruth Carter Stevenson Donald M. Blinken The Secretary Franklin D. Murphy The Secretary of the Robert H. Smith Edward W. Carter of the Treasury Smithsonian Institution James S. Smith Alexander M. Laughlin Carroll J. Cavanagh Robert H. Smith Paul Mellon, Honorary Trustee Robert F. Erburu Ruth Carter Stevenson Thomas M. Evans Audit Committee John C. Whitehead John C. Fontaine Franklin D. Murphy, Eleanor Wood Prince Chairman John R. Gaines Nicholas F. Brady, Jo Ann Ganz Executive Officers The Secretary of the Evelyn D. Haas John R. Stevenson, President Treasury Gordon Hanes J. Carter Brown, Director John R. Stevenson Pamela C. Harriman Roger Mandle, Deputy Director Ruth Carter Stevenson Robert H. Smith Ruth Carter Stevenson Lore Heinemann Henry A. Millon, Dean, Center Robert H. Smith R. L. Ireland III for Advanced Study in the Visual Arts Alexander M. Laughlin George F. Jewett, Jr. Anne B. Evans, Administrator Stephen M. Kellen Finance Committee Daniel Herrick, Treasurer Richard A. Kirstein John R. Stevenson, Chairman Philip C. Jessup, Jr., Secretary- Leonard A. Lauder Nicholas F. Brady, General Counsel Ronald S. Lauder The Secretary of the Joseph J. Krakora, External Treasury Judith W. Laughlin Affairs Officer Robert McCormick Adams, Sydney Lewis The Secretary of the Richard A. Manoogian Director Emeritus Alexander M. Laughlin Paul Mellon Smithsonian Institution Frederick R. Mayer John Walker Honorary Trustee Franklin D. Murphy Raymond D. Nasher Ruth Carter Stevenson Jill Sackler Robert H. Smith James S. Smith Alexander M. Laughlin Baron Thyssen-Bornemisza Ian Woodner

109 Staff

OFFICE OF THE Research Assistant Old Master Drawings Assistants Associate Conservators for the DIRECTOR Anke Van Wagenberg-ter heuven Curator Lisa Eckerman Systematic Catalogue Director Secretary Margaret Morgan Grasselli Tracey Gallagher Paula DeCristofaro Valerie Guffey Catherine Metzger J. Carter Brown Modern Prints and Drawings Office of the Registrar Executive Assistant to the Director Conservation Technician American Paintings Curator Registrar Angela M. LoRe Barbara Pralle Curator Ruth E. Fine Mary Suzor Special Assistant to the Director Nicolai Cikovsky, Jr. Assistant Curators Associate Registrar Paper Conservation Robert L. Bowen, Jr. Assistant Curators Carlotta J. Owens Anne Halpern Conservator and Head of Secretaries Nancy Anderson Charles M. Ritchie Assistant Registrars Department Edwina V. E. Davis Deborah Chotner Exhibition Assistants Judith Cline Shelley Fletcher Helen Gaina Research Assistant Sarah Cash Michelle Fondas Senior Conservator Internal Auditor Elizabeth Chew Mary Lee Corlett Supervisory Art Services Specialist Pia DeSantis Pell Larry L. Lewis Secretary Ben Glenn John Poliszuk Matter/F ramer Auditor Rosemary O'Reilly Staff Assistant Assistant Supervisory Art Services David Shen Orin Wolf Thomas H. Coolsen Specialist Conservation Technician Modern Paintings Andrew Krieger Janice Collins Photography Associate Research Curator Lead Art Services Technicians Curator Object Conservation OFFICE OF THE Elizabeth P. Streicher Daniel Shay Sarah Greenough Conservator and Head of DEPUTY DIRECTOR Assistant Curator Gary Webber Exhibition Assistant Deputy Director Elizabeth Coman Art Services Technicians Department Roger Mandle Megan E. Fox Shelley Sturman Twentieth-Century Art Ellen Evangeliste Assistant to the Deputy Director Staff Assistant for Exhibitions Associate Conservators Curator and Head of Department Symmes Gardner Carol Kelley Jane Savoca Daphne Barbour Jack Cowart Lowell Gilbertson Staff Assistant Judy L. Ozone Curator Sculpture Thomas Irion Susanna Atkins Nan Rosenthal Curator of Sculpture and Johnnie Mizell Textiles Conservation Secretary Associate Curator Decorative Arts John Spurlock Conservator Jean Stensland Jeremy A. Strick C. Douglas Lewis Systematic Catalogue—listed with Mary Ashton Assistant Curator Associate Curator of Early curatorial and conservation Science Department PAINTINGS AND Maria F. Prather European Sculpture departments Head of Department TWENTIETH-CENTURY Research Assistants for Exhibitions Alison Luchs Rene de la Rie ART Laura A. Coyle Mellon Assistant Curator CONSERVATION Conservation Scientist Senior Curator and Curator of Amy Mizrahi Zorn Donald Myers Head of Conservation Barbara Berrie Modern Paintings Office Manager Staff Assistant Ross Merrill Organic Chemist Catherine A. Craft Willow Johnson Charles S. Moffett Coordinator of Conservation Suzanne Quillan Lomax Secretary for Exhibitions Staff Assistant Fiftieth Anniversary Programs Conservation Scientists Maria Malius Amy Heilman Curatorial Assistant Michael Skalka Lisha Glinsman Renaissance Paintings Barbara Ward Editorial Assistant Michael Palmer Curator, Southern Renaissance PRINTS, DRAWINGS, AND Janice Graver Conservation Scientist for the Staff Assistant Systematic Catalogue David Alan Brown SCULPTURE RECORDS AND LOANS Lois Clifton Laclef Deborah Rendahl Curator, Northern Renaissance Senior Curator Managing Curator Andrew C. Robison, Jr. Secretaries John Oliver Hand Suzannah J. Fabing Loans and Exhibitions Staff Assistant and Office Manager Joi Goodman Assistant Curator, Southern Secretary Conservation Gretchen Hirschauer Susanne L. Cook Nancy Small Randi Nordeen Head of Department Research Assistant, Southern Catherine Whitney Old Master Prints Assistant, Summary Catalogue of Mervin Richard Robert Echols Curator American Paintings Painting Conservation Coordinator of Matting/Framing Research Assistant, Northern H. Diane Russell Mary Ellen Eraser Conservator and Head of Department Services Sally Mansfield Assistant Curators David Bull Hugh Phibbs Secretary Curatorial Records and Files Judith A. Brodie Senior Conservator Associate Conservator Julia Thompson Head of Department Virginia Clayton Sarah Fisher Michael Pierce Susan Davis Baroque Paintings Gregory D. Jecmen Conservator Matter/F ramer Curator, Southern Baroque Curatorial Assistant Loans and the National Lending Ann Hoenigswald Jenny Ritchie Diane DeGrazia Sally A. Metzler Service Associate Conservators Frame Conservator Curator, Northern Baroque Staff Assistant Head of Department Carol Christensen Stephan Wilcox Arthur K. Wheelock, Jr. Lisa M. Shovers Stephanie Belt Michael Swicklik

