1993 ANNUAL REPORT WBBKM NATIONAL GALLERY OF ART

1993 Annual Report Copyright © 1994. Board of Trustees, Details illustrated at section openings: National Gallery of Art. All rights reserved. p. 5: Attributed to Francesco Righetti, Mercury, c. 1780/1800, Andrew W. Mellon Collection, This publication was produced by the Editors 1937.1.131 Office, National Gallery of Art p. 7: Winslow Homer, Breezing Up (A Fair Wind), Editor-in-chief, Frances P. Smyth 1876, Gift of the W. L. and May T. Mellon Foundation, 1943.13.1 Editor, Tarn L. Curry p. 9: Thomas Cole, The Notch of the White Mountains (Crawford Notch), 1839, Andrew W. Mellon Fund, Designed by Susan Lehmann, 1967.8.1 Washington, D.C. p. 13: Lovis Corinth, Girl Reading, 1911, Gift of the Printed by Schneidereith & Sons, Marcy Family in memory of Sigbert H. Marcy Baltimore, Maryland The type is Meridien, set by BG Composition, p. 55: Raphael, Saint George and the Dragon, c. 1506, Andrew W. Mellon Collection, 1937.1.26 Baltimore, Maryland p. 59: Georges Braque, Still Life: Le Jour, 1929, Chester Dale Collection, 1963.10.91 ISBN 0-89468-205-9 p. 67: Jean-Auguste-Dominique Ingres, Mrs. Charles Photographic credits: Badham, 1816, The Armand Hammer Collection, p. 24 © Robert Frank 1991.217.20 p. 71: Jan Gossaert, Portrait of a Merchant, c. 1530, Works of art in the collection were photographed Ailsa Mellon Bruce Fund, 1967.4.1 by the department of imaging and visual services. Other photographs by Rex Stucky (p. 8), Shelley p. 81: Franz Innocenz Josef Kobell, Seacoast with a Sturman (p. 10), Sally Freitag (p. 11), Deborah Great Tree, Ailsa Mellon Bruce Fund, 1993.1.1 Ziska (p. 15), Robert Shelley (pp. 17 and 95), Bill p. 101: Edouard Manet, Flowers in a Crystal Vase, Bowser (p. 36), William D. Wilson (p. 40), and c. 1882, Ailsa Mellon Bruce Collection, 1970.17.37 Lorene Emerson (p. 40) p. 103: Joseph Mallord William Turner, Venice: The Dogana and San Giorgio Maggiore, 1834, Widener Cover: William Michael Harnett, The Old Violin, Collection, 1942.9.85 1886, Gift of Mr. and Mrs. Richard Mellon Scaife in p. Ill: Jean-Baptiste Le Prince, Two Russians Seated honor of Paul Mellon, 1993.15.1 in a Landscape, Gift of Arthur L. Liebman, 1992.87.8 pp. 2-3: Bernardo Bellotto, The Fortress of Konigstein, 1756-1758, Patrons' Permanent Fund, 1993.8.1 p. 4: Louise Bourgeois, Untitled, 1952, Gift of the Collectors Committee, 1992.102.1

CONTENTS

President's Foreword 7 Gallery Architect 56 Director's Statement 9 Facilities Management 56 Audiovisual Services 56 Art Programs Administrative Services 57 Renaissance Paintings 13 Telecommunications 57 Baroque Paintings 14 Resource Acquisition 57 American and British Paintings 14 Personnel/Affirmative Employment Modern Paintings 14 20th-century Art 16 External Affairs Sculpture and Decorative Arts 19 Development 59 Old Master Drawings 19 Corporate Relations 60 Old Master Prints 20 Press and Public Information 62 Modern Prints and Drawings 21 Special Projects 63 Photographs 23 Special Events 63 Curatorial Records 25 Visitor Services 64 Registration 25 Horticulture 64 Loans and the Music at the Gallery 64 National Lending Service 26 Conservation 27 Center for Advanced Study in the Exhibitions 34 Visual Arts 67 Design and Installation 35 Report of the Treasurer 71 Education 38 Library 46 Appendices Photographic Archives 48 Acquisitions 81 Slide Library 48 Changes of Attribution 86 Editors Office 49 Loans 88 Imaging and Visual Services 52 Lenders 93 Gallery Archives 52 Staff Publications 98

Administration Trustees and Staff 101 Protection Services 55 Publications Sales 55 Donors 111 PRESIDENT'S FOREWORD

The 1993 fiscal year was Franklin Mur- ment to support the acquisition of phy's final year as chairman and mem- works of art, was created with a broad ber of the Board of Trustees of the base of donors. The Center for National Gallery. Dr. Murphy has given Advanced Study in the Visual Arts was nearly 30 years of continuous, dynamic founded to enable pre- and postdoctoral leadership to this national institution, research in a setting that brings togeth- providing wise, able, and dedicated er university scholars and museum pro- guidance of the Gallery's artistic and fessionals. Our national advisory board, administrative affairs. We owe him an the Trustees' Council, was established, enormous debt of gratitude for his providing a mechanism for collectors sound and constructive counsel as and supporters from across the country trustee and chairman. Succeeding him to play a significant role in the future of as chairman will be long-time trustee the Gallery. The National Gallery cele- Ruth Carter Stevenson. brated its 50th anniversary and experi- I too am stepping down this year as a enced a tremendous outpouring of phil- member of the Board of Trustees and as anthropic support that enhanced the president of the National Gallery, to be permanent collections. succeeded in the latter role by general I feel deeply grateful for the opportu- trustee Robert H. Smith. In my own 18 nity I have had to collaborate with the years of service on the Board, including dedicated trustees, volunteers, and staff 14 years as president, I have witnessed who have been charged with the lead- many remarkable achievements in the ership of the National Gallery. It has history of the Gallery. The East Build- been a privilege to serve with Paul Mel- ing, one of the most beautiful contem- lon and other private citizens and with porary structures in the world, was con- some of the highest-ranking public ser- structed under the inspired architectural vants in the United States, all of whom direction of I. M. Pei, with the dedica- have shared remarkable foresight and tion of Paul Mellon to the best tradi- commitment to the role of a national tions of the Gallery and with J. Carter art gallery in our cultural life. I have

Franz Kline, Untitled, 1950s (detail), Brown as our hands-on director. The been fortunate to work with directors Gift of Elisabeth R. Zogbaum, 1993.5.2 Patrons' Permanent Fund, an endow- J. Carter Brown and Earl A. Powell III

7 and with the Gallery's capable and ded- This year we welcomed John H. Bryan John R. Stevenson and Franklin D. Murphy (far icated executive officers, who con- from Chicago, Calvin Cafritz from left) display the medals they were given at a gala dinner in their honor. Ruth Carter Stevenson tribute so much to the Gallery's success. Washington, D.C., Doris Fisher from (right) becomes chairman of the Board of Trustees, Four members of the Trustees' Coun- San Francisco, Julie Folger from Wash- and Robert H. Smith (lower middle; with his father, cil resigned from service this year. They ington, D.C., Camilla Chandler Frost Charles E. Smith) becomes president of the Gallery. Among special guests was Lee Annenberg (shown are Pamela C. Harriman, George F. from Los Angeles, and David O. at top with Dr. Murphy). Jewett, Jr., Sydney Lewis, and Frederick Maxwell from Washington, D.C., as R. Mayer. We are most appreciative of new members of the Council. Mr. the time and effort these people have Bryan, Mrs. Fisher, and Mr. Maxwell contributed during their terms as Coun- additionally serve on the Trustees' from the federal government for the cil members. We are delighted that Mrs. Council development committee. The Gallery's day-to-day operations, along Harriman is now serving as U.S. Gallery enjoys the very capable leader- with the ongoing generosity of private Ambassador to France. ship of Earl A. Powell III, who has just philanthropic support for many pro- While I look back on the past with concluded his first year as director, and grams and initiatives, including all pride, I look ahead to the Gallery's the continued support of director emer- acquisition of art through funds or in future with confidence. The Gallery has itus J. Carter Brown. kind. vital leadership among trustees, volun- This institution will have a successful The trustees of the Gallery have teers, and staff. The Board of Trustees future also because it upholds the charted a sound course for the future continues to build upon its strengths, enduring values that have been held through the goals they have set for the with Mrs. Stevenson as the new chair- since its beginning. The Gallery follows remainder of the decade: to protect, man, Mr. Smith as the new president, the vision and standard of quality of its preserve, and enhance the Gallery's col- continuing general trustee Alexander distinguished founder, Andrew Mellon. lections, buildings, and research capa- M. Laughlin, and new members It holds fast to its mission to serve the bilities; to sustain its leadership in pro- Robert F. Erburu of Los Angeles and United States by preserving, collecting, viding national educational service; to Louise W. Mellon of Middleburg, Vir- exhibiting, and fostering understanding foster international exchange; and to ginia. These five general trustees com- of works of art with the highest possible position itself strategically and financial- bine with four ex officio trustees to museum and scholarly standards. It ly to meet the challenges of the next form the full Board. The Board contin- maintains the partnership of public and century. ues to benefit from the involvement of private resources that support it. a very supportive Trustees' Council, led We acknowledge with gratitude the John R. Stevenson by Edwin L. Cox and Lois de Menil. continuing commitment of funds President DIRECTOR'S STATEMENT

This annual report marks my first full the Gallery's collection, including four year as director of the National Gallery cityscapes by Canaletto and two later of Art. It has been a year that, among paintings by Bellotto. These splendid many highlights, brought announce- acquisitions represent the essence of ment of key staff appointments, signif- our goal to continue to make important icant art acquisitions, an active exhibi- and meaningful contributions to the tions schedule, and the introduction of nation's collections. new and exciting technology into the We were also pleased that through Gallery's programs. the generosity of the Collectors Com- Our focus on the permanent collec- mittee the National Gallery acquired tion reached a high point this year in three important works by 20th-century the acquisition of two magnificent sculptor Louise Bourgeois, which com- paintings. The Old Violin, a masterpiece plement a fourth sculpture given by the by 19th-century American trompe-l'oeil artist this year. A dramatic multimedia painter William Harnett, was given to screen by Helen Frankenthaler was the the National Gallery by Mr. and Mrs. first acquisition from the fund recently Richard Mellon Scaife in honor of Paul established by Perry R. and Nancy Lee Mellon. This major gift has an eloquent Bass for the purchase of contemporary and expressive beauty unsurpassed in art; a major painting on paper was American still-life painting. Another given by the artist. stunning acquisition, Bernardo Bellot- Special exhibitions have been a sig- to's panoramic Fortress of Konigstein, nificant part of the Gallery's program, was purchased with income from the and this year the tradition continued at Patrons' Permanent Fund. The large a high level with a wide range of extra- landscape, among Bellotto's finest, is ordinary international subjects. The one of five views of an ancient fortress Greek Miracle: Classical Sculpture from the near Dresden painted by this 18th-cen- Dawn of Democracy, the Fifth Century B.C., tury Venetian master. It was cleaned commemorated the 2,500th anniversary upon its arrival in Washington, and its of the birthplace of democracy. Orga- impact was even more fully realized in nized by the National Gallery in collab- an installation with other works from oration with the Metropolitan Museum

9 \

The President and Mrs. Clinton visiting Great French Paintings from The Barnes Foundation on Mothers' Day, escorted by Gallery director, Earl A. Powell III, and Mrs. Powell

of Art and the Ministry of Culture of visitors with opportunities to focus on of programs. Among the numerous pro- the Government of Greece, this unprece- single masterpieces in the Gallery's own jects funded this year by The Circle dented display in America of 34 of the collection, often in the context of a were educational materials related to finest examples of original marble and small number of related works. Two of exhibitions, including the fascinating bronze sculpture created during the this year's "focus" exhibitions centered interactive computer program Perseus, golden age of Greece included many on John Singleton Copley's dramatic modified for use in conjunction with works that left that country for the first Watson and the Shark and Georges de La The Greek Miracle. Circle funds also sup- time for this exhibition. A highlight of Tour's haunting Repentant Magdalene. ported the publication of several illus- the spring and summer months was the Among the most popular works at the trated brochures, such as the booklet on National Gallery's premiere of the world Gallery, Copley's painting of the heroic the newly acquired Bellotto landscape, tour of Great French Paintings from The rescue of 14-year-old Brook Watson available free to Gallery visitors. A spe- Barnes Foundation: Impressionist, Post- from a shark in Havana harbor was cial project this year was the production Impressionist, and Early Modern, showing shown with two other versions of the of the film on Founding Benefactor 80 superb works by many of the most subject as well as five of Copley's Samuel H. Kress, made in tribute to celebrated late 19th- and early 20th- preparatory drawings and six engrav- Franklin D. Murphy for his outstanding century French artists from the impor- ings by earlier artists that may have leadership of 40 years on the Kress tant collection of Dr. Albert C. Barnes. served as inspiration for the picture. Foundation board and nearly 30 years Of particular interest was the discovery, The newly restored Repentant Magdalene on the Gallery's Board of Trustees, the conservation, and loan of Henri was joined by another painting of the last 8 years as its chairman. Matisse's unfinished first version of the Magdalene by de La Tour from the Los I was pleased to announce this year Dance mural commissioned by Barnes, Angeles County Museum of Art. This the appointment of Alan Shestack as which was exhibited publicly for the pairing was a wonderful way to cele- the new deputy director of the National first time along with the Dance mural brate the 400th anniversary of de La Gallery, succeeding Roger Mandle, who from the Barnes Foundation. Tour's birth. was named president of the Rhode In addition to organizing ambitious The continuing support of The Circle Island School of Design. We are grateful loan exhibitions, the National Gallery of the National Gallery of Art has been to Roger for the significant contribu- takes great satisfaction in presenting crucial in making possible a wide range tions he made in his five years as

10 National Gallery art handlers installing a panel from the Matisse Dance murals

deputy director, particularly to educa- nent collection in the West Building. charge to schools, colleges and universi- tional and outreach programs. Alan Philip Conisbee, who was department ties, and media centers throughout the Shestack comes to the Gallery with a head and curator of European painting country. I am particularly proud of this wealth of experience in museum and sculpture at the Los Angeles Coun- achievement in the Gallery's national management, most recently as director ty Museum of Art since 1988, brings to outreach efforts. As we approach the of Boston's Museum of Fine Arts since the Gallery a broad knowledge of Euro- new century, I look forward to expand- 1987. These strengths are combined pean art, particularly of 18th- and 19th- ing our service to cities and towns with outstanding academic achieve- century French painting. Mark Rosen- across the country. Digital imaging will ments, publications, and curatorial thal, associated recently with the enable us to produce interactive educa- experience, including an early tenure Solomon R. Guggenheim Museum and tional programs based on works of art as curator of the Rosenwald Collection, the Philadelphia Museum of Art, is in the collection. We also plan to now the core of the Gallery's prints known for the range of his work, orga- expand further our National Lending and drawings holdings. nizing exhibitions on artists as diverse Service, which makes Gallery collec- Three major curatorial positions were as Juan Gris and Anselm Kiefer. tions available to other museums, so filled this year: Edgar Peters Bowron The National Gallery of Art received that communities throughout the as senior curator of paintings, Philip more than 6,156,000 visits in fiscal year nation will be able to enjoy the great Conisbee as curator of French paintings, 1993. One new way in which the works of art that belong to the people and Mark Rosenthal as curator of 20th- Gallery reached its national constitu- of the United States. century art. Previously director of the ency was through the production and Harvard University Art Museums and of distribution of an American Art video- Earl A. Powell III the North Carolina Museum of Art, disc. With generous support from The Director Peter Bowron has been Andrew W. Annenberg Foundation, the Gallery not Mellon Senior Consultative Curator at only created a vast compendium of digi- the Gallery since 1991, contributing to tal images of more than 2,600 paintings, our systematic catalogue of 17th- and sculpture, and works on paper in the 18th-century Italian paintings and to American collections but distributed the recent reinstallation of the perma- 2,500 copies of the videodisc free-of-

11

ART PROG RAM S

Edgar Peters Bowron, former Andrew reconstruction of the artist's master- W. Mellon Senior Consultative Curator, work, the Saint Lucy altarpiece, in a spe- was appointed senior curator of paint- cial exhibition of Florentine painting of ings, with administrative responsibilities the period. Other museums participat- for the paintings and 20th-century art ing in this unique event included the departments. He replaces former senior Fitzwilliam Museum, Cambridge, and curator of paintings, Charles S. Moffett, the Gemaldegalerie, Berlin. who left to become director of the The Italian Renaissance curators gave Phillips Collection. special tours of the newly reinstalled Renaissance galleries to the Teacher Renaissance Paintings Institute and the International Corpo- Research on the Italian Renaissance rate Circle and discussed the attribution paintings continued, with particular of Mantegna's Judith and Holofernes at attention to the 19th-century sketch the National Gallery's "Forum on Con- copies by Italian connoisseur Giovanni noisseurship and Collecting." In 1992 Battista Cavalcaselle of works in the the traditional Christmas stamp was National Gallery's collection. Many of based on the Gallery's Madonna and the drawings, housed in the Biblioteca Child with Saints by Giovanni Bellini. Marciana, Venice, have never been Final proofs of the systematic cata- published, and Cavalcaselle's notes and logue on German Paintings of the Fifteenth comments on the paintings provide through Seventeenth Centuries were valuable clues concerning their prove- approved, with published books due in nance and condition. The project is late 1993. Research continues on 15th- being undertaken with Italian century works in preparation for the researcher Annarita Savorelli, an systematic catalogue of French paintings expert in Cavalcaselle's writings. from the 15th to 18th centuries. The Two of the Gallery's panels by curator of northern Renaissance paint- Domenico Veneziano, Saint John in the ings is preparing two focus exhibitions Desert and Saint Francis Receiving the Stig- for 1994: Hans Memling's Saint John the

Georges de La Tour, The Repentant Magdalene, mata, were lent to the Galleria degli Baptist and Saint Veronica; and Jan van c. 1640, Ailsa Mellon Bruce Fund, 1974.52.1 Uffizi in Florence for a temporary Eyck's Annunciation.

13 Baroque Paintings Museum of Art, the Fine Arts Museums of San Francisco, and the Amon Carter The acquisition of a major 18th-century Museum. This show presented 49 of the Italian painting was the highlight of artist's finest still lifes, including the the department's activities this year. Gallery's newly acquired Old Violin. Bernardo Bellotto's Fortress of Konigstein, Gallery curators also organized a one of the artist's largest and most focus exhibition on John Singleton unusual landscape views, was the sub- Copley's Watson and the Shark, which ject of a focus exhibition that brought brought together the two major ver- together this painting and other recent- sions of this well-known painting and ly cleaned paintings in the Gallery col- all of the studies and related material. lection by Bellotto's uncle, Antonio Together with the Center for Advanced Canale, called Canaletto. A brochure for Study in the Visual Arts, the depart- visitors was made possible by The Circle ment hosted a day-long seminar on the of the National Gallery of Art. work attended by leading experts. The A second focus exhibition presented show traveled to the Detroit Institute of another recently conserved painting in Arts and the Museum of Fine Arts, the collection, Georges de La Tour's Boston. Repentant Magdalene, along with a re- Two systematic catalogues were lated painting of the Magdalene by published this year: American Naive de La Tour from the Los Angeles Coun- Paintings, with full entries on the 310 ty Museum of Art. The exhibition works in the collection; and British explored the artist's interest in this Paintings by John Hayes, documenting theme over an extended period in his all of the Gallery's pictures from that career and his varying uses of light and school. The manuscript was completed color to emphasize different spiritual for the first of two volumes on 19th- moods. century American paintings, and sub- Departments of northern and south- stantial progress was made on the sec- ern baroque paintings completed manu- ond. Research continued on the volume scripts for the systematic catalogues on devoted to the Gallery's 351 paintings Dutch paintings and on 17th- and 18th- by George Catlin. century Italian paintings, both due for The department spent considerable publication in 1994. time and energy helping to design a computer system that will combine Modern. Featuring 80 works from the American and British high-resolution digital images with text. pioneering collection of the late Paintings Still in the development stages, this pro- Albert C. Barnes, which now belongs The high point of the year for this ject has already shown great promise in to the educational institution he estab- department was the acquisition of a facilitating curatorial tasks. lished in Merion, Pennsylvania, in masterpiece of American painting, Research and organization proceeded 1925, the show included such icons of William Michael Harnett's Old Violin. for monographic exhibitions on James modern art as Cezanne's Card Players, Greatly admired in its own day and in McNeill Whistler, Winslow Homer, and Seurat's Models, and Matisse's Joy of Life. ours for its remarkable illusionism and Thomas Moran and for a focus exhibi- The selection reflected Barnes' collecting formal beauty, this work was the sub- tion that will reunite Jasper Cropsey's tastes, with concentrations of works by ject of a popular chromolithograph that pendants, The Spirit of War and The Spirit Renoir, Cezanne, and Matisse, as well as made it among the most famous paint- of Peace. Preliminary research and plan- paintings by Manet, Monet, Van Gogh, ings of the 19th century. The acquisi- ning was also begun for a major exhi- Toulouse-Lautrec, Picasso, Henri tion of The Old Violin, which immeasur- bition on British paintings of the Victo- Rousseau, and Modigliani. Organized in ably enhances the National Gallery's rian era. collaboration with the Barnes Founda- holdings of American still-life paintings, tion, the exhibition is traveling to the Musee d'Orsay in Paris, the Museum of was made possible by Mr. and Mrs. Modern Paintings Richard Mellon Scaife in honor of Paul Western Art in Tokyo, the Kimbell Art Mellon. The major exhibition this year was Museum in Fort Worth, the Art Gallery The Gallery was the final venue for a the immensely popular Great French of Ontario, Toronto, and the Philadel- traveling exhibition of Harnett's paint- Paintings from The Barnes Foundation: phia Museum of Art. A subsidiary exhi- ings organized by the Metropolitan Impressionist, Post-Impressionist, and Early bition, co-organized by the National

14 Great French Paintings from The Barnes Foundation, including such masterpieces as Cezanne's Card Players, was seen by more than 520,000 visitors at the National Gallery Other highlights of the Barnes exhibition were Seu- rat's Models and Matisse's Dance mural (bottom of the facing page), shown with a recently discovered first version of the mural, lent by Pierre Matisse Estate, Centre Georges Pompidou, Musee National d'Art Moderne, and Musee d'Art Moderne de la Ville de Paris, purchase/dation. © succession H. Matisse

Gallery and the Musee d'Art Moderne number of paintings and replaced with 20th-century Art de la Ville de Paris, paired the Barnes wooden liners that harmonize with the Dance mural by Matisse with a recently frames; and four more galleries devoted The collection of 20th-century art was discovered first version of the work. to modern paintings were repainted and significantly enhanced this year with In appreciation for loans from the glazed. notable acquisitions of postwar painting Greek Ministry of Culture for The Greek This year the National Gallery pur- and sculpture. These included four ma- Miracle: Classical Sculpture from the Dawn chased its first painting by the 19th- jor works by sculptor Louise Bourgeois, of Democracy, 37 of the Gallery's impres- century realist artist Antoine Vollon, an three given by the Collectors Commit- sionist and post-impressionist paintings unusual and strikingly modern still life tee—Spring, Mortise, and Untitled—and and 35 of the Metropolitan Museum's entitled Mound of Butter. Vollon painted the fourth, Winged Figure, a gift from the European paintings were sent to Greece this subject with broad, vigorous brush artist. Bourgeois refers to these totem- for the exhibition From El Greco to strokes. The work complements still like constructions in wood and plaster Cezanne. This showing at the National lifes in the Gallery's collection by as "personages." A strong early work by Gallery in Athens attracted 600,000 vis- Fantin-Latour, Manet, Renoir, and Ellsworth Kelly, Tiger, was acquired itors, the largest exhibition attendance Cezanne. from the artist as a partial and promised on record in Greece. Philip Conisbee, formerly of the Los gift. This striking abstract composition, Significant progress was made on the Angeles County Museum of Art, joined consisting of five joined canvas panels, systematic catalogue of French paintings the National Gallery as curator of was among the most important works from 1800-1860 prepared by Lorenz French paintings, taking the place of seen in Ellsworth Kelly: The Years in Eitner. Presentation of the permanent Charles S. Moffett in his role as curator France, an exhibition organized jointly collection was further refined through of modern paintings. The office has by the National Gallery and the Galerie two ongoing projects: light-colored been renamed the department of nationale du Jeu de Paume, Paris. A linen liners were removed from a French paintings. beautiful multimedia work by Helen

16 #-4 i Two works by Louise Bourgeois: The Winged Figure, 1948, cast 1991, Gift of Louise Bourgeois, 1992.101.1, and Spring, 1949, Gift of the Collectors Committee, 1992.102.3

Frankenthaler, Gateway, was the inau- sculpture the Gallery is grateful to being planned for 1996. Work contin- gural gift of Perry R. and Nancy Lee Nanette Ross and to Saff Tech Arts, ued on the Mark Rothko catalogue Bass, who have established a fund for who collaborated with the artist to raisonne. the purchase of contemporary art. A fabricate the work. Significant changes in personnel this three-part color print framed in a hand- The department is planning a number year included the arrival of curator painted folding screen of cast bronze, of major exhibitions: Willem de Kooning: Mark Rosenthal, formerly of the Phila- Gateway, was a focal piece in the exhibi- Paintings will open in May 1994, fol- delphia Museum of Art and the Solo- tion Helen Frankenthaler: Prints. Musa lowed later that month by a presenta- mon R. Guggenheim Museum, New Guston, the late wife of abstract expres- tion of approximately 90 works from York, replacing Jack Cowart, who left to sionist artist, Philip Guston, bequeathed the Dorothy and Herbert Vogel Collec- become deputy director and chief cura- two of her husband's paintings to the tion. Scheduled for 1995 is a major tor of the Corcoran Gallery of Art. Asso- Gallery, an early work, Review, and a Claes Oldenburg retrospective as well as ciate curator Jeremy Strick left to large later canvas, Untitled. Also re- a definitive Mondrian exhibition and a become curator of modern art at the ceived as a gift was an important presentation of Arshile Gorky's paint- Saint Louis Art Museum, and Maria sculpture by Nancy Graves, Unending ings and drawings of the 1940s. A large Prather was promoted to take his place. Revolution of Venus, Plants, and Pendulum. survey of the contemporary art collec- For this remarkably complex, kinetic tion of Robert and Jane Meyerhoff is

18 and Donald La Rocca from the depart- No. 16, which he used during visits to ment of arms and armor at the Metro- Copenhagen and Brittany between politan Museum of Art came to study 1884 and 1888. the two parade helmets from the The collection of old master drawings Widener Collection and the shield continued to grow at a steady rate, with painted by Andrea del Castagno. the addition of 58 drawings through Progress was made on the systematic gifts and purchases. The major gift this catalogues of Renaissance plaquettes, year came from the late Arthur Lieb- Renaissance medals, and 19th-century man of Lake Forest, Illinois, whose wish French sculpture. The department also that 3 5 drawings from his collection assisted with preparations for Giambo- should come to the National Gallery logna's "Cesarini Venus," opening at the was fulfilled by his friend and executor Gallery in September 1993, and for Cur- Dr. Kenneth Maier. The strength of the rency of Fame, the 1994 exhibition on Liebman collection lay mainly in the Renaissance medals organized in French school, with notable works by collaboration with the Prick Collection such well-known artists as Claude Lor- and curated by Stephen Scher. rain, Antoine Watteau, and Jean-Bap- tiste Greuze that make significant con- Old Master Drawings tributions to the Gallery's collection. The Liebman gift also brought the Attention this year focused not only on Gallery its first gouache by Jean-Bap- acquisitions but on exhibitions, as the tiste Mallet; a fine group of pastel por- department was involved in the plan- traits by James Sharpies, Hugh Douglas ning of four shows. The principal pro- Hamilton, and Friedrich Christian ject was the exhibition and catalogue of Krieger; and an unusual monochrome Drawings from the O'Neal Collection hon- seascape by Paul Signac. In addition, a oring the 1991 gift and promised gift of gift from Thomas Le Claire of Hamburg, more than 300 Continental and British Germany, brought Johann Wilhelm drawings from William B. O'Neal, pro- Schirmer's Ruined Stairs at Neuss to the fessor emeritus of architectural history Gallery's growing group of German at the University of Virginia. The impor- romantic drawings. tance of this gift was amply conveyed in Among the most important purchases the exhibition of 58 drawings from five this year was a striking model drawing centuries. Among the highlights were a by Jacob Jordaens for his 1630 altar- group of stage designs and architectural piece, Saint Martin of Tours Healing the drawings of Italian, French, and Ger- Servant of Tetrodius. This large, colorful man origin and a strong selection of work gives a major boost to the British works. Gallery's collection of 17th-century Sculpture and Decorative The most extensive exhibition of Flemish drawings. The British collection Arts works on paper this year was The Great in its turn was augmented by three Age of British Watercolors, 1750-1880, splendid watercolors: a view of Bath Plans for reinstallation of the National jointly organized by the Royal Academy by the great architectural draftsman Gallery's sculpture and decorative arts in London and the National Gallery of Thomas Malton, arguably one of the holdings occupied much time and study Art. A survey of 256 works chosen from best drawings anywhere by his hand; an this year. Visiting curator Suzanne public and private collections through- early view by John Varley of one of his Lindsay reinstalled portions of the col- out Britain and America, this exhibition favorite motifs, Harlech Castle; and an lection and prepared a final proposal for brought together a selection of the enchanting Interior ofBushey Church by other main floor installations. Peter finest and most important works in the William Henry ("Bird's Nest") Hunt. All Fusco, curator of sculpture and works of field. Also shown this year were two three were included in the National art at the J. Paul Getty Museum, visited selections of drawings from the National Gallery's installation of The Great Age for two weeks and submitted a proposal Gallery's Armand Hammer collection. of British Watercolors. for the comprehensive reinstallation of The first focused on figure studies and Among other purchases this year the sculpture collection. In addition, compositional drawings from Raphael were a dozen works by artists who are Lionello Boccia, director of the Stibbert to Picasso; the second consisted of 36 new to the National Gallery, most Museum, Florence, and Stuart Pyrrh sheets from Gauguin's Breton Sketchbook notably an impressive double-sided

19 Giovanni Domenico Tiepolo, The Marriage of Angelica and Medoro, Ailsa Mellon Bruce Fund, 1993.16.1 Giovanni Benedetto Castiglione, The Animals Going toward the Ark, c. 1630, Ailsa Mellon Bruce Fund, 1992.107.1

drawing from about 1615 by Giacomo Old Master Prints depictions of 18th-century tradespeople, Cavedone, a leading member of the such as a chimney sweep, rubbish col- Carracci school, and a grand study of an The department's activities this year re- lector, and hawker of baked goods. angel by Giovanni Battista Beinaschi for volved around acquisitions and research Several prints added strength to the his painting of God the Father and the Vir- for future exhibitions. Important acqui- Italian 18th-century holdings, among gin in Glory in Santa Maria del Suffragio, sitions included a fine impression of them four early proofs of Giovanni Bat- Rome. In addition, the Gallery's collec- Jean Mignon's Judgment of Paris, which tista Piranesi's etchings of monumental tion of 18th-century Italian drawings adds to the Gallery's growing collection candelabra and an early impression of was enhanced with one of Giovanni of Fontainebleau School prints, and a Giovanni Domenico Tiepolo's etching Battista Tiepolo's well-known studies of hitherto unrecorded early state of Cas- The Marriage of Angelica and Medoro, a figures seen from below, the first of this tiglione's etched Noah Leading the Ani- work based on Tiepolo family frescoes type for the Gallery; a fan design by mals into the Ark. The Flemish artist in Villa Valmarana. Still other works another Venetian, Giovanni Battista Adriaen Collaert's bound volume of include four more of the endlessly fasci- Crosato; and a ceiling decoration by the bird engravings, Avium Vivae Icones, con- nating lithographs by the French 19th- architect Giacomo Quarenghi, who sists of two sets of birds in landscapes, century master, Honore Daumier, and a worked at the court of Catherine the dating 1580 and c. 1600, and is a gift of complete set in original covers of Great in Russia. Among various draw- The Circle of the National Gallery of Eugene Blery's Eaux fortes gravees sur ings added to the German collection Art. Another large series of prints in a nature. were four landscapes in a variety of bound volume is the rare first edition of Preparations continued for an exhibi- styles and media by Franz Innocenz the Italian artist Gaetano Zompini's Le tion of ornament in European prints, Josef Kobell, one of the most influential Arti che vanno per via nella Citta di drawings, and decorative arts objects artists working at the turn of the 19th Venezia, published in 1753. The 60 from 1300-1800, scheduled for spring century. engraved and etched images are lively 1994. Research also progressed on

20 prints by Adriaen van Ostade, a 17th- abstractions—three in dramatic black Gateway, one of 12 unique bronze century Dutch artist, and on 17th-cen- and white, two suggesting Kline's late screens—part painting, part sculpture, tury northern European portraiture. interest in color—were donated by Mrs. and part print—was given to the Na- The East Building study room served Elisabeth R. Zogbaum. tional Gallery by Perry R. and Nancy 878 visitors who came to study myriad Among other gifts of drawings, Mr. Lee Bass. aspects of the Gallery's old master prints and Mrs. Herbert A. Goldstone gave an Other donations from artists included and drawings. ink and graphite sheet by Arshile Mr. and Mrs. Richard Diebenkorn's gift Gorky, from his Nighttime, Enigma, and of his Study for Untitled (from Club/Spade Modern Prints and Drawings Nostalgia series. The Gallery's first Group '81-82), a glowing red watercolor gouache by Jacob Lawrence, Street to with pastel, related to a lithograph in Three important groups of modern M'bari, a vibrant market scene, was the Gallery's Gemini G.E.L. Archive. drawings were given to the National given by Mr. and Mrs. James T. Dyke. Three artists donated new series of Gallery this year. The Georgia O'Keeffe A major undertaking this year was prints: Ellsworth Kelly, his Mallarme Foundation donated 14 early charcoals the exhibition Helen Frankenthaler: Suite of four vibrant color lithographs by O'Keeffe, providing the Gallery with Prints, which is traveling to San Diego, on bright white paper; Roy and Dorothy the single most significant collection of Boston, Cincinnati, and Tokyo. On the Lichtenstein, his La Nouvelle Chute de the works by which Alfred Stieglitz was occasion of the opening, Frankenthaler I'Amerique, 10 aquatints with text by first introduced to her art. An album of gave the Gallery one of her most recent Allen Ginsburg; and Joel Shapiro, with 23 untitled works on paper by Arthur paintings on paper, Study for "Freefall." Pace Editions and printer Aldo Crom- Dove, another member of the Stieglitz She also donated jointly with Tyler melynck, the Gallery's first prints by circle, came from William C. Dove, the Graphics Ltd. an impression of the sub- Shapiro, a portfolio of four lush artist's son. The Gallery's first works on tly colored Freefall woodcut, her largest aquatints. paper by Franz Kline, five splendid to date. In addition, Frankenthaler's Further gifts of prints included Fifth

21 ''

Georgia O'Keeffe, Special No. 2, 1915, The Alfred Stieglitz Collection, Gift of the Georgia O'Keeffe Foundation, 1992.89.4

Stone, Sixth Stone, an unbound book with was donated by Elaine and James D. for the Gallery's first drawing by Walter six dramatic etchings by Lee Bontecou, Wolfensohn and The Dunlevy Milbank Gramatte. from the George and Frances Armour Foundation. The Gallery was fortunate Among other exhibitions of modern Foundation. Bontecou's related litho- to acquire a group of Jacob Lawrence's works on paper, Series and Sequences pre- graph, Thirteenth Stone, was the gift of screenprints: Revolt on the Amistad was sented drawings and prints in the per- Werner H. and Sarah-Ann Kramarsky, the gift of its printer, Lou Stovall. And manent collection by 12 artists, includ- who also donated the 1990 New three works from the Toussaint L'Over- ing Nancy Graves, Sam Francis, David Provincetown Print Project portfolio: ture series were donated by Alexander Hockney, Jasper Johns, and Sol LeWitt, monoprints by Mary Frank, Gregory M. and Judith W. Laughlin. each of whom had explored ideas by Gillespie, George McNeil, and Fred Funds from the Collectors Committee creating sequences of images related by Sandback. The Gallery's first work by allowed for the purchase of the first theme or form. At the end of the fiscal Russian artist Uya Kabakov, La Douce work by Sean Scully to enter the collec- year the Lovis Corinth exhibition high- (The Dream of Abu-Said), a portfolio of 39 tion, an untitled 1989 drawing in oil lighted master prints and drawings hand-colored woodcuts and 2 drawings, pastel. Other discretionary funds went recently given by the family of Sig-

22 Richard Diebenkorn, Study for "Untitled (from Club/Spade Group '81-82)," 1982, Gift of Mr. and Mrs. Richard Diebenkorn, 1992.90.1

bert H. Marcy, a close friend and patron department is also completing the cata- Photographs of the artist. logue raisonne of Roy Lichtenstein's Through the continuing generosity of After several years' work, the depart- prints, which will be published on the donors, the National Gallery's collection ment completed the computerization of occasion of the survey exhibition at the of photographs was significantly the Index of American Design, 18,244 National Gallery in 1994. Also under- expanded again this year. The depart- watercolor renderings of American dec- way are exhibitions of works in the ment devoted much attention to an orative arts objects painted in the 1930s Gemini G.E.L. and Milton Avery ongoing effort to acquire all of the pho- as part of the WPA. This facilitated a Archive collections. The department tographs represented in Robert Frank's comprehensive inventory of the collec- assisted 419 visitors in the West Build- 1989 publication The Lines of My Hand. tion. Great strides were made in prepar- ing prints and drawings study room. Funds donated by the Ann and Gordon ing the catalogue raisonne of Georgia Getty Foundation, the Glen Eagles O'Keeffe's paintings, watercolors, draw- Foundation, the Horace W. Goldsmith ings, and sculpture, a joint project with Foundation, the Evelyn and Walter the Georgia O'Keeffe Foundation. The

23 Robert Frank, Assembly Plant, Ford—Detroit, 1955, Gift of Lois and Georges de Menil, 1993.35.5

Haas, Jr. Fund, the Mars Foundation, complement the Gallery's growing col- gravures—the exhibition demonstrated Lois and Georges de Menil, Mr. and lection of work by this seminal photog- how photographic prints look and how Mrs. Ricard R. Ohrstrom, Amy Rose, rapher. they differ from one another. It also the Collectors Committee, and an This year the department organized showed how photographers can change anonymous donor allowed the Gallery the exhibition Stieglitz in the Darkroom, not only the aesthetics but the meaning to acquire 43 superb photographs by which included 75 examples from the of their images through size, tone, crop- Frank. From extremely rare prints made Gallery's collection of 1,600 photo- ping, and printing processes. An exhibi- in New York in 1947, to vintage prints graphs by this American artist. By pre- tion brochure was made possible with of his much-celebrated Bus series from senting different kinds of prints made funds from The Arcadia Foundation and 1958, to unique pieces from the late from the same negative—including additional funding from The Circle of 1970s and early 1980s, such as 4 A.M. platinum, palladium, carbon, and the National Gallery of Art. Make Love to Me/Love, these works richly silver gelatin prints, as well as photo- The photographs and paper conser-

24 and scholars from six museums and authors with research on object prov- universities around the country. enance and literature, which has the Research continued on the upcoming added benefit of amplifying the curator- Robert Frank exhibition, which will open ial files. This year particular attention in 1994, and preparations began on two was paid to the provenance of the future exhibitions on the art of Harry Gallery's early 19th-century French Callahan, scheduled for 1995, and paintings. August Sander, scheduled for 1996. Registration Curatorial Records Coordinating the shipment of works This department made significant of art in the exhibition Great French progress in expanding the database on Paintings from The Barnes Foundation, objects in the National Gallery collec- from Merion, Pennsylvania, to Wash- tions and in organizing data in a variety ington and Paris, was the most signifi- of ways to facilitate research and cant challenge for the registrar's office administration. Based on a wide range this year. The massive size of the of sources, database records are contin- Matisse mural from the Barnes collec- ually updated concerning dates and tion and a related mural from Paris sources of acquisition, provenance, and required special crates and cradles for so on. Major projects completed this the trucks and airplanes bringing the year included the retroactive incorpora- works to the East Building and unusu- tion of attribution changes for all paint- ally complex rigging to move them ings, sculpture, and decorative arts since safely into place on the mezzanine. they have been owned by the Gallery These paintings are among the largest and the addition of bibliographic cita- the Gallery has ever moved. In addition, tions for every object in the collection. the office oversaw shipment of The A notebook compiled by David Finley Greek Miracle, Watson and the Shark, and while secretary to Andrew Mellon pro- Helen Frankenthaler: Prints to 5 other vided valuable information on the origi- venues, coordinated the installation of nal Mellon gift. Researchers with access 11 temporary exhibitions at the Gallery to the collection management system and numerous selections of 20th- not only can print reports directly but century art in the East Building, and can also transfer information into word refined the West Building reinstallations processing documents. of the permanent collection. Paper files were augmented sub- The number of acquisitions decreased stantially this year, with materials from record levels reached during the assembled from curatorial, registrarial, past two years of gifts made in honor of lending, conservation, and other depart- the National Gallery's 50th anniversary. ments. Scholars involved in the system- Of the 272 works of art entering the atic catalogue project also consign perti- collection this year, there were 6 paint- nent research materials to the Gallery at ings, 6 sculptures, 217 works of graphic the completion of their work. The object art (drawings, prints, bound volumes, vation departments organized a three- files this year were consulted by Gallery portfolios), and 43 photographs. For a day colloquy at the Gallery, "Alfred staff as well as by 147 outside research- complete listing of art acquisitions in fis- Stieglitz's Palladium Portraits of Georgia ers from around the world. cal year 1993, please see pages 81-85 of O'Keeffe," to address the nature of Ed- Members of the department checked this report. ward Steichen's treatment of Stieglitz's the information on Gallery objects to be Complete documentation of the palladium prints. Steichen left no notes presented in upcoming systematic cata- Dorothy and Herbert Vogel Collection or records, and it is not clear whether logues. The review of non-Western art was a notable achievement that the present tone of the prints is original materials prompted a change from involved measuring, labeling, storing, or the result of Steichen's treatment. Wade-Giles to pin-yin transliteration of and data entry for 1,309 works of con- The colloquy, sponsored by the Center Chinese characters for cataloguing the temporary art. Notebooks were pre- for Advanced Study in the Visual Arts, collection of porcelains. The office con- pared with photographs and data sheets brought together conservators, curators, tinued to assist systematic catalogue on each object in this large collection.