110 Assistant Frame Conservator Collection Development EDITORS OFFICE Docent Coordinator CENTER FOR Richard Ford Editor-in-Chief Librarian Mary Ellen Wilson ADVANCED STUDY IN Research Assistant Caroline H. Backlund Frances P. Smyth Staff Support THE VISUAL ARTS Karen Tidwell Production Manager Rhenda Meiser Acquisitions Dean Chris Vogel Head of Acquisitions Art Information Henry A. Millon EXHIBITIONS Senior Editor Anna M. Rachwald Curator Associate Dean Chief of Exhibition Programs Mary Yakush Order Processing Assistant Christopher With Marianna S. Simpson D. Dodge Thompson Editors Susan E. Clay Supervisory Information Specialists Assistant Dean Exhibition Officers Tam L. Curry Serials Assistants Carol Boyes Therese O'Malley Cameran G. Castiel Jane Sweeney Angela M. Gnanakkan John Cogswell Research Associate/Assistant Elizabeth Driscoll Pochter Editor, CASVA publications Bruce B. Hebblethwaite Information Specialists Massumeh Farhad Ann Bigley Robertson Carol Eron Acquisitions Technician Frances Ballard Research Assistants Patricia W. Waters Designers Beatrice D. Poindexter Margaret Baucom Tracy Cooper Office Manager Phyllis Hecht Maryanne Probus Marc Gotlieb Heather Reed Cataloguing and Processing Cynthia Hotvedt Staff Assistant Susan Taylor Secretaries for Loan Editorial and Production Assistant Head of Cataloguing Elisa Patterson Staff Assistant Ulrike Mills Administration Roger C. Lawson Helen Tangires Secretary Lena M. Hernandez Cataloguers Lecturers Assistant to the Program of Abigail Walker Sharon B. Millman Jane D. Collins Lecturer in Charge of Scheduling Regular Meetings Secretary to the Chief of Trudi W. Olivetti Eric Denker Photographic Services Susan Bewley Exhibition Programs Cathy F. Quinn Lecturer in Charge of Special Head of Photographic Services Assistant to the Program of Special Nancy E. Stanfield Julia G. Rubenstein Projects and Academic Programs Richard C. Amt Meetings Marsha D. Spieth Gail Feigenbaum Supervisory Photographer Cecelia Gallagher Paula Zech Lecturers DESIGN AND William Wilson Assistant to the Program of Bindery Assistant Marilyn Brockway INSTALLATION Coordinator of Photography Fellowships Jane E. Higgins Frances Feldman Chief of Design and Installation Ira Bartfield Deborah Gomez Cataloguing Assistants Lawrence Leonard Gaillard Ravenel Senior Photographer Secretary to the Kress Professor David W. Isenbergh Donna Mann Deputy Chief of Design and Jose A. Naranjo and Special Projects J. Bryan Lane Peggy O'Neil Installation Photographers Amelia Henderson Marc L. Langston Dennis Weller Mark Leithauser Dean Beasom Sponsored Research in the Chief Lighting Designer/Chief of Reader Services Richard Carafelli Extension Programs History of Art Exhibition Production Head of Reader Services Philip Charles, Jr. Head of Extension Programs Senior Research Associate Gordon Anson Lamia Doumato Archives Photographer Ruth R. Perlin Claire Sherman Head of Exhibits Shop Reference Librarian David Applegate Education Specialist Program Assistant Floyd Everly Frances P. Lederer Museum Specialist Joseph J. Reis Curtis Millay Head of Silkscreen Shop Reference Assistant Barbara Bernard Extension Programs Production Barbara Keyes George (Ted) T. Dalziel, Jr. Laboratory Technicians Specialist Architectural Drawings Project Design and Installation Assistant Interlibrary Loan Assistant Lorene Emerson Leo J. Kasun Senior Research Associate Linda Greatorex Thomas F.J. McGill, Jr. James Locke Supervisor, Booking and Shipping Sabine Eiche Graphic Designer Vertical Files Librarian Museum Technicians Carol F. Lippitt Cataloguer Gloria Randolph Roberta Geier Margaret Cooley Lead Audiovisual Shipping Clerk Christine Challingsworth Head of Lighting Shop Circulation Assistants Sara Sanders-Buell Roland Young James Spicknall Ariadne Y. DuBasky Secretary Program Support Assistant Carpenter Bruce A. Eures Desiree M. Miller Kendrick F. Ashton Thomas Holland Automation Coordinator Chief Booking Clerk OFFICE OF THE Production Assistants Margot E. Grier Martha H. Aspron ADMINISTRATOR EDUCATION DIVISION John Olson Secretary Administrator Photographic Archives Chief of Education William Bowser Pamela Chewning Anne B. Evans Curator Linda Downs Photographer Booking/Shipping Clerk Chief of Administrative Operations Ruth R. Philbrick Special Assistant to the Chief of Kathleen Buckalew Cassandra Raspberry Darrell Willson Cataloguer of Decorative Arts, and Education Draftspersons Program Shipping Clerks Program Analyst Administrator J. Russell Sale Linda Heinrich Michael G. Bryant Nancy Gianlorenzo Jerry M. Mallick Donna Kwederis Public Programs Jennifer A. Cross Staff Assistants Cataloguer of English and French Gretchen Van Dusen Curator Chuckie L. Harris Sandra Dean Art Exhibits Aide Lynn Russell Dion Redman Jo Ann Purnell Miller Mack Richard W. Hutton Editor Cataloguer of Architecture Slide Library Silkscreen Production William J. Williams Andrea R. Gibbs Head Slide Librarian FACILITIES MANAGEMENT Lisa Farrell Staff Assistants Cataloguer of Italian Art William A. Taylor Facilities Manager Paul Glenshaw Lucy Blankstein Karen H. Weinberger Assistant Slide Librarians Gregg A. Reynolds Jeff Wilson Maury Pully Nicholas A. Martin Ju Yun Cataloguer of Twentieth-Century Staff Support Special Projects Coordinator Art Thomas A. O'Callaghan, Jr. Danny C. Hamm Staff Assistants Marta Horgan Christine Byers Rita M. Cacas Mary S. Wassermann Planners and Estimators Sarah Sibbald Cataloguer of Special Projects Exhibition Programs Paul D. Heath Maquette Maker Barbara Chabrowe Curator Michael D. Warrick Theresa Rodgers Circulation Desk Technician Susan Arensberg Clerk Typist Wendy A. Cole Assistant Curator Anna M. Rogers Secretary Wilford W. Scott LIBRARY Debra K. Massey Coordinator of Exhibition Projects Maintenance Executive Librarian Clerk Typist Roily Strauss Manager Neal T. Turtell Lisa S. Mack Thomas A. Lillis Secretary School and Teacher Programs Carpentry Shop Carolyn J. Mauler Curator Supervisor Clerk Typist Kathleen Walsh Alvin Adams Kate M. Allen Lecturer Wood Crafters Julie Springer Richard Bruce Abney Dorson

111 Robert Headley Dale Washington Roger Dunning SECURITY Security Guards Wlllard Menson Diana Wells Eugene Guthrie Chief of Security Dianne Allison Gary Hancock Jay Chambers James Allison, Jr. Carpentry Workers Night Housekeeping Christopher Baumann Harold Jacobs Ray Andrews Housekeeping Supervisor Electronic Shop Francis Dyson, Jr. Frank Lim Daniel Bailey James Washington Supervisor James Miller Willie Barnes Paint Shop Housekeeping Foremen Frank Stanley Henry Moody Eric Black Supervisor Charles Boone Leader Harve Moore Sylvester Brown Russell Grice Frank Ford Alvin Lineberger, Jr. Clifton Mutts Paul Browner Leaders Alvin Simpkins Mechanics John Ott, Jr. Louis Carroll Frank Figgins Henry Washington Chris Cardwell Jesus Pena Clifton Clark Vernon Richardson Housekeeping Leaders Vihn Mai Larry Smith Edwin Cluster, Jr. Glaze r Paul Cotton Nathaniel Stroman James Stevens Robert Conyers Edwin Butler Geraldine Crawford Workman Alexander Tonic Edwin Cox Plasterer Eva Harrison Curtis Burch John Wert Venus Cristwell James Thompson Clerk Typist Anthony Walker Locksmith Shop Ronald Estes Painters Shirley Tucker Elevator Mechanic Foreman Foreman Virtus Evans Robert Barnett Housekeepers Welden Daugherty Angelo Catucci George Hamilton Thomas Hartswick Leora Branch Elevator Mechanic Locksmiths Darrell Harley Alphonso Holt Gerald Carthorne Willie J. Parker Robert Brown Junior Harper Tommy Pope James Dawkins Machinist Foreman David Ihrig Richard Hartman Joseph Richardson Raymond Frazier Zery Mingo Barbara Height Lester Smith Josephine Hallamon Training Machinists Gus Henderson Painting Worker John Walker Training Specialist Larry Brown Peter Henderson, Jr. Joseph Copeland Housekeeping Workers George Martin Carol Underwood Edgar Hopson James Anderson Sergeant Training Officer Masonry Shop James Wilson Frank Johnson Gracie Bell Joseph Copeland Supervisor Instrument Mechanics Frankie Johnson George Brigges Nick Palumbo Stephen Brown Investigation Maurice Johnson Elizabeth Carter Eugene Givens, Jr. Investigator William Johnson Charles Chase Joseph Thomas William Sutton Enis Pinar Yamashita Johnson Masons Willie Cook Nathaniel Jones Energy Conservation Specialist Console William Turner Pamela Cornes Willie Joyner Lead Console Operators Joseph Sandleitner Bernessa Drain Dennis Donaldson Stinson Kelly Frank Ebb Roland M. Martin Isaac Graham Safety and Health Specialist Alonzo Kennedy Brenda Handy Walter Queen Day Housekeeping Joseph Harchick Robert Lewis Carolyn Harvey Console Operators George Mackie Housekeeping Supervisor Carroll Jamison Electrical Shop Robert Brooks Frank Meyers Phillip Collins Ruth Johnson Electrician Foreman Thomas Brown Housekeeping Foremen Charles Gillespie Joseph Midgette Eddie Jones Stanley Harley Ronald Miles Darrell Waytes James Jones Electrician Leader William Lemmon Charles Moody Sallie Reeves Paul Kelly Daniel Smith Ernest Reynolds Housekeeping Leaders Jasper Morris Sandra Lancaster Electricians Security Driver Moses Murphy Mary Battle Gail Maxfield Harold Alexander James Tasker James Hardy Laury Navat Thomas McBride Gerald Alston Housekeepers Guard Operations Jerry Reaves Katherine Parker Melvin Klugh Floyd Rhoades Catherine Brown James Richardson Electrician Workers Captain of the Guard Edward Roberts James Clark Evelyn Scott George Britt Nathaniel McLin Thomas Savoy Charles Harrison Willie Speight David Cole Deputy to the Captain Maxine Simmons Dorothy Johnson Rayfield Stevenson Benjamin McKinnie Ronald J. Lowe Angela Lee Guard Clerks Calvin Simmons Sheila Tyler Carlton Williams Franklin Smalls James Morris Tyrone Washington Electrician Helpers Raymond Lee Billy Smith Betty Rufus Alvin Williams Robert Benoit, Jr. Joe Lewis Leroy Smith James Wells Rita Williams Tracy Hallamon Amos Lynch Thomas Stevanus Timothy Smith Jesse White Zilphia Wright Sondra Hemsley Vernon Smith Housekeeping Workers James Wright, Jr. Leslie Raspberry Guard Lieutenants Gregory Stevenson Sean Allen Sheet Metal & Plumbing Shop Nathaniel Anderson Maurice Anderson Operations Mike Bennett Anthony Thompson Foreman Kenneth Betts Manager George Boomer Marlene Tucker Fred Crickenberger Antonio Boomer Harold E. Michael, Jr. Milton Cooke Alvester Warren Sheet Metal Mechanics Lamont Brown Carrington Miller Ronald Webster-Bey Operating Engineers Shop Sterling Fisher Linda Carter James Plush Alfred Williams Utility Systems Repairer Foremen Sidney Griffin Elsie Coleman Guard Sergeants Andre Wilson Joseph Barnes Mark Teed Lawrence Cooper Richard Allen Mark Wilson Juan Delano Roofer/Sheet Metal Mechanic Douglas Curtis Quentin Arnold Roddie Worthington Conrad Glade Patrick Wilson Lewis Dobbs John Cantey Sheila Wright Allan Riggles, Jr. Pipefitter Leader Kevin Dores Milton Cox Willie Wright Utility Systems Repairer Leaders Paul Dale Geraldine Drayton Jerome Edwards Oscar Riley Pipefitters Walter Glover David Hall Buddie Spicer Marc Breau Charles Harrison Armando Hartley Anthony Thomas Gregory Evans Vernon Henderson Roger Kraft Larry Vanmeter Levern Jacobs Marvin Hill Donald Young Ricky Manuel Joseph Leftwich Utility Systems Repairer Operators Work Control Center Lawrence Marshall Gregory Lindsey Lester Barry Manager Jimmy Morehead Darrin Raspberry Frank Bauer Craig A. MacFarlane John Palmer Dorothy Root Nathaniel Bethune Coordinators Work Control Center Willie Parker Angela Stephens George Brooks Darlene M. Harrison Leslie Parks Mable Stokes Walter Coehins Gwendolyn Harriston Edward Watson Margaret Wallace David Duggin Linda E. Hilliard George Woodall