25 Giacomo Cavedone, Seated Warrior Holding a Sword and Shield, c. 1612, Ailsa Mellon Bruce Fund, 1993.13.l.a

Confronting serious space restrictions preparation of new frames, and handled at 3 venues; and 5 other exhibitions for storing contemporary paintings and 2,093 works of art leaving the Gallery, were out on loan. sculpture, department staff evaluated 1,594 incoming loans, and 546 objects Two new exhibitions were added to several off-site facilities. To improve arriving for other purposes. the NLS roster. Master Prints from Graph- access to painting storage in the West icstudio contains 52 works produced at Building, the Gallery installed floor-to- one of the country's premier printmak- ceiling doors leading off the central Loans and the National ing workshops, including prints by gallery. The next phase of renovation, Lending Service Chuck Close, Jim Dine, Nancy Graves, slated for fiscal year 1994, will include Roy Lichtenstein, Robert Rauschenberg, the installation of hinged windows in During fiscal year 1993 the department and Miriam Schapiro. American Naive the Study Center entrance that will administered the loans of 976 objects Paintings from the National Gallery of Art enable the staff to bring works of art for 105 temporary exhibitions at 145 features 35 of the popular 19th-century over 10 feet high into the East Building institutions and the extended loans of paintings from the Edgar William and without removing large panes of glass. 280 works at 63 sites. Of these, works Bernice Chrysler Garbisch Collection, As more information is entered into in the National Lending Service (NLS) composed of portraits, landscapes, still the collection management database comprised 525 loans to 32 temporary lifes, and genre scenes. A total of 10 specifically for loans, deposits, and loca- exhibitions at 39 institutions as well as NLS exhibitions are now available for tion histories, the system has become 276 extended loans. Loans of 161 works loan. As a result of increased promo- increasingly useful for registrarial pur- to the National Gallery for display with tional efforts at professional meetings poses. The annual inventory went the permanent collection were also and in specialized newsletters, there are smoothly using the database, including processed by this department. more than 50 scheduled bookings of the first inventory of the vast Index of The total number of works on loan NLS exhibitions. American Design. represents a dramatic increase over pre- Additional materials produced to The volume of outgoing loans and the vious years, owing to the greater num- accompany NLS shows included pro- number of National Lending Service ber of bookings for NLS exhibitions, gramming guides for the Rothko and exhibitions increased significantly (see shown this year at 13 venues. Mark American naive painting exhibitions, the following report), which required Rothko: The Spirit of Myth, Early Paintings intended to help borrowing museums stepped-up efforts in preparation, pack- from the 1930s and 1940s was the most provide interpretive programs for visi- ing, and shipping. The office issued 93 popular, traveling to 4 museums; Master tors. The guides were written for use at copyist permits, arranged arrival and Prints from Gemini G.E.L. was on display high school and middle school levels,

26 The National Lending Service makes available loans such as the Mark Rothko, Street Scene, 1936/1938, Gift of The Mark Rothko Foundation, 1986.43.45

but format and content can be modified Baroque Prints were seen at the National Conservation for use with broader audiences. Gallery of Canada, Ottawa. Other The department also administered important works from the Gallery's col- The conservation division gave numer- other large groups of loans: 37 Euro- lections were lent to major domestic ous two-day Art in Transit workshops pean paintings were lent to Athens for and international exhibitions. that served nearly 1,000 museum pro- the exhibition From El Greco to Cezanne; fessionals across the U.S. and Canada. 60 photographs from the Gallery's This series was cosponsored with the Walker Evans exhibition traveled to Smithsonian Institution's Conservation Andover, Massachusetts; 143 works Analytical Laboratory and the Canadian from Eva/Ave: Woman in Renaissance and Conservation Institute. The division has

27 Canaletto, Campo San Zanipolo, Venice, c. 1740, Widener Collection, 1942.9.7

undertaken a new study to improve the division; and the second publishes National Gallery of Art that sought safety in transit of three-dimensional art papers from at a symposium held in improvements in traditional infrared objects. memory of Joseph V. Columbus, long- imaging systems found an existing cam- The National Gallery produced two time textile conservator for the Gallery. era, built by the Kodak Corporation for conservation publications this year: the Advances in computer imaging tech- industrial and military applications, to first issue of Conservation Research pre- nology have led several conservation be adaptable to the Gallery's require- sents the results of technical research on departments to acquire new equipment. ments. Kodak modified its prototype the collection by fellows and staff of the Research supported by The Circle of the camera to produce images of startling

28 clarity and donated the unique camera These were Canaletto's Square of Saint rare Self-Portrait and Manet's charming to the National Gallery. Mark's-, Venice, the Quay of the Piazzetta; Oysters. The delicate cleaning of Campo San Zanipolo, Venice; and The Por- Domenico Veneziano's Madonna and Painting Conservation tello and Brenta Canal at Padua. Georges Child revealed the robust but sensitive Of the 18 major treatments completed de La Tour's beautiful Repentant Magda- beauty of the painting, while the Por- this year, 4 coincided with the conser- lene was cleaned for a focus exhibition. trait of Rembrandt by the Rembrandt vation and hanging of the newly ac- Treatments in preparation for outside workshop acquired more depth and quired Bellotto, The Fortress of Konigstein. exhibitions included Judith Leyster's luminosity following conservation.

29 Other treatments included Apollo Pursu- processes used by Stieglitz were recre- ing Daphne and A Scene from Ancient His- ated in the lab to provide analytical tory by Giovanni Battista Tiepolo, Interi- standards against which to measure the or of the Pantheon by Pannini, and Para- collection prints. ble of Lazarus and the Rich Man by the Conservation of other works on paper workshop of Domenico Fetti; two im- in the collection included major treat- pressionist paintings, Childe Hassam's ment of a new chalk drawing of Christ Allies Day and Mary Cassatt's Miss Mary on the Cross by Algardi. Stains were Ellison: and two newly acquired 20th- removed using a new inverted suction century works, Marsden Hartley's Maine disc technique, which does not require Woods and Georges Braque's Harbor. detachment of the sheet from its sup- The new camera donated by the port. Large areas of stain were removed Kodak Corporation for infrared research from Anton Raphael Mengs' charcoal has greatly enhanced the study of paint- drawing, Standing Male Nude. And Apoth- ing construction and artists' techniques eosis of Saint Vitali by Gandolfi, embrit- and materials as well as technical exam- tled by the artist's use of iron gall ink, inations for the systematic catalogue. In was reinforced in weakened areas with total 97 major examinations, 68 minor Japanese paper fibers. examinations, and 97 minor treatments A recently hired conservator for rare were completed. books brings new expertise to conserva- Conservators spent considerable time tion of the National Gallery library col- in connection with paintings for exhibi- lection. Nine volumes have received tion, both in the Gallery and elsewhere, major treatment, including rebacking of with special focus on the Barnes, Ells- the spine of an 18th-century copy of worth Kelly, Rothko, and Mondrian ex- Biography of Correggio and a full leather hibitions. Examinations of paintings on rebinding of a moisture-damaged vol- loan to government buildings and em- ume of Treatise Concerning the Search after bassies continued, with particular con- the Truth, dated 1700. cern for climate control. Paper conservators completed 119 Getty Intern Carl Villis and intern major treatments, 465 minor treat- Melissa Katz worked in the department ments, and condition examinations for this year. Jane Tillinghast concluded the approximately 1,100 objects for exhibi- second year of her Culpeper Fellowship tions, including Stieglitz in the Darkroom, doing research on Carpaccio. British Watercolors, Helen Frankenthaler: Prints, and John James Audubon: The John Singleton Copley's Watson and the Shark, Paper Conservation Watercolors for the "Birds of America." 1778, Ferdinand Lammot Belin Fund, 1963.6.1, Two photograph conservators joined the Elmer Eusman completed a three- was the subject of a "focus" exhibition in 1993 department this year. They worked on year Mellon Fellowship doing research two sets of Robert Frank's Black, White, on tideline and stain formation. and Things, an album of 34 photograph- Object Conservation ic images put together by the artist. They treated photographs for the Research on works in the permanent Stieglitz in the Darkroom exhibition, wrote collection assumed a major role in a technical glossary for the brochure, department activities this year. During and prepared didactic panels for the the exhaustive examination of the poly- involved studying most of the 13 related installation. They also coorganized a chromed terra cotta relief Madonna and reliefs in Europe. curatorial/conservation colloquy on Child, attributed to the Circle of Gio- The enigmatic Saint-Porchaire cer- "Alfred Stieglitz's Palladium Portraits of vanni di Turino, the remains of several amics will be the focus of a volume of Georgia O'Keeffe," sponsored by the centuries of repainting were discovered. Studies in the History of Art that presents Center for Advanced Study in the Visu- After consultation with experts at the art historical and new technical findings al Arts. Colloquy participants were Institut Royal Patrimoine Artistique in on examples from seven international shown how prints of the same image Brussels, treatment is in progress. museums, research funded by a Smith had aged differently and how chemical Research on Sansovino's large Madonna Fellowship. A Mellon Fellowship spon- treatments done by Edward Steichen and Child cartapesta relief, supported sored research on the surface finishes of could have affected them. The print by a Robert H. Smith Fellowship, has David Smith sculpture; with the scien-

30 tific research department, paint cross faces of Adolf Gottlieb's Wall led to the the protection of outdoor bronze sur- sections and enamel samples were sys- testing of various approaches to pre- faces. Systematic catalogue research tematically analyzed. serve the original paint the artist applied focused on the bronze and marble fig- Major treatments were completed on to this outdoor sculpture. Treatment ural sculpture of Giambologna and the important mounted bronze Pistoia continues on the fragile wax Nude related works from the 16th through Crucifix by Pietro Tacca, the 16th-centu- Standing in a Fearful Pose, attributed to 18th centuries; Renaissance furniture, ry Roman sculpture Virtue Overcoming Tribolo. portrait medals, and rock crystal; and Vice, and a Qing Dynasty Vase, in which The annual maintenance of Henry 17th- to 19th-century French sculpture. the original light green glaze surfaces Moore's monumental Knife Edge Mirror Object conservators completed 7 were revealed when thick black over- Two Piece at the entrance to the East major and 43 minor treatments, 156 paint was removed. Analyses of the sur- Building prompted an investigation into technical examinations for the systemat-

31 ic catalogue, and condition examinations often published in systematic catalogues, si's painting materials and techniques for more than 170 exhibition objects. exhibition catalogues, or journals. has revealed that Dosso used the same The staff assisted with The Greek Miracle Full technical investigations of palette as his Venetian contemporaries and Art of the American Indian Frontier numerous works of art have been and that some of his paintings have an exhibitions as well as Giambologna's undertaken this year. Preliminary imprimatura that contains clay. "Cesarini Venus," which required exam- results of a comparative study of Jan The corrosion of Jasper John's Gemi- ining and overseeing deinstallation of van Eyck's Annunciation and an earlier ni G.E.L. lead reliefs was determined to the sculpture in Rome, subsequent treat- Netherlandish altarpiece dated c. 1400 have been caused by the catalytic action ment, and transport to Washington. indicate that a fully developed oil paint- of gases released by the original materi- ing technique was in use earlier than als. Measures to limit continued corro- has been realized. Another study com- sion have been implemented. Scientific Research Department pares the National Gallery's Repentant A protocol was developed to identify This department continued to provide Magdalene by Georges de La Tour with light-sensitive species in Alfred Stieg- technical analyses for conservation and the artist's Magdalene of the Smoking litz's photographs using air-path energy curatorial staff and to collaborate on Flame from the Los Angeles County dispersive x-ray spectroscopy (XRF). long-term research projects. Results are Museum of Art. A study of Dosso Dos- XRF was also used for quantitative ele-

32 lead compared with lead white and red Dr. Brian Singer, senior lecturer in lead that have blackened due to the conservation science at the University of effect of gaseous hydrogen sulfide. Northumbria at Newcastle, United King- These results explain the appearance of dom, was a guest in the department in certain areas in Japanese prints. An August. Oxford eXL II energy dispersive x-ray spectrometer (EDS) was acquired, Loans and Exhibitions Conservation allowing the identification of elemental composition of single particles. SEM/ This department oversees the conserva- EDS permits the analysis of pigments tion preparations for every National and other materials in works of art. Gallery of Art exhibition. For The Greek Pyrolytic methods for the identification Miracle the staff worked closely with of paint binding media and other or- conservators and curators in Greece to ganic materials were extensively stud- plan each aspect of the packing and ied. An advantage of pyrolysis-gas chro- transport of the classical sculpture. A matography/mass spectrometry (Py- number of works required treatment GC/MS) over other analytical methods before leaving Greece, mostly to replace is that it can be used to identify all old restorations that were in poor con- materials in one analytical procedure. dition. Following the exhibition in The method proved useful in identifying Washington, the sculpture was shown drying oils and natural resins in several at the Metropolitan Museum of Art and samples from paintings. Initial results returned to Greece. on other materials, such as proteins and The National Gallery provided sub- polysaccharides, are encouraging. stantial help with the packing and Methods for analyzing gums and their transport of Great French Paintings from aging processes were studied to develop The Barnes Collection. For The "Dance" a protocol for their identification in Murals of Henri Matisse, the Gallery watercolors and other materials. A high worked with the Musee d'Art Moderne performance liquid chromatography de la Ville de Paris to transport two (HPLC) method was developed for iden- murals composed of three paintings tifying red, yellow, and indigo dyes and each, with the largest almost 12 feet tall Thomas Malton, Milsom Street in Bath, 1784, organic pigments. The dyes in the Gob- and over 16% feet long. Preparations Ailsa Mellon Bruce Fund, 1992.96.1 elin tapestries and the lake pigments in were made throughout the year for the a watercolor box used by Winslow upcoming exhibition Age of the Baroque Homer were identified. in Portugal, which will contain many Studying degradation at tidelines in large three-dimensional works of art, paper, which may occur during local including an 18th-century coach. treatment with liquids, proof that The matters/framers prepared several oxidative processes occur in the tideline exhibitions and did considerable work mental analysis of approximately 200 region was obtained by quantitative on the permanent collection, especially Renaissance plaquettes in the collection. analysis of peroxides. photographs by Stieglitz and Robert The data make possible the identifica- The aging of films cast of mixtures of Frank and works on paper given by tion of manufacturing sites, attributions, synthetic low-molecular-weight (LMW) Dorothy and Herbert Vogel. Fully 994 and forgeries. resins and polymers was studied using works in the collection and 279 works Small bronzes in the exhibition several analytical techniques. The addi- for temporary exhibition were matted, Giambologna's "Cesarini Venus" are being tion of polymer to the LMW resins im- 417 were framed, and 216 frames were characterized by alloy composition and proves handling properties and reduces built. Innovative storage procedures the data being compared with Renais- brittleness of the varnish films. These were developed for works in the John sance bronzes from the Gallery's collec- experimental varnishes are more stable Marin archives. The matters/framers tion to give insight into foundry and than currently used picture varnishes. hosted a two-day visit by colleagues casting practices. Change in color saturation brought from the Art Institute of Chicago and The department is using the newly about by varnishes is measurable, and the Victoria & Albert Museum. acquired JEOL 6300 digital scanning polymeric varnishes give consistently Frame conservators focused on re- electron microscope (SEM) to study lower color saturation than synthetic framing paintings in the Gallery's col- deliberately altered lead white and red LMW and natural varnishes. lection and preparing an inventory of

33 the frame collection. The increased Series and Sequences: Contemporary workload required an expansion in staff Drawings and Prints from the Perma- and studio space. During the year 7 nent Collection major and 378 minor treatments were 25 October 1992-14 March 1993 completed; 28 paintings in the collec- coordinated by Ruth E. Fine tion and 12 paintings in temporary Ellsworth Kelly: The Years in France, exhibitions were reframed. Special 1948-1954 frames were developed for many paint- 1 November 1992-24 January 1993 ings in the National Lending Service coorganized with the Galerie nationale du exhibitions. Jeu de Paume, Paris coordinated by Jack Cowart

The Greek Miracle: Classical Sculpture Exhibitions from the Dawn of Democracy, the Fifth Century, B.C. 22 November 1992-7 February 1993 The exhibitions office oversaw the coorganized with The Metropolitan Museum opening of 14 exhibitions at the Na- of Art, New York, and the Ministry of Cul- tional Gallery during the year, ranging ture of the Government of Greece from The Greek Miracle to Great French coordinated by D. Dodge Thompson Paintings from The Barnes Foundation. For supported by Philip Morris Companies Inc.; an indemnity was provided by the Federal these exhibitions, 144 lenders from 10 Council on the Arts and the Humanities countries and 18 states lent 657 works of art. The department also worked on John Singleton Copley's "Watson and another 44 exhibitions scheduled to the Shark" 17 January-11 April 1993 open in the next four years and admin- coordinated by Nicolai Cikovsky, Jr. Thomas Girtin, The While House at Chelsea, was lent istered the tours of 11 traveling exhibi- to the National Gallery oi Art last year by the Tate tions. U.S. government indemnity was Drawings from the 0 'Neal Collection Gallery, London, for exhibition in The Great Age of secured for three exhibitions, enabling a 7 March-15 August 1993 British Watercolors savings of more than $780,000 in insur- coordinated by Margaret Morgan Grasselli and Judith Brodie ance premiums. William M. Flarnett 14 March-13 June 1993 Temporary Exhibitions at the coorganized by The Metropolitan Museum of National Gallery of Art Art, New York; Amon Carter Museum, Fort Worth; and the Fine Arts Museums of San Francisco The Great Age of British Watercolors, French Drawings from the Armand coordinated by Nicolai Cikovsky, Jr. Hammer Collection 1750-1880 continued from the previous fiscal year to Helen Frankenthaler: Prints 9 May-25 July 1993 8 November 1992 18 April-6 September 1993 coorganized with the Royal Academy of Arts, coordinated by Margaret Morgan Grasselli coordinated by Ruth E. Fine London coordinated by Andrew C. Robison Art of the American Indian Frontier: Georges de La Tour's "Repentant indemnity was provided by the Federal The Collecting of Chandler and Pohrt Magdalene" Council on the Arts and the Humanities continued from the previous fiscal year to 25 April-3 October 1993 24 January 1993 coordinated by Philip Conisbee Lovis Corinth: Master Prints and Draw- coorganized with The Detroit Institute of ings from the Marcy Family and the Arts and the Buffalo Bill Historical Center, Great French Paintings from The National Gallery of Art Cody, Wyoming Barnes Foundation: Impressionist, Post- 12 September-21 February 1994 coordinated by Gaillard F. Ravenel and Mark Impressionist, and Early Modern coordinated by Andrew C. Robison A. Leithauser 2 May-15 August 1993 supported by the Founders Society Detroit coordinated by D. Dodge Thompson Giambologna's "Cesarini Venus" Institute of Arts supported by GTE Corporation 26 September 1993-15 May 1994 coordinated by D. Dodge Thompson Stieglitz in the Darkroom The "Dance" Murals of Henri Matisse supported by Republic National Bank of New 4 October 1992-14 February 1993 2 May-26 September 1993 York; an indemnity was provided by the Fed- coordinated by Sarah Greenough coordinated by D. Dodge Thompson eral Council on the Arts and the Humanities supported by a gift in memory of Pierre Matisse

34 Design and Installation orate graphics such as maps and time Barnes' house museum was shown lines, an audiovisual program, and the with the recently discovered "first ver- Highlighting the exhibitions designed Gallery's first public use of an interac- sion" of the mural, which had not been and installed by the department this tive computer. seen since the 1930s. The two murals, year was The Greek Miracle. Exhibition Great French Paintings from The exhibited on the mezzanine terrace, designers studied numerous installa- Barnes Foundation included 80 works were discussed in a detailed text panel tions of classical sculpture to determine from the renowned collection of Dr. that chronicled the remarkable history the most effective way of presenting the Albert C. Barnes. For its installation in of this complex commission. works in the show. They worked close- the East Building no attempt was made The Great Age of British Watercolors was ly with curators from Greece and the to replicate the convention of layered installed in ground floor galleries of the other lending institutions to coordinate hanging seen at the Barnes Foundation, West Building. The 256 works of art the special requirements for display, but this aspect of Dr. Barnes' aesthetic were divided into six sections, with security, and lighting of these rare and was conveyed through photographic smaller works shown in appropriately fragile pieces. East Building galleries murals and wall labels. A special gallery scaled galleries and a final group shown were articulated with simple classical painted deep blue featured Seurat's in a setting that suggested the great detailing to suggest the original settings extraordinary Models. The exhibition halls of the Royal Academy in London. of the sculpture, and illumination was closed with a vast gallery devoted to Special attention was given in this last diffuse rather than dramatic, especially Barnes' incomparable Matisses. section to presenting the watercolors in in the upper level galleries where day- As a special adjunct to the Barnes large gold frames and gold mats against light could be combined with artificial exhibition, the monumental Dance deep red walls, a convention popular light. The installation incorporated elab- mural Matisse designed especially for when the works were created. Owing

35

Among the highlights in The Greek Miracle were The Kritios Boy, 480-470 B.C., Acropolis Museum, Athens, and the Running Girl, 490-480 B.C., Archaeological Museum, Eleusis (left); the Kouros, 530-520 B.C., National Archaeological Museum, Athens (above); Herakles Receiving the Golden Apples of the Hesperides, c. 460 B.C., Archaeological Muse- um, Olympia (above right); and the Female Figure, c. 460 B.C., National Archaeological Museum, Athens, and Grave Stele of Eupheros, 430-420 B.C., Kerameikos Museum, Athens (right) to the sensitive nature of the materials the installation of more energy-efficient in these paintings, the lighting was care- architectural exhibition lighting, and the fully controlled. updating of lighting for the fagade of Of the three "focus" exhibitions this the West Building. year, Giambologna's "Cesarini Venus" was unusual in that the central work was Education not part of the Gallery's collection but an unprecedented loan. The newly The education division makes the cleaned and restored marble master- National Gallery of Art's collections, piece by Giambologna, lent by the exhibitions, and resources on the histo- American embassy in Rome, was shown ry of art as widely accessible as possible, to marvelous effect in the Renaissance providing art information and educa- galleries of the West Building, which tional programs and materials to visitors are detailed in John Russell Pope's of all ages and nationalities as well as to restrained classical manner. millions of people throughout this The design department continued to country and abroad. In fiscal year 1993 refine the reinstallation of permanent the division offered more than 83,000 collection galleries. The acquisition of tours, lectures, programs, and publica- Bellotto's Fortress of Konigstein occa- tions, reaching an audience of more sioned the complete rearrangement of than 39,000,000 people. the 18th-century Venetian and Roman galleries. The new Bellotto was joined Adult Programs by recently cleaned paintings by Bellot- Through tours and lectures, academic to and Canaletto in a powerful culmi- programs, and films, this department nating gallery to the old master Italian provides adult audiences with opportu- collection. Another important acquisi- nities for intellectual enrichment. In tion, Harnett's Old Violin, was incorpo- 1993 two programs were inaugurated to rated into the installation of American focus attention on the permanent col- still-life and genre paintings. Though all lection: an annual lecture series, Broad- of the main floor galleries have been ening Horizons, to explore the ways in reinstalled—with new paint, labels, and which world cultures have approached lighting—work continues in response to similar artistic themes; and Rediscovering suggestions from both staff and visitors. Picasso, with lectures, gallery talks, and part series on sculpture, a course on The department made significant films. modern art, and eight lectures on the progress on the reframing project, ever-popular late 19th-century French begun three years ago as part of the Tours and Lectures-. This section gives artists represented in the Barnes exhibi- 5 Oth-anniversary reinstallation of the daily gallery tours and lectures free of tion. Two summer interns contributed West Building. The project is coordinat- charge to the general public. Volunteer lectures to the schedule. In addition, ed by this department along with docents led daily tours of the West and this unit helped prepare 39 radio talks Gallery curators, painting and frame East Buildings, in English, French, Ger- and interviews to accompany the Sun- conservators, and registrar. Accom- man, Italian, and Spanish. In July and day broadcasts of the National Gallery plishments this year included the inte- August daily tours were also offered in concerts on radio. Lecturers and volun- gration of computer digital imaging Japanese. Currently 110 docents volun- teers also offer tours by appointment for equipment for the development of a teer with the department. groups of adult visitors. photographic and research-oriented The lecturing staff presented tours of database. Of the paintings reframed, 5 the permanent collection and all tempo- Academic Programs: This office oversees received antique frames and 8 received rary exhibitions, short gallery talks on programs both for the general public reproductions; frames for another 8 selected works of art, and several intro- and for college and university students, paintings are on the workbench. In ductory programs on art appreciation including the Sunday lecture series, the fiscal year 1993 the reframing project for the novice visitor. Because of over- Andrew W. Mellon Lectures in the Fine received support from The Circle of the whelming demand for tours of the Arts, and special lectures, courses, and National Gallery of Art. Barnes exhibition, introductory lectures seminars. The 1992 Mellon lectures, On Other projects included continuing were scheduled regularly in the East the Laws of the Poetic Art, were given by research in anticipation of the replace- Building auditorium. Lecturers present- Anthony Hecht. The 1993 Mellon lec- ment of the West Building's skylights, ed four special courses, including a five- tures, The Diffusion of Classical Art in

38 \

Hugh Phibbs, coordinator of matting and framing, explains figure drawing for Washington, D.C., stu- dents attending "high school days" on The Greek Miracle

Antiquity, were given by John Board- special internship to bring greater diver- and video produced by American Indian man. Seven public symposia and lecture sity to the museum profession, support- filmmakers, followed by discussion with courses were offered in conjunction ed this year by The Nathan Cummings each cast and crew. Greek Tragedy from with the exhibitions Art of the American Foundation and by a gift in honor of Stage to Screen, which coincided with the Indian Frontier (with the Smithsonian's Dr. and Mrs. Earl A. Powell III. The Greek Miracle exhibition, considered var- National Museum of the American Indi- office organizes comprehensive orienta- ious approaches to filming Greek an), Stieglitz in the Darkroom, The Greek tion programs for all interns to intro- drama. To complement the Ellsworth Miracle, British Watercolors, and Great duce aspects of the collection and func- Kelly exhibition, French Cinema—I'apres- French Paintings from The Barnes Foun- tions of the museum. guerre included 40 rare French films dation. A symposium celebrating the Film Programs: The film program has produced during the postwar period, bicentennial of the U.S. Capitol was two components: documentary films 1946-1957. This series drew more than held with the National Capitol Historical shown daily in support of both exhibi- 20,000 viewers. Further highlights Society. The two fellows in the graduate tions and the permanent collection; and included a complete retrospective of the lecturing fellowship program offered 50 weekend film series, often arranged by revolutionary Soviet director Sergei gallery talks. An advisory committee distinguished scholars, on topics that Eisenstein (1898-1948) and a survey composed of faculty from the local aca- relate to either exhibitions or the histo- of French documentary filmmaking, demic community was formed to help ry of film. Each series consists of 10 to Lumiere's Century: The Art of Reality, orga- the department develop new programs 40 films culled from archives, collectors, nized with the cooperation of the Min- for college and university students in all or producers all over the world. Native istere des Affaires Etrangeres. In associ- areas of the humanities. Visions, Native Voices, presented in associ- ation with the Library of Congress, the This office also manages the volun- ation with the National Museum of the Gallery presented Grand Music Cinema: teer summer internship program and a American Indian, included recent film 1904-1928, a series of silent films from

39 the Library's collection, with the origi- nal musical accompaniment performed live under the direction of Dr. Gillian Anderson.

Exhibition and Media Programs The departments of exhibition and media programs were combined in 1993. To enhance Gallery visitors' understanding and appreciation of works of art in exhibitions, the staff produces interpretive materials such as brochures, recorded tours, explanatory wall texts, videos, and multi-image audiovisual presentations. In fiscal year 1993 educational materials were pre- pared for 14 exhibitions. Programming for The Greek Miracle was particularly extensive. A printed guide—with a large-print version avail- able for the visually impaired—and wall texts provided historical background and information on the development of

40 Above left, Robin Thome Ptacek, staff lecturer, leads a gallery discussion during the 1993 Sum- mer Teacher Institute, and below left, Gallery vis- itors in the East Building enjoy the Shapes and Patterns family guide, made possible by a grant from the Vira I. Heinz Endowment

Joel Shapiro, Untitled, 1990, Gift of Pace Editions, Aldo Crommelynck and Joel Shapiro, 1992.91.3

the classical style. A timeline was illus- for the works in the exhibition. Visitors could also explore Perseus, an trated with maps and photographs of Screened continuously in a theater near encyclopedic interactive computer pro- key works of art and archeological sites. the exhibition, the program was trans- gram developed by Harvard University An audio tour was introduced by Earl ferred to videotape for ongoing distribu- for the study of ancient Greek litera- A. Powell III, director, and narrated by tion through the Gallery's extension ture, history, art, and archeology. With J. Carter Brown, director emeritus. A programs and was the winner of the support from The Circle of the National generous grant from Stavros S. Niarchos 1993 Telly Award in the category of Gallery of Art, this program was modi- enabled the Gallery to produce a 15- education. In the lobby of the theater fied for Gallery use. Installed on equip- minute audiovisual program, narrated were 19th-century photographs of the ment provided by Apple Computer, by Christopher Plummer, which Acropolis, some showing works in the Inc., and SuperMac Technologies, the emphasized the archeological context exhibition soon after their excavation. program was accessible at four kiosks

41 near the entrance to the exhibition, 40 texts written and in production, the with trained guides to assist users. project is over halfway to its goal of Other projects included an illustrated providing guides to 75 galleries. Featur- brochure for the William M. Harnett ing historical, aesthetic, and contextual exhibition, also available in large-print information on selected objects in a format; booklets for the "focus" exhibi- single room, guides can be found in tions John Singleton Copley's "Watson and many of the European, British, and the Shark" and Giambologna's "Cesarini American galleries in the West Building. Venus" and for Stieglitz in the Darkroom, Laminated and available for reading in the latter made possible by The Arcadia front of the paintings and sculpture on Foundation with additional funding view, they are one of the most effective from The Circle; and a leaflet on print- ways the education division serves visi- making for Helen Frankenthaler: Prints. tors to the Gallery. This long-term pro- The department also videotaped the ject will include production of each public interview with Frankenthaler guide in French, German, Italian, Japan- that was part of the Gallery's "Conver- ese, and Spanish as well as English. sations with Artists" program. For The department continues to work on British Watercolors an audio tour was a new series of children's books and narrated by Andrew Wilton of the Tate family tours, supported by a grant from Gallery, London. Wall texts accompa- the Vira I. Heinz Endowment. Children's nied all of these exhibitions. books now in development and produc- For Great French Paintings from The tion include The Magic Picture Frame, an Barnes Foundation the department pre- art history activity workbook being co- pared wall texts, illustrated brochures, published with Harry N. Abrams Inc.; and large-print guides. An audio tour of The Phoenix, the Cyclops, and the Two-Head- the exhibition was narrated by the ed Dog, a story about 12 of the Gallery's director. The Gallery produced a 10- most vivid portrayals of mytholog- minute video showing the collection as ical subjects, written by Helen Hoover; installed at the Foundation, which was and What's Going On Here?, a behind- narrated by Joanne Woodward and the-scenes journey through the muse- supported by The Circle and the Inter- um, written by noted children's author national Corporate Circle. This program Peggy Thomson. focused on Dr. Barnes' pioneering role Family guides, which discuss eight to as a collector of modern European art ten works of art, serve an enthusiastic as well as African sculpture, ancient and segment of the Gallery's large audience. Asian art, and American decorative arts. The first two guides, Portraits and Person- For the complementary exhibition The alities and Shapes and Patterns, also spon- "Dance" Murals of Henri Matisse a large sored by the Vira I. Heinz Endowment, didactic panel reproduced photographs were printed in runs of 30,000 each and

of the work in progress to demonstrate are already in reprint after less than a Helen Frankenthaler, Gateway IX, 1988, Gift of the evolution of this project. year. West Building Highlights, scheduled Perry R. and Nancy Lee Bass, 1993.14.1 to appear in early 1994, is the third booklet in the series. Education Publications For adult visitors department staff this This department develops and coordi- year wrote the walking guide Landscapes nates publications of the education divi- at the National Gallery of Art, discussing sion. Projects include teaching packets, 19 paintings from the 15th through adult and family brochures, in-gallery 20th centuries. This project was sup- database to accompany the Gallery's guides to the collection, full-length chil- ported by a grant from Lee and Juliet American Art videodisc. dren's books, and informational texts Folger and The Folger Fund and was Education Resources for printed and electronic distribution. published in honor of Earth Day 1993. Through a generous grant from the It is the fourth adult guide in this con- This department serves a broad range of John S. and James L. Knight Founda- tinuing series. The department is also Gallery audiences by providing informa- tion, the department continues its work supporting the development of several tion about collections and exhibitions to on gallery guides to the collection. With hundred texts for a supplementary Gallery visitors at the art information

42 desks as well as by developing and dis- Gallery's public hours, volunteers pro- telephone and written queries requiring tributing extension programs to audi- vide an average of 1,400 hours of ser- specialized art historical research this ences across America and abroad. vice per month, and a total of 16,224 year, a record number. Art Information: This year the staff pro- for the year. Staff and volunteers Department staff conducted a year- vided training for the corps of 140 art responded to an average of 7,000 ques- long survey of Gallery visitors to learn information volunteers in 40 special tions from visitors and approximately their perceptions of programs and ser- tours, lectures, and classes. Working at 700 telephone inquiries each week. The vices provided by the Gallery. For this the art information desks during all the professional staff also replied to 2,483 project, funded by The Circle of the

43 National Gallery of Art, 45 volunteers regular loan system and the affiliate computer-based media as its sources, were recruited and trained to distribute extended loan system, which was joined effectively combining the advantages questionnaires designed and later ana- this year by 33 new organizations. of digital and video technologies. The lyzed by Alan Newman Research Inc. Again this year videocassette distribu- image base encompasses almost the Preliminary findings show that the tion surpassed films in total program entire collection of American paintings Gallery has a loyal audience, almost 75 use. Extension programs are made and sculpture as well as a large selection percent having visited previously. available to U.S. embassies abroad of drawings, prints, and watercolors Extension Programs: This section produces through USIA; this year there were also from the Index of American Design, educational materials and manages 12 program transmissions on USIA's for a total of 2,600 works of art. A grant nationwide free-loan distribution of WORLDNET satellite to television sta- from The Annenberg Foundation sup- these resources to schools, libraries, col- tions throughout Latin America, the ported production of the videodisc and leges and universities, civic organiza- Middle and Near East, and South Asia. the gift of 2,500 copies to educational tions, and public and educational televi- The professional staff, assisted by a organizations across the country. The sion stations. Borrower reports indicate dedicated team working on collections videodisc is also available on a long- that in fiscal year 1993 the extension information and digital images, com- term free-loan basis to all extension programs viewing audience numbered pleted production of the Gallery's sec- programs audiences and is distributed 33,987,731; total program presentations ond videodisc, American Art from the commercially by Voyager, Inc. numbered 75,012. More than 80 per- National Gallery of Art. This videodisc is Two new teaching packets based on cent represent direct usage through the unique in its use of digital images and Gallery collections and exhibitions,

44 the professional staff, gave 2,600 tours was held twice to meet demand. Overall to approximately 40,000 schoolchildren. the program saw a substantial increase The program recruited 25 new docents in first-time participants, and all work- who began a training program that con- shops were filled to capacity. sists of an extensive course of lectures, Two special high school days related gallery discussions, tour techniques, to the Greek Miracle exhibition, attended and teaching strategies. by 160 students from the District of With grants from The Bauman Foun- Columbia and surrounding counties, dation, The Circle of the National Gal- featured an orientation by actors, artists' lery of Art, and the Geraldine R. Dodge demonstrations, a slide overview, and a Foundation, the department published recorded tour. The high school seminar, Teacher Programs in Art Museums, listing attended by 15 students from eight area more than 260 museums that offer schools, included behind-the-scenes programs or resources for teachers. tours, gallery discussions, and lectures. This directory was distributed free-of- Working with a sponsoring art teacher, charge to 3,300 museum professionals, each student completed a final project teachers, and teacher resource centers for presentation at a reception for across the country. It is available on teachers and parents. A high school computer diskette, with no charge, to workshop with gallery discussions schools and media resource centers. focused on the exhibition John Singleton More than 200 museum educators from Copley's "Watson and the Shark." A pilot 43 states attended "Art Museums and summer program for families empha- Educators: Partners in Excellence," a sized themes in the permanent collec- national conference sponsored by the tion and included drawing and writing Geraldine R. Dodge Foundation. The projects for different ages as well as a proceedings were compiled, published, program combining music and art, and distributed to more than 1,000 cosponsored with the Gallery's music museum educators and directors. office. Supported in part by the William Ran- Active involvement with the D.C. dolph Hearst Foundation, the National community continued. The Chapter Jacob Lawrence, Street to M'bari, 1964, Promised Gift of Mr. and Mrs. James M. Dyke, 1993.18.1 Teacher Institute this year offered three One Museum Project brought D.C. stu- six-day sessions to 160 teachers, I<-12, dents from four elementary schools to from across the country. The teacher the Gallery for a series of three tours. workshop program, offering instruction, The Looking Project, initiated for fifth- enrichment, and resources to area edu- grade students from three D.C. schools, cators, organized seven workshops and involved classroom presentations and American Paintings and The Greek Miracle, a special evening event; one workshop two museum visits organized by gradu- were added to extension programs offerings this year, as were two video STATISTICAL SUMMARIES OF EDUCATION PROGRAMS programs converted from multi-image Programs/showings Estimated audiences slide programs connected with the Adult Programs Gallery exhibitions John Russell Pope: 6,134 676,197 tours, lectures, symposia, films,radio talks, Architect of the National Gallery of Art and special programs, recorded tours The Greek Miracle. To inform audiences Exhibition & Media Programs 31 3,589,235 of the many new programs made avail- brochures, a/v programs, recorded tours, able in recent years, the department interactive computer programs, wall texts produced a comprehensive new exten- Education Publications 37 478,000 adult, family, and gallery guides sion programs catalogue. Education Resources 75,052 35,198,565 slide/film/video programs, teaching packets, Teacher and School Programs videodiscs, art information questions answered, daily events & brief guides distributed This department serves teachers, school- Teacher & School Programs 2,506 42,238 age children, and their families through tours, family & school programs, conferences, institutes, workshops, inservices, outreach tours, programs, and publications. This TOTALS year 125 volunteer docents, trained by 83,760 39,984,235

45 ate interns under staff supervision. The the library, giving orientations this year Embassy Adoption Program coordinated for 7 nearby universities. Most of the 50 tours of Gallery collections from a coun- states, at least 12 countries, and 7 try whose embassy adopted a school. embassies were represented in the regis- The department was also involved with ter of visitors. Among developments in the Cultural Consortium's "Career reader services was a substantial Day," which gave eighth-grade classes increase in database searches. A printed from 12 D.C. public schools slide pre- guide was compiled to assist readers sentations and behind-the-scenes visits using the system. Existing categories of to the museum. Similar programs for vertical files on artists, institutions, sub- teachers were developed with the D.C. jects, and museum professionals were Art Education Association. augmented with the creation of vertical The department prepared the fourth files on private presses to supplement in its series of teaching packets on the the growing collection of fine print permanent collection, entitled The books. Inquiring Eye, which complements the The Research Libraries Group chose National Teacher Institutes, this year the National Gallery as a test site for its focusing on Early Modern: 1900-1940. A new user-friendly version of RLIN teaching packet was published for The (Research Libraries Information Net- Greek Miracle exhibition, along with a work), called Eureka. The RLIN biblio- young people's guide that proved to be graphic database has long been avail- so popular it was reprinted. able to Gallery staff and fellows with the assistance of the reference staff. Micro Gallery During this trial period readers had With support from the American Ex- direct access to the system. The refer- press Foundation and initial develop- ence staff continued to answer queries mental funding from The Circle of the from staff and the public. To facilitate National Gallery of Art, the education research, the following significant vol- division began development of a proto- umes were added to the reference col- type interactive computer program lection: based on the Micro Gallery at the Na- Harry Blattel, Internationales Lexikon: miniatur- tional Gallery in London. A new soft- maler, porzellan-maler, silhouettisten (Munich, ware program was created to explore 1992); Cien anos de pintura en Espana y Portu- gal (Nunez de Balboa, 1988—); Enciclopedia such complex ideas as iconography, vivient de la pintura i I'escultura catalanes, 13 medium, story telling, and perspective vols. (Barcelona, 1985—); Fathers of the Adriaen Collacrt, Avium Vivae Icones, 1580, Gift of through visual animation of a painting. Church: A Select Library ofNicene and Post- The Circle of the National Gallery of Art, 1993.32.1 The first tutorial presents The Annuncia- Nicene Fathers of the Christian Church, 14 vols. tion by Jan van Eyck, and plans are in (Grand Rapids, 1983-1986); Lexikon der Agyptologie, 2 vols. (Wiesbaden, 1975—); Hu- place to develop many such tutorials on Mallalieu, The Dictionary of British Water- over the next two years in addition to a colour Artists up to 1920 (Woodbridge, Suffolk, database of the permanent collection. 1990—); Marcus Osterwalder, Dictionnaire des Through a touch-screen monitor, visit- illustrateurs, 1890-1945 (Neuchatel, 1992); Max Beckmann; Dr. Janina W. Hoskins, ors will be able to retrieve information Jane Reid, The Oxford Guide to Classical Mythol- ogy in the Arts, 1300-1990s (New York, 1993); a large number of publications on Polish on the collections according to their Stanley Sadie, ed., The New Grove Dictionary of art; Mrs. Milton Rose, a lovely sketch- own interests and to develop a person- Opera, 4 vols. (London, 1992). book by Washington artist Willem de alized tour that can be printed and fol- Looper; and J. Lisa Jorgenson, a fine lowed through the galleries. Gifts to the library continued at a grati- fying rate, composing almost a quarter artist's book by David Horton. Long- of all acquisitions. The Circle of the term donors making gifts to the library Library National Gallery of Art funded the pur- this year included especially Patricia G. England, with many fine press and In addition to assisting Gallery col- chase of one rare title: Abraham de artists' books; Sarah G. Epstein, with leagues and other scholars and profes- Wicquefort's Advis fide lie aux veritables help building the library's holdings on sionals, the reader services staff contin- Hollandois... (The Hague, 1673). Among Edvard Munch; Mrs. John A. Pope, ued to introduce a growing number of individual donors, Max Kahn gave a with her wonderful support of oriental undergraduate and graduate students to remarkable collection of material on

46

porcelain and bronzes; and Mark ance des arts (Paris, 1842-1848); Les delices des vius Pollio, Architectura: textu ex recensione cod- Samuels Lasner, with many varied and Pays-Bays, ou, Description geographique et his- icum emendato (Utini, 1825-1830); Salon illus- valuable books on 19th-century British torique des XVII. provinces belgiques. . . (Paris, tre (Paris, 1888-1889); and Tijdschrift voor oud- 1786); Guarino Guarini, Modo di misurare le heden, statistiek, zeden en gewoonten. . . (Utrecht, art. In addition, Samuels Lasner has fabriche (Turin, 1674); Imperatorskii Ermi- 1847-1852). presented a privately produced cata- tazh, Catalogue de la galerie des tableaux (St. logue of his remarkable personal Petersburg, 1863); Les lettres et les arts (Paris, Three library exhibitions were installed library. Many other donors have been 1886-1889); Jacob Muller, Kirchen geschmuck: this year: Recent Book Acquisitions, orga- generous to the library, particularly das ist kurtzer Begriff des furnembsten . . . nized by Anna Rachwald; Early Euro- (Munich, 1591); Adriaan Pars, Index batabicus, Franklin D. Murphy, Ruth Carter pean Maps and Views, organized by Caro- of, Naamrol van de Batavise en Hollandse schri- Stevenson, Russell E. Johnson, and Paul jvers (Leiden, 1701); Camillo Pellegrino, Appa- line Backlund, which contained 24 rare McCarron. rato alle antichita di Capua, o vero, Discorsi della books dating from 1503 to 1770; and an Important acquisitions include: Samuel Amp- Campania felice (Naples, 1651); Jacobsz Caspar informative presentation on the cata- zing, Beschryvinge ende lofder stad Haerlem in Philips, Uitvoering onderwys in de perspectiva, of strophic bombing of the Uffizi Gallery, doorzichtkunde. . . (Amsterdam, 1765); Vitru- Holland. . . (Haarlem, 1628); Bulletin de I'alli- organized by Ruth Philbrick and Karen

47 Weinberger, with photographs of paint- transferred to archives fifes. ings and sculpture that were damaged The Hirshhorn Museum and Sculp- or destroyed, newspaper accounts of the ture Garden transferred almost 2,000 disaster, and even a shard of window duplicate photographs of objects in their glass embedded with marble from one collection; Mrs. Florence Fasanelli of the damaged statues that was donated 2,300 images from her hus- brought back from Florence by a schol- band's archive of Itafian and French ar. The exhibition was particularly well Renaissance paintings and drawings. attended by curators and conservators. Professor Charles Goodsell made his negatives of state capitols available for LIBRARY STATISTICS printing, as did William Brumfield with Total volumes 174,065 negatives from his most recent photo- (monographs, bound serials graphic campaigns in Russia. Professor including auction catalogues, pamphlets, microforms) Robert Enggass, whose negatives of Titles/volumes acquired with 18th-century Italian sculpture are federal funds 4,407/4,714 already on deposit at the Gallery, has Titles/volumes acquired with begun to donate photographs from his trust funds 1,100/1,133 personal archive. Titles/volumes acquired by gift 1,294/1,332 Titles/volumes acquired by The department continued to benefit exchange 623/641 from the generosity of the Samuel H. Added microform titles 107 Kress Foundation, which granted Added vertical file material 6,559 monies to make areas of the archives Reference inquiries 20,632 more accessible and, through subven- Computer-based bibliographic 2,835 searches (RLIN, OCLC, tion grants to the six-year Corpus Vit- ARTQUEST, DIALOG, rearum project, provided the last pho- WILSONLINE) tographs and negatives of more than Outside visitors 2,268 f ,700 views of early stained glass in Titles/volumes catalogued 4,222/5,358 North American collections. Other Kress Foundation grants brought the Gallery Photographic Archives photographs of Greek sculpture; 19th- century paintings in an American Fed- Purchases this year included pho- eration of Arts exhibition; Byzantine tographs of paintings in private collec- decorative arts in the Virginia Museum tions in England, a photographic survey of Fine Arts; and southern Italian from the Courtauld Institute, and a Gothic architecture taken by Duke unique collection of photographs of University. Czechoslovakian architecture from the The archives also acquired numerous Conway Library. Continued subscrip- albums of photographs: Parisian exteriors tion to the Gernsheim campaigns taken by Edward Denis Baldus around brought in almost 5,000 photographs of 1860; Venetian architectural views drawings from museum collections taken by Carlo Ponti in 1860-1870; worldwide. Purchases of microfiche percent of all circulation. The collection unique views of Moscow, St. Petersburg, included The Witt Library: A Ten-Year now numbers more than 150,000 slides, Kiev, Odessa, and Sevastapol compiled Update, adding more than 500,000 an increase of 5 percent. by J. Guthrie Watson in 1889; and inte- images; and a newly published set of The Samuel H. Kress Foundation do- riors and collections of Osborne House, the Hans Wolfgang Miiller archive of nated an extensive set of slides of works Queen Victoria's coastal residence, taken Egyptian Art and Architecture from the of art the foundation had given muse- by M. Disderi in 1867. University Library, Heidelberg. ums across the United States in the This year almost 3,000 photographs 1960s. An important collection of slides and transparencies were transferred Slide Library from the estate of art historian Fred- from curatorial exhibition files, prompt- The use of sfides in lectures and presen- erick Hartt was acquired through the ing a reorganization of the department's tations this year led to a 30 percent generosity of Dr. Eugene D. Markowski. exhibitions files. As work concluded on increase in circulation over last year, Other notable gifts came from Charles volumes of the systematic catalogue, reaching a total of 27,500 slides. Bor- S. Moffett, George T. M. Shackelford, many research photographs were also rowing by the public accounted for 21 Mr. and Mrs. Irvin Molotsky, the Met-

48 Alfred Stieglitz, Little House, Lake George, 1934, Alfred Stieglitz Collection, 1949.3.771

ropolitan Museum of Art, and the restricted to slides of objects owned by Exhibition catalogues this year included Museum of Fine Arts, Houston. the Gallery and images related to its his- The Greek Miracle, Drawings from the In an ongoing effort to present rep- tory. Automation of the collection pro- 0 'Neal Collection, Helen Frankenthaler: resentative images from American ceeded, and the database was made Prints, and Lovis Corinth. The office pro- museum collections, the slide library available through terminals in the vided editorial expertise for Great French acquired slides from the J. Paul Getty library and throughout the Gallery. Paintings from The Barnes Foundation and Museum, Huntington Library, Montclair produced brochures for Barnes, The Art Museum, Terra Museum of Ameri- Greek Miracle, William H. Flarnett, Georges can Art, Cincinnati Art Museum, Santa Editors Office de La Tour's "Repentant Magdalene," Barbara Museum of Art, Phoenix Art Giamhologna 's "Cesarini Venus," John Sin- Museum, and Museum of Fine Arts, This office worked with colleagues in gleton Copley's "Watson and the Shark," Boston. the Gallery and other museums as well and Bernardo Bellotto: The Fortress of The public lending policy was revised as with trade and scholarly publishers Konigstein. Several large-type brochures this year, and the lending collection was to produce a variety of publications. were produced, as were press kits, invi-

49 Jacob Jordaens, Saint Martin of Tours Healing the Ser- vant of Tetrodius, c. 1630, Ailsa Mellon Bruce Fund and Pepita Milmore Memorial Fund, 1993.9.1 Francois Boucher, Sancho Pursued by the Servants of the Duke, c. 1737, Gift of Arthur L. Liebman, 1992.87.9

rations, wall texts, and labels for Gallery Decorative Arts, Part 1, were nearing pub- Form and Meaning in South Asia: The exhibitions. Matisse: The Dance was pub- lication at the end of the fiscal year. The Shaping of Cities from Prehistoric to Precolo- lished as a corollary to the Barnes show. series will include 22 additional vol- nial Times, vol. 31; Michelangelo All responsibility for publication of umes when it is complete. The Mark J. Drawings, vol. 33; The Artist's Workshop, the systematic catalogue of the Gallery's Millard Architectural Collection: French vol. 38; Conservation Research, vol. 41; collections was assumed by the editors Books, Sixteenth through Nineteenth Cen- Conservation Research: Studies of Fifteenth- office in 1993. American Naive Paintings turies, the first in a five-volume series, to Nineteenth-Century Tapestry, vol. 42; and British Paintings of the Sixteenth made its appearance as well. and Eius Virtutis Studiosi: Classical and through Nineteenth Centuries appeared in Six volumes of Studies in the History Postclassical Studies in Memory of Frank print, and German Paintings and Western of Art were published, including Urban Edward Brown, vol. 43. Other publica-

50 tions for the Center for Advanced Study packet, a timeline for the forthcoming Abrams, Alfred A. Knopf, Inc., Prestel, in the Visual Arts included Sponsored Early Modern teaching packet, and an George Braziller, University Press of Research 12, Center 13, and the calendar electronic version of Teacher Programs in New England, and Cambridge, Oxford, for the Washington Collegium. Art Museums; the monthly Calendar of and Yale University Presses. The editors The office also produced eight gallery Events; Circle Bulletin-, staff newsletter; office also worked with Abbeville Press, guides; a guide to landscape paintings in and annual report. In additon, the Dorling Kindersley, and Frances Lincoln the West Building; announcements for Frankenthaler catalogue, National Gallery to publish trade books on the Gallery's numerous education programs; materi- of Art Brief Guide, and three brochures collections next year. Nine new and als for teacher and school programs, were reprinted. forthcoming titles were presented at the including The Greek Miracle teaching Copublishers included Harry N. Frankfurt Book Fair, the oldest and

51 most important meeting for the art department each month, about half book trade. being duplicate copies. The National Gallery received design Two darkrooms supply black and awards from the Association of Ameri- white prints for many Gallery programs. can University Presses for The Greek Mir- These facilities are equipped with print- acle, El Jaleo, and Walker Evans cata- ers and enlargers that use modern vari- logues. The Art Directors Club of Metro- able-contrast photographic papers. An politan Washington gave the Gallery its autofocus 35mm enlarger was added 1993 Distinguished Leadership Award this year to improve the quality of the for longstanding commitment to excel- prints, which are processed in automatic lence in design. processors that provide high efficiency and consistency of output. The depart- ment operates a separate darkroom to Imaging and Visual Services make prints on archival fiber-based The office of visual services this year papers for the Gallery's photographic issued 1,733 permissions to reproduce archives. works of art in the National Gallery col- In fiscal year 1993 the Gallery added lections, lent 1,183 transparencies for 20,196 black and white photographs reproduction, and coordinated all and 5,553 color transparencies to the requests for work performed by the files. In addition, 1,142 black and white photographic laboratory. It obtained photographs and 1,766 duplicate slides photographs and transparencies of were sold to the public; and 2,196 color works in temporary exhibitions, coordi- transparencies and 7,718 black and nating the needs of Gallery departments white photographs were sent to other and other museums sharing the exhibi- Gallery departments for official use. tions. This year the office began to do picture research for Gallery publications other than exhibition catalogues, such Gallery Archives as comparative illustrations for the sys- Giovanni Battista Crosato, The Triumph of Amphitrite, Ailsa Mellon Bruce Fund, 1993.29.1 tematic catalogues. Further refinements Supported in part by a grant from The and programs have improved the com- Circle of the National Gallery of Art, puter system for processing rights and consulting oral historian A. C. Viebranz reproductions. and archives staff conducted interviews The photographic laboratory this year with such observers and participants in produced 7,929 color transparencies, the Gallery's history as trustee Ruth 37,468 35mm slides, 8,791 black and Carter Stevenson, former trustee John gram, including a letter from Serge white negatives, and 41,090 black and Irwin, architect I. M. Pel, John Russell Koussevitzky. Carl Gathers, executor of white prints for Gallery staff and outside Pope associate Edwin Olson, art histori- the estate of Austin Davison, donated scholars, publishers, and other institu- an Craig Smyth, and former staff mem- manuscripts relating to Davison's work tions. The department also processed bers Mabel Barry, E. A. Carmean, Car- as an artist for the Index of American 564 rolls of color film for in-house staff. roll Cavanagh, Carol Fox, Hurley Offen- Design. The Oberlin College archives Each of four studio areas is dedicated to bacher, and David Scott. Archives staff transferred photographs of the National photographing either paintings, works prepared a descriptive guide to assist Gallery at the time of its dedication and on paper, sculpture and other three- researchers in using oral histories in the copies of Joseph Alsop's 1978 Mellon dimensional objects, or non-art materi- archives. The advisory committee for Lectures. Many other important files, als and books. All film is processed in this program consists of Richard Bales, photographs, historical materials, audio the laboratory, with a modern automat- Elizabeth Croog, John Hand, Joseph and videotapes also were received. ic color processor for color transparency ICrakora, Philip C. Jessup, Jr., William With the assistance of interns and film. A computer was added to the sys- Moss, and Frances Smyth. volunteers, Archives staff arranged and tem this year to improve quality control Gallery Archives holdings were aug- described more than 500 boxes of his- for color film. A separate laboratory mented by a number of important torical materials. Index of American area is designated for production of acquisitions. Richard Bales generously Design specialist Samuel Larcombe duplicate color transparencies in sizes donated letters, photographs, and clip- assisted with the identification and from 35mm to 8 x 10 inches. Several pings relating to his early years and preservation of files that document the thousand slides are produced by the career with the Gallery's music pro- inception and operation of the Index

52 cv

"

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yi- &Kf" ;y -«*»-• _L^.i

ft umbati/ta Cro/iM.> I'

project. Files were also processed that and other Gallery construction projects. World War II, development of the relate to the Gallery's program to pro- Scholarly researchers used text files, Widener Collection, and the Gallery's mote art education in the Pittsburgh oral histories, scrapbooks, photographs, programs and activities. Archival staff public schools from 1959 to 1966, architectural records, and publications provided information and advice con- which was sponsored by the Andrew to investigate the lives of Andrew Mel- cerning management of archival and W. Mellon Educational and Charitable lon, John Russell Pope, Sir Kenneth oral history programs to museums and Trust. Intensive work continued in Clark, I. M. Pel, and others, and histori- other institutions and individuals in the organizing and making available records cal subjects such as the 1939 New York United States and abroad. concerning the East and West Buildings World's Fair, military artists during

53 ? ADMINISTRATION

Protection Services and an enhanced key management sys- tem. Policies on identification creden- In preparation for major loans from the tials, access control, locks and keys, and National Gallery of Art and the Metro- abandoned property were updated. politan Museum of Art to the National In an important policy change, the Gallery of Greece, this office conducted Board of Trustees approved a proposal a comprehensive security survey of the for the Gallery to become an entirely Greek museum and offered advice on smoke-free facility. This new policy was security, fire protection, and environ- implemented in the spring. The Gallery mental controls. The protection services also entered into a contract with the division also provided security support Public Health Service to improve the and coordinated the efforts of the health services provided to staff and the Barnes Foundation and law enforce- visiting public. Public Health Service ment entities to ensure the safety of physicians and nurses now supply emer- the works of art in Great French Paintings gency evaluations and referrals for visi- from The Barnes Foundation in transit tors and preventive health programs and to the Gallery. basic clinical services for the Gallery staff. The Gallery's professional security Safety inspections continued on a staff participated in a museum confer- daily basis at the Gallery, complement- ence on the impact of terrorism on ed by weekly warehouse inspections. In museums and contributed to a white addition, a professional fire protection paper on that subject to be distributed company checked and verified the ade- to museum security directors in the quacy of fire protection in all art store- United States. rooms. Significant progress was made in implementing of advanced technical Publications Sales security measures in the Gallery this year, including an integrated computer This division offers a wide variety of network to support identification and printed reproductions, books, and exhi- John Ruskin, Tower of the Cathedral at Sens, c. 1845 access control systems, comprehensive bition catalogues in permanent sales (detail), Gift of William B. O'Neal, 1987.73.2 replacement of lock and key systems, locations and in special exhibition sales

55 areas within the National Gallery. Pro- well as installation of permanent stone ceeds from publications sales operations ramps at the Sixth Street entrance to are used to fund scholarly publications the West Building. Another 10 projects on the history of art and exhibition cata- are under construction or in the bidding logues. This year was especially success- process; design work began on 20 more ful because of the large attendance and to be completed in the next fiscal year; sales related to the Barnes exhibition. 28 interior design projects were com- A recent decision by the Board of pleted, and 5 others were begun that Trustees expanded the line of products will continue into fiscal year 1994. being offered by the Gallery's sales In addition to this ongoing renova- shops. In addition to printed reproduc- tion, the architect's office provided con- tions and books on art and architecture tinued oversight and coordination for which will continue to be the primary the architects working on the design of focus, merchandise now includes prod- the West Building skylight and roofing ucts for children and adults that address system replacement, one of the Gal- questions of form, color, and structure— lery's most critical renovation projects. all important elements in understanding works of art. The board also approved Facilities Management the reproduction and sale of sculptural reproductions and jewelry related to the This division is responsible for the Gallery's collections. Product develop- maintenance and operation of the ment is underway, and new items are Gallery's 1.2 million square feet of due to be released in the fall of 1994. space. One of its key duties is to main- Visitors purchased 268,000 catalogues tain temperature and humidity levels and art books and more than 2 million within the narrow limits necessary to printed reproductions this year. They preserve works of art. In a major step also showed strong support for the for the Gallery this year the trustees and broader line of merchandise, purchasing executive officers approved implemen- more than 25,000 items from among tation of a building automation system the newly available children's art books, designed to improve climate control for games, puzzles, blocks, art kits, and works of art through the use of direct ments for the American Art videodisc construction toys. digital controls. press conference and premier as well as Gallery publications and products are The building maintenance staff de- technical support for a demonstration of available not only at the National Gal- veloped a new approach to caring for the videodisc to Congress at the Ray- lery but in commercial markets through- wood floors, and in the course of the burn Building; organization of a high- out the world because of continued pur- year completed work on most floors on definition television (HDTV) seminar suit of distribution and licensing agree- the main level of the West Building. and meeting for the Society of Motion ments. These agreements guarantee that Pictures Television Engineers and sup- products created under the supervision Audiovisual Services port of a presentation on "The Piero of the National Gallery are offered nat- Project," an interactive digital imaging ionally and internationally, giving broad The audiovisual services team managed program using HDTV; collaboration exposure to the Gallery's collections and the technical aspects of several hundred with Gallery conservators in producing generating additional revenue to support public programs, including lectures, a training video; production of 39 scholarly publishing. films, video projection and high-defini- weekly radio programs, mixing music tion programming, concerts, and even and narration; and recording all Sunday Gallery Architect the live accompaniment for a silent evening concerts for rebroadcast on movie. At the same time, the staff National Public Radio. This year the Gallery's architecture and maintains the Gallery's theaters, sound A number of technical enhancements interior design professionals completed studio, and all related equipment. were made to the Gallery's audiovisual 27 major projects, including renovation Special activities included the design, systems and auditoria, including a mas- of the painting conservation laboratory installation, and maintenance of an ter antenna television system with a and office spaces for the education 80-person theater for The Greek Miracle capability for video distribution to vari- division, editorial and design staff, sec- and the technical arrangements for live ous points within the Gallery, specifica- retary-general counsel's office, publica- satellite transmission of the press event tions for upgrading the sound system in tions sales, and protection services as for Greek national television; arrange- the West Building lecture hall and the

56 Responsibility for travel authorizations and expenditures was also assumed by the division this year to make more effi- cient the processing of travel orders.

Personnel/Affirmative Employment

A handbook was developed this year to help employees and supervisors under- stand and carry out their responsibili- ties. This guide will be provided as part of the orientation process for new em- ployees, but it is a key tool for commu- nicating important information to all employees. The personnel division also

Helen Frankenthaler, Free/all, 1993, Gift of Helen held a regular forum for supervisors to Frankenthaler and Tyler Graphics Ltd., 1993.19.2 provide ongoing training in manage- ment techniques and to promote an open dialogue concerning shared prob- lems and solutions. The Gallery employees' union, AFGB Local 1831, and management agreed to hold monthly meetings to facilitate a more cooperative working relationship, and an experimental approach was undertaken to release union officials from their regular duties to handle rep- resentational responsibilities. As part of continued efforts to electronic dimming system in the East Telecommunications streamline the recruiting process, the Building auditoria, and installation of a Work began on the design of an inte- division offered a proposal that resulted videotape duplication system to convert grated telecommunications network to in delegated authority from the Office tapes to international standards. serve the Gallery's diverse needs. The of Personnel Management (OPM) to goal is to develop a phased design that recruit, examine, certify, and appoint Administrative Services will permit the Gallery to build its net- senior staff without OPM approval. work over a period of years as the vol- The affirmative employment program A comprehensive budget tracking sys- ume of use increases. Initial applications became part of the personnel division tem implemented in this division will include the building automation this year to improve coordination of its improved management of the largest system, the financial and purchasing goals with the staffing and employee portion of the Gallery's administrative system, and the collection management assistance functions within the division. support expenses. Institution of a "cost- system. Higher volume use, such as dis- The affirmative employment office per-copy" system of paying for photo- tribution of digital images, is expected established relationships with local copying services and equipment saved within several years. minority colleges to facilitate develop- the Gallery more than $60,000 this ment of a cooperative educational pro- year, which was directed toward the Resource Acquisition gram to promote the hiring and reten- cost of vehicle maintenance. The divi- tion of qualified minorities at the sion also assumed responsibility for all Revised procurement guidelines and a Gallery. The office also led a task force supply and warehouse operations this new users' guide issued last year have assembled to track the Gallery's progress year, in a move to centralize office sup- facilitated procurement transactions at in improving its accessibility to visitors port functions. The Gallery's warehouse the National Gallery. The secretary-gen- with disabilities. The task force contin- spaces were reorganized, as was the eral counsel's office, budget office, and ued to develop a priority list of projects Gallery's on-site supply store, and the resource acquisition division offered and to oversee their implementation. system for tracking supplies was con- comprehensive training in procurement verted to the barcode method. methods for all Gallery departments.

57

EXTERNAL AFFAIRS

Development Collaborative research and discussion involving the National Gallery and East- While public funds provide for the man Kodak Company prompted Kodak upkeep and daily operations of the to make an in-kind donation of equip- National Gallery, private support builds ment to the Gallery that has greatly en- the Gallery's collections and enhances hanced the ability of conservators to see its programs. The objective of the devel- details beneath the surface of a painting. opment office is to encourage private Kodak contributed a prototype infrared sector participation. Key to this aim are camera that was modified for art con- the efforts of the Board of Trustees and servation purposes from an existing the Trustees' Council to expand the Kodak model once used for night imag- Gallery's constituency. The continued ing and reconnaissance by the military vitality of the Gallery depends on the and government. The research by Gal- tradition of giving established by the lery conservators and outside consul- Founding Benefactors. tants that led to this new application Private philanthropy supported many was funded by The Circle of the Nation- areas of Gallery activity concerning its al Gallery of Art. permanent collection—art acquisition, Research and scholarship activities at conservation, scholarship and research, the Gallery continued to receive gener- education and outreach. This year more ous support, including that from the than $11.5 million was contributed by Open Society Fund for the Soros Visit- individuals, by foundations, and by cor- ing Senior Research Fellowship at the porations for purposes other than exhi- Gallery's Center for Advanced Study in bitions. Private citizens were generous the Visual Arts. This fellowship provides with gifts of art as well as funds. The a unique opportunity for qualified Gallery accepted more than 270 gifts of scholars from central or eastern Europe paintings, sculpture, prints, drawings, and states of the former Soviet Union to and photographs this year. We are study and meet with colleagues in the extremely grateful for the support of all United States. Gaetano Zompini, Le Arti che vanno per via nella Citta di Venezia, 1753 (detail), Ailsa Mellon Bruce Fund, donors, whose names appear on pages In 1990 the National Gallery received 1992.99.1 111-118 of this report. a substantial grant from The Annenberg

59 The Annenberg Foundation made possible the pro- duction of a laser videodisc, American Art from the National Gallery of Art, and the distribution of 2,500 free copies to educational organizations across the country

Foundation in support of a major edu- funded by The Circle this year were was a time of increased activity for this cational initiative. This gift enabled the production of the educational brochure office, which secures corporate support Gallery to produce the new laser video- on the Gallery's newly acquired Fortress for Gallery exhibitions and exhibition- disc, American Art from the National Gal- of Konigstein by Bernardo Bellotto and related projects. The office acts as a liai- lery of Art. The largest digital imaging production of television public service son between the Gallery and corporate project developed by an American art announcements promoting art muse- representatives, working to ensure that museum, this videodisc is a compen- ums that can be used by local museums. relationships are mutually beneficial. In dium of more than 2,600 works of art, The development office played an addition to exhibitions, Gallery initia- representing virtually all of the Gallery's active part in outreach and communica- tives that receive corporate funding collections of American paintings and tion with several key constituencies, have included films, videos and video- sculpture as well as a large number of continuing to work closely with mem- discs, brochures, catalogues, interactive drawings, watercolors, and prints. In bers of the Trustees' Council and its multimedia computer databases, and 1993 The Annenberg Foundation's development committee to build aware- educational programming as well as grant provided for 2,500 copies of the ness and garner support for the Gallery. exhibition-related special events, press videodisc to be distributed free to edu- It organized the Forum on Connoisseur- materials, and advertising. cational organizations in every state, ship and Collecting, a two-day session The year was particularly notable for U.S. territory, and the District of Colum- of curatorial discussions and related the return of three long-time National bia. This important project has enabled events designed to encourage younger Gallery corporate benefactors: Philip the Gallery to bring its vast archive of collectors and philanthropists to become Morris Companies Inc., GTE Corpora- American art to teachers and students better acquainted with the Gallery. The tion, and Republic National Bank of of all ages across the country. office also communicated with major New York. Guided by Robert H. Smith and foundations and with members of Con- For its seventh National Gallery spon- Katharine Graham, The Circle of the gress to document the breadth of ser- sorship, Philip Morris Companies Inc. National Gallery of Art continued to vices the Gallery provides to every supported The Greek Miracle: Classical grow in its seventh year. Members con- regional area and congressional district Sculpture from the Dawn of Democracy, the tributed some $660,000, and their re- in the country. Fifth Century B.C., an unprecedented newal rate was 88 percent. Circle mem- exhibition in the United States. Philip Corporate Relations bers support a variety of programs of Morris' participation extended beyond consistently high quality that benefit The National Gallery's first year under the exhibition in Washington to include every visitor. Among the many projects the directorship of Earl A. Powell III not only sponsorship of the second

60 most recently at the Gallery as a spon- in cooperation with the Portuguese Sec- sor of Circa 1492: Art in the Age of Explo- retary of State for Culture, which, ration—returned to support Giambolog- together with the Luso-American Devel- na's "Cesarini Venus." This exhibition opment Foundation, also agreed to sup- was RNB's sixth National Gallery spon- port separately the transport of a spec- sorship. tacular Portuguese royal coach. In its Planning for future projects was an April 1993 "Fortune 500" issue, Fortune important focus during the year and re- magazine added two exhibition-related sulted in substantial funding commit- pages to a Portugal advertising supple- ments for exhibitions scheduled for fiscal ment, providing the exhibition with years 1994 through 1996. NationsBank, important long-lead publicity; Espi'rito expanding its presence in the Washing- Santo Financial Holding S.A. and Inves- ton area, agreed to sponsor John James timentos e Participates Empresariais Audubon: The Watercolors for "The Birds S.A. made this effort possible. of America," to premiere at the Gallery The second funding consortium in fall 1993; Audubon is the first-ever formed this year agreed to support the exhibition sponsorship for this rapidly upcoming Egon Schiele retrospective. growing financial institution. With The This diverse group of notable American Currency of Fame: Portrait Medals of the and Austrian sponsors includes Gold- Renaissance, the Federal Republic of Ger- man Sachs, Bank Austria, Creditanstalt, many will be contributing to its second Austrian Federal Ministry for Foreign Gallery exhibition, following its support Affairs, the Austrian Cultural Institute of Kathe Kollwitz last year. In spring 1994 of New York, The City of Vienna, and the Gallery will welcome J. P. Morgan & Joan and David Maxwell. Co. Incorporated to Washington as the In fiscal year 1993 the International venue at the Metropolitan Museum of sponsor of Willem de Kooning: Paintings, Corporate Circle (ICC) continued to Art in New York but also support of an not only at the National Gallery but also grow, adding nine new global members exchange exhibition of paintings from at the Metropolitan Museum of Art, New that include AlliedSignal Inc., Banamex, the American museums at the National York, and the Tate Gallery, London. Citibank, Daimler-Benz Washington Gallery of Greece in Athens. Philip Mor- Looking forward to 1996, Ford Motor Inc., RJR Nabisco, Inc., Sallie Mae, Sara ris also provided funding for an interna- Company has agreed to support Old Mas- Lee Corporation, and Tabacalera S.A. tional satellite teleconference to ter Drawings from Chatsworth, following in Members' contributions supported the announce the exhibition, an advertising the tradition of its sponsorship of Trea- audiovisual presentation of the Barnes campaign focusing on national print sure Houses of Britain in 1987. exhibition and committed support for media as well as Washington and New Funding consortia continue to be an The Age of the Baroque in Portugal. York airport terminals and bus kiosks, effective form of supporting exhibitions, The ICC held its first annual meeting and educational brochures. The exhibi- and in fiscal year 1993 two major inter- on 1 December 1992, presided over by tion's audiovisual program was support- national shows opening in the next fis- the ICC chairman, John C. Whitehead. ed by Stavros S. Niarchos. cal year received commitments from Members convened at the National As the sole sponsor of Great French groups of complementary corporations Gallery for opening remarks, during Paintings from The Barnes Foundation, its and foundations. which the Gallery's new director, Earl eighth National Gallery exhibition since The Age of the Baroque in Portugal will A. Powell III, was introduced; the pro- 1982, GTE Corporation continued as the be supported by ten distinguished spon- gram continued at the State Depart- Gallery's leading corporate patron. In sors from the United States and Portugal, ment's Diplomatic Reception Rooms addition to its support of this landmark including the Pacific Telesis Foundation, with a luncheon that featured Dr. presentation, GTE made possible a long- Espirito Santo Financial Holding S.A., Daniel Boorstin, Librarian of Congress lead press conference at the Barnes Banco Comercial Portugues, Banco emeritus and author of The Discoverers, Foundation in Merion, Pennsylvania, to Totta & Azores, The Calouste Gulben- speaking about his new book. The Cre- which it provided transportation for kian Foundation, the Luso-American ators. Members then returned to the press from New York, Washington, and Development Foundation, Institute Gallery for special tours of the collection Philadelphia. GTE also funded a highly Camoes, the Orient Foundation, Inves- with curators and concluded the day effective print advertising campaign in timentos e Participates Empresariais with a black-tie dinner in the East Washington and New York. S.A., and the International Corporate Building. Near the end of the fiscal year, Circle of the National Gallery of Art. National Gallery exhibitions and Republic National Bank of New York— This landmark exhibition was organized special programs in fiscal year 1993

61 Edouard Manet, The Plum, c. 1877, Collection of Mr. and Mrs. Paul Mellon, 1971.85.1, was among the impressionist paintings lent to the National Gallery of Greece, Athens, for the exhibition From El Greco to Cezanne

received $2,787,500 in support from a also coordinated video press releases the Times and the Post as well as the total of 20 national and international produced by Reuters TV International Wall Street Journal, Boston Globe, Los corporations. Additionally, 11 compa- Ltd. and broadcast in the United States, Angeles Times, Philadelphia Inquirer, and nies, 4 foundations, and 3 foreign gov- Europe, and Greece as well as on Amer- other publications. ernments made $2,060,700 in commit- ican Airlines flights. In conjunction with The Barnes exhibition attracted a ments to future projects. the Greek and U.S. embassies in Wash- breadth and depth of American print ington and Athens, the Gallery assisted and network television coverage rarely Press and Public Information sponsor Philip Morris in its international given to the fine arts. In December 1992 public relations activities. Press coverage the Gallery organized a press luncheon In 1993 this office coordinated world- in Athens included the Greek newspa- and tour of the Barnes Foundation in wide public relations efforts for the per headline, "72 Masterpieces . . . from Merion, Pennsylvania. When the show Washington premiere of The Greek Mira- America with Love," and attendance opened in Washington six months later, cle and the opening in Athens of the was the highest in the Greek museum's broadcast highlights included NBC-TV lend-back show, From El Greco to history. For its efforts in publicizing "Today Show" with a live remote from Cezanne. Among the highlights was the these two exhibitions, the Gallery the exhibition space, ABC-TV "Good interactive satellite press announcement received the Silver Award for Marketing Morning America," CBS-TV "Sunday between Washington and Athens, in- Institutional Excellence from the Ameri- Morning," PBS-TV "MacNeil/Lehrer volving Greek Prime Minister Constan- can Association of Museums' public NewsHour," CNN-TV "Across America," tine Mitsotakis and the Chief Justice of relations committee. CNBC-TV "McLaughlin." Further cover- the U.8. $upreme Court, William Rehn- Significant attention was focused on age was generated by a surprise visit of quist. The Gallery and Cronkite Ward the introduction of Earl A. Powell III as President Clinton and his family on and Associates produced 13 public ser- the new director of the National Gallery Mothers' Day, seen on CBS-TV "Evening vice television spots, Minutes for Demo- through meetings and interviews with News" and CNN-TV "Headline News," cracy, featuring former CBS-TV news the New York Times, the Washington Post, on NBC-TV, Fox-TV, and ABC-TV affili- anchor Walter Cronkite and broadcast and other publications. Major changes ate stations across the country, and in by CNN-TV three to five times a day in the Board of Trustees and appoint- Associated Press photographs in news- around the world while the exhibition ments of a new deputy director and papers nationwide. was in Washington. The press office several curators were announced in Other notable press attention for

62 across the country; to prepare advertise- education worldwide. Intended for ments for the Washington Post Weekend museum colleagues around the world, section highlighting Gallery exhibitions, this publication can also introduce the activities, and publications, which is Gallery's programs to corporations and received by some 800,000 people; and foundations. A supplemental flyer was to publish the staff newsletter. published for the Gallery's Fund for the International Exchange of Art. Other special projects included a Special Projects 12-minute film on Founding Benefactor Samuel H. Kress, his extraordinary col- The special projects office was estab- lection, and the Samuel H. Kress Foun- lished this year to provide creative, dation, one of the Gallery's most impor- managerial, and liaison support to the tant and generous benefactors. The film external affairs office, with emphasis on was made in tribute to Franklin D. enhancing and expanding the Gallery's Murphy for his 40 years on the Kress national service. Special assignments Foundation board and his almost 30 were undertaken to develop new chan- years on the Gallery's Board of Trustees, nels of communication and service to most recently as its chairman. The film various constituencies of the National was shown at a May 20 dinner Gallery throughout the country. honoring Dr. Murphy. Of particular significance was the establishment of a collaborative, ongo- ing relationship between this office and Special Events Congress and the development of lines of communication concerning national In 1993 this office organized a visit by programs. A primary focus was on the the Board of Trustees and Trustees' Gallery's extension programs, National Council to Spain and Portugal. Invita- Gallery exhibitions included the broad- Lending Service, and annual Teachers tions were extended by the King and cast of nine live remote spots in the Institute. With the support of The Annen- Queen of Spain and by President Soares exhibition space of John James Audubon: berg Foundation, the Gallery distributed of Portugal, following their attendance The Watercolors for "The Birds of America" 2,500 American Art videodiscs in every at events for Circa 1492 last year. on Fox-TV "Morning News"; an inter- state, and each member of Congress was The preview dinner for Ellsworth Kelly: view with artist Helen Frankenthaler in informed of the recipients in his or her The Years in France brought contempo- Washington on PBS-TV "Charlie Rose district. Some 169 members, represent- rary artists and collectors to the Gallery Show"; and major features on Ellsworth ing 35 states and the District of Colum- and began the 1993 Collectors Commit- Kelly in ARTnews, Art in America, bia, also learned which teachers among tee events. The opening celebration of Harper's Bazaar, and Vogue. their constituents attended the 1993 The Greek Miracle was attended by the A press trip to Portugal organized by Teacher Institute. Congress has contin- Prime Minister of Greece and Mrs. Con- the National Gallery paved the way for ued to participate actively in expanding stantine Mitsotakis and by other a dozen articles on the upcoming Age the impact of the Gallery's educational dignitaries. Many distinguished guests of the Baroque in Portugal exhibition to outreach programs. This year the visited the Gallery to see this exhibition, appear in such interior design and art Gallery was the first art museum ever including members of the new adminis- magazines as House Beautiful, Interior invited by the House Subcommittee on tration and family and friends of the Design, Elle Decor, Art and Antiques, The Telecommunications and Finance to president at a gala evening on the occa- Magazine Antiques, and Apollo. make a presentation before a multime- sion of the presidential inauguration. The Gallery's new American Art dia gathering, demonstrating the Ameri- Events heralding the opening of Great videodisc, funded by a grant from The can Art videodisc. French Paintings from The Barnes Founda- Annenberg Foundation, garnered atten- In addition to local and national con- tion brought museum officials and col- tion in science, computer, and technolo- stituencies, the Gallery serves an inter- lectors to the Gallery from around the gy publications, as well as Town & Coun- national audience. A promotional world. Plans were made for a celebra- try and newspapers nationwide. brochure produced this year, Nation to tion at the American embassy in Paris The press office continued to produce Nation, advances the Gallery's commit- to coincide with the opening of the the monthly Calendar of Events, avail- ment to its international role in present- exhibition there. able free of charge to the public and ing exhibitions, hosting scholars and Visits were arranged this year for sev- mailed to some 32,000 households scholarly events, and encouraging art eral current and former heads of state

63 and their wives, including Mrs. Keating remaining passes. In addition, this office of Australia, Mrs. Shushkevish of the conducted a survey during the Barnes Republic of Belarus, Mr. and Mrs. Sar- exhibition, including people from all ney of Brazil, Dr. Veiga of Cape Verde, 50 states, the District of Columbia, and Mrs. Clerides of Cyprus, Mrs. Rabin of 94 countries. Israel, Mrs. Amato of Italy, Mr. Slezevi- Visitor services produced and distrib- cious of the Republic of Lithuania, and uted a "tourism packet" to provide in- Mrs. Yeltsin of the Russian Federation. formation on the Gallery's collections The concluding event of the Gallery's and programs. This project will continue 50th anniversary celebration was a sur- to be a priority in 1994. prise champagne reception in the Rotunda for people who attended the Horticulture concert commemorating the Gallery's first concert. Using various perennials typical of gar- The final event of importance for the dens in the impressionist period, the Gallery during this fiscal year was the horticulture department created a dis- dinner on 29 September 1993 to honor play in an East Building gallery to Franklin D. Murphy and John R. Steven- enhance the Barnes exhibition, changing son as they retired as chairman of the the selection on a regular schedule to Board and president of the Gallery and ensure freshness. Accent plants were were succeeded by Ruth Carter Steven- placed throughout the exhibition space. son and Robert H. Smith, who spoke to The department provided fresh flowers, guests after dinner in the Rotunda. arrangements, and interior landscaping for many special events: prepared dis- plays for the art information desks, the Visitor Services Rotunda, and the waterfall on the con- course level; and maintained extensive To facilitate attendance at the Gallery's plantings in public and private areas of most popular programs, this office the East and West Buildings, as well as designs and manages tailored pass sys- the vast exterior grounds. This year tems. It also monitors and tracks atten- another section of automatic irrigation dance figures, responds to visitors' con- system was added to the West Building cerns and suggestions, and provides grounds, and sod was replaced in heavi- assistance to visitors with special needs. ly trafficked areas. Jonas Umbach, Stream through an Ancient Forest, Weekly and monthly reports generated Ailsa Mellon Bruce Fund, 1992.100.3 and distributed to the executive officers include attendance statistics and com- Music at the Gallery ments from visitors. The Gallery accommodated approxi- Thirty-seven Sunday evening concerts mately 900,000 visitors through free- were presented in the West Garden world premiere of a work for piano and pass systems for its programs this year. Court of the National Gallery in fiscal orchestra by the Greek-American com- Two exhibitions accounted for the year 1993, the 51st season of free con- poser Sotireos Vlahopoulos, commis- majority of the passes: The Greek Miracle, certs at the Gallery. Concerts were sup- sioned by the Gallery for the occasion. with attendance of 270,075, and Great ported by funds bequeathed to the Gal- The orchestra also celebrated the 50th French Paintings from The Barnes Foun- lery by William Nelson Cromwell and anniversaries of the first concert at the dation, with attendance of 520,924. F. Lammot Belin, with additional sub- National Gallery, which took place on Other programs—including the sympo- vention from the Ann and Gordon Getty 6 December 1942, and the first concert sium "Dr. Barnes and His Collection," Foundation, the Embassy of Canada, conducted by music director emeritus "Conversations with Artists IX" featuring and the Fund for the International Richard Bales. The latter included the Helen Frankenthaler, and the "Grand Exchange of Art. world premiere of Bales' National Gallery Music Cinema: 1904-1928" film series— The National Gallery Orchestra per- Suite No. 5, the composer conducting. required approximately 3,500 passes. formed nine concerts under the direc- The National Gallery Vocal Arts The Sunday evening concerts and tion of George Manos, two in honor of Ensemble, also under Manos' artistic audiovisual programs for the Greek Mira- the Ellsworth Kelly and the Greek Miracle direction, performed a program of Bach cle and Barnes exhibitions used the exhibitions. The latter included the arias at the Gallery on that composer's