112 ADMINISTRATIVE PERSONNEL Retail Systems Mail Order Clerks Computer Systems Analysts SERVICES Personnel Officer Manager Linda G. Barnes Delorace D. Bowman Chief of Administrative Services Michael Bloom Michael C. Metallo Mary P. Chiles Robin D. Dowden Ira Bozeman Assistant Personnel Officer Systems Analyst Beate L. Gerbig Michael R. Mauzy Assistant Chief of Administrative Rebecca Kusserow Gordon L. Cathey Denise D. Graves Jack M. Tucker Services Secretary to Personnel Officers Sales Audit Nadine Thompson Office Systems Analyst Sharlene Mobley Ann Wieman Earlene Bright Accounts Receivable Clerk Susan E. Farr Management Specialists Brian J. Smoot Carolyn L. Messineo Computer Programmer Analyst Office Services Lee Ann Bauer Inventory Analyst Warehouse Operations Susan Y. Hsia Mail Clerks Karen Mooring Martin J. Drake Manager Computer Programmer Felton Byrd Clerk Daryl A. Murphy Scott D. Stephens Karen D. Canada Gregory Hill Sheila Powell Accounts Payable and Receivable Warehousemen Computer Operators Clerk Typist Staffing Specialists Michael J. Chapman Dennis Callaghan Marquita E. Dewald Carolyn Brooks Rick Decuir Mavis E. Labule Terrence K. Smith Karen J. Martin Messengers Linda Pettiford Marvin M. Walton John H. McNeil Grady Williamson, Jr. Staffing Clerk Operations Joe Jennings, Jr. Lisa Scalzo Manager Visual Presentation Printing and Duplicating Management Specialist Karen L. Boyd Manager Frank Schiavone Lucia Pollock West Building Shop Richard Mancini Driver Manager OFFICE OF THE Assistant Office Management Robert Harris Nancy G. Vibert SECRETARY-GENERAL Gwendolyn Hines Office Manager Assistant Manager Checkroom Management Specialist COUNSEL Anita J. Browne Laura A. Fitzgerald Supervisor Terrence Snyder Assistants Secretary-General Counsel Book Sales Specialists Barbara Caldwell Systems Specialists Philip C. Jessup, Jr. Sally P. Morris Sarah E. Collins Lead Clerk Typists Deborah Byrnes Associate Secretary-General Mary J. Powell Brenda M. Muwwakkil Dora Barksdale Michele Caputo Counsel Cashiers Luna Goodall Clerk Elizabeth A. Croog Dawn M. Barclift Checkroom Attendants Martine Bernard Legal Assistant Michael C. Blake Christy Allen Nurses Sarah E. Fontana Gina M. Cinquegrana OFFICE OF THE Felisia Burgess Glorianna Johnson Assistant Secretary Susan T. Drustrup TREASURER Ernestine Coleman Judith Randall Kathryn K. Bartfield Emily T. Ennulat Treasurer Mary Hall Secretaries James B. Everett Daniel Herrick Betty Harper Carol A. Christ PROCUREMENT AND Kenneth C. Gaylor Assistant to the Treasurer Alice Holloman Montrue V. Conner SUPPLY Trevor 0. Green Fransonia Littles Jean Krevinas Chief of Procurement and Supply Mary Hamel-Schwulst Monique Menifee Assistant Treasurer/Financial Joseph E. Brown Lawrence J. Hyman Management GALLERY ARCHIVES Kim Reed Supply Management Officer Jeffrey C. Kriebel Michael W. Levine Chief of Gallery Archives Tijuan Shirrel Virgil S. Jones, Sr. Joseph S. Robertson Budget Officer Maygene F. Daniels Kathy Sutton Contract Specialists Sylvia D. Thompson Architectural Archivist La Verne Whitted William H. Roache Claudine A. Lewis Frances Turberville Richard E. Saito Carolyn Windear Operating Accountant Carolyn E. Perry Erica S. Wimble Nancy E. Hoffmann Archives Technicians Telephone Services Jeannette V. Rogue Merchandise Stock Clerks Financial Analyst Robin Van Fleet Head Telephone Operator Inventory Manager Randall A. Hollensbe Naomi R. Remes Martha J. Shears Minnie Barbour Thomas Briscoe, Jr. Robert D. Yowell Accounting Technician Operators Secretary Typist Concourse Booh Store Rosa E. Jackson Barbara Coleman Veronica F. Nash Manager Secretary Brenda Daniels Supply Clerk Calvin 0. Roebuck Linda A. Maxwell OFFICE OF Zewdie Simms Ted Harper Assistant Managers General Accounting Procurement Clerk Barbara L. Anderson EXTERNAL AFFAIRS Mamie L. Gordon Stephen R. McKevitt Comptroller External Affairs Officer AUDIO VISUAL SERVICES Supply Clerk Typist Book Sales Specialists Dale C. Rinker Joseph J. Krakora Supervisor Crystal M. Gonzalez Deborah A. Barclift Systems Accountant Staff Assistant and Head of Visitor Thomas Valentine Fork Lift Operator James H. Lavarack Carol Ann Proietti Services Assistant Michael Little Cashiers Operating Accountants Sandra Creighton Dorian Breau Clerk Typist Gregory A. Johnson Julianne Ehrman Administrative Assistant Recording Engineer E. R. Johnson Elizabeth C. Lipkin Ruth E. Lewis Carole Burton John Conway Warehouse Workers Richard W. Updike Accountant Projectionists Darnell Brandon Harold K. Washburn Linda K. Smith Jeannie Bernhards Jaybee Sumter Merchandise Stock Clerk Accounting Technicians DEVELOPMENT James Gleeson Darryl C. Thompson Terry W. Gibson Roberta Bellofatto Development Officer Paavo Hantsoo Marvin Wright Special Exhibition Shop Cynthia W. Czubat Laura E. Smith Manager Brenda M. Fogle Senior Development Associate Stephanie M. Thomas Adele Stevens Patricia A. Donovan GALLERY ARCHITECT PUBLICATIONS SALES Assistant Manager Stephanie L. Thorpe Membership Coordinator Gallery Architect Chief of Publications Sales Frenzetta Holloman Valerie M. Wright Lois C. Hertz R. Keith Webb Program Specialist James M. Grupe Cashiers Payroll Assistant Chief/ Merchandising Elizabeth A. Hutcheson Assistant Gallery Architect Martha Bridgers Supervisory Payroll Technician Manager Development Associate Carl M. Campioli Suzanne M. Chaves Evelyn K. Pierce Ysabel L. Lightner Christine Waller Architects David F. Medwith Payroll Clerk William H. Cross, Jr. Shui Ng Campaign Assistant Merchandising Emma G. Moses Denise M. Lind Patricia S. Nolan Catherine M. Conger Graphics Buyer Interior Design Specialist Helen Smith Data Processing Staff Assistant Judy C. Luther Susan A. Ritterpusch Merchandise Stock Clerk Assistant Treasurer/Management Kate E. Silins Graphics Designer and Buyer Program Assistant Linda A. Hunt Information Systems Membership Assistant Linda M. Santopietro Bettye D. Miller Mail Order Richard C. Snyder Patricia C. Tobin Book Buyer Manager Supervisory Computer Specialist Charles L. Taylor Willie G. Clopton Henry B. Clark