64 % k

Si

birthday. The Ensemble traveled to Ger- "Performance Today." Weekly local Morning" with Charles Kuralt. The many in August 1993 to perform in the broadcast of the concerts continued Vocal Arts Ensemble's tour of Germany Rheingau Musik Festival and in the throughout the summer months for the received 2 highly favorable reviews in famous Beethovenhalle in Bonn. Both first time in 1993, as both WGTS-FM German newspapers. concerts drew capacity audiences. and WETA-FM arranged to rebroadcast A complete listing of the 1992-1993 The 50th American Music Festival selected concerts from the season dur- concert season follows: featured a jazz concert by the Charlie ing July, August, and September. A Byrd Trio. The festival brochure in- color brochure previewing the concerts OCTOBER cluded a tribute from Washington Post was printed again this year and distrib- 4 National Gallery Orchestra music critic emeritus Paul Hume, whose uted both by mail and in the Gallery 11 John Browning, pianist 18 The Leonardo Trio career has spanned the same 50 years. throughout the concert season. 25 The Madroszkiewicz-Wagner-Artzt Duo Local broadcast of the concerts moved National Gallery concerts were the to radio station WGTS this year, and subject of 14 reviews, 2 feature articles, NOVEMBER selections from the concerts were re- and 13 photographic previews in area 1 National Gallery Orchestra 8 Janice Fiore, soprano broadcast nationally on a regular basis newspapers as well as 2 radio interviews 15 Jeffrey Siegel, pianist on the National Public Radio program and a report on CBS-TV's "Sunday 22 National Gallery Orchestra, with Rosa

65 Conductor George Manos rehearses the National Gallery Orchestra

Lamoreaux, soprano, and Jeffrey Chappell, MARCH JUNE pianist 7 National Gallery Orchestra 6 National Gallery Orchestra 29 Jeffrey Multer, violinist, and Constance 14 (Concert cancelled because of blizzard) 13 Aureole Trio Moore, pianist 21 National Gallery Vocal Arts Ensemble 20 Eugenia Zuckerman, flutist 28 The Bergen (Norway) Wind Quintet 27 Louis Lortie, pianist DECEMBER 6 National Gallery Orchestra with the World Premieres U.S. Navy Band Sea Chanters 4 Ralph Votapek, pianist SOTIREOS VLAHOPOULOS 13 Barry Tuckwell, French horn 11 The Howard University Chorus The Dream Wanderer, 22 November 1992 20 The Maryland Camerata^-Christmas Con- RICHARD BALES cert 50th American Music Festival National Gallery Suite No. 5, 18 April 1993 22 The Washington Camerata April 18 through May 9 27 Thomas Hecht and Sandra Shapiro, piano First Washington Performances 18 National Gallery Orchestra duo JALALU-KALVERT NELSON 25 (Concert cancelled because of Timeloss, 18 October 1992 JANUARY demonstration on the Mall) WOJCIECH KILAR 3 National Gallery Orchestra Quintet (1952), 17 January 1993 10 Nancy Green, cellist 2 The Lark Quartet PIERRE BOULEZ 17 The Warsaw Wind Quintet, with Michiko 9 The Charlie Byrd Trio Twelve Notations (Revised 1985), 24 January Otaki, pianist 24 Marc Ponthus, pianist 1993 16 The Edinburgh Quartet 31 National Gallery Orchestra LASSE THORESEN 23 Paul Maillet, pianist Bird of the Heart, 14 February 1993 FEBRUARY 30 William Bloomquist, pianist AARON JAY KERNIS 7 The Fresk Quartet String Quartet, 2 May 1993

14 The Grieg Trio KENNETH LEIGHTON 21 Angela Hewitt, pianist Seven Variations for String Quartet, 16 May 28 Young Uck Kim, violinist 1993 DEBORAH DRATTELL Conspiracy of Dreams, 13 June 1993

66 J* ' :

CENTER F CED STUDY IN THE VISUAL A Report for the Academic Year 1992-1993

At the founding of the Center in 1979 a Alpers, University of California, Berke- four-part program of fellowships, meet- ley; William Loerke, Dumbarton Oaks; ings, publications, and research was Everett Fahy, Metropolitan Museum instituted. The resident community of of Art; and Jules Prown, Yale Univer- scholars at the Center in 1992-1993 sity, completed their terms. In May included the Samuel H. Kress Professor, 1993 William MacDonald, Washington, 2 Andrew W. Mellon Lecturers, 7 senior D.C., and Caroline Bruzelius, Duke Uni- fellows, 12 visiting senior fellows, 2 versity, completed their terms. In Sep- Soros visiting senior research fellows, 1 tember 1993 Rosalind Krauss, Columbia Ailsa Mellon Bruce National Gallery of University; Linda Seidel, University of Art sabbatical curatorial fellow, and 6 Chicago; and Andrew Stewart, Univer- predoctoral fellows. Nonresident schol- sity of California, Berkeley, began their ars included 11 predoctoral fellows. terms. Six others continued to serve: Research by the scholars in residence David Rosand, Columbia University; involved diverse media, including archi- Kathleen Weil-Garris Brandt, Institute tecture, painting, film, sculpture, and of Fine Arts, New York University; Eliz- photography, originating in cultures abeth Broun, National Museum of ranging from the 18th Dynasty in Egypt American Art; Lisa Golombek, Royal to women photographers in the United Ontario Museum, Toronto; Larry Silver, States during the 1930s. Scholars Northwestern University; and Kirk focused on such issues as the diffusion Varnedoe, Museum of Modern Art, of art in Central Asia, Fascist architec- New York. ture, history of applied arts museums, A variety of private sources support and censorship and art funding. the programs of the Center. Senior, The board of advisors, composed of predoctoral, and curatorial fellowships art historians from academic institutions are funded by endowments from the and museums, meets annually to con- Andrew W. Mellon Foundation and the sider policies and programs of the Cen- Chester Dale bequest and by Robert H. ter. Members of the board serve overlap- and Clarice Smith for the Smith pre- ping appointments, usually for three- doctoral fellowship in Northern Renais- year terms. In December 1992 Svetlana sance painting. The Samuel H. Kress

67 Foundation provides funds for the Kress since 1978. She was acting director of Professor, Kress senior fellowships, a the Yale University Art Gallery in 1985- Kress postdoctoral fellowship, and Kress 1987. She has served on the board of and Mary Davis predoctoral fellowships. directors and as president of the College The Wyeth Endowment for American Art Association; as monograph editor Art and the Ittleson Foundation also for the editorial board of the Art support predoctoral fellowships. The Bulletin-, on the executive committee of Open Society Fund provides funds for the board of directors and as coeditor of visiting senior research fellowships for the Art Journal, and on committees and scholars from central Europe and the governing boards for the Council of former Soviet Union. Additional support International Exchange of Scholars, for this program was provided by Hyatt Wadsworth Atheneum, Comite Interna- Hotels Corporation. The Arnold D. Frese tional de l'Histoire de 1'Art, Art Dealers Foundation, Inc., has provided funds to Association Prize Committee, Yale Uni- establish a fellowship for scholars from versity Press Governing Board, Swann Germany. The Center has received sup- Foundation for Caricature and Cartoon, port for scholarly meetings from The Yale University Center for British Art, Arthur Vining Davis Foundations, The Lewis Walpole Library, and Hillstead Getty Center for the History of Art and Museum. She has published books and the Humanities, The J. Paul Getty articles on Manet, Edward Hopper, Museum, the Istituto Italiano per gli Fantin-Latour, Jacopo della Querela, Studi Filosofici, The Solow Art and cubism, and futurism. While at the Cen- Architecture Foundation, as well as ter she worked on a book and an exhi- from Shelby White and Leon Levy. Sup- bition on Gino Severini and futurism. port for research was received from The Getty Grant Program and The Graham SENIOR FELLOWS Foundation for Advanced Studies in the Fine Arts. Clifford Brown, Carleton University, Ailsa Mellon Bruce Senior Fellow, spring term The Center continued meetings with 1993 the Association of Research Institutes Peter Brunette, George Mason University, in Art History, a union of 15 North Samuel H. Kress Senior Fellow, 1992-1993 Charles Morscheck, Jr., Drexel University, American institutions that support Richard Etlin, University of Maryland at Col- Ailsa Mellon Bruce Visiting Senior Fellow, summer 1993 advanced research through fellowships lege Park, Paul Mellon Senior Fellow, 1992-1993 Lena Orlin, Folger Institute, Folger Shake- and related programs. Incorporated in Virginia Roehrig Kaufmann, Herzog August speare Library, Ailsa Mellon Bruce Visiting 1988, ARIAH enables member institu- Bibliothek, Wolfenbiittel, Ailsa Mellon Bruce Senior Fellow, summer 1993 tions, as a group, to develop and seek Senior Fellow, 1992-1993 Martha Pollak, University of Illinois, Ailsa funding for jointly sponsored programs Claudia Lazzaro, Cornell University, Ailsa Mellon Bruce Visiting Senior Fellow, fall 1992 and projects and to share visiting schol- Mellon Bruce Senior Fellow, fall 1992 Nancy Pressly, National Endowment for the ars. The Center also took part in meet- Carol Mattusch, George Mason University, Samuel H. Kress Senior Fellow, 1992-1993 Arts, Paul Mellon Visiting Senior Fellow, fall ings of the Washington Collegium for Annabel Wharton, Duke University, Ailsa Mel- 1992 the Humanities, made up of 9 research lon Bruce Senior Fellow, 1992-1993 Artur Rosenauer, Institut fur ICunstgeschichte institutions. The Center and the Latrobe der Universitat Wien, Paul Mellon Visiting Senior Fellow, winter 1993 Chapter of the Society of Architectural VISITING SENIOR FELLOWS Victor Stoichita, University of Fribourg, Historians cosponsored a lecture by Ailsa Mellon Bruce Visiting Senior Fellow, J. Carter Brown, director emeritus, Paul Binski, University of Manchester, Ailsa summer 1993 Mellon Bruce Visiting Senior Fellow, fall National Gallery of Art. Charles Zika, University of Melbourne, Ailsa 1992 Mellon Bruce Visiting Senior Fellow, fall SAMUEL H. KRESS PROFESSOR Michael Conforti, Minneapolis Institute of Arts, 1992 Paul Mellon Visiting Senior Fellow, winter 1992-1993 1993 SOROS VISITING SENIOR Anne Coffin Hanson received her Ph.D. Judith Fryer, University of Massachusetts, Amherst, Paul Mellon Visiting Senior Fellow, RESEARCH FELLOWS from Bryn Mawr College in 1962 and fall 1992 Levon Chookaszian, Yerevan State University, has taught art history at Yale University Elena Ivanova, State Hermitage Museum, Paul Center of Armenological Studies, fall 1992 since 1969, serving as chair of the Mellon Visiting Senior Fellow, spring 1993 Jan Bakes, Slovak Academy of Sciences, Insti- department in 1974-1978 and as John Milan Lukes, Charles University, Prague, Paul tute of Art History, Bratislava, spring-sum- Hay Whitney Professor in History of Art Mellon Visiting Senior Fellow, spring 1993 mer 1993

68 10 December 1992 Claudia Lazzaro, "Animals as Cultural Signs in Renaissance Florence" 14 January 1993 Richard Etlin, "Angiolo Mazzoni: Futurist Architect and Nationalist Culture" 28 January 1993 Peter Brunette, "Thinking the Body in the Films of Peter Greenaway" f8 February f993 Clifford Brown, "Fruste et strache nel fabricare: Isabella d'Este's Apartments in the Corte Vecchia of the Ducal Palace in Mantua" 31 March 1993 Virginia Roehrig Kaufmann, "Magdeburg Rider and Braunschweig Lion: A Ghibelline Response to a Politically Effective Guelph Symbol?" 22 April 1993 Annabel Wharton, "Good and Bad Images from Dura-Europos: Texts, Contexts, Pre- texts, Subtexts, Intertexts" 6 May 1993 Carol Mattusch, "Large-Scale Bronzes and Questions of Mass Production in Antiquity"

Alfred Stieglitz, Georgia O'Keeffe: A Portrait—Head, 1918, Alfred Stieglitz Collection, 1980.70.11 Shoptalks 29 October 1992 Philip Hotchkiss Walsh, "The Art of the Past in the Teaching of Gustave Moreau" 14 December 1992 Dana Leibsohn, "Fashioning Nahua History" 25 February 1993 Pauline Thayer Maguire, "A Rereading of Nico- las Poussin's The Israelites Gathering Manna in the Wilderness (1638-1639)" 4 March 1993 AILSA MELLON BRUCE Pauline Thayer Maguire* [Columbia Universi- R. Anthony Lewis, "Reevaluating Thomas NATIONAL GALLERY OF ART ty], Mary Davis Fellow, 1991-1993 Birch's Images of Shipwreck" SABBATICAL CURATORIAL Dominique Malaquais* [Columbia University], 11 March 1993 FELLOW, 1992-1993 Andrew W. Mellon Fellow, 1991-1993 Patricia Bochi, "The Iconography of Agri- Alison Luchs, Associate Curator of Early Euro- Bratislav Pantelic [University of Pennsylvania], culture as 'Daily Life' in the 18th Dynasty" pean Sculpture Chester Dale Fellow, 1992-1993 8 April 1993 Nicole Rousmaniere [Harvard University], Dominique Malaquais, "Architecture as Power: PREDOCTORAL FELLOWS Andrew W. Mellon Fellow, 1992-1994 Construction and Hegemony in the Bamileke Grasslands of West Cameroon" Patricia Bochi* [University of Pennsylvania], Claudia Swan [Columbia University], Robert Samuel H. Kress Fellow, 1991-1993 H. and Clarice Smith Fellow, 1992-1993 Incontri Aline Brandauer [City University of New T. Barton Thurber [Harvard University], York, Graduate School and University Cen- Samuel H. Kress Fellow, 1992-1994 t9 November 1992 ter], Paul Mellon Fellow, 1991-1994 Philip Hotchkiss Walsh* [Harvard University], John Pollini, University of Southern Califor- nia, "The Gemma Augustea: Ideology, Rhetori- Karen Fiss [Yale University], Mary Davis Fel- David E. Finley Fellow, 1990-1993 cal Imagery, and the Construction of a low, 1992-1994 Martine Westermann [New York University, Dynastic Narrative" Maria Gough [Harvard University], Paul Mel- Institute of Fine Arts], David E. Finley Fel- 2 December 1992 lon Fellow, 1992-1995 low, 1992-1995 Dimitry Shvidkovsky, Moscow Architectural Dorothy Wong [Harvard University] Ittleson Gabriele Guercio [Yale University], Chester Institute, "The Ideology of Imperial Gardens Fellow, 1992-1994 Dale Fellow, 1992-1993 of the Russian Enlightenment" Kenneth D.S. Lapatin [University of California, Meetings 23 March 1993 Berkeley], David E. Finley Fellow, Wolfgang Wiemer, University of Essen, Insti- 1991-1994 Coiloquia tute of Physiology, "Architectural Analysis of Dana Leibsohn* [University of California, Los Medieval Buildings by Computer" 14 October 1992 Angeles], Ittleson Fellow, 1991-1993 Steven Mansbach, "The Political Presentation R. Anthony Lewis* [Northwestern University], of Russian Art in the West: The First Russian Symposia Wyeth Fellow, 1991-1993 Art Exhibition in Berlin" MONARCA DELLA PITTURA: PIERO AND HIS 5 November 1992 LEGACY, * in residence 14 September 1992-31 August 1993 Anne Coffin Hanson, "Severini +" 3-5 December 1992

69 Cosponsored with The J. Paul Getty Museum Civic Design Commission; Gerald Thacker, Publications and The Getty Center for the History of Art Space and Facilities Division, Administrative and the Humanities Office, U.S. Courts; George White, Architect of The Center annually compiles a record Participants: Kirk Alexander, Princeton Uni- the Capitol; Douglas P. Woodlock, U.S. District of the scholarly events and research of Court, Boston. versity; Daniel Arasse, Universite de the preceding year. Center 13, published Paris I (Pantheon-Sorbonne); James Banker, in September 1993, contains general North Carolina State University; Carlo Bertelli, MIDDLE ATLANTIC SYMPOSIUM IN THE University of Lausanne; Albert Boime, Univer- HISTORY OF ART: 23RD ANNUAL SESSIONS, information about fellowships, meet- 3 April 1993 sity of California, Los Angeles; Maurizio ings, publications, and research as well Calvesi, Universita degli Studi di Roma I "La Cosponsored with the Department of Art as the board of advisors, members of Sapienza"; Michael Curschmann, Princeton History and Archaeology, University of University; Frank Dabell, New York City; Maryland at College Park the Center, and the list of activities for Colin Eisler, New York University, Institute Participants: Anne P. Chapin [University of 1992-1993. Center 13 also contains sum- of Fine Arts; J. V. Field, Imperial College of North Carolina at Chapel Hill], introduced by mary reports on research conducted by Science, Technology, and Medicine, London; Arthur S. Marks; Jennifer L. Russell [Pennsyl- the resident members of the Center in Jack Freiberg, Florida State University; Marc vania State University], introduced by Fumaroli, College de France; Paul Grendler, Anthony Cutler; Lauree Jean Sails [University 1992-1993 and by several fellows from University of Toronto; Martin Kemp, Uni- of Maryland at College Park], introduced by the previous academic year. versity of Saint Andrews; Rosalind Krauss, William R. Rearick; Stephen Campbell [Johns Papers presented at symposia spon- Columbia University; Marilyn Aronberg Lavin, Hopkins University], introduced by Charles Princeton University; Bert Meijer, Nederlands Dempsey; Alison Jane McQueen [University of sored by the Center are often gathered Interuniversitair Kunsthistorisch Instituut, Pittsburgh], introduced by Ann Sutherland and published in the National Gallery's Florence; Serafin Moralejo, Universidad de Harris; Lisa Kirk [American University], series of Studies in the History of Art. Santiago de Compostela; Stephen Nichols, introduced by H. Diane Russell; Norine S. Johns Hopkins University; John Shearman, Hendricks [George Washington University], To date, 22 symposium volumes have Harvard University; Christine Smith, Syracuse introduced by David Bjelajac; Eugene Balk appeared, with 4 published in fiscal year University Program in Florence; Michael Zim- [University of Delaware], introduced by 1993: Urban Form and Meaning in South merman, Zentralinstitut fur Kunstgeschichte. William I. Homer; Hope Mauzerall [University THE INTERPRETATION OF ARCHITECTURAL of Virginia], introduced by Lawrence A. Asia: The Shaping of Cities from Prehistoric SCULPTURE IN GREECE AND ROME, Goedde; Michelle-Lee White [Howard Univer- to Precolonial Times (vol. 31), Michelangelo sity], introduced by Floyd Coleman. 22-23 January 1993 Drawings (vol. 33); The Artist's Workshop Participants: Mary Boatwright, Duke Universi- (vol. 38); Eius Virtutis Studiosi: Classical ty and Intercollegiate Center for Classical Seminars and Postclassical Studies in Memory of Studies in Rome; Diana Buitron-Oliver, Chevy John Singleton Copley's "Watson and the Shark," Chase, Maryland; Angelos Delivorrias, Benaki 26 March 1993 Frank Edward Brown (1908-1988) (vol. Museum; Evelyn Harrison, New York Univer- 43). A complete list of titles in the series sity, Institute of Fine Arts; Helmut Kyrieleis, Design History, 7 May 1993 Deutsches Archaologisches Institut, Berlin; is printed in the front of each volume. William L. MacDonald, Washington, D.C.; Curatorial/Conservation Colloquy V Papers from other symposia are in vari- Alexander Mantis, Acropolis Museum; Sheldon ous stages of preparation. Another regu- Nodelman, University of California, San 18-19 May 1993 Diego; Olga Palagia, University of Athens; Alfred Stieglitz's Palladium Portraits of Georgia lar publication of the Center has been Jerome J. Pollitt, Yale University; Erika Simon, O'Keeffe the directory of art history research pro- Seminar fur Archaologie der Universitat Cochairs: Sarah Greenough and Constance jects supported by granting institutions Wurzburg; Mario Torelli, Universita degli McCabe, National Gallery of Art Studi di Perugia; Susan Walker, British Muse- in the United States and abroad: Spon- um; Paul Zanker, Institut fur Klassische Participants: Peter Bunnell, Art Museum, sored Research in the History of Art 12 lists Archaologie der Universitat Munchen. Princeton University; Lisha Glinsman, Nation- al Gallery of Art; Anne Havinga, Museum of awards for 1992-1993. FEDERAL BUILDINGS IN CONTEXT: THE Fine Arts, Boston; Rebecca Johnston, Museum ROLE OF DESIGN REVIEW, 5 March 1993 of Fine Arts, Boston; Nora Kennedy, Metro- politan Museum of Art; Roy Perkinson, Muse- Cosponsored with the National Building um of Fine Arts, Boston; Sarah Peters, Museum Bronxville, New York; Nancy Reinhold, Participants: Lawrence B. Anderson, Archi- Evanston, Illinois; Jeff Rosenheim, Metropoli- tectural Advisory Board, U.S. Department of tan Museum of Art; Doug Severson, Art Insti- State; J. Carter Brown, National Gallery of Art; tute of Chicago; Julia Thompson, National David Childs, Skidmore, Owings & Merrill, Gallery of Art; Katherine Ware, J. Paul Getty New York; Henry N. Cobb, Pei Cobb Freed & Museum. Partners, New York; David A. Crane, Boston Redevelopment Authority; Robert J. DiLuchio, General Services Administration; Norman Lecture Fletcher, The Architect's Collaborative, Cam- J. Carter Brown, director emeritus, National bridge, Massachusetts; Herbert Gleason, Gallery of Art, "Dreams, Design, and Disas- Boston; George Hartman, Hartman/Cox Archi- ter: A Modernist Case History in Observance tects, Washington, D.C.; Brenda Lightner, Uni- of the Neutra Centennial," 2 December 1992 versity of Cincinnati; Robert Peck, American (cosponsored with the Latrobe Chapter of Institute of Architects; William Rawn, Boston the Society of Architectural Historians)

70 REPORT OF THE TREASURER

Funds needed to operate the National Federal Funds for Operations Gallery of Art in fiscal year 1993 The use of federal funds to operate the amounted to $62.5 million, of which Gallery stems from a 1937 Joint Resolu- $52.6 million was appropriated to the tion of Congress, which accepted an un- Gallery by Congress. The remaining precedented gift that Andrew W. Mellon $9.9 million represented private funds, made to the people of the United States. primarily in the form of income from The gift consisted of his art collection, endowments and grants from corpora- funds to construct a building (now the tions, foundations, and individuals to West Building), and an endowment support special exhibitions and other fund. The Congress pledged the faith of Gallery programs. For the first time in the U.S. to provide funds for the upkeep, several years privately funded expenses administration, and operations (includ- exceeded income by $135,002; the ing the protection and care of works of deficit was funded from accumulated art acquired by the Board of Trustees) operating surpluses of prior years. so that the Gallery would be properly The sources of funding for 1993 maintained and works of art exhibited operations are summarized below: regularly to the public free of charge. ($ millions) % of total Since the Gallery opened to the pub- Federal funds $52.6 84% lic, federal funds have supported major Private funds operations of the Gatlery, including cur- Income from endowment 4.8 atorial and education departments, secur- and other investments ity, maintenance, and day-to-day func- Gifts and grants 4.7 tions. All purchases of works of art have for special exhibitions and other Gallery been made with private funds. Con- programs struction of the East Building was pri- Income from food services, A vately financed by the Mellon family recorded tours, and The Andrew W. Mellon Founda- reimbursements and other tion. Total private funds 9.9 16% The Gallery received a 5% increase in Total operating funds $62.5 100% its federal appropriation for 1993 com-

71 Renovation & Equipment

Curatorial

Administration

Conservation

Development Total Special Exhibitions Operating Expenses Fiscal Year 1993 &62.5 Million Editorial

Research Security

Education

Fellowships Operations & Maintance

pared with 1992, excluding no-year Fund, originally established in the early gram was provided by appropriated fed- funding received in 1992 for the special years of the Gallery. Endowment in- eral funds amounting to $1,953,638. exhibition Circa 1492 and for specific come was augmented by income from The federal government is also a building repairs and renovations yet to food services and proceeds of recorded major factor in the international com- be completed. This increase, while less tours related to the The Greek Miracle ponent of the Gallery's exhibitions. than in previous years, was needed to and Great French Paintings from The Barnes Through the U.S. indemnity program, offset salary and other federally man- Foundation exhibitions. Income from managed by the Federal Council on the dated increases. unrestricted funds is used for the com- Arts and the Humanities, the National Despite the increase of funds, in pensation of executive personnel, pay- Gallery and other museums throughout keeping with President Clinton's execu- ment of professional fees, insurance, the country have been relieved of much tive order to reduce federal employ- fundraising, and other operating costs of the burden of insuring art treasures ment, the Gallery's federally supported not covered by federal funds. In 1993, coming to the United States from staff was decreased to 862 persons in as in 1992, because these expenses have abroad. Federal indemnity was secured fiscal year 1993 from 875 in 1992. Per- been growing faster than endowment for three fiscal year 1993 exhibitions, sonnel costs represent the largest single income, income from the Gallery's con- providing a total estimated savings of expense category for museums—specifi- tingency fund was added to available $780,000 in insurance premiums. With- cally salaries for curatorial, guar- endowment funds. out government indemnity, many if not dianship, and maintenance staffs so most international exhibitions—such integral to the care of the collections Special Exhibitions: During this fiscal year as The Greek Miracle, shared with the and their presentation to the public. 14 special exhibitions were mounted. Metropolitan Museum of Art—would Expenditures of $5.5 million were less not be possible because of prohibitively than half of those in fiscal year 1992 high insurance costs. The Gallery has Private Funds for Operations when the Gallery presented Circa 1492, participated in the federal indemnity Unrestricted funds supporting opera- continuing a downward trend in exhi- program since it became available in the tions consist primarily of income from bition costs that began in 1989. Basic 1970s without loss or damage to art. the Andrew W. Mellon Endowment support for the Gallery's exhibition pro- Funds generated from private sources

72 to support special exhibitions amounted er than the preceding fiscal year. Com- income earned on existing fund bal- to $2.5 million, or 45% of the expenses mon and preferred stocks composed ances are used to finance, through a this year. The Greek Miracle and Barnes 51 % of the portfolio, compared with revolving fund, the production of cata- exhibitions were funded by Philip Mor- 47% at the end of fiscal year 1992. The logues, research publications, and other ris Companies Inc. and GTE Corporation, high proportion of cash, cash equiva- scholarly efforts directly related to the respectively. We are extremely grate- lents, and fixed-income securities re- Gallery's collections. ful for this most generous support. Even flects the short-term nature of special so, the combination of federal and pri- purposes funds and the income needs Treasurer's Office and Computer vate funds specifically designated for of designated endowments. The endow- Operations special exhibitions fell short of total ment fund established by Andrew W. The treasurer and his staff are respon- needs, contributing to the private funds Mellon has been supplemented over the sible for general financial management deficit. years by endowments given by the and policy, overseeing investment man- Andrew W. Mellon Foundation and Center for Advanced Study in the Visual Arts: agement, budgeting, accounting, pay- Paul Mellon to operate the Center for The Center derived 78% of its income roll, and insurance. The office manages Advanced Study and to provide art from two Andrew W. Mellon Founda- the systems and the controls for security conservation and building funds. The tion endowments plus numerous grants and disposition of the funds described in largest single portion of endowment from the Kress Foundation, individuals, the accompanying financial statements. funds is the Patrons' Permanent Fund, and other supporting foundations. Pri- It also has oversight of the Gallery's dedicated to the purchase of works of vately funded expenses are included in computer operations, both fiscal and art. Its market value amounted to the operating statement under the head- curatorial. $80.2 million at year end. ings "Educational Services" ($612,897) During the past year, work continued The investment portfolio is supervised and "Fellowships" ($554,625). The re- on enhancements to the Gallery's com- by the finance committee of the Board maining 22% used for Center staffing is puterized collection management sys- of Trustees and managed by an invest- derived from federally appropriated tem. Using state-of-the-art technology, ment advisory team made up of Scud- funds. The Center supported 34 fellow- the system makes a wealth of informa- der, Stevens & Clark, New York; Sound ships in its 1993 community of scholars tion about each work of art owned or Shore Management, Inc., of Greenwich, in addition to its program of meetings, handled by the National Gallery readily Connecticut; and Trust Company of the publications, and research. available to curators, exhibition staff, West, Los Angeles. The custodian is The and other personnel. In addition, bene- Conservation: Conservation costs of $2.6 Riggs National Bank of Washington, D.C. million were primarily (84%) funded by fiting from equipment and expertise federal appropriations. Private funds of provided by the IBM Corporation, the Art Acquisitions $417,296 supported 8 fellowships, staff Gallery furthered its work with comput- research, and seminars. The Gallery Purchases of works of art in 1993 erized digital images of the collection. maintains separate laboratories for con- amounted to $16,199,359 compared The images will ultimately be tied into servation of paintings, objects, paper, with $21,954,182 in the prior year. Two the collections management system. textiles, and scientific research. of particular significance are the acquisi- tion of Bernardo Bellotto's Fortress of Conclusion Research Services and Music: Supplement- Konigstein and of William Harnett's Old ing federal funds, purchases of books As the fiscal year ended, the Gallery Violin. Patrons' Permanent Fund income and photographs totaling $129,084 for was particularly concerned about the plus unrestricted endowment principal the Gallery's library and photographic future level of federal funding. In an designated for acquisitions by the Board archives were made with private funds effort to bring the federal deficit under of Trustees was used to purchase the designated for these purposes. Primary control, President Clinton has proposed Bellotto. A major gift from Mr. and Mrs. funding (62%) for the Gallery's music further restraints in spending and addi- Richard Mellon Scaife in honor of Paul department, which presents the regular tional personnel cuts. We do not know Mellon funded the purchase of the Sunday evening concerts, is derived how the Gallery will be affected. Now, Harnett. from income of two endowment funds perhaps more than ever, we cherish and specifically given for this purpose; feder- depend upon our many friends and Publications Fund al funds make up the difference. supporters, whose recognition of the Publication revenue of $11.3 million in Gallery's unique public/private partner- 1993 was $1.7 million higher than in ship enhances the nation's art museum. Investments 1992, with a significant increase in prof- The investment portfolio of the Gallery itability achieved through close control Daniel Herrick Ann R. Leven grew to a market value of $242.3 mil- of margins and expenses. The net pro- Treasurer Deputy Treasurer lion on 30 September 1993, 6.3% high- ceeds of publications sales along with

73 Coopers certified public accountant &Lybrand

Report of Independent Accountants

To the Board of Trustees of The National Gallery of Art

We have audited the accompanying balance sheet of National Gallery of Art (the "Gallery") as of September 30, 1993, and the related statements of activity of the funds for operations, and changes in fund balances for the year then ended. We previously audited and reported on the financial statements of National Gallery of Art for the year ended September 30, 1992, totals of which are included in the accompanying financial statements for comparative purposes only. These financial statements are the responsibility of the Gallery's management. Our responsibility is to express an opinion on these financial statements based on our

We conducted our audit in accordance with generally accepted auditing standards and generally accepted government auditing standards. Those standards require that we plan and perform the audit to obtain reasonable assurance about whether 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 audit also includes assessing the accounting principles used and significant estimates made by management, as well as evaluating the overall financial statement presentation. We believe that our audit provides a reasonable basis for our opinion.

In our opinion, the financial statements referred to above present fairly, in all material respects, the financial position of National Gallery of Art as of September 30, 1993, and the results of its operations for the year then ended in conformity with generally accepted accounting principles.

Washington, D.C. December 17, 1993

David Hockney, The Blue Guitar, 1976/1977, Wm Gift of Mrs. Robert A. Hauslohner in Honor of the 50th Anniversary of the National Gallery of Art, 1991.60.1, was in the Series and Sequences exhibi- tion

74 BALANCE SHEET AS OF 30 SEPTEMBER 1993 (with comparative totals as of 30 September 1992)

1993 1992 Nonfederal Federal Total Totals

ASSETS Cash, including amounts on deposit with U.S. Treasury and interest-bearing demand deposits (Note 2) $ 5,191,083 $14,684,443 $ 19,875,526 $ 15,034,175 Receivables (Note 3) 9,805,231 11,014 9,816,245 11,040,605

Investments (Notes 1 and 4) 242,254,317 — 242,254,317 227.979,767

Publications inventory (Notes 1 and 5) 3,003,146 — 3,003,146 3,320,572 Deferred charges (Note 1) 1,553,197 612,005 2,165,202 2,094,359 Fixed assets (Notes 1 and 6) 74,053,952 22,276,136 96.330,088 98,566,006 TOTAL ASSETS $335,860,926 $37,583,598 $373,444,524 $358,035,484

LIABILITIES AND FUND BALANCES Liabilities: Accounts payable, accrued expenses, and undelivered orders (Note 1) $ 4,171,789 $ 8,509,634 $ 12,681,423 $ 13,714,404 Deferred grants and appropriations 6,424,434 612,005 7,036,439 7,446,934 Total liabilities 10,596,223 9,121,639 19.717,862 21,161,338 Commitments and contingencies (Note 10)

Fund balances (Note 7): Funds for operations 185,859 185.859 887,910

Funds for special purposes 38,581,049 — 38,581,049 38,440,603

Endowment funds 212,443,843 — 212,443,843 194,900,960

Unobligated appropriations — 6,185,823 6,185,823 4,078,667 251,210,751 6,185,823 257,396,574 238,308,140 Capital invested in fixed assets 74,053,952 22,276,136 96,330,088 98,566,006 Total fund balances 325,264,703 28,461,959 353,726,662 336,874,146

TOTAL LIABILITIES AND FUND BALANCES $335,860,926 $37,583,598 $373,444,524 $358,035,484

The accompanying notes are an integral part of these financial statements.

75 STATEMENT OF ACTIVITY OF THE FUNDS FOR OPERATIONS FOR THE YEAR ENDED 30 SEPTEMBER 1993 (with comparative totals for the year ended 30 September 1992)

Nonfederal Federal Total

SUPPORT AND REVENUE U.S. government appropriation utilized (Note 1) $ $52,589,015 $52,589,015 $54,928,388 Return from endowment funds, less $39,049 and $795,858

for 1993 and 1992, respectively, returned to principal (Note 1) 4,677,135 — 4,677,135 4,188.833

Grants for special exhibitions 2,510,626 — 2,510,626 5,398,352

Special purpose funds utilized 2,222,497 — 2,222,497 2,738,166 Income from food services, recorded tours, reimbursements,

and other 390,077 — 390,077 234,150

TOTAL SUPPORT AND REVENUE 9,800,335 52,589,015 62,389,350 67,487,889

OPERATING EXPENSES Programs: Curatorial 2,231,463 6,564,992 8,796,455 8,579,495 Conservation 417,296 2,167,218 2,584,514 2,395,676 Special exhibitions 3,551,713 1,953,638 5,505,351 11,700,712

Editorial and photography — 1,078,586 1,078,586 1,073,740 Research services 159,900 2,495,268 2,655,168 2,825,469 Educational services 1,163,918 3,770,072 4,933,990 4,719,157

Fellowships 554,625 — 554,625 489,251 Music 322.788 195,223 518,011 556,084 Total program expenses 8,401,703 18,224,997 26,626,700 32,339,584

Operations, security, and administration: Operations and maintenance 25,607 11,149,475 11,175,082 11,248,376

Security — 10,767,599 10,767,599 10,014.832 Administration, fiscal and legal 894,587 8,386,630 9,281,217 8.829,953 Development 613,440 213,337 826,777 755,294

Total operations, security, and administration 1,533,634 30.517,041 32,050.675 30,848,455

Renovation expenditures — 2,548,715 2,548,715 3,409,314

Equipment expenditures — 1.298,262 1.298.262 786,484

TOTAL EXPENSES 9,935,337 52,589,015 62,524,352 67,383,837

Excess/(deficiency) of support and revenue over expenses $ (135,002) S $ (135,002) $ 104,052

The accompanying notes are an integral part of these financial statements.

76 STATEMENT OF CHANGES IN FUND BALANCES FOR THE YEAR ENDED 30 SEPTEMBER 1993 (with comparative totals lor the year ended 30 September 1992)

1993 1992 Nonfederal Federal No-year Funds for No-year special Funds for special Endowment One-year renovation exhibitions operations purposes funds funds funds funds Total Totals BALANCES, BEGINNING OF YEAR $887,910 $38,440,603 $194,900,960 $ 306,644 $2,854,631 $ 917,392 $238,308,140 $233,406,838 Additions: U.S. government appropriation received 48,094,690 3,530,732 3,093,480 54,718,902 52,126,820 U.S. government tunds provided for prior years 309,646 309,646 221,360 Return from endowment funds restricted to special purposes 3,726,099 3.726,099 4,259,433 Endowment fund income returned to principal (Note 1) 39.049 39,049 795,858 Investment income 1,690,316 1,690,316 2,214,705 Change in investment appreciation (Note 4) 1,796,834 15,290,485 17,087,319 14,339,255 Gifts and bequests 10,426,741 1,961,572 12,388,313 10,410,792 Excess (deficiency) of support and revenue ^ over expenses (135,002) (135,002) 104,052 J Publications revenue 1 1,332,633 1 1,332,633 9,583,488 Total additions (95,953) 28,972,623 17,252,057 48,404,336 3,530,732 3,093.480 101,157,275 94,055,763 Deductions: Art purchases 16,199,359 16,199,359 21,954,182 Publications expenses 10,481,601 10,481,601 10,991,013 Fixed asset expenditures 243,992 243,992 202,936 Fellowships, projects, and other 2,222,497 2,222,497 2,738,166 Federal operating expenses obligated 48,086,651 2,548,715 2,286,026 52,921,392 53,268,164 Total deductions — 29,147,449 — 48,086.651 2,548,715 2,286,026 82,068,841 89,154,461 Transfers—In(out),

net (Note 7) (606,098) 315,272 290,826 — — — — — BALANCES, END OF YEAR $185,859 $38,581,049 $212,443,843 $ 624,329 $3,836,648 $1,724,846 $257,396,574 $238,308,140

The accompanying notes are an integral part of these financial statements.

77 Notes to Financial State- included in undelivered orders and are avail- extent that shared costs are incurred by the ments able until expended. Nonfederal funds do not Gallery. account for undelivered orders. Pledges for the purchase of works of art are recorded when collected. Note 1. Summary of significant account- ART COLLECTION—In conformity with ing policies accounting policies generally followed by art OPERATING INCOME FROM ENDOWMENT FUND— museums, the value of art has been excluded Income derived from investments of endow- FUND ACCOUNTING—To ensure observance of from the balance sheet. The Gallery acquires ment funds is accounted for as revenue of limitations and restrictions placed on the use its art collections through purchase or by the appropriate operating fund or, if appli- of resources available to the National Gallery donation-in-kind. Only current-year pur- cable, as additions to funds for special pur- of Art (the Gallery), the accounts of the chases, but not donations-in-kind, are poses. It is the policy of the Board of Trustees Gallery are classified for accounting and reflected in the statement of changes in fund to limit the amount of dividends and interest reporting purposes into separate funds estab- balances. available for expenditure in operations in lished according to their nature and purpos- any year and to return unused income to the es. Separate accounts are maintained for INVESTMENTS—Investments are carried at principal of the appropriate endowments. In each fund; however, in the accompanying current market value based upon the last keeping with this policy, the amount of financial statements, funds that have similar reported sales price at the end of the fiscal interest and dividends available for expendi- characteristics have been combined into fund year or, in the absence of a reported sale, tures is equal to 5.5% of the four-year aver- groups: upon the average of the bid and asked prices. age market value of the invested funds. Total Operating funds, which include unrestricted Purchases and sales of securities are reflected income generated by endowments for opera- and restricted resources, are those expend- on a trade-date basis. Gain or loss on sales of tions was $4,716,184 and $4,984,691 for the able funds that support the Gallery's opera- securities is based on average historical value years ended 30 September 1993 and 1992. Of tions. (cost of securities if purchased or the fair these amounts, $4,677,135 and $4,188,833 market value at the date of receipt if received Funds for special purposes include the publica- were used for operating purposes and, pur- by donation). Dividends and interest are tions fund, which is used to finance, in a suant to the Trustees' policy noted above, recorded on the accrual basis. In accordance revolving fund manner, the production of $39,049 and $795,858 were returned to prin- with the policy of stating investments at fair catalogues and other scholarly activities cipal for these respective years. value, the net change in unrealized apprecia- directly related to the programs and collec- tion or depreciation for the year is reflected ANNUAL LEAVE—The Gallery's employees earn tions of the Gallery. Publications revenue in the statement of changes in fund balances annual leave in accordance with federal law and expenses are recorded as additions and (see Note 4). and regulations. The cost of leave is recorded deductions, respectively, in the statement of as salary expense only as leave is taken. changes in fund balances. Other funds for PUBLICATIONS INVENTORY—Publications special purposes are primarily restricted to inventory is carried at the lower of cost or CONTRIBUTED SERVICES—A substantial num- art acquisitions, capital construction, and market. Cost is determined using the retail ber of unpaid volunteers have made signifi- fellowships. cost method. cant contributions of their time in the fur- Endowment funds require in perpetuity that therance of the Gallery's programs. This con- DEFERRED CHARGES—Deferred charges repre- tributed time is not reflected in these state- principal be invested and that only the sent expenses incurred in connection with ments, since no objective basis is available for income be used. Permanent endowment future special exhibitions and other activities determining the value of these services. funds are subject to restriction by donor, and are recognized in the period in which grantor, or other outside party. Funds func- they occur. tioning as endowment are subject to restric- Note 2. Cash tion by the Gallery's Board of Trustees. FIXED ASSETS—The land occupied by the The Gallery invests its excess nonfederal cash Federal funds represent appropriations from Gallery's buildings was appropriated and reserved by the Congress of the United States in money market funds that are converted the Congress of the United States for the into cash as needed to meet the Gallery's operations of the Gallery. The Gallery for that purpose. No value has been assigned in the accompanying financial statements. obligations. As of 30 September 1993 federal receives "one-year" appropriations, which, cash of $14,684,443 is on deposit with the when not obligated or expended, are Buildings are recorded at cost and depreciat- ed on a straight-line basis over the estimated U.S. Treasury and represents appropriated retained by the Gallery for a period of five amounts yet to be disbursed. years prior to being returned to the U.S. useful life of 50 years. Equipment, furniture, Treasury; and "no-year" appropriations for and computer software are also recorded at cost and depreciated on a straight-line basis the repair, renovation, and restoration of its buildings and for special exhibitions. No-year over estimated useful lives ranging from 5 to appropriations are retained until expended. 25 years. Upon retirement of fixed assets, the related cost and accumulated depreciation UNDELIVERED ORDERS—In accordance with are removed from the accounts (see Note 6). accounting principles prescribed by the Comptroller General of the United States as REVENUE RECOGNITION—Grants, gifts, and set forth in the Policy and Procedures Manual bequests are recognized as support and rev- for Guidance of Federal Agencies, the obligation enue or additions to funds for operations, basis of accounting used for federal funds dif- special purposes, or endowment funds on the fers in some respects from generally accepted accrual basis. Support and revenue received accounting principles. Obligations, such as for future periods is deferred. purchase orders and contracts, are recognized Contributions received by the Gallery in as expenses and are carried as liabilities even support of special exhibitions occurring at though the related goods or services may not one or more participating museums are have been received. Such amounts are recorded as revenue to the Gallery to the

78 Note 3. Receivables

As of 30 September, receivables were composed of the following: 7993 J992 Grants and reimbursements $5,796,192 $ 4,644,725 Due from brokers on sales of securities 571,602 3,586,761 Accrued investment income 2,098,658 2,023,567 Other 1,349,793 785,552 TOTAL $9,816,245 $11,040,605"

Note 4. Investments

As of 30 September, the Gallery's endow- ment and other special purpose funds were invested as follows: 1993 2992 Cost Market value Cost Market value Loan to the U.S. Treasury $ 5,000,000 $ 5,000,000 $ 5,000,000 $ 5,000,000 Government obligations and cash equivalents 83,078,933 90,773,167 85,744,604 90,465,149 Bonds and notes 21,129,950 22,770,098 23,697,881 25,942,562 Common and preferred stocks 107,372,003 123,711,052 92,117,326 106,572,056 $216,580,886 $242,254,317 $206,559,811 $227,979,767

In 1942 the Gallery, under authority of an income on this loan was $317,309 and Act of Congress, made a $5,000,000 perma- $364,948 for the years ended 30 September nent loan to the United States Treasury. This 1993 and 1992, respectively. loan bears interest at '/,% below the average The change in investment appreciation for monthly rate for long-term funds paid by the the years ended 30 September 1993 and United States Treasury (ranging from 5.75% 1992 is as follows: to 6.75% during fiscal year 1993). Interest

1993 1992 Net increase in market value of investments $ 4,253,476 $ 6,241,251 Realized gain on sale of investments, net 12,833,843 8,098,004 Total $17,087,319 $14,339,255

Note 5. Publications inventory

As of 30 September, inventory consists of the following: 1993 1992 Publications inventory $1,897,513 $1,899,195 Work-in-process 642,194 989,205 Other 463,439 432,172 $3,003,146 $3,320,572

Note 6. Fixed assets of changes in fund balances. Depreciation in the amount of $3,677,922 in 1993 is com- Depreciation is charged directly against "Cap- prised of $2,317,209 of nonfederal funds and ital invested in buildings and equipment" $1,360,713 of federal funds. and is excluded from the statement of activi- Buildings and equipment consist of the fol- ty of the funds for operations and statement lowing as of 30 September:

1993 1992 Nonfederal Federal Total funds Total funds Buildings $121,749,895 $12,395,516 $134,145,411 $134,651,608 Equipment 3,947,542 27,902,416 31,849,958 28,665,384 Construction-in-progress 755,614 755,614 1,991,987 125,697,437 41,053,546 166,750,983 165,308,979

Less accumulated depreciation (51,643,485) (18,777,410) (70,420,895) (66,742,973)

TOTAL $ 74,053,952 $22,276,136 $ 96,330,088 $ 98,566,006 Note 7. Nonfederal fund balances Note 9. Income taxes

Nonfederal funds include the following as of The Gallery is a nonprofit organization 30 September: exempt from federal income taxes under the 1993 1992 provisions of §501 (c)(3) of the Internal Rev- enue Code and the applicable income tax Funds for operations 185,859 $ 887,910 regulations of the District of Columbia. Funds for special purposes: Accumulated income, gifts, grants, and bequests Note 10. Rental commitments which are available for: Art purchases 10,680,149 14,499,851 The Gallery has entered into two operating Capital construction 9,634,197 8,375,340 leases for warehouse space. Under these Publications 15,249,123 13,115,361 leases, the Gallery has the right to cancel Fellowships and other projects 3,017,580 2,450,051 upon 12 months' written notice to the lessor Total funds for special purposes 38,581,049 38,440,603 prior to the end of the initial lease term. Future minimum rental commitments under Endowment funds: these leases at 30 September 1993, are Endowment funds, the income of which is available for: approximately as follows: Restricted purposes 91,838,961 86,251,548 Gallery operations 90,329,374 80,655,541 For the year ending Federal Publications Funds functioning as endowment funds, the principal and 30 September fund fund income of which are available for: 1994 $ 322,000 $161,000 Special purposes 15,578,620 14,707,525 1995 334,000 167,000 Unrestricted purposes 14,696,888 13,286,346 1996 344,000 172,000 Total endowment funds 212,443,843 194,900,960 1997 86,000 43,000 1998 5,000 3,000 TOTAL NONFEDERAL FUNDS $251,210,751 $234,229,473 Total $1,091,000 $546,000

Interfund transfers - In (out) for the year ended 30 September 1993 included: The terms of these leases include additional Funds for rent for operating expenses, real estate taxes, Funds for special Endowment utilities, and maintenance. Rent expense operations purposes funds on the above leases was approximately Endowment fund income returned to principal $ (39,049) $ 39,049 $573,000 and $390,000 for the years ended Art purchases 300,741 (300,741) 30 September 1993 and 1992, respectively. Other (567,049) 14,531 552,518 The Gallery is currently renegotiating its operating leases for warehouse space. Total transfers among funds $(606,098) $315,272 $290,826 Also, the Gallery has entered into a single lease for limited term office space with a minimum rental commitment of $32,000. contributions to a Thrift Savings Plan and in Note 8. Retirement benefits Rent expense of $35,700 was paid from some instances receive a matching portion All permanent employees of the Gallery, nonfederal funds for operations for the year from the Gallery. ended 30 September 1993. both federal and nonfederal, hired prior to The Gallery funds all retirement contribu- 1 January 1984 participate in the Civil Ser- tions on a current basis, and accordingly vice Retirement System (CSRS), and those there are no unfunded retirement costs. hired subsequent to 1 January 1984 partici- Total pension expense of the Gallery was pate in both the Social Security Retirement approximately $3,839,000 and $3,385,000 System and the new Federal Employees' for the years ended 30 September 1993 and Retirement System (FERS), which went into 1992, respectively. effect 1 January 1987. Under FERS, employ- ees have the option to make tax-deferred

80 APPEND I CE

Acquisitions screen in 3 panels, 1993.14.1, Gift of Perry R. and Nancy Lee Bass

Graves, Nancy, American, born 1940 Paintings Unending Revolution of Venus, Plants, and Pendu- lum, 1992, bronze, brass, stainless steel, steel, Bellotto, Bernardo, Italian, 1721-1780 aluminum, and enamel, 1992.113.1, Gift of Nanette The Fortress of Kiinigstein, 1756-1758, oil on Ross and Saff Tech Arts canvas, 1993.8.1, Patrons' Permanent Fund Guston, Philip, American, 1913-1980 Drawings Untitled, 1964, oil on canvas Review, 1949-1950, oil on canvas Arnout, Jean-Baptiste, French, 1788-after 1992.86.1-2, Gift of Musa Guston 1865 Harnett, William Michael, American, Design for a Border with a Portrait of Baron Cuvier, graphite on tracing paper, 1992.87.7, Gift of Arthur 1848-1892 L. Liebman The Old Violin, 1886, oil on canvas, 1993.15.1, Gift of Mr. and Mrs. Richard Mellon Scaife in honor of Beinaschi, Giovanni Battista, Italian, Paul Mellon 1636-1688 Nude Youth Leaning on a Cloud and Gazing Kelly, Ellsworth, American, born 1923 Upward, black chalk heightened with white on Tiger, 1953, oil on canvas (5 joined panels), brown-red paper, 1993.31.1, Ailsa Mellon Bruce 1992.85.1, Gift (Partial and Promised) of the Artist Fund Vollon, Antoine, French, 1833-1900 Blondel, Merry-Joseph, French, 1781-1853 Mound of Butter, 1875/1885, oil on canvas, Hope with Her Anchor, black chalk heightened 1992.95.1, Chester Dale Fund with white on blue paper, 1993.4.1, Ailsa Mellon Bruce Fund Sculpture Boucher, Francois, French, 1703-1770 Sancho Pursued by the Servants of the Duke, c. Bourgeois, Louise, American, born 1911 1737, black chalk over black wash, heightened The Winged Figure, 1948, cast 1991, bronze, with white 1992.101.1, Gift of Louise Bourgeois Design for a Funeral Monument, c. 1767, black Untitled, 1952, painted wood and plaster chalk and stumping with touches of graphite, Mortise, 1950, painted wood heightened with white, on brown paper Spring, 1949, balsa wood 1992.87.9, 1992.87.28, Gift of Arthur L. Liebman 1992.102.1-3, Gift of the Collectors Committee Carmontelle, French, 1717-1806 Frankenthaler, Helen, American, born 1928 Madame La Duchesse de Mortemart, watercolor Gateway IX, 1988, 28-color etching, relief, with gray wash and touches of gouache over aquatint, and stencil on TGL hand-made paper red and black chalks, 1992.87.5, Gift of Arthur L. mounted in a hand-patinated cast bronze Liebman

81 Antoine Vollon, Mound of Butter, 1875/1885, Chester Dale Fund, 1992.95.1

Cavedone, Giacomo, Italian, 1577-1660 Portrait of a Young Man in Uniform, 1790s, pastel Double Cartouche with Two Heads and Symbols of Seated Warrior Holding a Sword and Shield (recto), on blue paper Fame and Folly, graphite, incised for transfer Clasped Hands (verso), c. 1612, black chalk View of a Port, pen and black ink with brown An Ornament with Symbols, graphite, incised for heightened with white on gray-blue paper, wash over graphite transfer 1993.13.1.a,b, Ailsa Mellon Bruce Fund 1992.87.1-2, 1992.87.11, Gift of Arthur L. Liebman An Ornamental Trophy, graphite, incised for transfer European 19th Century Chapotay, French, 18th century Coat of Arms with Two Eagles, graphite, incised for Portrait of a Young Man in Profile, c. 1800, pastel Landscape View, 1791, gray wash with graphite, transfer Hellene von Slehen, c. 1800, pastel on blue paper 1992.87.10, Gift of Arthur L. Liebman Arms of the King of France with Wings and Scientific 1992.87.3-4, Gift of Arthur L. Liebman Claude Lorrain, French, 1600-1682 Instruments, graphite, incised for transfer Four Cows, red and black chalks with gray wash, Flemish 17th Century Coat of Arms with Three Putti, graphite, incised for 1992.87.27, Gift of Arthur L. Liebman Man Falling from the Sky, pen and brown ink transfer with blue wash and touches of black ink, Title Cartouche for a Map of the Chateau and Village Cochin II, Charles-Nicolas, French, incised for transfer, 1992.87.24, Gift of Arthur L. of Le Plessis aux Bois, graphite, incised for transfer 1715-1790 Liebman A Plinth Surmounted by the Arms of the King of Allegory of Fame, 1773, red chalk, 1992.87.23, Gift France, graphite, incised for transfer Franlcenthaler, Helen, American, born 1928 of Arthur L. Liebman 1992.87.13-22, Gift of Arthur L. Liebman Study for "Freefall," 1992, pressed TGL hand- Crosato, Giovanni Battista, Italian, made paper pulp, acrylic gel, and acrylic paint, Greuze, Jean-Baptiste, French, 1725-1805 1686-1758 1993.19.1, Gift of Helen Frankenthaler The Angry Mother, black and gray wash over The Triumph of Amphitrite, pen and brown ink graphite, 1992.87.29, Gift of Arthur L. Liebman with brown and gray washes over graphite, Gorky, Arshile, American, 1904-1948 1993.29.1, Ailsa Mellon Bruce Fund Nighttime, Enigma, and Nostalgia, 1932, pen and Hamilton, Hugh Douglas, Irish, c. 1739-1808 black ink, 1992.110.1, Gift of Mr. and Mrs. Herbert A. Mary Fox, pastel, 1992.87.31, Gift of Arthur L. Lieb- Diebenkorn, Richard, American, 1922-1993 Goldstone Study for "Untitled (from Club/Spade Group '81-82)," 1982, gouache, pastel, crayon, and Gramatte, Walter, German, 1897-1929 Hunt, William Henry, British, 1790-1864 graphite, 1992.90.1, Gift of Mr. and Mrs. Richard An Elegant Woman with Her Hands Covering Her Interior of Bushey Church, 1815/1820, pen and Eyes, 1920, colored chalks on tracing paper, Diebenkorn brown ink and watercolor over graphite, 1993.11.1, Ailsa Mellon Bruce Fund 1992.96.3, Ailsa Mellon Bruce Fund Dove, Arthur, American, 1880-1946 Gravelot, Hubert Francois, French, album of 23 untitled works in oil, acrylic, tem- Jordaens, Jacob, Flemish, 1593-1678 1699-1773 pera, and watercolor, 1940/1946, 1992.111.1-23, Saint Martin of Tours Healing the Servant of Armorial Cartouche with Crown and Swags, pen Gift of William Dove Tetrodius, c. 1630, watercolor and gouache over and black ink with graphite, incised for transfer black chalk on four joined sheets of paper, European 18th Century Ornamental Medallions with the Adoration of the 1993.9.1, Ailsa Mellon Bruce Fund and Pepita Milmore Portrait of a Young Man in Uniform, 1790s, pastel Magi and Two Bibliophiles, pen and brown-black Memorial Fund on blue paper ink with graphite on tracing paper

82 Malton, Thomas, British, 1748-1804 Tamagni, Vincenzo, Attributed to. Italian, Milsom Street in Bath, 1784, pen and gray and 1492-c. 1530 black ink with gray wash and watercolor over Two Horsemen and Two Male Nudes, pen and graphite, 1992.96.1, Ailsa Mellon Bruce Fund brown ink, 1993.10.1, Ailsa Mellon Bruce Fund Meyer II, Hendrik de, Netherlandish, Tiepolo, Giovanni Battista, Italian, 1737-1793 1696-1770 Rustic Watermill in a Gothic Ruin, 1778, pen and Standing Man in Sixteenth-Century Costume, pen black ink with watercolor over black chalk, and brown ink with brown wash, 1992.87.25, Gift 1993.13.3, Ailsa Mellon Bruce Fund of Arthur L. Liebman

O'Keeffe, Georgia, American, 1887-1986 A Woman Seated on a Cloud, Seen from Below, pen Second, Out of My Head, 1914 and brown ink with brown wash, 1993.3.1, Ailsa Drawing No. 12, 1915 Mellon Bruce Fund Special No. 1, 1915 Umbach, Jonas, German, c. 1624-1693 Special No. 2, 1915 Stream through an Ancient Forest, black chalk Special No. 3, 1915 heightened with white on brown paper, Special No. 4, 1915 1992.100.3, Ailsa Mellon Bruce Fund Special No. 5, 1915 Special No. 7, 1915 Varin, Pierre, French, active 1736-1753 Special No. 14, 1915 Plan and Three Views of a Circular Church, c. 1750, Special No. 20 from Music, 1915 pen and black and gray ink with gray, pink, and First Drawing of Blue Lines, 1916 blue washes Special No. 16, 1918 Three Views and a Plan of a Triangular Parish Crazy Day, 1919 Church, c. 1750, pen and black and gray ink Abstraction Black Curve, c. 1920 with gray, pink, and blue washes charcoal, 1992.89.1-14, The Alfred Stieglitz Collection, Interior of a Temple, c. 1750, pen and black and Gift of The Georgia O'Keeffe Foundation gray ink with gray wash Plan for a Decorated Ceiling, c. 1750, pen and Quarenghi, Giacomo, Italian, 1744-1817 black and gray ink with gray and black wash Ornate Ceiling with an Allegory of Spring, pen and 1992.98.1-4, Ailsa Mellon Bruce Fund black ink with watercolor, 1993.13.2, Ailsa Mellon Bruce Fund Varley, John, British, 1778-1842 Harlech Castle and Snowdon, c. 1805, watercolor Rouart, Ernest, French, 1874-1942 over graphite with sponging-out, 1992.96.2, Ailsa Study (The Artist's Son Julien), c. 1916, charcoal Mellon Bruce Fund heightened with white on brown paper, 1992.88.1, Gift of Bill Scott in memory of Clement Watteau, Antoine, French, 1684-1721 Rouart and Denis Rouart Seated Guitarist (recto), Treetops (verso), red chalk; black and red chalks with brown wash, At the Piano, Agathe Valery-Rouart, c. 1916, Kline, Franz, American, 1910-1962 1992.87.6.a,b, Gift of Arthur L. Liebman Untitled, c. 1947-1952, oil charcoal, 1992.88.2, Gift of Bill Scott in memory of Untitled, 1950s, brush and black ink his parents, William P. and Uytendale C. Scott Untitled (recto and verso), 1950s, charcoal Saint-Memin, Charles Balthazar Julien Prints with oil Fevret de, after Untitled, mid-late 1950s, watercolor Daniel Kemper, after 1797, black chalk height- Blery, Eugene, French, 1805-1887 Untitled, 1950s, oil ened with white on pink paper 8 Eaux-Fortes Gravees sur Nature, published 1849, 1993.5.1-5, Gift of Elisabeth R. Zogbaum Mrs. Daniel (Elizabeth Marius) Kemper, after 1797, portfolio of 8 etchings on chine colle, Kobell, Franz Innocenz Josef, German, black chalk heightened with white on pink 1993.36.1-8, Ailsa Mellon Bruce Fund paper 1749-1822 Bontecou, Lee, American, born 1931, and 1992.87.33-34, Gift of Arthur L. Liebman Seacoast with a Great Tree, pen and brown ink Tony Towle (author), American, born 1939 and traces of gray ink with gray washes Schirmer, Johann Wilhelm, German, Fifth Stone, Sixth Stone, published 1968, unbound Clouds over a Forest, brown wash 1807-1863 folio with 6 etchings, text, and I poem, The Isar with Boulders on the Isarhohe, 1809, pen Ruined Stairs at Neuss, 1832, graphite, 1992.109.1, 1993.21.1-6, Gift of the George and Frances Armour and brown ink with brown wash over traces of Gift of Thomas Le Claire Foundation graphite Scully, Sean, Irish, born 1945 Bontecou, Lee, American, born 1931 A River Bank with Mountains Beyond, brown wash Untitled, 1989, oil pastel and watercolor, Thirteenth Stone, 1966-1970, lithograph, 1992.100.1, 1993.1.1-3, Ailsa Mellon Bruce Fund 1993.12.1, Gift of the Collectors Committee 1993.22.1, Gift of Werner H. and Sarah-Ann Kra- Krieger, Friedrich Christian, German, marsky Sharpies, James, American, c. 1751-1811 1774-1832 Thomas Peyton, pastel with graphite and Bourquin, Thierry, Swiss, born 1949, and Adolph Friedrich Theodor Gritzner, 1809, pastel on gouache, heightened with white, on 2 overlap- Honore Beaugrand (author), Canadian, blue paper, 1992.87.32, Gift of Arthur L. Liebman ping joined sheets of paper (top sheet form-cut 1849-1906 Lawrence, Jacob, American, born 1917 along figure's profile), 1992.87.30, Gift of Arthur L. La Chasse-Galerie, published 1990, unbound folio Street to M'bari, 1964, gouache with graphite, Liebman with hand-colored relief etchings, 1992.112.1, Gift 1993.18.1, Promised Gift of Mr. and Mrs. James T. of Brenda and Robert Edelson Signac, Paul, French, 1863-1935 Dyke Sailboats near a Lighthouse, pen and brown ink Castiglione, Giovanni Benedetto, Italian, in Le Prince, Jean-Baptiste, French, 1734-1781 with brown wash over graphite, 1992.87.26, Gift or before 1609-1664 Two Russians Seated in Landscape, brown chalk, of Arthur L. Liebman The Animals Going toward the Ark, c. 1630, etch- 1992.87.8, Gift of Arthur L. Liebman ing, 1992.107.1, Ailsa Mellon Bruce Fund Stutte, Hans, German, active 1610-c. 1625 Mallet, Jean-Baptiste, French, 1759-1835 The Beheading of Saint John the Baptist, 1617, pen Caulfield, Patrick, British, born 1936, and Young French Marquise in Exile in Lausanne, 1789, and brown and gray ink with red-violet wash, Jules LaForgue (author), French, 1860-1887 gouache, 1992.87.12, Gift of Arthur L. Liebman heightened with white, 1992.100.2, Ailsa Mellon Some poems of Jules LaForgue with images by Patrick Bruce Fund Caulfield, published 1973, bound volume with

83 22 color screenprints and 12 poems accompa- Frank, Mary, American, born 1933 Kabakov, Ilya, Russian, born 1933 nied by a portfolio of 5 screenprints, Horse in Water, from The New Provincetown Print La Douce (The Dream of Abu-Said), c. 1970, album 1992.112.2-7, Gift of Brenda and Robert Edelson Project 1990 portfolio, published 1990, color with illustrated preface, 39 hand-colored wood- monotype on chine colle, 1992.92.4, Gift of Werner cuts, and 2 drawings, 1993.25.1-42, Gift of Elaine Collaert, Adriaen, Flemish, c. 1560-1618 H. and Sarah-Ann Kramarsky and James D. Wolfensohn and The Dunlevy Milbank Avium Vivae Icones, published 1580, bound Foundation volume with 31 engravings, 1993.32.1, Gift of Frankenthaler, Helen, American, born 1928 The Circle of the National Gallery of Art Freefall, 1993, color woodcut on TGL hand- Kelly, Ellsworth, American, born 1923 made, hand-colored, 1993.19.2, Gift of Helen The Mallarme Suite, 1992, portfolio of 4 color Daumier, Honore, French, 1808-1879 Frankenthaler and Tyler Graphics Ltd. lithographs, 1993.24.1-4, Gift of Ellsworth Kelly Oedipe chez le Sphinx, 1842 Clemence de Minos, 1843 Gillespie, Gregory, American, born 1936 Lawrence, Jacob, American, born 1917 Ingrate patrie, tu n'auras pas man oeuvre!..., 1840 Warrior, from The New Provincetown Print Project Revolt on the Amistad, 1989, color screenprint, La Queue au Spectacle, 1840 1990 portfolio, published 1990, color monoprint 1993.23.1, Gift of Lou Stovall, Artist/Printmaker soft-ground etching, 1992.92.3, Gift of Werner H. lithographs, 1993.2.1-2, 1993.37.1-2, Ailsa Mellon The Capture, 1987 and Sarah-Ann Kramarsky Bruce Fund Toussaint at Ennery, 1989 Fink, Aaron, American, born 1955 Hofmann, Hans, American, 1880-1966 The Coachman, 1990 Steaming Coffee Cup, 1992, color lithograph, Portrait, 1932, photogram, 1993.20.1, Gift of Esin color screenprints, 1993.30.1-3, Gift of Alexander M. 1993.6.2, Gift of Kimiko and John Powers Atil and Judith W. Laughlin

84 Mignon, Jean, French, active 1543-c. 1545 Bad Dream in Los Angeles, 1978, silver gelatin The Judgment of Paris (after Luca Penni), engrav- developed-out print ing, 1992.108.1, Ailsa Mellon Bruce Fund Holy Cow, 1984, silver gelatin developed-out print Perrier, Francois, French, 1590-1650 Mabou Footage, 1979, silver gelatin developed- The Admission of Psyche to Olympia, c. 1635 out print The Wedding Feast of Cupid and Psyche, c. 1635 Pour la pile, 1980, silver gelatin developed-out etchings, 1993.37.3-4, Ailsa Mellon Bruce Fund print Piranesi, Giovanni Battista, Italian, Sick of Goodby's, 1978, silver gelatin developed- 1720-1778 out print Vases and Candelabra, 1778 or before, 4 etchings 1992.103.1-4, 1993.33.1-5, Robert Frank Collection, (proofs), 1992.97.1-4, Pepita Milmore Memorial Fund Gift of the Collectors Committee

Rouart, Ernest, French, 1874-1942 Washington, D.C. Inauguration Day, 1957 Woman at Her Toilette, etching, 1992.88.3, Gift of Paris, c. 1951/1952 Bill Scott in memory of his parents, William P. and silver gelatin developed-out prints, 1993.7.1-2, Uytendale C. Scott Robert Frank Collection, Anonymous Gift

Sandback, Fred, American, born 1943 From the Bus, New York, 1958 Untitled, from The New Provincetown Print Project From the Bus, New York, 1958 1990 portfolio, published 1990, color monoprint From the Bus, New York, 1958 drypoint on chine colle, 1992.92.2, Gift of Werner Life-Raft-Earth, San Francisco, 1969 H. and Sarah-Ann Kramarsky Me and My Brother/Julius Orlovsky, c. 1965 Shapiro, Joel, American, born 1941 From: A Musical About Me, c. 1970/1971 Untitled, 1990, 4 color aquatints, 1992.91.1-4, Gift My Son Pablo with Sandy/from: Life Dances On, of Pace Editions, Aldo Crommelynck and Joel Shapiro c. 1978/1980 silver gelatin developed-out prints, 1993.17.1-7, Tiepolo, Giovanni Domenico, Italian, Robert Frank Collection, Anonymous Gift 1727-1804 The Marriage of Angelica and Medoro, etching, Paris, c. 1949/1950, silver gelatin developed-out print 1993.16.1, Ailsa Mellon Bruce Fund 4 A.M. Make Love to Me/Love, Brattleboro, VT. The Twombly, Cy, American, born 1928 Latch's Hotel, 1979, 3 silver gelatin developed- The Song of the Border Guard, 1952, linocut on out prints mounted on blue cardboard with red paper accompanied by a poem by Robert hand-applied paint Duncan, 1992.105.1, Gift of the Collectors Committee 1993.26.1-2, Robert Frank Collection, Gift of the Ann Zompini, Gaetano, Italian, 1700-1778 and Gordon Getty Foundation Le Arti che vanno per via nella Citta di Venezia, pub- Texas, 1955 lished 1753, bound volume with 60 engraved Hoover Dam, Nevada, 1955 and etched plates, 1992.99.1, Ailsa Mellon Bruce silver gelatin developed-out prints, 1993.27.1-2, Fund Robert Frank Collection, Gift of the Evelyn and Walter Haas, Jr. Fund

Photographs Paris, c. 1949/1950, silver gelatin developed-out print, 1993.28.1, Robert Frank Collection, Gift of Mr. Jean-Baptiste Mallet, Young French Marquise in and Mrs. Ricard R. Ohrstrom and the Mars Foundation Exile in Lausanne, 1789, Gift of Arthur L. Liebman, Frank, Robert, American, born 1924 1992.87.12 In Switzerland, 1944- 46 -> to America, 1947, Miami Hotel, 1955, silver gelatin developed-out 1944-1947 print, 1993.34.1, Robert Frank Collection, Gift of Lois On the Boat to the USA, 1947 and Georges de Menil and Amy Rose Astor Place, 1949 Waiting, Central Casting, Hollywood, 1958 14th Street White Tower, 1948 Port Gibson, Mississippi, 1955 Thanksgiving Parade, 1947 Los Angeles, c. 1955/1956 On 11th Street NYC/Benny, 1951 Ford Plant, 1955 NYC, 1951 Assembly Plant, Ford—Detroit, 1955 For Alexy Brodovitch, NYC, c. 1947/1949 Hollywood TV Studio, 1956 silver gelatin developed-out prints, 1992.93.1-8, Detroit Greyhound Station, 1955 Leslie, Alfred, American, born 1927 Robert Frank Collection, Gift of the Glen Eagles Foun- silver gelatin developed-out prints, 1993.35.1-7, Montauk, 1991, 3 aquatint and soft-ground etch- dation Robert Frank Collection, Gift of Lois and Georges de ings, 1992.106.1-3, Gift of the Collectors Committee From the Bus, New York, 1958 Menil Lichtenstein, Roy, American, born 1923 From the Bus, New York, 1958 Aspen Winter Jazz Poster, 1967, color screenprint, From the Bus, New York, 1958 1993.6.1, Gift of Kimiko and John Powers From the Bus, New York, 1958 silver gelatin developed-out prints, 1992.94.1-4, Lupertz, Markus, German, born 1941 Robert Frank Collection, Anonymous Gift Steelpoints and Poems, published 1989, bound vol- ume with 10 color drypoints and 10 poems, Mabou Winter Footage, c. 1977/1980, silver gela- 1992.104.1, Gift of the Collectors Committee tin developed-out print with hand-applied ink Mabou, Nova Scotia (Words), 1977, silver gelatin McNeil, George, American, born 1908 developed-out print Untitled, from The New Provincetown Print Project Yesterday/Fire to the South/to the East America, 1990 portfolio, published 1990, color monoprint 1979, silver gelatin developed-out print with lithograph, 1992.92.1, Gift of Werner H. and Sarah- hand-applied paint Ann Kramarsky Hold Still, Keep Going, 1989, silver gelatin devel- oped-out print with hand-applied paint

85 Changes of Attribution

The following changes of attribution are following changes of attribution were the result of scholarly research using made and approved by the Gallery's the latest art historical investigations Board of Trustees during the 1993 fiscal and scientific examinations. It is the year. Each list is arranged in alpha- policy of the National Gallery of Art to betical order according to former publish these changes regularly. The attribution.

Paintings Number, title, date Attribution Changes to

1986.62.1 Francesco Albani Circle of Pierre Mignard I God the Father after 1664 c. 1650

1947.17.21 Joseph Alexander Ames Attributed to Joseph Alexander Ames George Southward George Southwardf?) c. 1835 c. 1841

1947.3.1 Style of Hendrick van Circle of Jacob Adriaensz. Bellevois Ships in the Scheldt Estuary Anthonissen Dutch Ships in a Lively Breeze

1952.4.1 Giovanni Andrea Donducci Emilian 16th Century Allegorical Landscape Fantastic Landscape with Figures early 17th century late 16th century

1939.1.88 Domenico Fetti Workshop of Domenico Fetti The Parable of Dives and Lazarus The Parable of Lazarus and the Rich Man c. 1620 1618/1628

1942.8.5 Style of Joseph Highmore Joseph Highmore Portrait of a Lady c. 1730/1735 c. 1720/1740

1974.109.1 Willem Kalf after Willem Kalf Still Life with Nautilus Cup 1665/1670 undated

1947.17.104 Attributed to Gilbert Stuart and Gilbert Stuart, completed by an Possibly Mrs. Andrew Dexter follower of Gilbert Stuart unknown artist c. 1820 Charlotte Morton Dexter (Mrs. Andrew Dexter) 1808/after 1819

1961.9.92 Venetian 18th Century Attributed to Louis-Joseph Le Lorrain Before the Masked Ball Three Figures Dressed for a Masquerade third quarter 18th century 1740s

1942.8.39 Benjamin West after Benjamin West Self-Portrait Copy of Benjamin West's Self-Portrait c. 1770 c. 1776

Sculpture 1951.17.1 Honore Daumier Imitator of Honore Daumier The Laughing Man model late 19th/early 20th century, undated cast 1944/1950

1951.17.2 Honore Daumier Imitator of Honore Daumier Man in a Tall Hat model late 19th/early 20th century, undated cast 1944/1950

1991.115.1 Paduan 16th Century Master of the Passion of Christ Saint Jerome in the Wilderness c. 1500

1989.57.1 South German 17th Century South German 16th Century Pieta (possibly Augsburg) c. 1600 c. 1580 Decorative Arts Number, title, date Attribution Changes to

1972.43.1 Chinese Liao Dynasty Chinese Jin or Yuan Dynasty Dish 12th or 13th century 907/1125

1942.9.536 Chinese Ming Dynasty Chinese Qing Dynasty Deep Apple-green Crackle Jar Vase, Meiping Shape c. 1500/1599 mid-18th/late 18th century

1942.9.610 Chinese Ming Dynasty Chinese Qing Dynasty Lotus Flower and Egret Vase Vase, Meiping Shape 1522/1566 1662-1722

1972.43.55 Chinese Qing Dynasty or Chinese Republic Coupe Chinese Republic Cup c. 1910/1930 1915/1930

1972.43.56 Chinese Qing Dynasty or Chinese Republic Small Bottle Chinese Republic 1925-1929 c. 1910/1930

1972.43.57 Chinese Qing Dynasty or Chinese Republic Smti// Bott/e Chinese Republic 1925/1929 c. 1910/1930

1961.9.196 Probably Florentine Possibly Florentine Pax with a Miniature of the 15th Century 15th Century Nativity c. 1480 (pax frame) probably c. 1480/1500 Western European c. 1850/1875 (miniature)

1942.9.286 German, Netherlandish, or German or Netherlandish Pax: The Annunciation French 16th Century (shell 16th Century (shell cameo) cameo) Italian or German Probably Italian 16th Century (setting) 16th Century (setting)

1972.43.62 Japanese Edo or Meiji Period Japanese 19th Century, after Chinese Dish Ming Dynasty

1972.43.60 Japanese Edo or Meiji Period Possibly Chinese 19th or 20th Vase Century 19th century

1972.43.61 Japanese Edo Period Japanese or Chinese 19th Century Bowl 19th century

1942.9.282 Probably Rhenish and Mosan Probably Rhenish or Mosan Crucifix 12th Century 12th Century c. 1150/1175

Prints and Drawings 1971.63.1.148 Esaias van de Velde I after Esaias van de Velde I Cottages on the Water

1971.63.1.152 Esaias van de Velde I after Esaias van de Velde I Crumbling Farm in the Woods

1971.63.1.151 Esaias van de Velde I after Esaias van de Velde I Flock of Goats

1971.63.1.150 Esaias van de Velde I after Esaias van de Velde I Flock of Sheep Crossing a Bridge

1971.63.1.154 Esaias van de Velde I after Esaias van de Velde I High Bushes

1971.63.1.153 Esaias van de Velde I after Esaias van de Velde I Rocky Land

1971.63.1.149 Esaias van de Velde I after Gillis van Scheyndel View of a Village

87 Number, title, date Attribution Changes to Loans 1971.63.1.140 Esaias van de Velde I after Esaias van de Velde I Village and Landscape View Extended Loans from the 1971.63.1.141 Esaias van de Velde I after Esaias van de Velde I Gallery's Collections Village and Landscape View All works are part of the National Lending Service 1971.63.1.142 Esaias van de Velde I after Esaias van de Velde I unless indicated by f Village and Landscape View AUSTRALIA 1971.63.1.143 Esaias van de Velde I after Esaias van de Velde I Canberra, United States Ambassador Village and Landscape View American 19th century, Indians Cooking Maize (returned); 2 George Catlin paintings (returned) 1971.63.1.144 Esaias van de Velde I after Esaias van de Velde I Village and Landscape View AUSTRIA Vienna, United States Ambassador to the Confer- 1971.63.1.145 Esaias van de Velde I after Esaias van de Velde I ence and Security Commission of Europe Village and Landscape View Attributed to J. W. Audubon, Long-Tailed Red Fox; A Young Bull; Alexander Liberman, Omega TV; Mark 1971.63.1.146 Esaias van de Velde I after Esaias van de Velde I Rothko, Untitled; Allen Tucker, Bizarre Village and Landscape View Vienna, United States Ambassador to the Negoti- 1971.63.1.147 Esaias van de Velde I after Esaias van de Velde I ations on Conventional Armed Forces in Europe Village and Landscape View Thomas Chambers, Storm-Tossed Frigate (returned)

1971.63.1.121 Esaias van de Velde I after Esaias van de Velde I BELGIUM Village Scene Brussels, United States Ambassador to NATO Gilbert Stuart, George Pollock; Mrs. George Pollock; Thomas Sully, Ann Biddle Hopkinson; Francis Hopkin- son; The Leland Sisters

88 Green Apples and Scoop (returned); Pumpkins; Mark ship Erie; 2 George Catlin paintings; attributed to Rothko, 2 Untitled paintings; James Twitty, Blue Reuben Rowley, Dr. John Safford and Family Water Geneva, United States Ambassador to the United ENGLAND Nations Mission American 19th century, Abraham Lincoln London, United States Ambassador (returned); T. Davies, Ship in Full Sail (returned); Sir William Beechey, General Sir Thomas Picton; George Catlin, Falls of the Snake River (returned); Frank Weston Benson, Portrait in White; Francis Gilbert Stuart, Ann Barry (returned); Mary Barry Cotes, Miss Elizabeth Crewe; Jacob Eichholtz, William (returned) Clark Frazer; Thomas Gainsborough, William Yelver- ton Davenport; George Peter Alexander Healy, Roxan- URUGUAY na Atwater Wentworth; Michiel van Miereveld, Por- trait of a Lady with a Ruff; John Singer Sargent, Miss Montevideo, United States Ambassador Grace Woodhouse; Gilbert Stuart, Luke White 4 George Catlin paintings; Thomas Chambers, The Hudson Valley, Sunset FRANCE VENEZUELA Paris, Musee du Louvre Severn da Ravenna, The Christ Childf Caracas, United States Ambassador American 19th century, Interior Scene; Little Miss Paris, United States Ambassador Wyckoff; Twenty-two Houses and a Church American 19th century, Washington at Valley Forge; 2 George Catlin paintings Paul Cezanne, At the Water's Edge; Man with Pipe; Walt Kuhn, Green Apples and Scoop; The White Clown; UNITED STATES A. A. Lamb, Emancipation Proclamation; Henri Rousseau, Rendezvous in the Forest; John Singer Sar- Alabama gent, Mrs. Joseph Chamberlain; James McNeill Birmingham Museum of Art Whistler, Head of a Girl (returned); Benjamin West, Anders Zorn, Hugo Reisinger Mrs. William Beckford (returned) California Paris, United States Ambassador to the Organiza- Oakland Museum of Art tion for Economic Cooperation and Development Mark Rothko, 2 Untitled paintings American 18th century, Hunting Scene with a Pond; Arshile Gorky, Nighttime, Enigma, and Nostalgia, Mark Rothko, Untitled (Two Women at a Window); Connecticut 1932, Gift of Mr. and Mrs. Herbert A. Goldstone, Personage Two; Untitled Hartford, Wadsworth Atheneum 1992.110.1 Mark Rothko, Untitled GERMANY District of Columbia Bonn, United States Ambassador Architect of the Capitol 2 George Catlin paintings Franklin C. Courier, Lincoln and His Son, Tad GUATEMALA Blair House John Singleton Copley, Harrison Gray; Georgia Guatemala City, United States Ambassador Timken Fry, Flock of Sheep; Joseph Bartholomew 5 George Catlin paintings (returned) Kidd after John James Audubon, Black-Backed IRELAND Three-Toed Woodpecker; Orchard Oriole; attributed to Benjamin Marshall, Race Horse and Trainer; Fritz Dublin, United States Ambassador Muller, Capture of the 'Savannah' by the U.S.S. 'Perry'; American 19th century, The End of the Hunt (re- Gilbert Stuart, William Hartigan(P); Thomas Wilcocks turned); The Start of the Hunt (returned); 2 George BOLIVIA Sully and Thomas Sully, Major Thomas Biddle Catlin paintings (returned); Joseph Goodhue Chan- Le Paz, United States Ambassador dler, Girl with Kitten (returned); Leonid, Derrynane Department of State, Diplomatic Reception 5 George Catlin paintings Harbor, Ireland (returned); Gilbert Stuart, Counsellor Rooms John Dunn; John Bill Ricketts 6 George Catlin paintings CHINA Department of State, United States Ambassador ITALY Beijing, United States Ambassador to the United Nations American 19th century, New England Farm in Florence, Ente Casa Buonarroti Ivan Albright, There Were No Flowers Tonight; Raoul Winter, Marguerite Zorach, Christmas Mail After Michelangelo Buonarroti, Damned Soulf Dufy, July 14 in Le Havre; Maurice Utrillo, The Pont Saint-Michel, Paris; Mark Rothko, Untitled (Woman in PARAGUAY COLOMBIA a Hat Shop); Untitled Asuncion, United States Ambassador Bogota, United States Ambassador Director, Office of Management and Budget 4 George Catlin paintings (returned) 5 George Catlin paintings Raoul Dufy, Regatta at Henley RUSSIA Library of Congress, Lessing Rosenwald Room THE CZECH REPUBLIC Carl Milles, Head of Orpheus Moscow, United States Ambassador Prague, United States Ambassador Ralston Crawford, Lights in an Aircraft Plant; Lyonel National Museum of American History, Smith- Mark Rothko, Untitled (Man and Woman Holding sonian Institution Feininger, Zirchow VII; Mark Rothko, Untitled (Still Hands): Untitled (Three Figures); Untitled (Still Life with Life); Untitled Charles Peale Polk, General Washington at Princeton Vase) National Portrait Gallery, Smithsonian Institution SPAIN Gardner Cox, Earl Warren; Chester Harding, Self- DENMARK Barcelona, Fundacio Joan Miro Portrait; Daniel Huntington, Dr. James Hall; Henry Copenhagen, United States Ambassador Mark Rothko, Untitled Theodore Tuckerman; John Wesley Jarvis, Thomas American 19th century, Horizon of the New World; Paine; Irving R. Wiles, Miss Julia Marlowe Madrid, United States Ambassador 3 George Catlin paintings; Mark Rothko, Untitled 5 George Catlin paintings National Trust for Historic Preservation (Two Seated Women) Bernard Hailstone, David E. Finley SWITZERLAND EGYPT Secretary of Agriculture Geneva, United States Ambassador to the Arms American 19th century, Bucks County Farm Outside Cairo, United States Ambassador Control and Disarmament Agency Doylestown, Pennsylvania; Thomas Hart Benton, Leila T. Bauman, U.S. Mail Boat; Walt Kuhn, American 19th century, Brother and Sister; Steam- Trail Riders; Canaletto follower, A Fete Day, Venice;