113 CORPORATE RELATIONS Gardener Leaders Virginia Dillon Barbra Mann Anne Louise Smith Corporate Relations Officer Ulysses Greatheart Barbara Eberhardt Anne Marchais Marlies Solomon Elizabeth A C. Weil James Stewart Marcy Edmiston Patricia Martin Chris Stackenborg Assistant Corporate Relations Gardeners Mariby Egea Terry Matan Celia Steingold Officer Deidre Armstrong Alice Ellington Virginia Mayo Mary Ann Sures Deborah F. Shepherd Franklin DeFreece Hope Emerling Jill McKee Nancy Swain Corporate Relations Associate Larry Jacobs Karen Epelbaum Rebekah McKenna Joy Tallent Elisa Buono Glazer Edmund Manigault Elizabeth Farrell Ronald Meek Gail Templeton Corporate Programs Manager Calvin Manor Deborah File Judy Mencher Elizabeth Thorn Martha F. Wayt Ronald McGill Phyllis Freirich Margaret Mende Nicole Tordjman Executive Assistant Michael Peters Marianne Freudenthal Betty Mezines Susan Toerge Diana Ott Cooke Ronald Terrell Beba Gaines Emma Michaels Ida Tracy Assistant Marilyn Galbreath Re nee Mikus Magrit Trauttmansdorf Mary Ellen Connor Eraser Joyce Gamse Blanche Miller Ginger Vanderver MUSIC Claude Gaujard Caroline Miller Susan Van Nice Assistant to the Director for Music Mary Gibb Eleanor Monahan Mary Ann Verrill PRESS AND PUBLIC George Manos Dorothea Gibbs Ann Murry Joy Vige INFORMATION Music Program Assistant Kay Giddens Herlene Nagler Marie-Laure de Villepin Press and Public Information Juliana Munsing Irya Gittelson Irmgard Neumann Mary Visscher Officer Music Specialist Pauline Gilstrap Judith Newton Jane Weems Ruth Kaplan Stephen Ackert Gisela Gonzales de Ponette Elizabeth Niederman Maria Elena Weissman Publicists Music Librarian Laure Graves Joan Nolan Anne West Katie Ziglar George Gillespie Beth Griffith Saka Noma William Whalen Deborah Ziska Johana Griffith Nur Nossuli Carol Wheeler Information Assistants Emmie Griggs Mary Catharine O'Connell Elizabeth Wildhack Anne Diamonstcin CURATORIAL INTERNS Nancy Hafer Maijorie O'Neil Martha Wildhack Deborah Spears Italian Renaissance Ann Hageman Linn Ong Mary Wilkinson Secretary Robert Echols Ludwine Hall Giovanna Orzalesi Marianne Willoughby Jennie Barbour Jeannine O'Grody Elena Harman Cecelia Ouspensky Betty Wilson Receptionist Northern Renaissance Nadine Harth Lily Overton Fran Winston Elizabeth Kimball Kelly Holbert Florence Heller Louise Owen Jean Wolf Southern Baroque Patsy Hicks Patrisia Owens Ursula Wolfman Sally Shelburn Carol Higgins Sally Pabst Dorothy Wright SPECIAL EVENTS Patricia Teter Shannon Hobbs Anne Padelford Fred Yamada Assistant to the Director for Special American Jane Hochberg Martha Parker Events Jack Becker Mimi Hodsoll Annabel Perlik Genevra 0. Higginson Deborah Rindge Sharon Holtzman Beatriz Perez-Castillo VOLUNTEER Staff Assistant Sculpture Maria Madrid de Horgan Miriam Piers INFORMATION Pauline M. Watona David Figiel Dora Horn Maxie Phillips SPECIALISTS Assistants Kathleen Kienholz Sandy Horowitz Kathleen Plowman Claire Ackerman Dorothy Garrett Maryan Hurtt Nicole Polti Gloria Albrittain Gretchen Snow Anne Irving Judith Pomeranz Elsie Aranda Molly T. Welsh VOLUNTEER DOCENTS Edie Izenberg Jannette Post Marie Aranda Janice Williams Karin Ackerson Miriam Jacobson Anne Prange Mary Ann Arbo Doris Alexander Carolyn Jasperson Anastasia Pratt Rosalie Baker Constance Anderson Marilyn Jenkinson Christine Prichard Edith Ball VISITOR SERVICES Puchi Anjoso Joan Jordano Sharon Quinn Valerie Ballard Statistician Hannah Aurbach Evelyn Katz Regina Radicati Susana Baranano Nancy Rice Joyce Austin Lee Kelley Ursula Raeber David Bartlett Researcher Bunny Baker Carolyn Kelloff Nancy Rankin Eleanor Bateman Patricia Clopper Rosalie Baker Ida Kemper Sally Ray Georgienne Bednar Staff Assistant Jean Barquin Mary Lou Kenary Vivi Rebecchini Elaine Berson Mary Ann Verrill Jane Barton Ilze King Janet Renshaw Patty Bierle Senior Exhibition Supervisor Kathleen Battle Patricia Kraemer Anna Rhodes Janet Boccia Frances Winston Heinz Bauer Carol Kuehl Margot Riddick Lynn Bosakowski Exhibition Supervisors B. J. Beers Margaret Kunz Andree Rill Joyce Bourke Melinda Bates Jean Bell Barbara Kurtz Carol Robie Kay Brown Dorothy Wortman Ilona Benham Anne Lancaster Isabel Rodriguez Laina Bush Exhibition Aides Mary Lou Bremner Jacqueline Landfield Wynefred Rogerson Angelique Calloway Vrej Armenian Roberta Buchanan Jean Langley Sarah Rohrer Marian Carroll Helena Cabell Donna Burnett Anne Lanman Jo Roland Patricia Casson Carolyn Jasperson Nancy Cammack Danielle Lantran Myriam Rollert Margaret Chang Jean Langley Karen Campbell Jo Ann Larsen Deborah Rucci Joan Chapin Sarah Marsten Chantal Carderera Anne-Marie Lee Sheila Ruffine Betsey Chen Doris Pearson Lynn Chambers Anne Marie Lemaire Lorrie Samburg Simone Clarke Angela Catalano Fanny LeNain Vicki Sant Jean Cohen Martha Jean Choate Virginia Lincoln Leota Sarraf Linda Cohen HORTICULTURE Joanne Chutter Marilyn Lindsay Marie Noelle Scaduto-Mendola Nancy Cohen Chief of Horticulture Mary Anne Clancy Doris Loftness Mary Schaad Kelley Conner Donald Hand Phyllis Cochran Beth Loizeaux Sonja Self Mary Conway Assistant Horticulturist Elizabeth Corbin Harriet Looney Berta Shaefer Marcia Corey Dianne Cina Barbara Cramer Kay Looney Mary Leigh Shepard Linda Cox Horticulturist Elizabeth Daoust Jean Loper Claude Sieger Abby Daniels Cynthia Burton Paul Davis Franchia Loren Joan Silverman Jeannette Davis Gardener Foreman Janice Delaney Ave Maria Lorenzo Catherine Singleton Elizabeth des Cognets Milton Vick Vivien DeLima Sharon Love-Palumbo Beatriz Slotkoff Teri Des Rosiers Jeannine Dickey Lucyle Mace Antonia Smiley Verda Deutscher

114 Janet Donaldson Emilou Melvin Kimberly Doyle Barbara Mered Donna Edmondson Florence Meschter Estelle Eisendrath Mari-Eleanor Miller Marty Filipowski Barbara Moore Barbara Fisher Blaire Mossman Marianne Freudenthal Lou Ann Munson Paul Gettel Lynn Murphy Alicia Golden Oscar Naumann Linda Gruber Melanie Nichols Mary lee Hair Jean Nida Mary Hanrahan Darvine Noel Susan Harper Joan Nolan James Hartsoe Elisa Patterson Betty Hatch Fran Pelton Marika Herndon Susan Piatt Gertrud Hodgson Ellen Radeloff Becky Holthaus Mary Reilly Maura Hughes Annette Rich Eileen Hurley Judith Rich Carmen Iribarren Charlotte Rivers Edie Izenberg John Rogers Miriam Jacobson Chris Rowsome Norman Jarvis Audri Schiller Stephen Lake Susie Schwarz Katie Lane Jack Shay Margo Lanouette Diane Soucy Shirley Lavine Nan Sterns Mary Lawler Joan Steigelman Elinore Lawrence Grace Stuart Raymond Lessard Bonnie Sweet Ilse Lewy Rita Thurman Susan Lightsey Grace Tull Lyle Lipschultz Deborah Victor Marty Longan Jennifer Wall Dorothy MacDonald Fran Walls Terri Manning Lynne Warrick Donald Markle Edith Webster Geraldine Markle Eileen Winkelman Sarah Marsten Janis Worthington Peggy Maughlin Carolyn Yancey Rebekah McKenna Tony Yared Janet McLaughlin Barbara Yaros Virginia McQuoid Rubye Youngblood