89 4 George Catlin paintings (returned); attributed to Mr. Justice David Souter National Gallery Rembrandt Peale, George Washington; Gilbert Stuart, Gericault, Gray Stallion; Robert Henri, Volendam Loans to Temporary Exhibitions Street Scene Captain Joseph Anthony; after Gilbert Stuart, James Lloyd; William Constable; Augustus Vincent Tack, Works in the National Lending Service marked * Secretary of Commerce Harlan F. Stone Pierre Bonnard, Stairs in the Artist's Garden AUSTRALIA (returned); Thomas Chambers, New York Harbor Mr. Justice John Paul Stevens Canberra, Australian National Gallery with Pilot Boat "George Washington"; Raoul Dufy, American 19th century, Portland Harbor, Maine; SURREALISM: REVOLUTION BY NIGHT, Music and the Pink Violin; Philip van Kouwenbergh, George Catlin, Scene from the Lower Mississippi; 13 March-2 May 1993: Jean Arp, The Forest; Flowers in a Vase Eduard Gaertner, City Hall at Torun; Alphonse Legros, Hampstead Heath; Franz Xaver Winterhalter, circulated to Queensland Art Gallery, Brisbane, Secretary of Education Queen Victoria 21 May-11 July 1993, and the Art Gallery of New American 19th century, Village by the River\; 2 South Wales, Sydney, 30 July-19 September 1993 George Catlin paintings; Karl Knaths, Marble Mantle; United States Trade Representative Mark Rothko, Untitled (Figures and Mannequins); American 19th century, Imaginary Regatta of Amer- BELGIUM Maurice Utrillo, Street at Corte, Corsica (returned) ica 's Cup Winners; Mounting of the Guard; American Antwerp, Koninklijk Museum voor Schone Kun- 20th century, View of Aberdeen, Washington; Thomas Secretary of Health and Human Services sten Antwerpen Chambers, Bay of New York, Sunset; Boston Harbor George Catlin, A Small Crow Village (returned); TENTOONSTELLING JACOB JORDAENS, Andre Derain, Still Life (returned); Leonid, Faraduro, The Vice President's House 27 March-27 June 1993: Jacob Jordaens, Susannah Portugal (returned); Allen Tucker, Madison Square, American 19th century, Girl with Toy Rooster Crouching Snow (returned) (returned); American 20th century, After the Wed- Brussels, Societe des Expositions du Palais des ding in Warren, Pennsylvania; 3 George Catlin paint- Secretary of Housing and Urban Development Beaux-Arts ings (returned); Lydia Field Emmet, Olivia French 19th century, Melon and Lemon (returned); EDWARD HOPPER, 25 February-23 May 1993: (returned); Frederick Carl Frieseke, Memories; after Charles Henry Granger, Muster Day (returned); Walt Edward Hopper, Cape Cod Evening* Jean-Baptiste Greuze, Benjamin Franklin (returned); Kuhn, Zinnias; George Ropes, Mount Vernon Charles S. Humphreys, The Trotter (returned) (returned); Douglas Volk, Abraham Lincoln CANADA Preservation Office, The White House Secretary of Labor Ottawa, National Gallery of Canada American 18th century, Attack on Bunker's Hill with American 19th century, Portrait of a Lady; "We Go EVA/AVE: WOMAN IN RENAISSANCE the Burning of Charles Town; A. Hashagen, Ship "Ar- for the Union"; Winslow Homer, Sunset; George Ben- PRINTS, 9 October 1992-10 January 1993: 143 kansas" Leaving Havana; John Wesley Jarvis, Commo- jamin Luks, The Bersaglieri; Mark Rothko, Untitled Renaissance prints dore John Rogers; John Neagle, Colonel Augustus (Subway) James Pleasonton; John Vanderlyn, John Sudam THE FAMILY GANDOLFI: SEVEN DECADES Secretary of Transportation OF BEAUTIFUL PAINTINGS, 18 June-6 Sep- The White House Circle of Jacob Adriaensz. Bellevois, Dutch Ships tember 1993: Ubaldo Gandolfi, 3 versions of The 11 George Catlin paintings (1 painting returned); in a Lively Breeze; L. M. Cooke, Salute to General Apotheosis of San Vitale; circulated to Arkansas Arts John Frederick Kensett, Landing at Sabbath Day Washington in New York Harbor; follower of Claude Center, Little Rock, 30 September-28 November Point, Lake George (returned); Thomas Sully, Andrew Lorrain, Harbor at Sunset; Hugues Merle, Children 1993 Jackson; Jean-Baptiste-Camille Corot, The Eel Gather- Playing in a Park; Rene Pierre Charles Princeteau, ers (returned); Jules Dupre, The Old Oak (returned); Quebec, Musee de la Civilization Horses Dietz Edzard, Flowers in a Vase (returned); Three DROLES DE ZEBRAS, 9 March-10 October 1993: Secretary of the Treasury Flowers in a Vase (returned )t Michael Trekur, George Washington Banner 7 George Catlin paintings Florida ENGLAND Supreme Court of the United States St. Petersburg, Museum of Fine Arts Mr. Chief Justice William H. Rehnquist Studio of Gerard Terborch II, The Concert (returned) London, The Hayward Gallery Chinese, Ch'ing Dynasty, Archery Contest; unknown GEORGIA O KEEFFE: AMERICAN AND MOD- Indiana nationality 18th century, Portrait of a Man; 2 George ERN, 8 April-22 June 1993: Georgia O'Keeffe, Spe- Catlin paintings; George Cuitt the Younger, Easby Indianapolis Museum of Art cial No. 14; Special No. 16; Line and Curve; Sky Above Abbey, Near Richmond; Andre Derain, Road in Max Beckman, Christ in Limbo; Larry Bell, Chrome White Clouds; circulated to Palacio de Bellas Artes, Provence; Jean-Louis Forain, Behind the Scenes; and Glass Construction; Robert Irwin, Untitled; Mark Mexico City, 15 July-1 October 1993 Edward Molyneux, Chapel in Provence; Thomas Rothko, Sketch for Mural H; Tony Smith, Untitled London, Royal Academy of Arts Sully, Thomas Alston; Frits Thaulow, River Scene; Texas BRITISH WATERCOLORS, c. 1750-1880, Eugene Laurent Vail, The Flags, Saint Mark's, Austin, Archer M. Huntington Gallery, University 15 January-12 April 1993: 8 British watercolors Venice—Fete Day of Texas at Austin Oxford, Museum of Modern Art Mme. Justice Ruth Bader Ginsberg Mark Rothko, Untitled SOL LEWITT STRUCTURES, 24 January- Mark Rothko, The Omen; Untitled Corpus Christi, Art Museum of South Texas 28 March 1993: Sol LeWitt, Floor Structure Black; Mr. Justice Anthony Kennedy Marco Tintoretto, Lamentation circulated to the Villa Stuck, Munich, 30 April- Jean Beraud, Paris, rue du Havre; Dutch 17th centu- 18 July 1993, and the Henry Moore Institute, Virginia ry, Flowers in a Classical Vase; John Ferneley, In the Leeds, England, 10 August-17 October 1993 Fairfax, George Mason University Paddock; Franz Marc, Siberian Dogs in the Snow; Henri Alfredo Halegua, America; Lila Katzen, Antecedent Moret, The Island of Raguenez, Brittany FRANCE Mr. Justice Thurgood Marshall* Aries, Musee Reattu American 19th century, Leaving the Manor House ALEXEJ VON JAWLENSKY, 3 April-30 June (returned); Enrique Castro, Untitled (returned); 1993: Alexej von Jawlensky, Murnau imitator of van Gogh, Landscape (returned) Colmar, Musee d'Unterlinden Mme. Justice Sandra Day O'Connor VARIATIONS AUTOUR DE LA CRUCIFIXION: 5 George Catlin paintings REGARDS CONTEMPORAINS SUR GRONE- WALD, 26 June-26 September 1993: Mark Rothko, Mr. Justice Antonin Scalia Figure Studies (Crucifixions): Figure Composition with James Bard, Steamer St. Lawrence; Gilbert Stuart, Grid; Untitled* George Washington; Thomas Sully, Henry Pratt; Augustus Vincent Tack, Charles Evans Hughes; Montpellier, Musee Fabre Alexander Helwig Wyant, Peaceful Valley FR£D£R!C BAZILLE, 11 July-4 October 1992: Frederic Bazille, Edmond Maitre*; Claude Monet, Bazille and Camille (Edmond Maitre also circulated to the Brooklyn Museum, 12 November 1992- 24 January 1993, and the Dixon Gallery and Gar- * deceased dens, Memphis, 14 February-25 April 1993)

90 Paris, Musee d'Art Moderne de la Ville de Paris NATIONAL GALLERY OF ART, WASHING- Worcester Art Museum, 18 September-5 December JEAN POUGNY, 12 May-22 August 1993: Jean TON, AND THE METROPOLITAN MUSEUM 1993 Pougny, Suprematist Construction Montage OF ART, NEW YORK: 37 European paintings The Hague, Haags Gemeentemuseum (including 8 National Lending Service works) HENRI MATISSE, 23 February-21 June 1993: SOL LEWITT DRAWINGS, 30 October-13 Dec- ember 1992: 10 drawings by Sol LeWitt; circulated Henri Matisse, Palm Leaf, Tangier, Still Life ISRAEL to Westfalisches Landesmuseum fur Kunst und Paris, Reunion des musees nationaux for exhibition Jerusalem, The Israel Museum Kulturgeschichte, Munster, 18 April-27 June 1993 at Galeries nationales du Grand Palais HEROES AS MORTALS: PAINTING THE LE SlfcCLE DE GIORGIONE ET DE TITIEN, BIBLE IN REMBRANDT'S HOLLAND, SCOTLAND 9 March-14 June 1993: Titian, Venus with a Mirror; 6 May-25 August 1993: Rembrandt van Rijn, Giorgione, The Holy Family; Giorgione and Titian, Joseph Accused by Potiphar's Wife Edinburgh, National Gallery of Scotland Portrait of a Venetian Gentleman DUTCH ART AND SCOTLAND: A REFLEC- ITALY TION OF TASTE, 13 August-18 October 1992: Rembrandt van Rijn, Self-Portrait GERMANY Bassano del Grappa, Museo Civico Berlin, Zeitgeist-Gesellschaft, Martin-Gropius-Bau JACOPO BASSANO, 5 September-6 December Glasgow, The Burrell Collection AMERICAN ART IN THE 20TH CENTURY, 1992: Jacopo Bassano, The Annunciation to the Shep- BOUDIN AT TROUVILLE, 20 November 1992- 8 May-27 July 1993: Mark Rothko, Untitled (Sea- herds; circulated with Jacopo Bassano, The Mocking 28 February 1993: Eugene Boudin, Bathing at gram Mural)*-, Arshile Gorky, One Year the Milkweed; of Christ, to Kimbell Art Museum, Fort Worth, Deauville; Beach Scene at Trouville; circulated to the Barnett Newman, The Name II (Gorky and Newman 23 January-25 April 1993 Courtauld Institute Galleries, London, 15 March- 2 May 1993 paintings also circulated to the Royal Academy of Florence, Ente Casa Buonarroti Arts, London, 17 September-12 December 1993) IL GIORDINO DI SAN MARCO, 30 June- SPAIN Bonn, Kunst- und Ausstellungshalle der Bundesre- 19 October 1992: Andrea Mantegna, Judith and Malaga, Junta di Andalucia/consejeria de Cultura publik Deutschland Gmbh Holofernes y Medio Ambiente for exhibition at Palacio Epis- SAM FRANCIS, 11 February-18 April 1993: Sam Florence, Galleria degli Uffizi copal Francis, White Line UNA SCUOLA PER PIERO: LUCE, COLORE, E PICASSO CLASICO MALAGA 1992, 9 October PROSPETTIVA NELLA FORMAZIONE FIOREN- Cologne, Wallraf-Richartz-Museum 1992-11 January 1993: Pablo Picasso, Two Men Con- TINA DI PIERO DELLA FRANCESCA, 26 Sep- DIE ANTWERPENER MALERSCHULE templating the Bust of a Woman's Head tember 1992-10 January 1993: Domenico Vene- 1 5 50-1650, 3 September-22 November 1992: ziano, Saint Francis Receiving the Stigmata; Saint John Madrid, Museo Nacional Centre de Arte Reina Sir Anthony van Dyck, Isabella Brant; Peter Paul in the Desert Sofia Rubens, Decius Meus Addressing the Legions; circulated JOAN MIRd, 19 January-22 March 1993: Joan to Koninklijk Museum voor Schone Kunsten Siena, Chiesa di Sant'Agostino Miro, Head of a Catalan Peasant; The Farm; circulated Antwerpen, 12 December 1992-8 March 1993, FRANCESCO DI GIORGIO MARTINI, to the Fundacio Joan Miro, Barcelona, 20 April- and Kunsthistorisches Museum, Vienna, 1 April- 24 April-5 September 1993: Francesco di Giorgio 5 September 1993 20 June 1993 Martini, Saint Jerome; The Judgment of Paris; Master of the Griselda Legend, Eunostos ofTanagra; Neroc- Madrid, Museo de la Real Academia de Bellas Schirn Kunsthalle Frankfurt cio de'Landi and Master of the Griselda Legend, Artes de San Fernando EDWARD HOPPER, 5 December 1992-14 Feb- Claudia Quinta GOYA: THE DECADE OF THE CAPRICHOS, ruary 1993: Edward Hopper, Cape Cod Evening* DRAWINGS AND PRINTS, 26 October 1992- Urbino, Galleria Nazionale delle Marche, Palazzo 10 January 1993: Francisco de Goya, Tar para qual; KUNST IN DER REPUBLIK GENUA, Ducale Brujas a Bolar (Witches about to Fly) 1 528-181 5, 29 August-9 November 1992: Sir PIERO E URBINO, 24 July-31 October 1992: Anthony van Dyck, Marchesa Balbi; Anton Maria Master of the Barbarini Panels, The Annunciation; Seville, Monasterio Santa Maria de las Cuevas, Vassallo, The Larder Workshop of Piero della Francesca, Saint Apollonia Exposition Universal de Sevilla '92 ART AND CULTURE AROUND 1492, 18 May- LESELUST. NIEDERLANDISCHE GEMALDE Venice, Palazzo Grassi spa 12 October 1992: Neroccio de' Landi, Portrait of a DES GOLDENEN ZEITALTERS VON FRANS I DISEGNI DI AMEDEO MODIGLIANI DALLA Lady HALS BIS VERMEER, 24 September 1993- COLLEZIONE DEL DR. P. ALEXANDRE, 3 Sep- 2 January 1994: Johannes Vermeer, A Lady Writing tember 1993-4 January 1994: Amedeo Modigliani, EL PAISAJE MEDITERRANEO, 28 May- Head of a Woman 12 October 1992: Annibale Carracci, Landscape Frankfurt, Stadtische Gallerie im Stadelschen Kun- stinstitut JAPAN SWEDEN DAUMIER DRAWINGS, 17 November 1992- 17 January 1993: 5 Daumier drawings; circulated Mito-Shi, Art Tower Mito Contemporary Art Stockholm, National Museum to the Metropolitan Museum of Art, New York, Gallery REMBRANDT AND HIS AGE, 1 October 26 February-2 May 1993 ANOTHER WORLD, 21 November 1992-7 March 1992-10 January 1993; Carel Fabritius, A Girl with 1993: 3 Mark Rothko paintings* a Broom Stadtische Kunsthalle Mannheim MANET AND THE EXECUTION OF MAXIMIL- MEXICO IAN, 18 October 1992-24 January 1993: Edouard SWITZERLAND Mexico City, Centre Cultural Arte Contempora- Manet, The Dead Toreador Kunsthaus Zurich neo A C. GUSTAV KLIMT, 11 September-13 December Munich, Kunsthalle der Hypo-Kulturstiftung ETCHINGS OF JACQUES CALLOT . . . 1992: Gustav Klimt, Baby (Cradle) FRIEDERICH DER GROSSE: SAMMLER UND AROUND THE MISERIES OF WAR, 23 June- MAZEN, 27 November 1992-21 February 1993: 10 October 1992: Jacques Callot, 18 etchings from NABIS, 28 May-16 August 1993: Edouard Vuil- Nicolas Lancret, La Camargo Dancing The Large Miseries of War series lard, Woman in a Striped Dress; Pierre Bonnard, Two Munich, Stadtische Galerie im Lenbachhaus Dogs in a Deserted Street; The Cab Horse; circulated to GABRIELE MONTER, 29 July-1 November 1992: THE NETHERLANDS the Galeries nationales du Grand Palais, Paris, 23 September 1993-3 January 1994 Gabriele Miinter, Christmas Still Life; circulated to Amsterdam, The Rijksmuseum Vincent van Gogh Schirn Kunsthalle Frankfurt, 22 November 1992- F6LIX VALLOTTON: A RETROSPECTIVE, 10 February 1993, and Liljevalchs IConsthall, Stock- 27 August-11 November 1992: Felix Vallotton, The UNITED STATES holm, 4 April-31 May 1993 Church of Souain; The Wind*; circulated to Musee Arizona Cantonal des Beaux Arts, Lausanne, 21 November Phoenix Art Museum GREECE 1992-31 January 1993 THE ART OF SEEING: JOHN RUSKIN AND Athens, National Gallery of Greece and Alexan- Haarlem, Frans Halsmuseum THE VICTORIAN EYE, 6 March-23 May 1993: dres Soutzos Museum (Ethniki Pinokotheki) JUDITH LEYSTER: A DUTCH MASTER OF J.M.W. Turner, The Dogana and Santa Maria della FROM EL GRECO TO CEZANNE: MASTER- THE GOLDEN AGE, 14 May-15 August 1993: Salute, Venice; circulated to the Indianapolis Art PIECES OF EUROPEAN PAINTING FROM THE Judith Leyster, Self-Portrait; circulated to the Museum, 22 June-29 August 1993

91 California COMMITTEE, 25 June 1993-9 January 1994: Maryland Marcel Duchamp, Boite-en-Valise The Baltimore Museum of Art Los Angeles, Grunwald Center for Graphic Arts CLASSICAL TASTE IN AMERICA, 1800-1840, SYLVIA PLIMACK MANGOLD: WORKS ON Florida 27 June-26 September 1993: American 19th centu- PAPER, 1968-1991, 27 September-15 November Jacksonville, University Gallery, University of ry, Martha Eliza Stevens Edgar Paschall*; Thomas 1992: Sylvia Plimack Mangold, Study for "Opposite North Florida Sully, Lady with a Harp: Eliza Ridgely; Gilbert Stuart, Corners"; Untitled 1975; Untitled 1977; circulated to FACES AND FIGURES: PRINTS FROM THE John Randolph Neuberger Museum, State University of New York, TAMARIND LITHOGRAPHY WORKSHOP, Purchase, 17 January-21 March 1993, and Davison 14 January-19 February 1993: 50 modern prints* Baltimore, Museum and Library of Maryland His- Art Center, Wesleyan University, Middletown, CT, tory Georgia 6 April-6 June 1993 CLASSICAL MARYLAND, 1815-1845, 16 April- Athens, Georgia Museum of Art 25 September 1993: Thomas Sully, Governor Charles Los Angeles County Museum of Art THE ART OF GERALD BROCKHURST, Ridgely of Maryland* VISIONS OF ANTIQUITY: NEOCLASSIC FIG- 30 January-21 March 1993: 4 Gerald Brockhurst URE DRAWINGS, 22 July-19 September 1993: drawings Baltimore, The Walters Art Gallery Anton Raphael Mengs, Male Nude Study; George MAERTEN VAN HEEMSKERCK'S PANORAMIC Atlanta, Fernbank Museum of Natural History Romney, Lady Hamilton Playing a Lyre; Pierre Paul FANTASY OF THE ANCIENT WORLD, 17 Janu- PICTURING PARADISE: THE RAIN FOREST Prud'hon, Adonis; Venus ary-28 February 1993: Maerten van Heemskerck, AT RISK, 3 October 1992-3 January 1993: The Rest on the Flight into Egypt Los Angeles, The Museum of Contemporary Art 3 George Catlin paintings* RICHARD DIEBENKORN, 13 September-1 Nov- SISLEY: MASTER IMPRESSIONIST, 14 March- Savannah, Telfair Academy of Arts and Sciences ember 1992: Richard Diebenkorn, Seated Figure 13 June 1993: Alfred Sisley, Flood at Port-Marly MASTER PRINTS FROM GEMINI G.E.L., with Hat; circulated to San Francisco Museum of 20 October-13 December 1992: 40 modern prints* Modern Art, 19 November 1992-24 January 1993 Massachusetts MARK ROTHKO: THE SPIRIT OF MYTH, Andover, Addison Gallery of American Art ROLYWHOLYOVER A CIRCUS FOR A EARLY PAINTINGS FROM THE 1930S AND WALKER EVANS: SUBWAYS AND STREETS, MUSEUM 1940S, 20 October-13 December 1992: 26 Mark 8 September 1992-17 January 1993: Walker Evans, 12 September-28 November 1993: Jasper Johns, Rothko paintings* 60 photographs Numbers AMERICAN NAIVE PAINTINGS FROM THE Boston, Museum of Fine Arts Los Angeles, Wight Art Gallery, University of Cali- NATIONAL GALLERY OF ART, 25 May- AGE OF RUBENS, 22 September 1993-2 January fornia at Los Angeles 1 August 1993: 35 American naive paintings* 1994: Sir Peter Paul Rubens, The Meeting of Abraham IN THE SCULPTOR'S LANDSCAPE: CELE- Idaho and Melchizedek; Marchesa Brigida Spinola Doria; Sir BRATING 25 YEARS OF THE FRANKLIN D. Anthony van Dyck, Marchesa Elena Grimaldi, Wife of MURPHY SCULPTURE GARDEN, 23 March- Boise Art Museum Marchese Nicola Cattaneo 9 May 1993: Auguste Rodin, The Walking Man NORTH AMERICAN INDIAN PAINTINGS BY GEORGE CATLIN, 28 August-24 October 1993: THE LURE OF ITALY: AMERICAN ARTISTS Newport Beach, Newport Harbor Art Museum 50 George Catlin paintings* AND THE ITALIAN EXPERIENCE, 16 Sep- BOTH ART AND LIFE: GEMINI AT 25, Illinois tember-! 3 December 1992: William Stanley Hasel- 20 September-29 November 1992: Jasper Johns, tine, Marina Piccola, Capri; circulated to the Cleve- Figure 0; Figure 4; Figure 6; Figure 8 Evanston, Mary and Leigh Block Gallery, North- land Museum of Art, 3 February-11 April 1993, western University Palm Springs Desert Museum and the Museum of Fine Arts, Houston, THE GRAVEN IMAGE: PROFESSIONAL NORTH AMERICAN INDIAN PAINTINGS BY 16 May-8 August 1993 ENGRAVERS IN ANTWERP AND HAARLEM: GEORGE CATLIN, 17 December 1992-14 March 1 540-1620, 30 April-30 June 1993: 11 old master Michigan 1993: 50 George Catlin paintings* prints and 2 drawings; circulated to the Ackland Art The Detroit Institute of Arts Gallery, University of North Carolina at Chapel Hill, San Diego Museum of Art JOHN SINGLETON COPLEY'S WATSON AND 15 August-27 September 1993 HELEN FRANKENTHALER: PRINTS, 25 Sep- THE SHARK, 3 October 1992-3 January 1993: tember-28 November 1993: 7 Frankenthaler prints Iowa John Singleton Copley, Watson and the Shark; Connecticut Cedar Rapids Museum of Art Schelte Adams Bolwert after Sir Peter Paul Rubens, Lion Hunt; circulated to the Museum of Fine Arts, Norwalk, Lockwood-Mathews Mansion Museum MASTER PRINTS FROM GEMINI G.E.L., Boston, 13 May-1 August 1993 A CHILD'S PLACE, 12 February-9 May 1993: 17 February-30 May 1993: 40 modern prints* William Matthew Prior, The Burnish Sisters* Kansas Midland Center for the Arts MASTER PRINTS FROM GEMINI G.E.L., District of Columbia Lawrence, Spencer Museum of Art, The Universi- 5 September-10 October 1993:40 modern prints* National Museum of Natural History, Smithson- ty of Kansas ian Institution LES XX AND THE BELGIAN AVANT GARDE: New York THE AMERICAN WILDLIFE IMAGE AND PRINTS, DRAWINGS, AND BOOKS, c. 1890, Buffalo, Albright-Knox Art Gallery CHARLES FRACE, 9 October 1992-23 May 1993: 24 January-21 March 1993: James Ensor, Grande MAX WEBER: THE CUBIST DECADE, A.M. Randall, Basket of Fruit with Parrot*; C.F. Vue de Mariakerke; Hotel de Ville de Audenarde; 1 910-1920, 12 September-25 October 1992: Max Senior, Sportsman's Dream*; Heinrich Otto, Pair of Armand Rassenfosse, Seated Women; circulated to Weber, Rush Hour, New York*; circulated to the Sterling and Francine Clark Art Institute, Williams- Birds Brooklyn Museum, 15 November 1992-10 January town, 17 April-13 June 1993, and the Cleveland 1993 National Portrait Gallery, Smithsonian Institution Museum of Art, 13 July-5 September 1993 IN PURSUIT OF FAME: REMBRANDT PEALE, Huntington, Heckscher Museum Salina Art Center 1778-1860, 6 November 1992-7 February 1993: BAUDELAIRE'S VOYAGES: THE POET AND MARK ROTHKO: THE SPIRIT OF MYTH, Rembrandt Peale, Rubens Peale with a Geranium HIS PAINTERS, 28 August-14 November 1993: EARLY PAINTINGS FROM THE 1930S and Felicien Rops, Frontispiece: The Waifs; Satin Sewing The Phillips Collection 1940S, 22 August-24 October 1993: 26 Mark Tare; Paul Gauguin, Locusts and Ants: A Memory of TWO LIVES: STIEGLITZ AND O'KEEFFE, Rothko paintings* Martinique 12 December 1992-4 April 1993: Georgia O'Keeffe, Louisiana Special No. 5; 14 photographs by Alfred Stieglitz New York, Fraunces Tavern Museum for exhibi- (O'Keeffe's Special No. 1 and 13 Stieglitz photo- New Iberia, Gallery of the Gardens, Live Oak Gar- tion at IBM Gallery of Science and Art graphs circulated to the IBM Gallery of Science and dens Foundation HISTORY PAINTING IN AMERICA, 28 Sep- Art, New York, 27 April-26 June 1993; O'Keeffe's WOOD AND WOOD CARVING FROM THE tember-27 November 1993: John Singleton Copley, Special No. 1 and 10 Stieglitz photographs circulated INDEX OF AMERICAN DESIGN, 17 April- The Death of the Earl of Chatham* 30 May 1993: 50 watercolor renderings* to the Minneapolis Institute of Art, 17 July- New York, The Metropolitan Museum of Art 12 September 1993) Maine REN6 MAGRITTE, 9 September-22 November United States Holocaust Memorial Museum The Museum of Art of Ogunquit 1992: Rene Magritte, La Condition Humaine; The ASSIGNMENT RESCUE: THE STORY OF WALT KUHN: AMERICAN MASTER, 1 July- Blank Signature*; circulated to the Menil Collection, VARIAN FRY AND THE EMERGENCY RESCUE 15 September 1992: Walt Kuhn, The White Clown* Houston, 15 December 1992-21 February 1993,

92 and the Art Institute of Chicago, 16 March-30 May circulated to the Philadelphia Museum of Art, Lenders to Special 1993 7 March-6 June 1993, and the Royal Academy of Arts, London, 2 July-10 October 1993 Exhibitions JUSEPE DE RIBERA, 16 September-22 Novem- ber 1992: Jusepe de Ribera, The Martyrdom of Saint Fort Worth, Kimbell Art Museum Bartholomew GIAMBATTISTA TIEPOLO: MASTER OF THE OIL SKETCH, 18 September-12 December 1993: Private Collections SPLENDID LEGACY: THE HAVEMEYER COL- Giovanni Battista Tiepolo, Apotheosis of a Poet; The LECTION, 18 March-20 June 1993: Francisco de Abbott and Holder World Pays Homage to Spain Goya, Bartolome Sureda y Miserol; Young Lady Wearing Thomas Agnew and Sons Ltd. a Mantilla and Basquina; Edouard Manet, Gare Saint- Houston, The Menil Collection Mr. and Mrs. Garett J. Albert Lazare; Ball at the Opera*) James McNeill Whistler, SELECTIONS FROM THE MARCIA SIMON Chris Beetles The Little Venice; The Little Mast; The Doorway WEISMAN COLLECTION, 23 September- Berry-Hill Galleries, Inc. 29 November 1992: Edward Ruscha, I Think Mr. and Mrs. Alan Chandler New York, The Museum of Modern Art I'll...; Clyfford Still, Untitled Chart Analysis Ltd. HENRI MATISSE, 16 September 1992-12 January Louis Clayeux 1993: Henri Matisse, Beasts of the Sea; Oceania—The Wisconsin His Grace, The Duke of Devonshire and the Sea; Oceania—The Sky, Pianist and Checker Players; Milwaukee, Patrick and Bernice Haggerty Muse- Chatsworth Settlement Trustees Still Life with Sleeping Woman; Young Girl with Long um of Art Gary Edwards Hair LEONAERT BRAMER (1 594-1675): A Her Majesty Queen Elizabeth II, Royal Library, PAINTER OF THE NIGHT, 3 December 1992- New York, Pierpont Morgan Library Windsor Castle 28 February 1993: Leonard Bramer, Stellio Changed FRA BARTOLOMEO DRAWINGS, 11 Septem- Helen Frankenthaler into a Lizard by Ceres; Hendrik Goudt, Tobias and the ber-29 November 1992: Era Bartolomeo, Bare Tree Jo Ann and Julian Ganz, Jr. Angel (The Large Tobias); Hendrik Goudt, The Mocking Michael Hall, Esq. New York, Solomon R. Guggenheim Museum of Ceres PICASSO AND THE AGE OF IRON, 19 March- Hazlitt, Gooden and Fox 12 June 1993: David Smith, Sentinel I; Voltri VII; cir- Michael C. Jaye culated with Alberto Giacometti's Walking Man II Ellsworth Kelly to the Museum of Modern Art, Fort Worth, Kennedy Galleries, Inc. I August-3 October 1993 The Leger Galleries Limited The Manney Collection New York, Whitney Museum of American Art Manoogian Collection VIJ A CELMINS, 8 September-29 November 1993: Dr. and Mrs. S. Michael Marcy Vija Celmins, Untitled Dr. Toni Marcy Oneonta, The Museums at Hartwick College James H. Maroney, Jr. SOUTH AMERICAN INDIAN PAINTINGS BY Martyn Gregory Gallery GEORGE CATLIN, 6 September-30 November The Mellon Bank Collection 1992: 35 George Catlin paintings* Peter Nahum Christopher and Jenny Newall Yonkers, The Hudson River Museum of Westch- Mr. and Mrs. Richard A. Pohrt ester S & JD Robertson Group Ltd. GRACEFUL FIELDS: WESTCHESTER LAND- John Swire & Sons Ltd. SCAPES 1830-1920, 5 February-13 June 1993: William Thomson Regis Gignoux, Three Trees, Bedford, New York Tyler Graphics Ltd. Ohio Anne Weber Columbus Museum of Art Dian Woodner THE PAINTINGS OF GEORGE BELLOWS, II October 1992-3 January 1993: George Bellows, Club Night*; Little Girl in White (Queenie Burnett); New Public Collections York; circulated to Amon Carter Museum, Fort Worth, 20 February-9 May 1993 Austria Pennsylvania Vienna: Kunsthistorisches Museum Chadds Ford, The Brandywine River Museum Canada WILLIAM STANLEY HASELTINE, 20 Janu- The New Brunswick Museum ary-18 April 1993: William Stanley Haseltine, Nat- England ural Arch at Capri; Venetian Lagoon Bedford: Cecil Higgins Art Gallery & Museum Bethlehem, Payne Gallery Berkshire: Reading Museums and Art Gallery MARK ROTHKO: THE SPIRIT OF MYTH, Birmingham Museums and Art Gallery EARLY PAINTINGS FROM THE 1930S and Bristol Museums and Art Gallery 1940S, 29 January-28 February 1993: 26 Mark Cambridge: The Fitzwilliam Museum Rothko paintings* Hereford Museum and Art Gallery Lancashire: Harris Museum and Art Gallery Tennessee Leeds City Art Gallery Memphis, Grand Exhibition Hall, Memphis Cook Lincoln: Usher Art Gallery Convention Center Liverpool: National Museums and Galleries on NAPOLEON, 22 April-22 September 1993: Work- Merseyside, Walker Art Gallery; University of shop of Francisco de Goya, Duke of Wellington Liverpool Art Gallery Texas London: The British Museum; The National Trust, Anglesey Abbey; Royal Academy of Arts; Royal Corpus Christi, Art Museum of South Texas Institute of British Architecture; The Tate Gallery; MARK ROTHKO: THE SPIRIT OF MYTH, Victoria and Albert Museum; Whitelands College EARLY PAINTINGS FROM THE 1930S and Manchester: Manchester City Art Galleries; The 1940S, 12 March-9 May 1993: 26 Mark Rothko Whitworth Art Gallery paintings* Nottingham City Art Gallery Dallas Museum of Art Oxford: Ashmolean Museum IMPRESSIONISM AND THE CITY: PISSAR- Sheffield: Graves Art Gallery RO'S SERIES, 15 November 1992-31 January West Midlands: Wolverhampton Art Gallery and 1993: Camille Pissarro, Place du Carousel, Paris; Museums

93 France New York: The Metropolitan Museum of Art; Lenders of Works of Art Paris: Musee d'Art Moderne de la Ville de Paris; The Museum of Modern Art; Pierpont Morgan Musee du Louvre; Musee National d'Art Mod- Library Displayed with Gallery erne, Centre national d'art et de culture Georges Utica: Munson-Williams-Proctor Institute Museum Collection Pompidou of Art

Germany North Carolina Roger Arvid Anderson Collection Berlin: Staatliche Museen zu Berlin, Antiken- Winston-Salem: Reynolda House, Museum of Florentine School (Circle of Michelangelo), sammlung American Art Head of Christ Munich: Staatliche Antikensammlungen und Ohio Birmingham Museum of Art Glyptothek The Cleveland Museum of Art Albert Bierstadt, Looking Down Yosemite Valley, Greece Columbus Museum of Art California Athens: Acropolis Museum; Agora Museum; Youngstown: The Butler Institute of American Art Irving Blum Kerameikos Museum; National Archaeological Pennsylvania Andy Warhol, 32 Soup Cans Museum Chadds Ford: Brandy wine River Museum Eleusis: Archaeological Museum Greensburg: Westmoreland Museum of Art Jean-Christophe Castelli Olympia: Archaeological Museum Merion: The Barnes Foundation Jasper Johns, Fool's House Samos: Archaeological Museum Pittsburgh: The Carnegie Museum of Art Mrs. Wendell Cherry Italy Philadelphia Museum of Art John Singer Sargent, Spanish Dancer Rome: Musei Capitolini e Monument! Communali; Texas Cooper-Hewitt National Museum of Design, U.S. Embassy Dallas Museum of Art Smithsonian Institution Florence: Buontalenti Grotta; Museo Nazionale del Forth Worth: Amon Carter Museum Giovanni Domenico Tiepolo, The Immaculate Bargello; Villa Petraia Virginia Conception The Netherlands Norfolk: The Chrysler Museum Helen Frankenthaler Otterlo: Rijksmuseum Kroller-Miiller Washington Helen Frankenthaler, Mountains and Sea Amsterdam: Rijksprentenkabinet, Rijksmuseum Seattle: Charles and Emma Frye Art Museum John R. Gaines Scotland Wyoming Gian Lorenzo Bernini, Saint Bibiana Edinburgh: National Galleries of Scotland Cody: Buffalo Bill Historical Center The Hispanic Society of America, New York Wales John Singer Sargent, The Spanish Dance Cardiff: National Museum of Wales Collection of Mr. and Mrs. Raymond J. Horowitz United States Robert Henri, Cafe Terrace California Peter Jay Los Angeles: The Armand Hammer Museum of Art Gilbert Stuart, John Jay and Cultural Center; Los Angeles County Muse- um of Art Collection of Jasper Johns The Fine Arts Museums of San Francisco Jasper Johns, Between the Clock and the Bed; Field Santa Barbara Museum of Art Painting-, No; Target; White Flag Santa Monica: The J. Paul Getty Center for the His- Collection Boris Leavitt tory of Art and the Humanities Jean Arp, Hurlou; La Petite Sirene; William Baziotes, Connecticut Tropical; Adolph Gottlieb, Coalescence; Philip Guston, Hartford: Wadsworth Atheneum Beggar's Joy; Willem de Kooning, Woman; Robert New Haven: Yale Center for British Art Motherwell, Two Figures with Cerulean Blue Stripe; Kurt Schwitters, Dark Semi-Circle District of Columbia Corcoran Gallery of Art; The Library of Congress; Musee du Louvre, Reunion des Musees National Museum of the American Indian, Nationaux, Paris Smithsonian Institution; United States Depart- Venetian School, Cupid on a Dolphin ment of State; the White House Manoogian Collection Georgia George Caleb Bingham, The Jolly Flatboatmen Atlanta: High Museum of Art Collection of Mr. and Mrs. Paul Mellon Hawaii Richard Diebenkorn, Ocean Park No. 87; Mark Honolulu Academy of Arts Rothko, White and Greens in Blue; No. 20, 1950 Illinois The Metropolitan Museum of Art, New York Chicago: The Art Institute of Chicago; Field Muse- Francisco di Giorgio Martini, The Nativity um of Natural History Robert and Jane Meyerhoff, Phoenix, Maryland Kansas Jasper Johns, Untitled Wichita Art Museum Museum of Fine Arts, Houston Massachusetts Juan van der Hamen y Leon, Still Life with Fruit and Andover: Addison Gallery of American Art Glassware Museum of Fine Arts, Boston Cambridge: Fogg Art Museum, Harvard University National Museum of Health and Medicine of Art Museums the Armed Forces Institute of Pathology, Wash- Springfield: Museum of Fine Arts ington, DC. Thomas Eakins, Dr. John H. Brinton Michigan Bloomfield Hills: Cranbrook Institute of Science Morton G. Neumann Family Collection The Detroit Institute of Arts; Fort Wayne Military Alberto Burri, Red Accent; Robert Delaunay, The Museum of the Detroit Historical Museum Windows; Theo van Doesburg, Contra-Composition; Flint Institute of Arts Jean Dubuffet, Antonin Artaud aux Houppes; The Cere- monious One; Leader in a Parade Uniform; Alberto New Jersey Giacometti, Seated Woman; Observing Head; Juan The Newark Museum Gris, Banjo with Glasses; Yves Klein, The Blue Night; New York Fernand Leger, Still Life; Man with a Dog; Roy Licht- The Brooklyn Museum enstein, Live Ammo; Rene Magritte, Underground Buffalo: Albright-Knox Art Gallery

94

The newly restored Cesarini Venus by Giambologna, lent by the Embassy of the United States of Ameri- ca, Rome, U.S. Department of State.