115 Barnett Newman, Pagan Void, 1946, Gift of Anna- lee Newman, 1988.57.1 Donors

50th Anniversary Gift Collectors Committee Committee Mr. Paul Mellon, Honorary Chairman The Honorable Oveta Gulp Hobby Mrs. Madeleine H. Russell (as of 30 September 1989) Mrs. Ruth Carter Stevenson, Co-Chair Mrs. James Stewart Hooker Mrs. Louisa Stude Sarofim Robert H. Smith, Chairman Mr. Edwin L. Cox, Co-Chair Mr. and Mrs. Raymond J. Horowitz Mr. and Mrs. Benno C. Schmidt Mr. and Mrs. Edward R. Hudson, Jr. Alexander M. and Judith W. Laughlin Anonymous Mr. and Mrs. Rudolph Schulhof Arthur G. and Diana Altschul Mr. R. L. Ireland III Mr. and Mrs. James W. Alsdorf Mr. and Mrs. A1 Shands James S. and Laura B. Smith Mr. and Mrs. George F. Jewett, Jr. Mr. and Mrs. William E. Arthur Mr. and Mrs. Robert Shapiro Richard and Lee Kirstein Mr. and Mrs. Clark A. Johnson Mr. William K. Simpson Melvin S. and Ryna G. Cohen Mrs. Anne H. Bass Mrs. J. Seward Johnson Mrs. Carolyn Skelly Arthur A. and Alison B. Birney Mr. and Mrs. Perry R. Bass Mr. and Mrs. George M. Kaufman Mr. H. Peter Stern and Dr. Margaret Stephen M. and Anna-Marie Kellen Mr. and Mrs. Robert M. Bass Mr. and Mrs. Stephen M. Kellen Herbert and Barbara Gordon Mrs. Edwin A. Bergman Johns The Honorable Randolph A. Kidder Michael J. Swerdlow Mr. and Mrs. John Bowes Mrs. Ruth Carter Stevenson and Mrs. Kidder Albert H. and Shirley Small Mr. Douglas Bushnell and Ms. Betty Mr. and Mrs. Maurice B. To bin Mr. and Mrs. Peter Kimmelman Norma Lee and Morton Funger Wold Johnson Mr. and Mrs. James F. Van Kennen Thelma and Melvin Lenkin Mr. Seymour H. Knox Ms. Catherine M. Conover Mr. and Mrs. James M. Vaughn, Jr. David Bruce Smith Mr. and Mrs. Arthur J. Kobacker Mr. Edwin L. Cox Mrs. Anne M. Walker Marvin and Elise Dekelboum Mr. and Mrs. Robert P. Kogod Mr. and Mrs. F. Howard Walsh, Jr. Alan and Louise Potter Mrs. Catherine G. Curran Mr. and Mrs. Henry R. Kravis Mrs. Paul L. Wattis Albert and Ruth Abramson Dr. and Mrs. Edwin J. De Costa Mr. and Mrs. Judd Leighton Mrs. Marcia S. Weisman Fulton and Michelle Liss Dr. and Mrs. Georges de Menil Mr. Irvin L. Levy Mr. and Mrs. David K. Welles J. W. Kaempfer, Jr. Mr. and Mrs. John R. Donnell Mr. and Mrs. Sydney Lewis Jan and Howard Hendler The Honorable Robert W. Duemling Mr. and Mrs. Keith Wellin Ms. Mary Ralph Lowe and Dr. William Frederick Henry Prince Trust, 7/9/47 and Mrs. Duemling Mr. and Mrs. Wallace S. Wilson Kalchoff Robert M. and Marion Rosenthal Mr. Robert B. Egelston Mr. and Mrs. William Wood Prince Mr. and Mrs. B. Francis Saul II Mrs. Eugene McDermott Mrs. Robert B. Eichholz The Honorable Stanley Woodward Miller & Long Companies Mr. and Mrs. Edward C. MacEwen Mr. and Mrs. James A. Elkins, Jr. Mr. and Mrs. William T. Young The William Stamps Farish Fund Mr. and Mrs. John Marion Mr. and Mrs. Edward E. Elson Potomac Electric Power Company Mr. and Mrs. Frederick R. Mayer Mandell J. and Betty Lou Ourisman Mrs. Charles W. Engelhard Mrs. Robert B. Mayer Family of Oliver T. Carr Mr. and Mrs. John D. Firestone Mr. and Mrs. Paul Mellon Riggs National Bank of Washington, Mr. and Mrs. Donald G. Fisher Mr. and Mrs. Edwin Van R. Milbury DC. Mrs. Julius Fleischmann Mr. and Mrs. Richard W. Moncrief T. A. Beach Corporation Mr. and Mrs. Ben J. Fortson Mrs. 0. Ray Moore American Security Bank Mr. and Mrs. Julian Ganz, Jr. Naomi & Nehemiah Cohen Mr. William B. Mullins Mr. and Mrs. Gordon P. Getty Signet Bank Mr. Raymond D. Nasher Mr. and Mrs. Gerald Gidwitz The Driggs Corporation Mrs. Hugo V. Neuhaus, Jr. Mrs. Katharine Graham Gould & Antonelli Mrs. P. Roussel Norman Mr. and Mrs. George Gund III Mr. and Mrs. Peter O'Donnell, Jr. Mr. Leo S. Guthman Mr. William S. Paley Mr. and Mrs. Prentis Cobb Hale Mrs. Patricia S. Patterson Mr. and Mrs. Hugh Halff, Jr. Mr. and Mrs. James R. Patton, Jr. Mr. and Mrs. Melville W. Hall Mr. and Mrs. Sumner Pingree III Mr. and Mrs. Frederick Hamilton Judge and Mrs. Leon B. Polsky Mr. and Mrs. Gordon Hanes Mrs. A. N. Pritzker Mrs. Clarence B. Hanson Mr. and Mrs. Jay A. Pritzker Mr. and Mrs. Joseph H. Hazen Mrs. Henry J. Heinz II General Dillman A. Rash Mr. and Mrs. Stewart A. Resnick Mrs. Susan Morse Hilles Mr. and Mrs. John B. Rogers Mr. and Mrs. George Hixon Mr. and Mrs. Robert D. Rogers

117 The Circle of the National Gallery of Art Mr. and Mrs. Robert C. Cafritz The Honorable and Mrs. Leonard H. Washington, D.C. Marks (Members as of 30 September 1989) Mr. and Mrs. William N. Cafritz Washington, D.C. Bethesda, Maryland Mr. and Mrs. David 0. Maxwell Co-chairs Mrs. James R. McAlee Chevy Chase, Maryland Ms. Susan Cullman Washington, D.C. Mrs. Katharine Graham Mr. and Mrs. Paul Mellon Washington, D.C. Mr. and Mrs. Roy Nutt Mr. Robert H. Smith Upperville, Virginia Mr. and Mrs. Richard England Seattle, Washington Dr. and Mrs. Franklin D. Murphy Washington, D.C. Mr. and Mrs. Donald R. Osborn Sustaining Members Beverly Hills, California Mr. and Mrs. William T. Finley, Jr. New York City Mr. and Mrs. John H. Ariail, Jr. Mrs. John U. Nef Washington, D.C. Mrs. Jefferson Patterson Lorton, Virginia Washington, D.C. Mr. and Mrs. Lee M. Folger Washington, D.C. Ms. Gillian Attfleld The Honorable and Mrs. William A. Washington, D.C. Mr. and Mrs. C. Wesley Peebles New York City Nitze II Mr. and Mrs. George Frampton McLean, Virginia The Honorable and Mrs. Robert 0. Washington, D.C. Washington, D.C. Mr. and Mrs. Meyer P. Potamkin Blake, Sr. Mr. and Mrs. Daniel E. O'Sullivan Ms. Virginia McGehee Friend Philadelphia, Pennsylvania Washington, D C. Washington, D.C. McLean, Virginia Mr. and Mrs. Milton Ritzenberg Mr. and Mrs. Louis Byron Commander and Mrs. Lester Edwin Mr. and Mrs. Peter E. Haas Washington, D.C. Washington, D C. Ogilvy San Francisco, California Mr. and Mrs. Rodman C. Rockefeller Maj. Gen. (Ret.) and Mrs. Daniel S. Washington, D.C. Mrs. Edward F. Hamm, Jr. New York City Campbell Mr. and Mrs. Ricard R. Ohrstrom Washington, D.C. Dr. and Mrs. Stanley J. Sarnoff Chevy Chase, Maryland Middleburg, Virginia Mr. and Mrs. David G. Hanes Bethesda, Maryland The Honorable Anne Cox Chambers Mr. and Mrs. Norman S. Portenoy Washington, D.C. Mr. and Mrs. Clyde E. Shorey, Jr. Atlanta, Georgia Washington, D.C. Mr. and Mrs. John W. Hanes, Jr. Washington, D.C. The Honorable and Mrs. William T. Mr. Mark Samuels Lasner Alexandria, Virginia Mrs. John Farr Simmons Coleman, Jr. Washington, D.C. Mrs. Elisha Hanson Washington, D.C. McLean, Virginia Mr. and Mrs. Roger Sant Washington, D.C. Dr. and Mrs. Lionel J. Skidmore Mr. Miles C. Collier Washington, D.C. Mrs. B. Lauriston Hardin, Jr. Vienna, Virginia Naples, Florida The Honorable and Mrs. Leonard L. Washington, D.C. Mr. and Mrs. Robert Truland Mr. and Mrs. Clement E. Conger Silverstein The Honorable and Mrs. John W. Arlington, Virginia Alexandria, Virginia Bethesda, Maryland Hechinger Mr. James A. van Sweden Dr. and Mrs. Georges de Menil Mr. and Mrs. Richard S. Smith Washington, D.C. Washington, D.C. New York City Pittsburgh, Pennsylvania Mr. and Mrs. Louis J. Hector Mrs. Robert D. van Roijen Mr. and Mrs. Roy E. Demmon Mr. and Mrs. Sheldon H. Solow Miami, Florida Washington, D.C. Atherton, California New York City Mr. and Mrs. Charles T. Hellmuth, Sr. Mr. and Mrs. Ladislaus Von Hoffmann Mr. and Mrs. James T. Dyke Mr. and Mrs. Edward F. Swenson, Jr. Potomac, Maryland Washington, D.C. Little Rock, Arkansas Coral Gables, Florida Mrs. Thomas Hitchcock, Jr. Mr. P. Devers Weaver II Mr. and Mrs. Robert F. Erburu Mr. and Mrs. Hollis C. Taggart New York City Arlington, Virginia Beverly Hills, California Washington, D.C. Mr. and Mrs. Wallace F. Holladay Mr. David R. Williams Mr. and Mrs. Bernard Fein Mr. and Mrs. Jonathan W. Warner, Sr. Washington, D.C. Tulsa, Oklahoma Scarsdale, New York Tuscaloosa, Alabama Mr. and Mrs. S. Roger Horchow Mr. and Mrs. Alan F. Wohlstetter Mr. and Mrs. Lance J. Friedsam Mr. Malcolm H. Wiener Dallas, Texas Chevy Chase, Maryland Washington, D C. New York City Mr.* and Mrs. Carlisle H. Humelsine Mr. and Mrs. Julian Ganz, Jr. Mr. and Mrs. William B. Willard Williamsburg, Virginia Contributing Members Los Angeles, California Washington, D.C. Mr. and Mrs.* R. L. Ireland III Mr. and Mrs. William S. A bell Mr. and Mrs. John T. Gibson Mrs. Thomas Lyle Williams, Jr. New York City Chevy Chase, Maryland Washington, D.C. Thomasville, Georgia The Honorable and Mrs. R. Tenney Mr. and Mrs. Charles F. Adams Mr. Albert H. Gordon Mr. and Mrs. Alfred S. Wilsey Johnson Lexington, Massachusetts New York City San Francisco, California Bethesda, Maryland Dr. and Mrs. David W. Ailing Mr. and Mrs. Gilbert C. Greenway Mr. and Mrs. Edward T. Wilson Mr. Peter Josten Bethesda, Maryland Washington, D.C. Chevy Chase, Maryland New York City Mrs. Louise Stein man Ansberry The Honorable and Mrs. Gilbert Mr. and Mrs. William Wood Prince Mr. and Mrs. William E. Kimberly Lancaster, Pennsylvania Hahn, Jr. Chicago, Illinois Arlington, Virginia Mrs. Ray Atherton* Washington, D.C. Mr. and Mrs. Sidney S. Zlotnick Mr. and Mrs. Norman V. Kinsey Washington, D.C. Mr. and Mrs. J. Warren Harris Washington, D.C. Shreveport, Louisiana Mr. Dwight H. Barnes Arlington, Virginia Mr. and Mrs. James M. Kline Oakhurst, California Ms. Lisa Jorgenson Supporting Members Washington, D.C. Mrs. Peter Belin Washington, D.C. Mr. and Mrs. James Adler Mrs. Alvin A. Kraft Washington, D.C. The Honorable and Mrs. Randolph A. Chevy Chase, Maryland Washington, D.C. Mr. and Mrs. Edwin S. Bell Kidder Mr. M. Bernard Aidinoff Mr. and Mrs. Anthony A. Lapham Dallas, Texas Washington, D.C. New York City Washington, D.C. Mr. Munir P. Benjenk Mr. and Mrs. Werner H. Kramarsky Ms. Carolyn Alper Mr. and Mrs. Sydney Lewis Washington, D.C. New York City Washington, D.C. Richmond, Virginia The Honorable and Mrs. W. Tapley The Honorable and Mrs. Marc E. Mr. and Mrs. Robert W. Alvord Mrs. Jean C. Lindsey Bennett, Jr. Leland Washington, D.C. Laurel, Mississippi Washington, D.C. Washington, D.C. Ms. Patricia Bauman and Mr. John L. Mr. and Mrs. John L. Loeb Mr. and Mrs. Stuart A. Bernstein Mr. Laurence D. Lovett Bryant, Jr. New York City Washington, D.C. New York City Washington, D.C. Mr. and Mrs. Nash M. Love The Honorable and Mrs. Philip W. Mr. Frederick P. Mascioli Mr. and Mrs. Huntington T. Block Locust Grove, Virginia Bonsai Washington, D.C. Washington, D.C. Mrs. Ellen B. Mac Neille Washington, D.C. Mr. and Mrs. Edward J. Mathias Mrs. Poe Burling Chevy Chase, Maryland The Honorable and Mrs. Daniel J. Bethesda, Maryland Washington, D.C. Boorstin Mr. and Mrs. Frederick R. Mayer Mr. and Mrs. Gilbert Butler Washington, D.C. Denver, Colorado New York City Mr. and Mrs. George M. Brady, Jr. *deceased Chevy Chase, Maryland