96 Small bronzes in the exhibition included the re- lated Venus Drying Herself after the Bath and Venus Urania (or Astronomy), both lent by the Kunsthis- torisches Museum, Vienna, Kunstkammer

Fire; Robert Mangold, Triangle within Three Rectan- on I Leg; Ninety Father; Ninety Son; Personage from Botticelli, Portrait of a Young Man Holding a gles: Francis Picabia, Amorous Parade; Pablo Picasso, Stove City; Personage of August; Portrait of a Painter; Medallion; Burgundian or northern French 15th Compote Dish, Glass Bottle, and Pipe-, Young Girl with Sentinel; Sentinel V; Tank-Totem VI; Tank-Totem IX; century, Heraclius I; central or northern Italian 16th Left Arm Raised; Nude; Robert Ryman, Register; Gino Untitled (December 12); Voltri XVI; Woman Bandit; century, Madonna and Child with Saint John; German Severini, The Argentine Tango z&v or south Netherlandish 17th century, Triumph of Wealth; Jean Leon Gerdme, Bashi Bazouk; Arshile Private Collection White House Collection Gorky, Grey Painting; The Limit; N.T. Head; Portrait of Roy Lichtenstein, Interior at Aries Paul Cezanne, Still Life with Skull; House on the Akko; Self-Portrait; Still Life on the Table; Portrait of Marne; The Forest; House on a Hill Collection of Robert Rauschenberg Master Bill; Italian 16th century, Hercules; Ellsworth Robert Rauschenberg, Barge; Blue Eagle; Female Fig- Collection David Whitney Kelly, Black Square with Blue; Three Gray Panels; Roy ure (Blueprint); White Painting; Black Painting Jasper Johns, Harlem Light Lichtenstein, Cosmology; Oval Office; Girl with Hair Ribbon; Rouen Cathedral, Set III; GRRR; Still Life with David E. Rust Emile E. Wolf Hendrick ter Brugghen, The Mocking of Christ Gerbrandt van den Eeckhout, The Levite at Gibeah Goldfish Bowl; Yellow Brushstroke II; Edouard Manet, Jeanne—Le Printemps; Netherlandish, second half of Saff Tech Arts Erving and Joyce Wolf 16th century, Amorous Couple; John Singer Sargent, Nancy Graves, Unending Revolution of Venus, Plants, Francis A. Silva, Indian Rock, Narragansett Bay Javanese Dancer; Frank Stella, Zeltweg; Thomas Sully, and Pendulum Mr. and Mrs. Sidney R. Yates Queen Victoria; J. M. W. Turner, Seascape: Folkestone Collection of Candida and Rebecca Smith Joan Mitchell, Piano Mechanique David Smith, Agressive Character; Blue Construction; Anonymous Construction with Forged Neck; Gondola II; Lunar Arcs Bernardo Bellotto, Pima, The Fortress of Sonnenstein;

97 Staff Publications Doumato, Lamia. Review of Beyond the Plane: Kossowska, Irena. "Cykl Rok 1905 Witolda The Relief Paintings of Judith Rothschild by Richard Wojtkiewicza." In Rocznik Historii Sztuki 19 (1992): Axsom. Choice (March 1993): 97-98. 303-352. Ackert, Stephen. "A Musician's Favorite in the . Review of Fashions in Photographs, 3 vols., . "Magdalena Abakanowicz: polska National Gallery of Art." Harmonia (spring 1993): 3. National Portrait Gallery, London. Art Documentation Penelopa." In Nowy Dziennik, 27 May 1993, 12-13. Barbour, Daphne. "Degas's Wax Sculptures from (summer 1993): 92-93. , coauthor. "Marian Bohusz-Szyszko jako the Inside Out." Burlington Magazine 134 (December wspo/organizator polskiego zycia artystycznego na Feigenbaum, Gail. "Catalogo dei dipinti." In 1992): 798-804. obczyznie." In Miedzy Polska a swiatem. Kultura emi- Ludovico Carracci. Edited by Andrea Emiliani. Exh. , coauthor. "An Investigation of Renaissance gracyjna po 1939 roku. Edited by Marta Fik. Warsaw, cat., Pinacoteca Nazionale. Bologna, 1993. Casting Practices as a Means for Identifying Forg- 1992. . "Ludovico Carracci. Un profilo." In Ludovico eries." In Conservation Research. Studies in the Histo- Carracci. Edited by Andrea Emiliani. Exh. cat., Pina- ry of Art 41. National Gallery of Art, Washington, Kelly, Franklin, contributor. Thomas Eakins: The coteca Nazionale. Bologna, 1993. 1993. Heart of American Life. Exh. cat., National Portrait ."Practice in the Carracci Academy." In The Gallery. London, 1993. Berrie, Barbara H., coauthor. "A Technical Inves- Artist's Workshop. Edited by Peter Lukehart. Studies tigation of the Materials and Methods of Dosso in the History of Art 38. National Gallery of Art, Lewis, Douglas. "John Daniel McCarty / Charles Dossi." Preprints of the 10th Triennial Meeting of the Washington, 1993. Own Perry: Lender's Essay." In Collective Pursuits: ICOM Committee for Conservation. Washington, 1993. . Review of II segno del genio. Cento disegni dal- Mount Holyoke Investigates Modernism. Exh. cat., Mount Holyoke College Art Museum. South Bowron, Edgar Peters. "Academic Life Drawing I'Ashmoleon Museum di Oxford. Master Drawings 31, Hadley, MA, 1993. in Rome: 1750-1790." In Visions of Antiquity: Neo- no. 1 (spring 1993): 66-69. . "John James Audubon: Romantic Art and classical Figure Drawings. Exh. cat., Los Angeles Fine, Ruth E. Helen Frankenthaler: Prints. Exh. cat., Contemporary Science" and "The Tradition of County Museum of Art. Los Angeles, 1993. National Gallery of Art. Washington and New York, American Wildlife Sculpture." Value in American . Bernardo Bellotto: The Fortress of Konigstein. 1993. Wildlife Art. Proceedings of the Roger Tory Peterson Brochure, National Gallery of Art. Washington, . "Inventing History: Jim Dine's Glyptothek Institute of Natural History 1992 Forum. 1993. Drawings." In Jim Dine: Drawing from the Glyptothek. Jamestown, NY, 1992. Brodie, Judith, coauthor. Drawings from the O'Neal Exh. cat., Madison Art Center. Madison, WI, and Collection. Exh. cat., National Gallery of Art. Wash- New York, 1993. MacNary, Ann M., contributor. Drawings from the ington, 1993. . The Janus Press 1981-1990: Catalogue O'Neal Collection. Exh. cat., National Gallery of Art. Raisonne. Burlington, VT, 1992. Washington, 1993. Bull, David. "Two Portraits by Leonardo: Ginevra . "L'oeuvre grave d'Helen Frankenthaler a la de' Bend and The Lady with the Ermine." Artibus et Manos, George. "What Is Creativity?" Cosmos Club National Gallery of Art de Washington." Sommaire, Historiae, no. 13 (1992): 67-83. Bulletin. Washington, June 1993. no. 128 (May 1993): 46-47. Christensen, Carol. "The Painting Materials and . "The Watchful Poet." In George Bunker: Mansbach, S. A. Review of Die grofi Utopie: Die rus- Technique of Paul Gauguin." In Conservation Landscapes 1949-1989. Exh. cat., The University of sische Avantgarde 1915-1932, exh. cat., Solomon R. Research. Studies in the History of Art 41. National the Arts and The Print Club. Philadelphia, 1993. Guggenheim Museum, New York. Kunstchronik 1 Gallery of Art, Washington, 1993. (January 1993): 14-19. Glinsman, Lisha D., coauthor. "An Investigation Cikovsky, Nicolai, Jr. George Inness. New York, of Renaissance Practices as a Means for Identifying Metzger, Catherine, coauthor. "Examination of 1993. Forgeries." In Conservation Research. Studies in the the Visibility of Underdrawing Lines as a Function . "Inness and Italy." In The Italian Presence in History of Art 41. National Gallery of Art, Washing- of Wavelength" and "Evaluation of Platinum Sili- American Art 1860-1920. New York, 1992. ton, 1993. cide Cameras for Use in Infrared Reflectography." . Review of Thomas Eakins: His Life and Art by , coauthor. "A Multivariate Analysis of Preprints of the 10th Triennial Meeting of the ICOM Com- William Innes Homer. New York Times Book Review, Renaissance Portrait Medals: An Expanded Nomen- mittee for Conservation. Washington, 1993. 23 January 1993. clature." Archaeometry 35 (1993): 49-67. . Winslow Homer. New York, 1992. Millon, Henry A. "The French Academy of Archi- . "Winslow Homer's National Style." In Rela- Grasselli, Margaret Morgan, coauthor. Drawings tecture: Foundation and Program." In The French tions between European and American Art. Malibu, from the O'Neal Collection. Exh. cat., National Gallery Academy: Classicism and Its Antagonists. Edited by 1993. of Art. Washington, 1993. June Hargrove. Newark, 1990. > contributor. Thomas Eakins: The Heart of . "Eighteen Drawings by Antoine Watteau: . "Reconstructions of the Palatine in the American Life. Exh. cat., National Portrait Gallery. A Chronological Study." Master Drawings 31, no. 2 Eighteenth Century." In Eius Virtutis Studiosi: Classi- London, 1993. (1993): 103-127. cal and Postclassical Studies in Memory of Frank Edward Brown. Studies in the History of Art 43. National Clayton, Virginia Tuttle. "The Hudson River Vil- Greenough, Sarah. Stieglitz in the Darkroom. Gallery of Art, Washington, 1993. las of Upper Manhattan: Rediscovered Maps and Brochure, National Gallery of Art. Washington, . "Sebastiano Serlio. Regole generali di archite- Plans." Journal of Garden History XII4 (October- 1992. December 1992): 269-297. tura. Venetia: Francesco Marcolino, 1537." In Vision Griswold, Susanna P. "Two Paintings by El of a Collector: The Lessing J. Rosenwald Collection in the Coman, Florence E., coauthor. From El Greco to Greco: Saint Martin and the Beggar, Analysis and Library of Congress. Washington, 1991. Cezanne: Masterpieces of European Painting from the Comparison." In Conservation Research. Studies in , coauthor. "Filippo Juvarra, Design for Act National Gallery of Art, Washington, and The Metropoli- the History of Art 41. National Gallery of Art, II, Scene XI of Tito e Berenice." In Exploring Rome: tan Museum of Art, New York. Exh. cat., National Gal- Washington, 1993. Piranesi and His Contemporaries. Exh. cat., Canadian lery of Greece. Athens, 1992. Centre for Architecture. Montreal, 1993. Halpine, Susana M., coauthor. "Precision and , coauthor. "Filippo Juvarra: New Drawings." De Grazia, Diane. "Ottavio Farnese and His Artists Spontaneity: Jacob Lawrence's Materials and Tech- In An Architectural Progress in the Renaissance and in Parma and Rome." In II luogo ed il ruolo della citta niques." In Jacob Lawrence: The Migration Series. Edit- Baroque Sojourns In and Out of Italy. Edited by Henry di Bologna tra Europa continentale e mediterranea. Atti ed by Elizabeth Hutton Turner. Washington, 1993. del Colloquio C.I.H.A 1990. Bologna, 1992. A. Millon and Susan Scott Munshower. Papers in . Review of Guercino: Master Draftsman, Works Hand, John Oliver. "Salve sancta fades: Some Art History from the Pennsylvania State University from North American Collections by David Stone. Mas- Thoughts on the Iconography of the Head of Christ 8, pt. 2. University Park, 1992. by Petrus Christus." Metropolitan Museum Journal 27 ter Drawings 31, no. 1 (spring 1993): 60-63. Perlin, Ruth R„ "Education and Access: The New (1992): 7-18. , coauthor. "Apropos des radiographics du National Gallery Videodisc on American Art." In , contributor. Flemish Paintings in America. Saint Jerome et I'ange de la National Gallery of Art de Museums and Interactive Multimedia. Cambridge, Edited by Guy C. Bauman and Walter A. Liedtke. Washington." In Simon Vouet. Actes du Colloque Inter- 1993. national. Galeries Nationales du Grand Palais. Paris, Antwerp, 1992 (also published in Dutch and 1992. French). Prather, Maria, contributor. Great French Paintings from The Barnes Foundation: Impressionist, Post-Impres- de la Rie, E. Rene. "Polymer Additives for Syn- Karafel, Lorraine. "Richard Artschwager," "Gary sionist, and Early Modern. New York, 1993. thetic Low-Molecular-Weight Varnishes." Preprints Hill," "Robert Mangold," and "James Rosenquist." of the 10th Triennial Meeting of the ICOM Committee for In American Art in the 20th Century. Exh. cat., Zeit- Ptacek, Robin Thorne. "Creating the Art of the Conservation. Washington, 1993. geist-Gesellschaft. Berlin, 1993. Twenty-first Century: Visualizing Future Trends in

98 EMOTIONS PARISIENNES

CWiB#8.fer4CtR. in fraisuiujS line <1 AubrrifcC.

Wait patne, til u auras pas mon oeuvve 1

Honore Daumier, Ingrate patrie, tu n 'auras pas mon oeuvre! 1840, Ailsa Mellon Bruce Fund, 1993.37.1

Art." In The Years Ahead: Perils, Problems, and Promis- Metropolitan Museum of Art, New York. Exh. cat., Gallery of Art. Exh. cat., National Gallery of Art. es. Edited by Howard F. Disbury, Jr. Bethesda, MD, National Gallery of Greece. Athens, 1992. Washington, 1993. 1993. Sturman, Shelly, coauthor. "Conservation of One Wheelock, Arthur K., Jr. "A Girl with a Broom." Richard, Mervin J. "Conservation in the United of Alexander Calder's Largest Mobiles." In Saving In Rembrandt och Hans Tid. Edited by Gorel Cavalli- States." Museum: Art Magazine, no. 510. Edited by the Twentieth Century: The Conservation of Modern Bjorkman. Exh. cat., Nationalmuseum. Stockholm, the Tokyo Museum (September 1993): 32-38. Materials. Canadian Conservation Institute. Ottawa, 1992. . "A Girl with a Broom: A Problem of Attribu- Rosenthal, Mark. Anselm Kiefer. Exh. cat., Sezon 1993. tion." In Rembrandt and His Pupils. Edited by Gorel Museum of Art. Tokyo, 1993. Swicklik, Michael P. "French Painting and the Cavalli-Bjorkman. Stockholm, 1993. . Artists at Gemini. New York, 1993. Use of Varnish, 1750-1900." In Conservation . A Golden Age of Painting: Dutch, Flemish, and Russell, H. Diane. Review of Jacques Callot Research. Studies in the History of Art 41. National German Paintings from the Sarah Campbell Blaffer 1592-1635 by Pauletre Chone et al. Burlington Maga- Gallery of Art, Washington, 1993. Foundation. Brochure, Muscarelle Museum of Art, zine 135 (February 1993): 152-153. College of William and Mary. Williamsburg, VA, Tangires, Helen. "Icehouses in America: History of 1993. Sherman, Claire Richter. "Beyond the Photo a Vernacular Building Type." New Jersey Folklife 16 . Jan Vermeer. German edition. Cologne, Archive: Imaging the History of Psychology." Visual (1991): 33-43. 1992. Resources 9 (1993): 39-52. Walmsley, Elizabeth, coauthor. "Examination of . "Vermeer and Bramer: A New Look at Old Springer, Julie. "Object-Based Study in Art." In the Visibility of Underdrawing Lines as a Function Documents." In Leonaert Bramer 1596-1674: A Teaching Critical Thinking: Reports from Across the Cur- of Wavelength" and "Evaluation of Platinum Sili- Painter of the Night. Edited by Frima Fox Hofrichter. riculum. Studies in Writing and Culture Series. cide Cameras for Use in Infrared Reflectography." Exh. cat., The Patrick and Beatrice Haggerty Muse- Englewood Cliffs, NJ, 1993. Preprints of the 10th Triennial Meeting of the ICOM Com- um of Art. Milwaukee, 1992. mittee for Conservation. Washington, 1993. , contributor. Flemish Paintings in America. Streicher, Elizabeth Pendleton, coauthor. From Edited by Guy C. Bauman and Walter A. Liedtke. With, Christopher B. Lovis Corinth: Master Prints El Greco to Cezanne: Masterpieces of European Painting Antwerp, 1992. from the National Gallery of Art, Washington and The and Drawings from the Marcy Family and the National

99 - TRUSTEE MMITTEES, AN FFICE

Board of Trustees Audit Committee (to 29 September 1993) (to 29 September 1993) Franklin D. Murphy, Chairman Franklin D. Murphy, Chairman John R. Stevenson, President Lloyd Bentsen William H. Rehnquist The Secretary of the Treasury The Chief Justice of the United States John R. Stevenson Warren Christopher Ruth Carter Stevenson The Secretary of State Robert H. Smith Lloyd Bentsen Alexander M. Laughlin The Secretary of the Treasury Robert McCormick Adams The Secretary of the Smithsonian Institution Finance Committee Ruth Carter Stevenson (to 29 September 1993) Robert H. Smith John R. Stevenson, Chairman Alexander M. Laughlin Lloyd Bentsen Paul Mellon, Honorary Trustee The Secretary of the Treasury Robert McCormick Adams The Secretary of the Smithsonian Institution (from 29 September 1993) Franklin D. Murphy Ruth Carter Stevenson, Chairman Ruth Carter Stevenson Robert H. Smith, President Robert H. Smith William H. Rehnquist The Chief Justice of the United States Alexander M. Laughlin Warren Christopher The Secretary of State Art and Education Committee Lloyd Bentsen (to 29 September 1993) The Secretary of the Treasury John R. Stevenson, Chairman Robert McCormick Adams The Secretary of the Smithsonian Institution Franklin D. Murphy Alexander M. Laughlin Ruth Carter Stevenson Robert F. Erburu Robert H. Smith Louise W. Mellon Alexander M. Laughlin Earl A. Powell III Paul Mellon, Honorary Trustee William Henry Hunt, Interior of Bushey Church, Franklin D. Murphy, Trustee Emeritus 1815/1820 (detail), Ailsa Mellon Bruce Fund, 1992.96.3 John R. Stevenson, Trustee Emeritus

101 V

Franklin D. Murphy, Chairman John R. Stevenson, President Ruth Carter Stevenson Robert H. Smith (to 29 September 1993) (to 29 September 1993) (Chairman from 29 September 1993) (President from 29 September 1993)

William H. Rehnquist Warren Christopher Lloyd Bentsen Robert McCormick Adams The Chief Justice of the United States The Secretary of State The Secretary of the Treasury The Secretary of the Smithsonian Institution

Alexander M. Laughlin Robert F. Erburu Louise W. Mellon Paul Mellon, Honorary Trustee (from 29 September 1993) (from 29 September 1993)

Trustees' Council (to 29 September 1993) Executive Officers

Edwin L. Cox, Chairman Doris Fisher Richard A. Kirstein John R. Stevenson, Philip C. Jessup, Jr., Secre- tary and General Counsel Lois de Menil, Vice Chair- Julie Folger Leonard A. Lauder President (to 29 September 1993) Joseph J. Krakora, Exter- man John C. Fontaine Judith Laughlin Earl A. Powell III, Director nal Affairs Officer Perry R. Bass Camilla Chandler Frost Richard A, Manoogian Robert M. Bass Roger Mandle, Deputy John R. Gaines David O. Maxwell Director Directors Emeriti Donald M. Blinken Jo Ann Ganz Louise Mellon (to 16 July 1993) John Walker W. L. Lyons Brown, Jr. Evelyn D. Haas Diana Prince Alan Shestack, Deputy Director J. Carter Brown John H. Bryan Gordon Hanes Jill Sackler (from 3 January 1994) Calvin Cafritz Lore Heinemann James S. Smith Henry A. Millon, Dean of Carroll J. Cavanagh Teresa Heinz Benjamin F. Stapleton III the Center for Advanced Louisa Duemling R. L. Ireland III John C. Whitehead Study in the Visual Arts James T. Dyke Ruth Kainen Andrea Woodner Anne B. Evans, Administrator Edward E. Elson Stephen M. Kellen Dian Woodner Daniel Herrick, Treasurer Robert F. Erburu Peter Kimmelman Eleanor Wood Prince Thomas M. Evans

102 FF (as of January 1994)

OFFICE OF THE Staff Assistant Jeffrey S. Weiss DIRECTOR Renee Fitzpatrick Research Assistant, Rothko catalogue Director Baroque Paintings Isabelle Dervaux Earl A. Powell III Curator, Northern Baroque Research Assistants Deputy to the Director Arthur K. Wheelock, Jr. Harry Cooper Carol Kelley Murphy Curator, Southern Baroque Molly Donovan Executive Assistant to the Diane De Grazia Sally Shelburne Director Staff Assistant Staff Assistant Angela M. LoRe Margaret Teare Melissa Geisler Secretaries American and British Debra S. Tatman Curatorial Records and Paintings Ann M. Wieman Files Curator and Deputy Senior Internal Auditor Head of Department Curator of Paintings Larry L. Lewis Nancy H. Yeide Nicolai Cikovsky, Jr. Auditor Assistant Curator Orin Wolf Anne L. Halpern Franklin Kelly Associate Curator PRINTS, DRAWINGS, Nancy Anderson PHOTOGRAPHS, AND OFFICE OF THE Assistant Curator DEPUTY DIRECTOR Deborah Chotner SCULPTURE Deputy Director Exhibitions Assistant Andrew W. Mellon Senior Alan Shestack Charles Brock Curator Administrator for Policy and Staff Assistant Andrew Robison Programs Jennifer Friel Office Manager Elizabeth Driscoll Pochter Susanne L. Cook French Paintings Administrative Assistant Staff Assistant for Exhibitions Curator and Head of Depart- Jean Stensland Mireille Cronin ment Staff Assistant Philip Conisbee Tom Parrette PAINTINGS AND 20TH- Assistant Curator CENTURY ART Florence E. Coman Old Master Prints Senior Curator of Paintings Curator and Head of Depart- 20th-century Art Edgar Peters Bowron ment Curator and Head of Depart- H. Diane Russell Renaissance Paintings ment Associate Curator Curator, Italian Renaissance Mark Rosenthal Virginia Clayton David Alan Brown Associate Curator Assistant Curator Curator, Northern Renais- Maria Prather Gregory D. Jecmen sance Mark Rothko catalogue John Oliver Hand raisonne author Old Master Drawings Assistant Curator, Italian David Anfam Curator and Head of Depart- Renaissance Research Associate, Systemat- ment Gretchen Hirschauer ic Catalogue Margaret Morgan Grasselli

103 Associate Curator CONSERVATION Head of Department/Deputy Benjamin McICinnie Cataloguer of 20th-century Judith A. Brodie Chief of Conservation Chief of Conservation Head of Paint Shop Art Meg Melvin Assistant Curator Ross Merrill Mervin Richard Frank Figgins Cataloguer of Special Projects Ann MacNary Conservation Administrator Coordinator of Matting/Fram- Painters/Finishers Barbara Chabrowe Michael Skalka ing Services Robert Barnett Modern Prints and Circulation Desk Technician Editorial Assistant Hugh Phibbs Dennis Bult Drawings Wendy A. Cole Janice Gruver Associate Conservator Joseph Richardson Curator and Head of Depart- Secretary Staff Assistant Michael Pierce Photographer ment Debra K. Massey Deborah A. Barclift Matter/Framer Robert Shelley Ruth E. Fine Clerk Typist Secretaries Jenny Ritchie Assistant Curators Geneva Rosenboro Teresa Guevara Frame Conservator LIBRARY Carlotta J. Owens Elizabeth Murphy Stephan Wilcox Executive Librarian Charles M. Ritchie Slide Library Rebecca Molholt Assistant Frame Conservator Neal T. Turtell Research Associate Chief Slide Librarian Richard Ford Staff Assistant Mary Lee Corlett Painting Conservation Gregory P. J. Most Kate M. Allen Research Assistant Associate Slide Librarian Chairman, Painting Depart- EXHIBITIONS Automation Librarian Nicolas A. Martin Victoria Foster ment Chief of Exhibitions Susan Chickering David Bull Assistant Slide Librarians Photographs D. Dodge Thompson Thomas O'Callaghan, Jr. Conservator and Head of Collection Development Curator and Head of Depart- Exhibition Officers Daniel Nolting Department Librarian ment Cameran G. Castiel Mary S. Wasserman Sarah Fisher Caroline H. Backlund Sarah Greenough Naomi R. Remes Conservators Exhibition Assistant Ann Bigley Robertson Acquisitions Carol Christensen EDITORS OFFICE Julia Thompson Exhibition Office Manager Head of Acquisitions Ann Hoenigswald Editor-in-Chief Research Assistant Kathleen McCleery Anna M. Rachwald Jay Krueger Frances P. Smyth Paul Roth Assistants for Exhibition Order Processing Assistant Catherine Metzger Production Manager Administration Mary Masters Sculpture and Decorative Michael Swicklik Chris Vogel Stephanie Fick Serials Assistants Arts Associate Conservator for the Senior Editor, and Manager of Diane T. Richard Bruce B. Hebblethwaite Curator Systematic Catalogue the Systematic Catalogue Secretary to the Chief of Inge F. Newstead Douglas Lewis Elizabeth Walmsley Mary Yakush Exhibitions Acquisitions Technician Associate Curator and Acting Editor Paper Conservation Jennifer Fletcher Beatrice D. Poindexter Head of Department Tam L. Curry Conservator and Head of Alison Luchs Cataloguing and Editor, CASVA Publications Department DESIGN AND Mellon Assistant Curator Processing Carol Eron Shelley Fletcher INSTALLATION Donald Myers Head of Cataloguing Designers Conservator Senior Curator, Chief of Staff Assistant Roger C. Lawson Phyllis Hecht Judith Walsh Design Willow Johnson Cataloguers Cynthia Hotvedt Assistant Conservator Gaillard Ravenel Jane D. Collins Assistant for Program Man- Yoonjoo Strumfels Deputy Chief of Design REGISTRATION AND Trudi W. Olivetti agement, Systematic Cata- Matter/Framer Mark Leithauser LOANS Cathy F. Quinn logue David Shen Head of Lighting Design and Office of the Registrar Marsha D. Spieth Barclay A. Gessner Conservation Technician Production Chief Registrar Paula Zech Production Assistant Susan Clay Gordon Anson Sally Freitag Bindery Assistant Wendy Schleicher Production Coordinators Registrar for Collections Object Conservation Jane E. Higgins Editorial and Production William Bowser Mary Suzor Conservator and Head of Cataloguing Assistants Assistant Anne Kelley Associate Registrar for Exhibi- Department J. Bryan Lane Ulrike Mills John Olson tions Shelley Sturman Sharon Millman Assistant Editor Michelle Fondas Conservator Architects Julie Warnement Assistant Registrar for Exhibi- Judy L. Ozone Linda Heinrich Reader Services Assistant for Project Manage- tions Associate Conservator Donna Kwederis Head of Reader Services ment Lauren Mellon Cluverius Daphne Barbour Maquette Production Lamia Doumato Maria Tousimis Assistant Registrar for Loans Jane Rodgers Reference Librarian Textile Conservation Imaging and Visual Judith Cline Staff Assistants Frances P. Lederer Conservator Services Secretary Gina Cinquegrana Reference Assistant Julia Burke Head of Department Melissa Stegeman Budget Analyst George (Ted) T. Dalziel, Jr. Alison Stansbury Interlibrary Loan Assistant Richard C. Amt Supervisory Museum Special- Scientific Research Head of Silkscreen Thomas F.J. McGill, Jr. Supervisory Photographer ist Department Barbara Keyes Vertical Files Librarian William Wilson John Poliszuk Head of Department Silkscreen Production Roberta Geier Coordinator of Visual Services Assistant Supervisory Muse- E. Rene de la Rie Lisa Farrell Circulation Assistants Ira Bartfield um Specialist Senior Conservation Scientist Paul Glenshaw Ariadne Y. DuBasky Photographers Daniel Shay Barbara H. Berrie Glenn Perry Robert M. Gibbons Dean Beasom Art Services Specialists Research Conservator for Jeff Wilson Margo L. Hyde Richard Carafelli Robert Cwiok Painting Technology Head of Exhibits Shop Kathleen Suhmann Philip Charles, Jr. Ellen Evangeliste E. Melanie Gifford Floyd Everly Lorene Emerson Andrew Krieger Organic Chemist Photographic Archives Carpenters Archives Photographer Johnnie Mizell Suzanne Quillen Lomax Curator Richard Bruce David Applegate Gary Webber Biochemist Ruth R. Philbrick Lester Dumont Museum Specialist Art Services Technicians Susana M. Halpine Administrator and Cataloguer Paul Heath Barbara Bernard Lowell Gilbertson Conservation Scientists of Decorative Arts Thomas Holland Laboratory Technicians Goven Martinez Lisha D. Glinsman Jerry M. Mallick Miller Mack Susan Amos Pierre Richard Michael R. Palmer Cataloguer of English and Thomas Piddington Anthony Grohowski Laboratory Assistants French Art Loans and the National Head of Lighting Shop James Locke Stephen L. Funk Richard W. Hutton Lending Service James Spicknall Museum Technicians Glenn A. Gates Cataloguer of Architecture Head of Department Electricians Sarah Sibbald Andrea R. Gibbs Stephanie T. Belt Loans and Exhibitions Robert Benoit Sara Sanders-Buell Cataloguer of Italian Art Loan Officer Conservation William Mahan Karen H. Weinberger Lisa E. Mariam

104 EDUCATION DIVISION Senior Art Information Spe- Staff Assistant Alvin Adams Paul Kelly Head of Education cialist Helen Tangires Secretary Evelyn Scott Linda Downs John Cogswell Assistant to the Program of Judith Williams Rayfield Stevenson Division Administrator Art Information Specialists Special Meetings Wood Crafter Leaders Ann Steadham Margot E. Grier Margaret Baucom Randi Nordeen Dorson Abney Mable Stokes Staff Assistants Elisa Patterson Assistant to the Program of George McDonald Elsie Thompson Mary Hill Mary Anne Probus Fellowships Wood Crafters Sheila Tyler Carter S. Learnard Program Assistant Deborah Gomez Dianne Driscoll Margaret Wallace Division Receptionist/ Pamela Chewning Assistant to the Program of Willard Menson Barbara Washington Staff Assistant Supervisor, Booking and Regular Meetings John Rogers Barbara White Marta Horgan Shipping Elizabeth Kielpinski Peter Urban Zilphia Wright Carol F. Lippitt Secretary to the Kress Profes- Carpenters Operations Adult Programs Lead Audiovisual Shipping sor and Mellon Lecturer Francis Dyson, Jr. Manager Head of Department Clerk Sarah Hadley Anthony Givens Lynn Russell Robert Jannone Roland Young Paint Shop Coordinator of Tours and Lec- Sponsored Research in the Secretary Affiliate Loans System Coordi- Supervisor tures History of Art Sherry Johnson nator Rhonda McCord Eric Denker Project Head Utility Systems Operations Kendrick Ashton Glazer Staff Lecturers Claire Sherman Acting General Foreman Lead Booking Clerk Edwin Butler Frances Feldman Joseph Barnes Martha H. Aspron Painter Leader Philip Leonard Machinist Acting General Booking and Shipping Clerk Thomas Hartswick Robin Ptacek Foreman Cassandra Raspberry OFFICE OF THE Painters J. Russell Sale Zery C. Mingo Program Shipping Technicians ADMINISTRATOR Tommy Pope Coordinator of Adult Program Operating Engineers Shop Michael G. Bryant Lester Smith Docents Administrator Utility Systems Operating Jennifer A. Cross Painting Worker Wilford W. Scott Anne B. Evans Foremen Chuckie L. Harris Joseph Copeland Curator of Film Programs Deputy Administrator Frank Bauer Dion Redman Plasterer Margaret Parsons Darrell Willson Juan Delano Larry Welch Assistant to Curator of Film Teacher and School Assistant to the Administrator Donald Young Masonry Shop Programs Programs Andrew McCoy Utility Systems Operators Supervisor Victoria Toye Head of Department Staff Assistants Leaders Roland Martin Curator of Academic Pro- Kathleen Walsh-Piper Anne Campion Oscar Riley Masons grams Senior Educator for School Desiree Miller Anthony Thomas Michael Proctor Gail Feigenbaum Programs Utility Systems Operators Joseph Sandleitner Program Assistant, Academic Anne Henderson EEO OFFICE Noel Ashton Joseph Thomas Programs Coordinator of Teacher Pro- EEO Officer Lester Barry William Turner Karen Binswanger grams George Martin Nathaniel Bethune Staff Assistant Julie A. Springer EEO Specialist Housekeeping George Brooks Maury Pully Coordinator of School Rita Cacas Foreman Larry Brown Docent Liaison/Staff Assistant Docents Charles Boone Walter Coehins Mary Ellen Wilson Secretary Lisa Black FACILITIES Roger Dunning Program Assistant, Teacher Barbara Stevens Eugene Guthrie Education Exhibition and MANAGEMENT Programs Supervisors James Hamilton Media Programs Facility Manager Leslie Graham James Abraham Robert Hamilton Head of Department Gregg Reynolds Tour Scheduler Mary Battle Gary Hancock Susan M. Arensberg Secretary Susan Reid Willie Cook Frank Lim Assistant Curator Gwendolyn Harriston Staff Assistant Frank Ford James Miller Lorraine Karafel Program Assistant Heidi Hinish Sally Reeves Harvey Moore Project Coordinator Linda Hilliard Vernon Richardson Clifton Mutts Roily T. Strauss Micro Gallery Work Control Coordinator Leaders John Ott Media Specialist Curator Michael Brown Paul Cotton Jesus Pena Elise Kunz Vicki Porter Building Services Manager Geraldine Crawford Larry Smith Senior Writer Dan C. Hamm Sarita Harris Presley Rand Education Publications Dale Kent Eva Harrison Shawn Sizemore Head of Department Writer Housekeeping Housekeepers James Stevens Barbara Moore Tony Lewis Supervisors Catherine Brown Alexander Tonic Writer-Editors Production Coordinator Darrell Waytes Gerald Carthorne Anthony Walker Carla Brenner Curt Millay Philip Collins William J. Williams Staff David Clark John Wert Donna Mann Maurice Anderson Raymond Frazier Elevator Mechanic Foreman Foreign Language Coordina- James Clark Josephine Hallamon Welden Daugherty tor CENTER FOR Lewis Dobbs Brock Hawkins Elevator Mechanic Deborah N. Lawrence ADVANCED STUDY James Hardy Dorothy Johnson Willie Parker Staff Assistant IN THE VISUAL Kwaku Johnson Angela Lee Machinists Leonard Lyles Daphne Filides ARTS Wayne Valentine Facilities Central Store Sheldon Moore James Wilson Education Resources Dean Supervisor Betty Rufus Instrument Mechanics Head of Department Henry A. Millon Michael Warrick Douglas Smith Eugene Givens Ruth R. Perlin Acting Associate Dean Attendants Angeline Sutton Edward Heffner Resource Production Special- Steven A. Mansbach Christopher Baumann James Wells William Sutton ist Associate Dean David Duggin Workers Energy Conservation Specialist Leo J. Kasun Therese O'Malley George Bridges Maintenance Dennis Donaldson Coordinating Curator of Art Research Assistants Geraldine Drayton Manager Energy Conservation Assistant Information Francesca Consagra Isaac Graham Craig A. MacFarlane Charles Gillespie Christopher With Eric Garberson Brenda Handy Project Manager Planner and Estimator Supervisory Art Information Anne Helmreich Carolyn Harvey Allan Riggles Fred Crickenberger Specialist Irena Kossowska Carroll Jamison Carpentry Shop Carol Boyes Elizabeth Kryder-Reid Ruth Johnson Electrical Shop Supervisor Electrician Foremen

105 Stephen Bradish Willie Barnes Darrell Rhoades Corey Hutcherson Michelle West Paul Kimbal Louis Carroll Floyd Rhoades John Jackson Verda Whitlow Electrician Leader Bernard demons Edward Roberts Alan Jenkins Celia Whitney Daniel Smith Armando Hartley Andrew Robinson Andre Johnson LaVerne Whitted Electrician Maurice Johnson Thomas Savoy Edward Johnson Carolyn Windear Melvin Klugh William Johnson Calvin Simmons Ivy Johnson Ronald Wilkins Electrician Workers Alonzo Kennedy Franklin Smalls Wayman Johnson Barry Williams George Britt Roger Kraft Leroy Smith Felisha Jones James Williams Willams Carlton Donna Linder Timothy Smith Kenneth Jones Lynn Williams David Cole Ricky Manuel Vernon Smith Quellan Josey Rita Williams Electrician Helper Lawrence Marshall Gregory Stevenson Crystal Kelly Andre Wilson Leslie Raspberry Daniel Miller Michael Strong Antonio Kilpatrick Derek Wilson Scott Klocke Garland Woodruff Sheet Metal Shop John Palmer William Thome Charles Leggett Ann Wyder Sheet Metal Mechanics Karen Perry Larry Turner Eugenio Velazquez Franklin Lewis Clerk Sterling Fisher Anthony Thompson Alvester Warren Tyrone Lewis Alice Holloman Mark Teed Marlene Tucker Edward Watson Ronald Webster-Bey Gary Lindsay Plumbing Shop Technical Services Raymond Watson Linda West Fransonia Littles Pipefitter Leader Deputy Chief, Technical Ser- George Woodall Alfred Williams Robert Livings Paul Dale Sheila Wright Mark Wilson Marvin Mallard Pipefitters David Schott Gallery Protection Officers Richard Wood Rodney Mathew Gregory Evans Foreman James Allison, Jr. Roddie Worthington Freddie Mathis Levern Jacobs Angelo Catucci Daniel Bailey Ralph Wright Valarie Mathis Electronic Mechanics Gwendolyn Bell Wayne Wright Andre McBride PROTECTION SERVICES Donnie Mercer Ludwig Bednar Willie Wright Arthur McKinzy Nathaniel Stroman Chief of Protection Services Vander Blount James Yancey Eunice McQueen Locksmiths Jay W. Chambers Ronald Brown Gallery Security Officers Timothy Meyer Robert Brown Samuel Brown Rukan Ahmed Cheryl Miles Administration/Special Ty Cullins Otis Butler Latina Bailey John Miles Operations William Shaw Bruce Carter Sammy Bardley Leroy Miller Deputy Chief Console Operator Leaders Clifton Clark Dora Barksdale Edward Moon George S. Martin Frank Ebb Luther Clark Juanita Batson Leroy Moreno Staffing Officer Walter Queen Edwin Cluster, Jr. Ludwig Bendar, Jr. Jimmy Myers Ronald J. Lowe Console Operators James Collins Trevor Bennett Jerry Napier Training Officer Rodney Alston Robert Conyers Anthony Bledsoe Herbet Nicholls Joseph Maddox Robert Brooks Michael Copeland William Britton Timothy Nicholson Computer Specialist eleven Brown Edwin Cox Steven Brock Willie Norman Chris Caldwell Derrick Hairston Venus Cristwell Willie Brown John Norris Office Automation Assistants Stanley Harley John Davis Milan Bryant Curtis Oden Annette Brown Ernest Reynolds Ronald Estes Wayne Buckner Joyce Palmer Margaret Myers Robert Evans Benjamin Burgess Leslie Parks Saundra Williams ADMINISTRATIVE Virtus Evans Felesia Burgess James Phillips Supply Clerk Gregory Ford Alvin Burts Sandra Powell SERVICES Amos Lynch Robert Gayleard David Caldwell Willie Pugh Chief of Administrative Ser- Office Clerk Emanuel Goddard George Caldwell Eldridge Ramsey vices Joseph Lawrence Francis Goler Michelle Cameron Gary Reed Cathy Yates Fire and Safety George Hamilton James Canada Robert Rice Administrative Officer Deputy Chief Darrell Harley Joe Cardwell William Richardson Sharlene Mobley Harold Michael Barbara Height Albert Carr, Jr. Dana Roberson Staff Assistant Occupational Health Special- Gus Henderson Willie Cason Patrick Rogers Mindy Murdza ists Peter Henderson, Jr. Jesus Castro Gary Ross Mail fr File Russell Grice Donna Hinton Willard Catlett George Ross Mailroom Supervisor Joseph Harchick Priscilla Hopkins Ellis Caudle Kenneth Rowe Clifton Fleet Secretary Edgar Hopson Walter Colbert Ronald Sewell Mail Clerks Anne Rogers Frank Johnson Michael Cooper John Sherrill Felton Byrd Yamashita Johnson Leslie Copeland Maxine Simmons Greg Hill Operations Nathaniel Jones Luis Cuadrado Willie Sims Jose Vallecillo Captains of the Guard Ronald Jones Lewis Dickens Earl Singleton Grady Williamson, Jr. Nathaniel McLin Veronica Jones Dennis Diggs William Smallwood Clerk Typist James Thompson Willie Joyner David Duggins Andre Smith Christy Allen Investigation Stinson Kelly Roby Ellis John Smith Enis Pinar Joe Lewis Neil Floyd Milton Sochor, Jr. Printing &• Duplicating Office Automation Clerk Robert Lewis David Fobbs Alexander Stephens Offset Press Operators Jesus Jimenez George Mackie Paul Ford Reathel Stewart Patrick Beverly Security Drivers Frank Meyers Carlton Gaines Altina Sumter Frank Schiavone Joshua Mewborn Joseph Midgette Johnnie Gallop Donnie Sutton Equipment Operator James Tasker Ronald Miles Antone Gatewood Kathy Sutton Joseph Leftwich Security Lieutenants Charles Moody Paul Gresham Janet Taylor Richard Allen Jimmy More-Head Harry Groce James Townsend Transportation Quentin Arnold Jasper Morris Betty Harper Nathaniel Tucker Transportation Assistant George Boomer Dexter Moten Burley Harris Lee Turk Barbara Caldwell Milton Cox Justina Page Tawania Harvey David Tyler Drivers Jerome Edwards Vincent Parker David Hodges Raymond Tyndle Robert Harris Larry Kaylor Joe Peterson Fred Holmes Juanita Walker Lucius Peterson James Plush Jeroboam Powell Herman Howard John Washington Supply &• Property Supervisory Sergeants Ronald Randall Tyrone Howard Gregory Watson Supply Management Officer Hajji Al-Hadith Jerry Reaves Joseph Hudson Michael Webster Ed Harrison Dianne Allison