118 Mr. and Mrs. Theodore F. Brophy Mr. and Mrs. Henry B. Griswold Mr. and Mrs. Mandell J. Ourisman Other Donors During Greenwich, Connecticut Hobe Sound, Florida Chevy Chase, Maryland Fiscal Year 1989 Mrs. Ernest R. Bryan Mr. and Mrs. John T. Hardisty Mr. and Mrs. Thomas J. Owen Patricia E. A bell Washington, D C. Bethesda, Maryland Chevy Chase, Maryland Abramson Family Foundation, Inc. Mrs. Wiley T. Buchanan, Jr. Mr. and Mrs. John M. Heckler The Reverend and Mrs. Charles P. C. F. Adams Washington, D C. Marshall, Virginia Price M. Bernard Aidinoff Mrs. Helen W. Buckner Ms. Patricia Henryk Alexandria, Virginia Alcoa Foundation New York City Washington, D.C. Mrs. Malcolm Price All Nippon Airways, Co. Mrs. Charles Pearre Cabell, Sr. Mr. and Mrs. Lee Hills Washington, D.C. Joe L. Allbritton Arlington, Virginia Miami, Florida Dr. and Mrs. Coleman Raphael The Allbritton Foundation Mr. F. Davis Camalier Mr. and Mrs. Henry C. Hofheimer II Silver Spring, Maryland David W. Ailing Washington, D C. Norfolk, Virginia Mr. and Mrs. Donald H. Richardson Alsdorf Foundation Mrs. Hubert W. Chanler Mr. Robert P. Holmes Washington, D.C. The Alvord Foundation Geneseo, New York Washington, D.C. Dr. and Mrs. Samuel W. Robinson American Express Company The Honorable and Mrs. Robert H. Mr. and Mrs. Allan R. Hurwitz Columbus, Ohio American Express Philanthropic Charles Potomac, Maryland Mr. and Mrs. David Rockefeller, Jr. Program Newport, Rhode Island Mrs. George H. Hurwitz New York City American Security Bank, N.A. Mrs. Ruth Judith Chase Falls Church, Virginia Mr. and Mrs. Daniel Rose The Annenberg Fund, Inc. Washington, D C. Mr. and Mrs. Hugh Newell Jacobsen New York City Anonymous Mr. and Mrs. Blair Childs Washington, D.C. Mrs. Victor Sadd Louise Steinman Ansberry Washington, D C. Mr. and Mrs. Samuel C. Johnson Danville, Virginia John H. Ariail, Jr. Mr. and Mrs. C. Thomas Clagett, Jr. Racine, Wisconsin Mr. and Mrs. Bob Lloyd Schieffer The Artery Organization, Inc. Washington, D C. Mr. Leonard Kapiloff Washington, D.C. William E. and Mary Ann Arthur Mrs. H. Dunscombe Colt Rockville, Maryland Mr. and Mrs. Irwin Schneiderman The Asahi Shimbun Washington, D C. Mrs. George C. Keiser New York City Maude Atherton* Mr. and Mrs. David F. Condon III Washington, D.C. Dr. and Mrs. Richard A. Simms Gillian Attfield Middleburg, Virginia Mrs. Betty A. Knox Harbor City, California Joseph A. Baird, Jr. Mr. and Mrs. Lloyd E. Cotsen New York City Timothy Baker Los Angeles, California Mr. and Mrs. Robert Krasne BARDES FUND/ILSCO Mrs. Gardner Cowles Washington, D.C. The Bass Foundation New York City Mr. and Mrs. David Lloyd Kreeger Anne H. Bass Mr. and Mrs. Robert H. Craft, Jr. Washington, D.C. Anne T. and Robert M. Bass Washington, D C. Mr. and Mrs. W. Loeber Landau Mr. and Mrs. Perry R. Bass Mr. and Mrs. Earle M. Craig, Jr. New York City The Batir Foundation, Inc. Midland, Texas Mr. and Mrs. Edward W. Lane, Jr. Bauman Family Foundation Mr. and Mrs. Charles T. Cudlip Jacksonville, Florida T. A. Beach Corporation Washington, D C. Mrs. Rodney M. Lay ton Mary C. Belin Mr. and Mrs. Allerton Cushman Mendenhall, Pennsylvania Bell Atlantic Corporation Paradise Valley, Arizona Mr. and Mrs. Lawrence E. MacElree Mrs. Edwin S. Bell The Honorable and Mrs. C. Douglas Newtown Square, Pennsylvania M. P. Benjenk Dillon Mrs. Hay ward F. Manice Margaret R. Bennett New York City New York City Mr. and Mrs. William E. Benso Mr. and Mrs. Michael D. Dingman Mr. and Mrs. Frank L. Mansell Bergman Family Charitable Trust La Jolla, California New York City Constance Berman Mr. and Mrs. Theodore W. Dominick Mr. and Mrs. E.A.G. Manton Stuart A. Bernstein Washington, D C. New York City Robert Hunt Berry in memory of Mrs. William S. Dwinnell The Honorable and Mrs. William Richard King Mellon Washington, D C. McC. Martin Frederick Biehle Mr. and Mrs. LeRoy Eakin 111 Washington, D.C. Robert 0. and Sylvia Blake Washington, D C. Mr. and Mrs. Arthur K. Mason Huntington T. Block Mrs. Kathleen Bryan Edwards Washington, D.C. Philip W. and Margaret L. Bonsai Greensboro, North Carolina Mr.* and Mrs. Jack C. Massey Daniel J. and Ruth F. Boorstin Mr. and Mrs. Norman Farquhar Nashville, Tennessee Joseph Borofsky Washington, D C. Ms. Marcia V. Mayo Stephen M. Boyd The Honorable and Mrs. William Alexandria, Virginia George M. and Nomita von Barby H. G. FitzGerald Mrs. John I. B. McCulloch Brady Washington, D C. New York City Brady Foundation Mr. and Mrs. William J. Flather III The Honorable and Mrs. Charles A. British Telecom Washington, D C. Meyer Mrs. Daniel J. Fraad, Jr. Lake Forest, Illinois Ruth and Joseph Bromberg Theodore F. and Sallie S. Brophy Scarsdale, New York Ms. Julienne M. Michel Mrs. Stanley Garber New York City Beverly Brown David Brown Washington, D.C. Mr. and Mrs. A. Fenner Milton Mr. and Mrs. William T. Gibb Syracuse, New York J. Carter Brown Samuel Brown Kensington, Maryland Mrs. Edward P. Moore Mr. and Mrs. Kenneth R. Giddens Washington, D.C. Mildred Gott Bryan Ruth Hale Buchanan Washington, D.C. Dr. and Mrs. Thomas P. Nigra Mr. and Mrs. Herbert A. Goldstone Washington, D.C. Helen W. Buckner Ella Poe Burling New York City Mr. Gerson Nordlinger, Jr. Mr. Bernard Gordon Washington, D.C. The Gilbert and Ildiko Butler Foundation Washington, D.C. Mr. and Mrs. James Ottaway, Jr. Mr. and Mrs. W. Kimball Griffith New Paltz, New York Rita Cacas Washington, D.C. Don D. Cadle

119 The Morris and Gwendolyn Cafritz Louisa C. Duemling Katharine Graham Allan R. and Barbara J. Hurwitz Foundation The Dunlevy Milbank Foundation Graphicstudio, U.S.F. T. A. Hurwitz Robert Conrad Cafritz Patricia C. Dwinnell Trevor Owen Green IBM Corporation Mr. and Mrs. William Cafritz James Trester Dyke Sarah Greenough Koichi Inakoshi Mrs. Holger Cahill LeRoy Eakin III Mrs. Gilbert C. Green way Mr. and Mrs.* R. L. Ireland III F. Davis Camalier Eastman Kodak Company W. Kimball & Elizabeth F. Griffith Ittleson Foundation, Inc. Daniel S. and Ruth Taylor Campbell Kathleen Bryan Edwards Henry B. and Nina H. Griswold Hugh Newell Jacobsen, F.A.I.A. B. Gerald Cantor Art Foundation Mercedes H. Eichholz GTE Foundation Japan Air Lines The Capital Group, Inc. Mr. and Mrs. James A. Elkins, Jr. Guest Services, Inc. The Japan Automobile Manufacturers Oliver T. Carr, Jr. The Elson Foundation, Inc. Gulf States Paper Corporation Association of Japan Anna Ottani Cavina The Charles Engelhard Foundation George Gund III George F. Jewett, Jr. 1965 Trust Vija Celmins Robert F. and Lois S. Erburu Leo S. Guthman JFM Foundation Chadds Ford Travel T. M. Evans Horvath Gyorgy Jasper Johns Anne Cox Chambers The Excelsior Fund Evelyn & Walter Haas, Jr. Fund Barbara Piasecka Johnson Gertrude L. Chanler Suzannah Fabing Miriam and Peter Haas Fund Clark A. Johnson Marion Oates Charles The William Stamps Farish Fund Gilbert Hahn, Jr. James A. Johnson, Jr. Ruth Judith Chase Mr. and Mrs. Norman Farquhar Mr. and Mrs. Prentis Cobb Hale R. Tenney and Marilyn M. Johnson Chevy Chase, Federal Savings Bank Paul B. Fay, Jr. Hugh Halff, Jr. Samuel C. Johnson Elizabeth C. Childs Federal National Mortgage Association Evelyn A. J. Hall Charitable Trust Joop M. Joosten Timothy W. and Hope Stewart Childs Foundation Frederic C. Hamilton J. Lisa Jorgenson Virginia Fiske Childs The Federation of Bankers Association Joy Fairman Hamm Trust Josten Fund, Inc. Nicolai Cikovsky, Jr. of Japan The Armand Hammer Collection Ruth and Jacob Kainen The Circle of the National Gallery The Fein Foundation Armand Hammer Foundation Leonard Kapiloff Foundation of Art The Donald M. Feuerstein Foundation Mason Hammond Caroline Kaplowitz C. Thomas Clagett, Jr. Ruth Fine Sophie Hanappier Leo Kasun George M. Cobum Julie Hamm Finley The Hanes Foundation Kaufman Americana Foundation Melvin S. Cohen Roger S. Firestone Foundation Gordon Hanes Mrs. George M. Kaufman Naomi and Nehemiah Cohen First City Financial Corporation Ltd. Elizabeth F. Hanson Rev. Trust Nancy Hull Keiser Foundation The Donald and Doris Fisher Elodie Hanson The Anna-Maria & Stephen Kellen Richard I. Cohen Philanthropic Fund Mrs. Letitia Hanson Foundation William T. Coleman, Jr. Robert and Emilie Fishman Martin Hanson Ellsworth Kelly Collectors Committee William H. G. FitzGerald Dorcas Hardin Mr. and Mrs. Randolph A. Kidder Miles C. Collier William J. Flather III John T. and Merrily St. John Hardisty The Kikko Securities Co., Ltd. Armida M. T. Colt Mrs. Julius Fleischman W. Averell Harriman Charitable Lead Kimberly Charitable, Inc. Community Foundation of Greater The Folger Fund Trust The Elbrun and Peter Kimmelman Washington, Inc. Marcia McClintock Folsom Charles U. and Janet C. Harris Foundation, Inc. Community Foundation of Greater Ford Motor Company The John A. Hartford Foundation, Norman V. Kinsey Washington, Inc. from the Esthy and Ben Fortson Inc. Richard A. Kirstein James Adler Philanthropic Fund Rita R. Fraad Lita Annenberg Hazen Charitable The Magnus Foundation of Mr. and David F. and H. M. Condon III Betsy K. Frampton Trust Mrs. James M. Kline Louis L. Cornell Sam Francis William Randolph Hearst Foundation Mrs. Betty A. Knox Elizabeth E. Cornwall Franklin Associates Limited The Hechinger Foundation The Seymour H. Knox Foundation, Cotsen Family Foundation Partnership John Heckler Inc. Jack Co wart Sydney Freed berg Louis J. Hector Sara Jo Kobacker Jan Cowles Bert Freidus Irwin M. Heine Robert P. Kogod Ed Cox Foundation Arnold D. Frese Foundation, Inc. Lore Heinemann Renee Zlotnick Kraft W. Joy Cox Lance J. Friedsam and Elizabeth H. John Heinz III Werner H. and Sarah Ann Kramarsky Marshall B. Coyne Foundation, Inc. Grantham-Friedsam Henry J. and Drue Heinz Foundation Kransco Group Companies Jamison Ford and Robert H. Craft, Jr. Virginia McGehee Friend Walter E. Heller Foundation Henry R. Kravis Earle M. Craig, Jr. Charles R. Fry C. T. Hellmuth David Lloyd Kreeger, Trust Crestar Bank, N.A. The Fuller Foundation, Inc. Jan and Howard J. Hendler Samuel H. Kress Foundation Charles E. Culpeper Foundation, Inc. Morton and Norma Lee Funger The Henfield Foundation Gert Kreytenberg Catherine G. Curran The Jo Ann and Julian Ganz, Jr. The Henley League, Ltd. Susan Cullman Kudlow Madeleine R. Cury Foundation Trust Patricia Henryk Daniela La Macchia Rita M. Cushman Naomi A. Garber The William and Flora Hewlett Jan M. Lancaster The Dade Community Foundation Gemini G.E.L./Sidney B. Felsen/ Foundation W. Loeber Landau Ted Dalziel Stanley Grinstein Susan Morse Hilles Edward W. Lane, Jr. Dart Group Foundation Estate of Leola S. Gerhart Lee and Tina Hills J. Bryan Lane John B. Davidson German-American Cultural Fund, Inc. Gerald D. Hines Interests Burks B. and Anthony A. Lapham Susan Davis Ann and Gordon Getty Foundation Margaret Mellon Hitchcock The Lauder Foundation, Leonard and Diane DeGrazia Gordon P. and Ann G. Getty Foundation Evelyn Lauder Fund Mr. and Mrs. Marvin Dekelboum The J. Paul Getty Trust Hobby Foundation Alexander M. Laughlin Roy E. Demmon Dragos Gheorghiu David Hockney The Greta Brown Layton Charitable Dermatology Associates, P.C. Mary H. Gibb H. Clay Hofheimer II Trust C. Douglas Dillon Mary O'Brien Gibson Wilhelmina Cole and Wallace F. Boris Leavitt DM Foundation Mr. and Mrs. Kenneth R. Giddens Holladay Leighton-Oare Foundation, Inc. Norton Dodge The Horace W. Goldsmith Foundation Janet A. Hooker Charitable Trust Marc E. Leland Mrs. Elizabeth P. Dominick The Goldstone Fund, Inc. John Jay Hopkins Foundation The James H. and Martha McG John R. Donnell The Gordon/Rousmaniere/Roberts Anne Horan Lemon Foundation Lamia Doumato Fund S. Roger and Carolyn P. Horchow Melvin and Thelma Z. Lenkin Max and Victoria Dreyfus Foundation Bernard Gordon Raymond J. Horowitz Irvin L. Levy Herbert Gordon Carlisle H.* & Mary S. Humelsine Douglas Lewis * deceased Herb Gordon Nissan

120 The Sydney & Frances Lewis Raymond D. Nasher Company Lorraine Pritzker David Bruce Smith Foundation Bruce Nauman R & S Associates Maria Petschek Smith Roy Lichtenstein Evelyn S. Nef The Raphael Foundation, Inc. Richard S. and Elizabeth A. Smith Jean C. Lindsey Nancy Brown Negley General Dillman A. Rash Robert H. and Clarice Smith Michelle Smith Liss The Neiman-Marcus Group, Inc. Arthur and Emily Rautman in memory Smithsonian Resident Associate Frances & John L. Loeb Foundation The Netherlands American Amity of Harriet Looney Program Nash M. and Anne H. Love Trust, Inc. Reproducta Co., Inc. Virginia L. Snider L. D. Lovett The New England Republic National Bank Rudolf and Barbara R. Sobemheim The Henry Luce Foundation, Inc. Annalee Newman Mr. and Mrs. Stewart A. Resnick The Solow Foundation Alison Luchs Peggy D. Nielson Ann Kendall Richards, Inc. Sotheby's Enzo 0. Macagno Nippon Life Insurance Company Donald H. Richardson Southwestern Bell Foundation The Edward E. MacCrone Charitable Nippon Telegraph and Telephone Co. Antonio Riello Sovran Bank/Maryland Trust Nippon Television Network Riggs National Bank of Washington, The Squibb Corporation Jane C. MacElree Corporation DC. St. Anne's-Belfield, Inc. Ellen Brevoort Mac Neille The Nomura Securities Co., Ltd. RJR Nabisco Adele Stevens State of Sarawak and People of Mrs. P. Roussel Norman R.J. Reynolds Tobacco USA Ruth Carter Stevenson Malaysia Roy and Ruth J. Nutt Milton Ritzenberg Sara Stone Hay ward F. & Beatrice G. Manice John O'Brien Ann Bigley Robertson The Philip and Lynn Straus Alex and Marie Manoogian Occidental Petroleum Corporation Kelsey P. Robinson Foundation, Inc. Foundation Oehme, van Sweden & Associates, Samuel W. Robinson Elizabeth Streicher Sallie Mansfield Inc. Dorothea Rockbume Sumitomo Life Insurance Co. E.A.G. Manton Ralph E. Ogden Foundation, Inc. Mr. and Mrs. David Rockefeller, Jr. Sundlun Foundation Maralo Inc. Lester E. and Virginia S. Ogilvy Mrs. John D. Rockefeller 3rd Suntory Ltd. Anne W. Marion Ohbayashi Corporation Rodman C. and Sascha M. Rockefeller Taggart and Jorgenson Gallery The Marks Foundation, Inc. The Ohrstrom Foundation Inc. A. C. Rogers Taisei Corporation Mars Foundation Olivetti Company Margaret Jonsson Rogers Takeda Chemical Industries, Ltd. Cynthia Martin Margaret D. Olsen David A. Root Jeanne C. Thayer Frederick P. Mascioli William B. O'Neal Rose Associates William Griffith Thomas Arthur K. & Jane S. Mason Operating room staff of Fairfax James N. Rosenberg* Mrs. B. W. Thoron Mrs. Jack C. Massey Hospital in memory of Ruth Rosenthal Companies The Tides Foundation Mr. and Mrs. Edward J. Mathias Mickelwait Benjamin J. Rosenthal Foundation The Times Mirror Company Matsushita Electric Industrial George Ortiz Nan Rosenthal The Tobin Foundation Corporation E. B. Osborn Charitable Trust Mrs. Lessing J. Rosenwald* Tobishima Inc. The May Stores Foundation Inc. Donald R. Osborn The Mark Rothko Foundation Inc. The Tokio Marine and Fire Insurance Beatrice C. Mayer The James H. Ottaway, Jr. Revocable Judith Rothschild Company F. R. Mayer Trust Lawrence Rubin The Ross E. Traphagen, Jr. Fund Sameeran Y. McAlee Ourisman Chevrolet Co., Inc. John C. Ryan Gottfried Tritten Patricia R. McCulloch The Overbrook Foundation Marie C. Sadd Eleanor H. Trowbridge Mrs. Eugene McDermott Louise D. Owen Mark Samuels Lasner Truland Foundation Thomas McGill Carlotta Owens Lili-Charlotte Sarnoff TRW Foundation Thomas & Frances McGregor William S. Paley Foundation, Inc. Fayez Sarofim Thurston and Laila Twigg-Smith Foundation Parking Management, Inc. Bob L. and Patricia Penrose Schieffer The Union Labor Life Insurance Charles L. and Debra H. McLafferty Mrs. Jefferson Patterson Mrs. John Schiff Company Mellon Bank James R. and Mary Maughan Patton Benno C. Schmidt United Technologies The Andrew W. Mellon Foundation C. Wesley Peebles Elizabeth G. Schneider Herbert A. Vance Trust Paul Mellon Mrs. M. Abbott Pendergast in memory Irwin Schneiderman Hildegarde G. van Roijen R. K. Mellon Family Foundation of Margaret Peters Craig and Earle Rita Schreiber* Vaughn Foundation Richard King Mellon Foundation McKee Craig The Florence and John Schumann Egon Verheyen Ana R. Menapace Pepsico Foundation, Inc. Foundation Arthur and Charlotte Vershbow Metco Properties Perpetual Savings Bank Security Trust Company, N.A. Mr. and Mrs. C. Woods Vest, Jr. Charles A. and Suzanne S. Meyer Persis Corporation Richard Serra VIPA Foundation Julienne M. Michel The Pew Charitable Trusts Polly Shackleton Magda Vitale William Middendorf Ruth Philbrick Mary N. Shands Ladislaus and Beatrix Von Hoffman The Dunlevy Milbank Foundation, Philip Morris Companies, Inc. Robert F. Shapiro and Anna Marie Joseph Walentini Inc. Ivan E. Phillips Shapiro Foundation, Inc. Anne Marie Walker Estate of Mark Millard Neil Phillips Estate of Katharine Shepard Lila Acheson Wallace/National Gallery Miller & Long Company of Maryland Pierce Associates, Inc. Deborah Shepherd of Art Fund Edward S. and Joyce I. Miller Drummond Pike Kathryn P. and Mohamed Sheta Lila Wallace—Reader's Digest Fund, Pepita Milmore Memorial Fund Trust Sally Engelhard Pingree Shimizu Corporation Inc. A. Fenner Milton Janez Pirnat Signet Bank F. Howard Walsh, Jr. Maximillian Miltslaff Pittway Corporation Charitable Elzbieta Sikorska Charles B. Walstrom Marcia and Kent Minichiello Foundation Leonard L. Silverstein James M. Walton Haruki Miwa Abe Pollin Caroline T. Simmons Tim Wardell Charles S. Moffett Cynthia H. Polsky Dr. Richard A. and Gerard V. Simms Ms. Virginia S. Warner Eunice Mohri Mrs. John A. Pope Marianna Shreve Simpson Mrs. Paul L. Wattis R. W. Moncrief Alan L. Potter William Kelly Simpson Melvin R. Weaver James Starr Moore Memorial Maria Prather Mrs. Carolyn Skelly P. Devers Weaver Foundation Carol and Malcolm* Price Skidmore, 0wings & Merrill Caspar Willard Weinberger Agnieszka Morawinsko Frederick Henry Prince Testamentary Lionel J. and Janet M. Skidmore Gabriel Weisberg Franklin D. Murphy Trust Mrs. Charles Slatkin Marcia S. Weisman Donald Myers Frederick Henry Prince Trust Sanford Slavin Alberto A. Weissmuller Keiji Nakamura Princeton Class of 1955 Albert H. Small David K. Welles, Sr. Pritzker Foundation Charles E. Smith Management, Inc. Georgia E. Welles

121 Alice Sunderland Wethey Arthur Wheelock Mrs. John Campbell White Charles S. Whitehouse Mrs. John Hay Whitney Malcolm Hewitt Wiener Foundation Arthur, Rachel and Susan Wilkoff Foundation Florence K. Willard The Williams Companies David R. Williams, Jr. Marguerite N. Williams, Jr. John Wilmerding A. S. Wilsey Edward Foss Wilson Isabel Brown Wilson Mr. and Mrs. Alan F. Wohlstetter Mrs. William Wood Prince The Honorable Stanley Woodward Eleanora M. Worth Richard S. Wurman Dieter Wuttke Wyeth Endowment for American Art The Yabunouchi School of Tea The Yomiuri Shimbun Young Art Associates Sidney S. Zlotnick

Gifts in memory of Marian T. Barnes: Jessie C. Arnett Dwight H. Barnes H. James and Bent H. Carter Rita M. Hetrick Mr. and Mrs. Arthur H. Holste Dwight and Cindy Holste Mr. and Mrs. Dennis D. Jenner Peggy S. Konzi Mr. and Mrs. Albert R. Nish, Jr. Barbara Peterson Robert W. L. and Elizabeth R. Potts James A. and Anna B. Rowse Mr. and Mrs. Harry P. Schmidt Mr. and Mrs. Nathan C. Sweet, Jr. Margaret Tamber Mr. and Mrs. Joe D. Winger

Gifts in memory of Wanda Flynn: William T. and Nancy Cammack Elizabeth R. Corbin Virginia B. Dillon Floyd J. Flynn Phyllis and Paul Freirich George and Florence Heller Rao H. and Marilyn R. Lindsay Franchia G. Loren Philip A. and Blanche K. Miller Victor H. and Martha D. Parker Anne R. Prange William B. and Leota M. Sarraf W. H. and Joy A. Tallent Robert E. and Dorothy W. Wright

122 Visitors enjoying Scott Burton's Rock Settee, 1988, Gift of the Collectors Committee, 1988.68.1 Gifts and Bequests

Both the buildings and the collections of the National Gallery of Art are the result of private generosity. The Board of Trustees has full power to receive property, real and personal, for the general purpose of the National Gallery of Art. Offers of gift or bequest of particular property should be discussed in advance with the Secretary's Office for specific important works of art, or with the Chief Librarian for books of art historical importance. Gifts may also be made by check payable to the Trustees of the National Gallery of Art. The following form of bequest may be used: I bequeath to the Trustees of the National Gallery of Art the sum of for the general purposes of the National Gallery of Art, Washington, District of Columbia.

All gifts and bequests are deductible, within the limits prescribed by law, for applicable Federal tax purposes.