106 Property Manager Staff Assistants Stephen Bjorneboe OFFICE OF THE OFFICE OF Ted Harper Tammy Bennett Mary J. Powell TREASURER SECRETARY- Store Clerk Gwendolyn Hines Cashiers GENERAL COUNSEL Kay Mehta Staffing Clerk Lisa Adhieary Treasurer Supply Clerks Catherine Oh Eve Blackburn Daniel Herrick Secretary and General Coun- Darnell Brandon Connie Cahanap Deputy Treasurer sel Ann R. Leven Paul Fortune RESOURCE ACQUISITION Vicki James Philip C. Jessup, Jr. Anthony Sean Milliard Executive Assistant to the Deputy Secretary and Deputy Acting Chief of Resource Jasmine Keller Nathan Howell Treasurer General Counsel Acquisition/Procurement Phil Lee James Morris Nancy E. Frey Elizabeth A. Croog Manager J.P. McGranahan Kim C. Peacock Assistant Treasurer/Financial Associate General Counsel Supply Warehouse Carolyn A. Perry Bill Wossowski Management Nancy Robinson Breuer Warehouse Manager Secretary Leon Wyatt Michael W. Levine Legal Assistant Tom Briscoe Veronica F. Nash Henry Zecher Budget Officer Sarah E. Fontana Warehouse Workers Contract Specialists Merchandise Stock Clerks William H. Roache Assistant Secretary Sam Baugh Terry Vann Ellis Michael Baily Assistant to the Treasurer for Kathryn K. Bartfield Melvin Burnett Claudine A. Lewis Sheldon B. Edelin Risk Management and Special Staff Assistant Tom Harris Shirley A. Roberts Cecil Miller Projects Carol A. Christ Paul Rodriques Jeannette Rogue Nancy Hoffmann Secretary Scott Stephens Purchasing Agent Concourse Book Store Budget Analyst Montrue V. Connor Mamie L. Gordon Manager Jean Krevinas Travel Coordinator Calvin O. Roebuck TELECOMMUNICATIONS Accounting Technician Sandy Dean Assistant Managers GALLERY ARCHIVES Telephone Systems Adminis- Rosa E. Jackson Systems Coordinators Louise Coward Chief of Gallery Archives trator Secretary Jenmarie Dewberry Robert Jacobs Maygene F. Daniels Ira Bozeman Laurie E. Meister Julie A. Fetter Book Sales Specialists Archives Specialist Head Telephone Operator Supply Cataloguer David Petersen General Accounting Anne G. Ritchie Minnie Barbour Derry Martin Ethel Devan Comptroller Archives Technicians Operators Data Input Clerk Cashiers Dale C. Rinker Martha J. Shears Barbara Coleman E. R. Johnson Ani Bedrossian Systems Accountant Albert G. Wagner Zewdie Simms Mike Bowhay Carol Ann Proietti PUBLICATIONS SALES Corey Davis Supervisory Operating AUDIOVISUAL SERVICES Tamara Johnson Accountant Chief of Publications Sales OFFICE OF Chief of Audiovisual Services Kelly Mayle Kelly Liller R. Keith Webb Thomas Valentine Michael Mullennex Operating Accountants EXTERNAL AFFAIRS Assistant Chief/Merchandise Assistant Ann Steine Julianne Ehrman External Affairs Officer Manager Dorian Breau Jonathan Walz Ruth E. Lewis Joseph J. ICrakora Ysabel L. Lightner Recording Engineer Merchandise Stock Clerks Linda K. Smith Assistant to XAO for Special John Conway Merchandising Terry W. Gibson Accountant Projects Projectionists Graphics Buyer Linda A. Hunt Adele Stevens Pamela Jenkinson Jeannie Bernhards Judy C. Luther Accounting Technicians Assistant to XAO and Chief of Mail Order Paavo Hantsoo Graphics Designer & Buyer Roberta Bellofatto Visitor Services Mail Order Clerks Noriko I<. Bove Cynthia W. Czubat Sandra Creighton John Brady GALLERY ARCHITECT Book Buyer Brenda M. Fogle Program Specialist Betty J. Brown Richard Dobbs Dyann Nelson-Reese Lisa Scalzo-Hamm Gallery Architect Denise C. Graves Assistant Book Buyer Stephanie L. Thorpe Staff Assistant James M. Grupe Carolyn L. Messineo Assistant Gallery Architect Dennis Callaghan Valerie M. Wright Amy Maclntyre Buyer's Assistant Warehouse Operations Carl M. Campioli Payroll Mary K. Sard Manager DEVELOPMENT Interior Design Specialist Supervisory Pay Technician Steve Richardson Susan Ritterpusch Retail Systems Emma G. Moses Development Officer Lead Warehouseman Architects Retail Controller Civilian Pay Technicians Laura S. Fisher Doug Bishop Bruce D. Condit Michael C. Metallo Eric Humphrey Assistant Development Officer Warehouse Workers William H. Cross, Jr. Computer Systems Manager Sharon Black Lisa Claudy Raymond M. Earp Don E. Harris G. Lee Cathey Senior Development Associate Terrence Smith Data Processing Denise M. Lind Programmer Patricia A. Donovan Marvin M. Walton Assistant Treasurer/Manage- Program Assistant Alex Bloshteyn Program Specialist Driver ment Information Systems Margaret A. Byrum Programmer/Analyst Elizabeth A. Hutcheson James B. Everett Richard C. Snyder Secretary Martin J. Drake Development Specialist Marketing Specialist Supervisory Computer Spe- Janet E. Maxim Sales Audit Supervisor Melissa B. McCracken Carroll A. Thomas cialist Earlene Bright Development Associates Henry B. Clark Keira M. Ellis PERSONNEL Sales Audit Clerk Visual Presentation Computer Systems Analysts Salina Muellich Personnel Officer Kim Frietze Manager Dolorace D. Bowman Membership Coordinator Michael Bloom Retail Accounting Supervisor Richard Mancini Robin D. Dowden Margaret A. Porta Assistant Personnel Officer Michael J. Chapman Technician Susan E. Farr Membership Assistant Meredith Weiser Retail Accounting Technician Richard J. Lambriola Robert S. Reintges Systems Specialists Jennifer Sauer Samantha Neukom Jack M. Tucker Michele Caputo Inventory Analyst Office Management Program Assistant Computer Programmer Ana- Darryl Cherry E. Jean Mitchell Manager Rita M. Plath lyst Personnel Specialists Manager Laura A. Fitzgerald Staff Assistant Susan Y. Hsia Lucia Pollock Karen L. Boyd Staff Assistant Eleanor G. Thomas Mary Hamel-Schwulst Computer Programmer Terrence Snyder West Building Shop Correspondence Secretary Karen D. Canada Staffing Specialists Manager CORPORATE RELATIONS Dawn M. Barclift Computer Operators Rick Decuir Nancy G. Vibert Corporate Relations Officer Merchandise Secretary Marquita E. Dewald Linda Pettiford Assistant Managers Elizabeth A. C. Perry Stephanie Topolgus Karen J. Martin Employee Relations Advisors Corporate Relations Associ- Craig Himmons John H. McNeil Mark Adelman Steve McKevitt ates Loraine Kovach-Padden Book Sales Specialists Susan E. Davis

107 Katharine Clark Hudgens MUSIC Kate Dillon VOLUNTEER DOCENTS Harth, Nadine Heller, Florence Corporate Relations Adminis- Assistant to the Director for Holly Dunn (fiscal year 1993) Hendry, Melvin trator Music Holly Hurlburt Hobbs, Shannon Carole A. Burton George Manos Alice Killian Adamson, Jan Hochberg, Jane Corporate Relations Assistant Music Program Assistant Jill Lundin Akerson, Karen Hodsoll, Mimi Leslie Clayton Howard Juliana Munsing Alice Reed Alexander, Doris Executive Assistant Music Specialist Jennifer Seedyck Allen, Ann Hodos, Nira Hollings, Jennifer Catherine C. Labib Stephen Ackert Sarah Vowell Amerman, Marilyn Program Assistant Music Librarian Julie Walko Aurbach, Hannah Holtgrewe, Genoveva Baker, Barbara Holtzman, Sharon Jeanette Crangle George Gillespie Administrator's Office Baker, Rosalie Hopper, Adriana Rodney Reynolds Baranano, Susi Horgan, Marta Madrid de PRESS AND PUBLIC INTERNS Ekarot Taun-iam Horowitz, Sandy INFORMATION Barquin, Jean (fiscal year 1993) Public Information Office Barton, Jane Horwood, Marilyn Press and Public Information Renaissance Paintings Linda Ruckel Bauer, Heinz Howerton, Carol Officer Elizabeth Burr Beers, B.J. Irving, Anne Ruth Kaplan Music Office Patricia Sue Canterbury Bell, Lisa Ann Izenberg, Edie Deputy Information Officer Anne Geourjon Graycn Robinson Berson, Elvera Jacobson, Miriam Deborah Ziska Donald Pocock Julie Turnock Briggs, Gail Jaeger, Lisa Publicist Center for Advanced Study in the Brodkey, Florence Janni, Francesca Tina Coplan Baroque Paintings Visual Arts Brose, Rhona Jenkinson, Marilyn Program Assistants Quint Gregory Boreth Ly Brown, Ana Maria Jones, Leigh Lila W. Kirkland Kristina Nguyen Bruce, Susan Jordano, Joan Nancy Soscia Catherine Whitney Burnett, Donna Kang, Sunhee Staff Assistant American and British Paintings Bush, Brigit Katz, Evelyn Abby Daniels Martha Bari Byers, Christine Kavanaugh, Katherine Receptionist Cristina Bishop Byron, James Kelloff, Carolyn Mary McCormack Cameron, Mary Ann Kennedy, Marney Modern Paintings Cammack, Nancy Kiguel, Claudia Sarah Betzer SPECIAL EVENTS Campbell, Karen King, Ilze Assistant to the Director for Sculpture and Decorative Arts Campbell, Sheila Kinney, Gwen Special Events Kristin Huffman Canessa, Silvia Koenig, Gunter Genevra O. Higginson Thomas J. Loughman Capalaces, Marie ICraemer, Patricia Staff Assistant Casse, Daniel Kuehl, Carol Old Master Drawings Pauline M. Watona Cassity, Pat Kurtz, Barbara Rachel Meyerson Assistants Chambers, Lynette Kux, Marie Audrey Charlson Old Master Prints Clancy, Mary Anne LaBuda, Katherine Anne Davy-Harbison Ann O'Connell Cochran, Phyllis Langley, Jean Elizabeth Johnson Cohen, Leslie Lanman, Anne Modern Prints and Drawings Sarah Marsten Corbin, Elizabeth Lantran, Daniele Ilaria Fusina Katie Saatkamp Cox, Jeannette Larsen, Jo Ann Mikka Gee Betsy Welch D'Annucci, Robert La Telia, Christine Maria Los Patricia A. White Davis, Kitty Lee, Anne-Marie Alison Pace DeLima, Vivien Lemaire, Anne Marie Michael Reed VISITOR SERVICES Doole, Margaret Lesser, Rosalie Rodney Reynolds Dourojeanni, Graciella Levitt, Peter Deputy Chief of Visitor Ser- Lindsey Selan Emerling, Hope Lindsay, Marilyn vices Katherine de Vilallonga Nancy Rice Englemann, Erika Lo, Yodia Senior Exhibition Supervisor Photographs Epelbaum, Karen Loftness, Doris Frances Winston Amy Freedman Experton, Sylvienne Le Polles Looney, Kay Exhibition Aides Valerie Hillings Fahy, Mary Ellen Loper, Jean Vrej Armenian Registrar Farrell, Elizabeth Lowenstein, Anne Christian D. Faulkner Rebecca Molholt Feldman, Sharon Lundell, Camilla Jean Langley Ferdinand, Paula Macchetto, Ana Maria Curatorial Records and Files Ficks, Sima Mann, Barbra Jennifer Mullen HORTICULTURE File, Deborah Martin, Patricia Finkelstein, Harriet Matan, Terry Chief of Horticulture Design and Installation Flavin, Virginia Mayo, Virginia Donald Hand Edgar Harden Frazier, Joyce McCready, Andrew William Assistant Horticulturist Melissa Ho Freirich, Phyllis McKenna, Rebekah Dianne Cina Education Gaines, Bcba McKinney, Ursula Horticulturists Amy Burlingame Gamse, Joyce McQuoid, Virginia Deirdre Armstrong Claire Davis Gibb, Mary Mezines, Betty Cynthia Lawless Sarah French Gilday, Thomas Miller, Blanche Juli Goodman Redge Norton Gilmore, Betty Ann Miller, Caroline Gardener Foreman Leilah Powell Gilstrap, Pauline Miller, Elaine Milton Vick Deanne Shey Gittelson, Irya Mills, Lorraine Gardener Leaders Bert van de Roemer Glenday, Kay Minyard, Michelle Ulysses Greatheart Aileen June Wang Goss, Lucy Monahan, Eleanor James Stewart Elizabeth Weaver Gray, Jonathan Moore, Meredith Gardeners Green, Kathy Morris, Robbie Anne Franklin DeFreece Photo Archives Griffith, Beth Morton, Joan Edmund Manigault Amanda Karrh Griffith, Debbie Newton, Judith Ronald McGill Editors Office Hafer, Nancy Nicholson, Laureen Willie Mullen Lisa Khoury Hall, Florence Niederman, Elizabeth Michael Peters Hall, Ludwine Noma, Saka Ronald Terrell Gallery Archives Bess Adamovich Harris, Melissa Nossuli, Nur

108 O'Connell, Mary Catharine Suzaki, Mari ART INFORMATION Fretts, Sue Monsen, Christine Ostergaard, Gail Swain, Nancy VOLUNTEERS Freudenthal, Marianne Moran, Dale Ouspensky, Cecelia Telis, Karen (fiscal year 1993) Fry, Marguerite Morris, Barbara B. Owen, Weezie Templeton, Gale Fuller, Susan Harper Mustain, Betsye Chen Owens, Patty Thomas, Ruth Ackerman, Claire Gavin, Agnes Naumann, Oscar Padelford, Anne Toerge, Susan Adler, Cynthia Gelman, Nancy Neves, Terry Parker, Martha Van Nice, Susan Aranda, Elsie Gerhardt, Jean Nida, Jean Partington, Mary Vegh, Suzanne Arbo, Mary Anne Golden, Alicia Noel, Darvine Pasolini, Hedwig Vige, Joy Augustine, Eleanor Goldschmidt, Annette Odom, Suzanne Patrick, Connie Vinyard, Joanne Baker, Rosalie Greathouse, Charlotte Pariser, Ursula Peabody-Ogden, Joy Visscher, Mary Ball, Edith Gunnarsson, Helena Peel, Roberta Phillips, Maxie Velasquez, Rosario Ballard, Valerie Hair, Marylee Pelton, Fran Piers, Miriam d' Ursel, Nathalie Baranano, Susana Hanrahan, Mary Penna, Rosetta Pineiro, Hilda Wang, Josephine Bartlett, David Hatch, Betty Powers, Diane Plowman, Kathy Warnement, Julie Bateman, Eleanor Hearld, Josephine Proctor, Ann Pomeranz, Judith Weems, Jane Bednar, Georgienne Heck, Judith Ramey, June Prange, Anne Weissman, Maria Elena Behr, Barbara Holthaus, Becky Reid, Deirdre Pratt, Anastasia West, Anne Berson, Elaine Hopper, Dru Rich, Annette Preisendorfer, Rolf Weston, Kathryn Beyer, Catherine Horowitz, Claire Rich, Judith Prichard, Christine Whalen, Bill Binder, Marian Hurley, Eileen Roberts, Sara Pruner, Ludmilla White, Sue Boccia, Janet Imburg, Florence Robie, Carol Ramaciotti, Maria Wildhack, Elizabeth Bossung, Thomas Iribarren, Carmen Rowsome, Christina Randolph, Pickett Davis Wilson, Betty Boudreau, Bettyjane Irvin, Jane Ruben, Margit Redfern, Karen Williams, Kathleen Bourke, Joyce Iverson, David Sand, Cherry Rice, Peggy Winston, Fran Brown, Cynthia Izenberg, Edie Sanders, Howard de Rivera, Rickey Wright, Dorothy Brown, Kay Jacobson, Miriam Schatken, Jill Rodriguez, Isabel Yamada, Fred Bush, Laina Jensen, Barbara Schiller, Audri Rogers, Estelle Young, Lois Cader-Frech, Mario Kasle, Jill Schneidman, Roberta Rogerson, Wynefred Zeizel, Joan Carroll, Marian Kotz, Nancy Schwaner, Marilyn Roland, Jo Zucchi, Gianna Casson, Patricia Lake, Stephen Shong, Fay Romano, Eileen Chapin, Joan Lavine, Shirley Shugaar, Carl Reserves Rucci, Deborah Clark, Kimball Lawler, Mary Simon, Michelle Albers, Chrisanne Ruffine, Sheila Clarke, Simone Lawrence, Elinore Slaff, Esther Battle, Kathleen Rummel, Jean Cohen, Jean Lebanik, Marion Soucy, Diane Bremner, Mary Lou Samburg, Lorrie Conner, Marlene Lewy, Ilse Stamp, Linda Buchanan, Roberta Scaduto-Mendola, Marie Cook, Maureen Lightsey, Susan Steigelman, Joan Daoust, Elizabeth Noelle Corey, Marcia Lipschultz, Lyle Strickland, Debra Ellington, Alice Schaad, Mary Cross, Sherry Longan, Marty Sweet, Bonnie Hallene, Carol Schiffman, Suzanne Daniels, Abby MacCorquodale, Joyce Szoradi, Jeannette Marchais, Anne Schmitz, Tazuko Darnell, Jennifer Mandle, Eileen Thomas, Kay Matamoros, Rosella Shepard, Mary Leigh DeMichele, Paula Markle, Donald Tousimis, Maria Michaels, Emma Silverman, Iris des Cognets, Elizabeth Markle, Geraldine Tull,Grace Monsen, Richard Silverman, Joan Des Rosiers, Teri Marsten, Sarah Van Wormer, Ward Nagler, Herlene Slotkoff, Beatriz Deutscher, Verda Matthews, Betty Walls, Fran Perlik, Annabel Smiley, Antonia Dominey, David Maughlin, Peggy West, Cecile Solomon, Marlies Smith, Anne Louise Donaldson, Jan McCormick, Virginia West, Saralee Steers, Gabrielle Snyder, Eric Doyle, Kimberly McKenna, Rebekah Williams, Eleanor Vanderver, Ginger Steingold, Celia Edmondson, Donna McQuoid, Virginia Winkelman, Eileen Williams, Ellen Stifel, Gladys Eisendrath, Estelle Melvin, Emilou Winston, Fran Wing, Amparo Sullivan, Mary Fanelli, JoAnne Mered, Barbara Wortman, Dorothy Wolf, Jean Sulzman, Patricia Ferry, Jack Middleton, Lynne Yared, Tony Wolfman, Ursula Sures, Mary Ann Fisher, Barbara Molloy, Katherine Youngblood, Rubye

109

Donors During Fiscal Year 1993 1 October 1992 to 30 September 1993 AlliedSignal Inc. British Broadcasting Corporation Daimler-Benz Washington Inc. Alsdorf Foundation The Eli Broad Family Foundation The Charles Delmar Foundation Anonymous Clifford M. Brown The Gladys Krieble Delmas American Express Foundation Thom L. Burden Foundation In memory of Robert Amory, Jr. Rosemary C. and Michael A. Mr.* and Mrs. Richard Helen Andersen Burke, Sr. < Diebenkorn The Annenberg Foundation Mrs. Charles Pearre Cabell, Sr. DM Foundation The Arcadia Foundation, Inc. The Morris and Gwendolyn The Douglass Foundation ARCO Foundation Cafritz Foundation William C. Dove Association of Art Museum Mr. and Mrs. William N. Cafritz The Max and Victoria Dreyfus Directors Ralph V. Campbell in memory of Foundation, Inc. Esin A til Elise D. Mercer The Driggs Corporation Elizabeth E. and Charles J. Government of Canada The Dunlevy Milbank Aulicky, Sr. Oliver T. Carr, Jr. Foundation, Inc. Banco Comercial Portugues Carroll J. Cavanagh Eastman Kodak Company Banco Totta 8- Acores Dorothy Jordan Chadwick Fund Ebsworth Foundation The Baruch Fund Gertrude L. Chanler Brenda Edelson, Inc. Perry R. and Nancy Lee Bass Chapman Foundation Brenda and Robert Edelson Patrick and Paula Batt Chevy Chase Savings Bank, F.S.B. Edward and Suzanne Elson in Bauman Family Foundation Timothy W. and Hope Stewart honor of the 25th Anniversary Bedri Baykam Childs of Lynda and Chuck Robb John M. Beal, M.D. CIGNA Foundation The Elson Foundation, Inc. BellSouth The Circle of the National Gallery The Charles Engelhard Berger Foundation of Art Foundation Diane and Norman Bernstein Citibank The Lois and Richard England Foundation, Inc. Mr. and Mrs. Melvin S. Cohen Foundation, Inc. Robert Hunt Berry in memory of Collectors Committee of the Patricia England Richard King Mellon National Gallery of Art Espfrito Santo Financial Holding Bidwell & Company Communities Foundation of S.A. Dionisio Blanco Texas The Excelsior Fund Gay S. Block Coopers & Lybrand Fannie Mae Foundation Botwinick-Wolfensohn Ed Cox Foundation The William Stamps Parish Fund Foundation, Inc. Creditanstalt-Bankverein Mrs. Winthrop Faulkner Ellsworth Kelly, Tiger, 1953, Gift Louise Bourgeois Aldo Crommelynck Paul B. Fay, Jr. (Partial and Promised) of the Artist, The Nathan Cummings Ministry of Foreign Affairs of the 1992.85.1 Foundation, Inc. Federal Republic of Germany

111 The Fein Foundation IBM International Foundation R. K. Mellon Family Foundation Mr. and Mrs. Richard Mellon Anne Fischer International Corporate Circle of Milbank, Tweed, Hadley & McCloy Scaife The Donald & Doris Fisher Philan- the National Gallery of Art Estate of Mark Millard Sarah Scaife Foundation thropic Fund International Foundation for Art Edward S. and Joyce I. Miller William P. Scott, Jr. Lawrence A. Fleischman Research Pepita Milmore Memorial Fund The Scheldt Family Foundation The Folger Fund Investimentos e Participates Trust Scurlock Foundation John C. and Elizabeth E. Fontaine Empresarias S.A. Mobil Foundation, Inc. Robert Earl and Alice Joan Sen- The Foundation for the National Janss Foundation William Mobley nett Capital Region The Japan Foundation Robert W. Morey and Maura 1718 Investments for Virginia S. Helen Frankenthaler Knud W. Jenson Burke Morey Charitable Trust Warner The Franklin Mint Foundation for J. Lisa Jorgenson The Morningstar Foundation Joel Shapiro the Arts George F. Jewett, Jr., 1965 Trust Rex Moser Paul M. and Deane Lee Shatz Sydney J. Freedberg James A. Johnson, Jr. Franklin D. Murphy Charitable Foundation Arnold D. Frese Foundation, Inc. Josten Fund, Inc. Nashville Community Foundation, Stephen & Barbara Sherwin Morton and Norma Lee Funger Panayiotis Kalorkoti Inc. Foundation The Jo Ann and Julian Ganz, Jr. George M. Kaufman NationsBank Signet Bank/Virginia Foundation Trust Anna-Maria and Stephen Kellen Evelyn S. Nef Fred Siegenthaler Gerry Brothers & Co. Foundation The New York Times Company Sky Meadow Fund, Inc. Ann and Gordon Getty John R. and Janice Marie Keller Foundation, Inc. Albert H. Small Foundation Ellsworth Kelly Veronique Notin Charles L. Smith III Mr. and Mrs. Gordon P. Getty The Elbrun and Peter ICimmelman Jean M. Nowak David Bruce Smith The J. Paul Getty Trust Foundation, Inc. Ralph E. Ogden Foundation, Inc. Robert H. Smith Family Morris and Frances Gewirz Elizabeth L. Klee Charitable Foun- The Ohrstrom Foundation Foundation Foundation, Inc. dation, Inc. The Georgia O'Keeffe Foundation Virginia L. Snider Glen Eagles Foundation Stephen P. ICoster The James H. Ottaway, Jr. Rudolf and Barbara R. Goelet Corporation Werner H. and Sarah-Ann Kra- Revocable Trust Sobernheim Richard N. Goldman marsky Ourisman Chevrolet Co., Inc. Richard Solomon The Horace W. Goldsmith Samuel H. Kress Foundation Pace Editions The Solow Art and Architecture Foundation The Lane Family Foundation, Inc. Pace/MacGill Gallery Foundation Anne S. Goldstone The Lauder Foundation Pacific Telesis Foundation Barbara Spangenberg The Goldstone Fund, Inc. Alexander M. and Judith W. The Papamarkou Foundation Barbaralee Diamonstein-Spielvogel Herbert Gordon Laughlin Persis Corporation and Carl Spielvogel The Gordon/Rousmaniere/ Thomas Le Claire Philip Morris Companies Inc. Elizabeth G. Spingarn Roberts Fund Jonathan Leader Pine Level Foundation Jane Stern Family Foundation, Monica & Hermen Greenberg John T. Leatham Zora Sweet Pinney Inc. Foundation Leighton-Oare Foundation, Inc. Mrs. John A. Pope Ruth Carter Stevenson GTE Foundation The Lemon Foundation Portuguese Secretary of State for Lou Stovall Guest Services, Inc. Mrs. Harry Lenart, in honor of Culture Barry S. and Evelyn M. Strauch Musa Guston* Dr. and Mrs. Earl A. Powell III Potomac Electric Power Company Foundation, Inc. Evelyn and Walter Haas, Jr. Fund The Sydney & Frances Lewis Alan L. and Louise B. Potter The Philip and Lynn Straus Miriam and Peter Haas Fund Foundation John and Kimiko Powers Foundation, Inc. Peter E. Haas Arthur L. Liebman* James Prez The Summit Foundation Walter A. Haas, Jr. Michelle Smith Liss Prince Charitable Trusts Tabacalera S.A. Evelyn A.J. Hall Charitable Trust Little River Foundation Prospero Foundation Times Mirror The Hanes Foundation LLS Foundation Inc. R & S Associates The Times Mirror Foundation Charles U. and Janet C. Harris Frances and John L. Loeb RasterOps Corporation Carl and Myrtle A. Tjerandsen The John A. Hartford Foundation The Ravenal Foundation Dane N. Towell Foundation, Inc. Long & Foster Real Estate Inc. Republic National Bank of New Mrs. Stephen A. Trentman Russell C. and Frances Arlene Louisville Community Foundation York Edward R. True, Jr. Heater Depository, Inc. The Riggs National Bank of Truland Foundation The Hechinger Foundation Luso-American Development Washington, D.C. Alice Tully* Elizabeth Heffernan Foundation RJR Nabisco, Inc. Herbert A. Vance Trust Mr. & Mrs. Benjamin Hertzberg Ma tilde Macagno RJR Nabisco Foundation The Vanguard Group Foundation The William and Flora Hewlett The Edward E. MacCrone The Felix and Elizabeth Rohatyn Vardis J. Vardinoyannis Foundation Charitable Trust Foundation, Inc. Vaughn Foundation Fund Robert B. and Rosalyn Hirsch Robert Mapplethorpe Foundation, Daniel and Joanna S. Rose Fund, Louis D. Waldman, The Shirley Foundation Inc. Inc. Group Olga and Joseph H. Hirshhorn The Marks Foundation, Inc. Mrs. Milton Rose Connie Walsh Foundation, Inc. Marriott Corporation Susan and Elihu Rose Foundation, Thomas Walther Margaret Mellon Hitchcock Mars Foundation Inc. Warner New Media Foundation The May Department Stores Rosenthal Companies The Dave H. and Reba W. Hobby Foundation Company Foundation Nanette Ross Williams Foundation The H. C. Hofheimer, II Family Peter McBean Judith Rothstein in memory of Edward Foss Wilson Trust Foundation Paul McCarron Milton Milstein Elaine and James D. Wolfensohn Janet A. Hooker Charitable Trust Frank McEntire Rutco Incorporated Teresa Wright John Jay Hopkins Foundation Thomas & Frances McGregor Saff Tech Arts Wrightson Ramsing Foundation, Janina Hoskins Foundation Sallie Mae Inc. Rene Huyghe The Andrew W. Mellon Mark Samuels Lasner Wyeth Endowment for American Foundation Sara Lee Corporation Art * deceased

112 Kazuyo Yamashita International Corporate Collectors Committee Mrs. Joseph H. Hazen Elisabeth R. Zogbaum Circle (as of 30 September 1993) New York Gifts in memory of Helen C. Powers: (as of 30 September 1993) Mrs. Susan Morse Hilles Mr. Robert E. Abrams Charles J. and Carolyn L. Massachusetts New York Alexander All Nippon Airways Co., Ltd. The Honorable Oveta Gulp Hobby Mrs. James Alsdorf Texas Grace A. and James A. Anderson AlliedSignal Inc. Illinois Esther Garbose Ameritech Mrs. James Stewart Hooker Mr. and Mrs. Steven Ames Charlotte M. Johnson New York Arthur Andersen New York W. Ellery and Ellen H. Kimber Andersen Consulting Mr. and Mrs. Raymond J. Ms. Anne H. Bass Horowitz Villette P. Knowles Argentaria Bank New York New York Katharina Ramsey LeBlanc and AT&T France Mr. and Mrs. Robert M. Bass Mr. and Mrs. R. L. Ireland III Theodore J. LeBlanc, Jr., D.D.S. Banamex Texas New York Kathryn A. Looney Brown-Forman Corporation Mr. and Mrs. Jack Blanton The Honorable John N. Irwin II Maryland Docents Chatam Inc. Texas and Mrs. Irwin Leroy and Elaine B. Moses Citibank Mr. and Mrs. Eli Broad New York The Newcomb Club Corning Incorporated California Mr. and Mrs. William C. Janss Kenneth A. and Ellen J. Piltz The Dai-ichi Kangyo Bank, Ltd. Ms. Catherine M. Conover Idaho U.S. Coast Guard Flotilla No. 72 Daiichi Pharmaceutical District of Columbia Mr. and Mrs. George F. Charles V. Wendal Corporation Mr. Edwin L. Cox Jewett, Jr. Daimler-Benz Washington, Inc. Texas California Eastman Kodak Company Mr. and Mrs. John R. Donnell Mr. and Mrs. George M. Kauf- Fannie Mae Foundation Ohio man Fortune Magazine The Honorable Robert W. Virginia Galileo Industrie Ottiche, S.p.A. Duemling and Mrs. Duemling Mr. and Mrs. Stephen M. Kellen GTE Corporation District of Columbia New York Japan Airlines Co., Ltd. Mr. and Mrs. Barney A. Ebsworth Mr. and Mrs. Peter Kimmelman ICajima Corporation Missouri New York Lafarge Corporation Mr. and Mrs. James A. Elkins, Jr. Robert P. and Arlene R. ICogod Martin Marietta Corporation Texas District of Columbia Mellon Bank Corporation Mr. and Mrs. Edward E. Elson Mr. and Mrs. Werner H. ICra- Mercedes-Benz of North America Georgia marsky New York Milbank, Tweed, Hadley & Mrs. Charles W. Engelhard McCloy New Jersey Mr. and Mrs. Judd Leighton Indiana Mobil Corporation Mr. and Mrs. Thomas M. Evans The Honorable Marc E. Leland Nomura Securities Company, Ltd. New York Obayashi Corporation and Mrs. Leland Mr. and Mrs. John D. Firestone District of Columbia PaineWebber District of Columbia Mr. Irvin L. Levy Republic National Bank of New Mr. and Mrs. Donald G. Fisher Texas York California Mr. and Mrs. Edward C. The Riggs National Bank of Mr. and Mrs. James A. Fisher MacEwen Washington, D.C. Pennsylvania Connecticut RJR Nabisco, Inc. Mr. Aaron Fleischman Mr. and Mrs. Frederick R. Mayer The Sakura Bank, Ltd. District of Columbia Colorado Sallie Mae Mrs. Julius Fleischmann Mrs. Eugene McDermott Sara Lee Corporation Ohio Texas Time Inc. Mr. and Mrs. Julian Ganz, Jr. Mr. and Mrs. Paul Mellon Tabacalera, Madrid California District of Columbia The Washington Post Company Mr. and Mrs. Milo S. Gates Mr. and Mrs. Edwin Van R. The Yasuda Fire & Marine California Milbury Insurance Co., Limited Dr. and Mrs. Phillip T. George Pennsylvania The Yasuda Fire & Marine Florida Mrs. O. Ray Moore Insurance Co. of America Mr. and Mrs. Gordon P. Getty Georgia California Mr. and Mrs. Sumner Pingree III Mr. and Mrs. Carl S. Gewirz District of Columbia Maryland Mr. and Mrs. Ronald A. Pizzuti Mrs. Katharine Graham Ohio District of Columbia The Honorable Leon B. Polsky Mr. George Gund III and and Mrs. Polsky Ms. Iara Lee New York California Mr. and Mrs. Frederick H. Prince Mr. Leo S. Guthman District of Columbia Illinois Mrs. A. N. Pritzker Mr. and Mrs. Peter E. Haas Illinois California Mr. and Mrs. Thomas J. Pritzker Mrs. Melville W. Hall Illinois New York General Dillman A. Rash Mr. and Mrs. Frederic C. Kentucky Hamilton Mr. and Mrs. Stewart A. Resnick Colorado California

113 Mrs. Howard Ross The Circle of the National Mr. and Mrs. Gilbert C. Green- Mr. and Mrs. A. Fenner Milton New York Gallery of Art way District of Columbia Mrs. Madeleine H. Russell (as of 30 September 1993) District of Columbiad Dr. and Mrs. Franklin D. Murphy California Mr. and Mrs. Hugh Halff, Jr. California Mrs. Louisa Stude Sarofim Co-chairs Texas Mrs. John U. Nef Texas Mrs. Katharine Graham Mrs. Iola S. Haverstick District of Columbia Mr. and Mrs. Rudolph Schulhof Mr. Robert H. Smith New York Mr. and Mrs. Lucio Noto Mrs. G. Hayman-Haseltine and Virginia New York Sustaining Members Mr. and Mrs. Charles R. Schwab Professor W. Haseltine Commander and Mrs. Lester Ms. Gwen Baptist California District of Columbia Edwin Ogilvy Maryland Mr. and Mrs. Robert F. Shapiro Mr. and Mrs. Randolph Hearst District of Columbia Mrs. Everett B. Birch New York New York Mr. and Mrs. Ricard R. Ohrstrom New York Mr. William Kelly Simpson Mr. and Mrs. Charles T. Virginia Mr. and Mrs. W. L. Lyons Brown, New York Hellmuth, Sr. Mr. and Mrs. C. Wesley Peebles Jr. Maryland Virginia Mrs. Jane Stern Kentucky District of Columbia Mr. and Mrs. Joseph H. Hennage Mrs. John A. Pope Patricia Bauman and John L. Virginia District of Columbia Mr. H. Peter Stern and Dr. Bryant, Jr. Mr. and Mrs. James Scott Hill Mr. and Mrs. Norman S. Margaret Johns District of Columbia New York New Jersey Portenoy Mr. and Mrs. Calvin Cafritz Mr. and Mrs. R. L. Ireland III District of Columbia Mrs. Ruth Carter Stevenson District of Columbia Texas Georgia Mr. and Mrs. Meyer P. Potamkin Major General (Ret.) and Mr. and Mrs. Arthur Johnson Pennsylvania Mr. and Mrs. James M. Vaughn, Mrs. Daniel S. Campbell Maryland Mr. and Mrs. Charles P. Price Jr. Texas Texas Ms. Lisa Jorgenson and Virginia The Honorable William T. Cole- Mr. David Doniger Mr. and Mrs. Milton Ritzenberg Mr. Thomas Walther man, Jr., and Mrs. Coleman District of Columbia District of Columbia New York Virginia Mr. and Mrs. J. Howard Joynt III Mr. Mark Samuels Lasner Mr. and Mrs. David K. Welles Mr. and Mrs. Clement E. Conger District of Columbia District of Columbia Ohio Virginia Dr. and Mrs.* Henri Keyzer- Mr. and Mrs. Roger W. Sant Mr. and Mrs. Keith Wellin Mrs. Catherine G. Curran Andre District of Columbia Texas New York Florida Mrs. Stanley J. Sarnoff Mrs. John Hay Whitney Mr. and Mrs. Bruce B. Dayton New York The Honorable Randolph A. Maryland Minnesota Kidder and Mrs. Kidder Mr. and Mrs. Dave H. Williams Mrs. Muller Sheppard Mr. and Mrs. Douglas Drysdale District of Columbia New York Virginia District of Columbia Mr. and Mrs. James M. Kline Mr. and Mrs. William Wood Mr. and Mrs. Raja W. Sidawi Mr. and Mrs. James T. Dyke District of Columbia New York Prince Arkansas Illinois Mrs. Alvin A. Kraft Mr. and Mrs. Richard S. Smith Mr. and Mrs. Robert E. Eberly District of Columbia Pennsylvania Pennsylvania Dr. Steven Lunzer Mr. and Mrs. Edward F. Swen- Mr. and Mrs. Jonathan S. District of Columbia son, Jr. England The Honorable John D. District of Columbia Florida Macomber and Mrs. Macomber Mr. James A. van Sweden Mr. and Mrs. Robert F. Erburu District of Columbia District of Columbia California The Honorable Leonard H. Marks Mr. and Mrs. James J. Verrant Mr. and Mrs. Abdul Huda and Mrs. Marks District of Columbia Farouki District of Columbia Mr. and Mrs. Julius Wadsworth Virginia Mr. Frederick P. Mascioli District of Columbia Mr. and Mrs. Bernard Fein District of Columbia Mr. and Mrs. Jonathan W. New York Mr. and Mrs. Edward J. Mathias Warner, Sr. Mr. Walter Fitch III Maryland California Alabama Mr. and Mrs. David O. Maxwell Mrs. Robert M. Weidenhammer The Honorable William H. G. District of Columbia FitzGerald and Mrs. FitzGerald Maryland Mr. and Mrs. Frederick R. Mayer Mrs. William B. Willard District of Columbia Colorado District of Columbia Mr. and Mrs. John French III Mrs. James R. McAlee Dr. and Mrs. Edward T. Wilson New York Maryland Maryland Mrs. Camilla Chandler Frost Mr. and Mrs. Raymond L. Mr.* and Mrs. Frank L. Wright California McGuire Virginia Mr. and Mrs. John T. Gibson District of Columbia Mr. and Mrs. Sidney S. Zlotnick District of Columbia Mr. and Mrs. Gilbert D. Mead District of Columbia Mr. and Mrs. Michael L. District of Columbia Glassman Mr. and Mrs. Paul Mellon Maryland Virginia Supporting Members Mr. and Mrs. Calvin C. Gould Mr. and Mrs. Richard M. Mr. and Mrs. James Adler Massachusetts Merriman Maryland Mr. and Mrs. Hermen Greenberg District of Columbia Mr. M. Bernard Aidinoff District of Columbia Mr. and Mrs. Robert E. New York Meyerhoff Mrs. Carolyn Alper Maryland District of Columbia Ms. Julienne M. Michel Mrs. Louise Steinman Ansberry * deceased District of Columbia Pennsylvania

114 Miss Gillian Attfield Mrs. Elisha Hanson Mr. and Mrs. Nathan W. Pearson The Honorable Richard S. Arnold New York District of Columbia Pennsylvania and Mrs. Arnold The Honorable Robert O. Mrs. B. Lauriston Hardin, Jr. Mr. and Mrs. Benjamin T. Pierce Arkansas Blake, Sr., and Mrs. Blake District of Columbia District of Columbia Mrs. Edwin M. Ashcraft III District of Columbia The Honorable John W. Mr. and Mrs. Lewis T. Preston District of Columbia Mr. and Mrs. Huntington T. Block Hechinger and Mrs. Hechinger District of Columbia Mrs. John W. Auchincloss District of Columbia District of Columbia Mr. and Mrs. Derald H. Rutten- District of Columbia Mr. and Mrs. Allen J. Bloom Mr. and Mrs. J. Dean Herman berg Mr. Richard Brown Baker Maryland Virginia New York New York The Honorable Daniel J. Boorstin Ms. Olga Hirshhorn Mr. and Mrs. Irwin Schneider- Mr. Dwight H. Barnes and Mrs. Boorstin District of Columbia man California District of Columbia Mrs. Thomas Hitchcock, Jr. New York Dr. and Mrs. Jordan Baruch Mr. and Mrs. Thomas H. Broadus, New York Mr. and Mrs. Charles R. Schwab District of Columbia Jr. Mr. and Mrs. Wallace F. Holladay California Mr. and Mrs. Edwin S. Bell Maryland District of Columbia Mr. and Mrs. Stephen F. Sherwin Texas Mr. and Mrs. Harry A. Brooks Mr. and Mrs. S. Roger Horchow District of Columbia Ms. Claudia Cooley and Mr. L. New York Texas Mr. and Mrs. Clyde E. Shorey, Jr. Graeme Bell III Mr. and Mrs. Louis M. Byron Mr. R. Bruce Hunter District of Columbia District of Columbia District of Columbia Virginia The Honorable George P. Shultz Mr. and Mrs. Howard M. Bender The Honorable John E. Chapoton The Honorable R. Tenney and Mrs. Shultz Maryland and Mrs. Chapoton Johnson and Mrs. Johnson California The Honorable W. Tapley Ben- District of Columbia Maryland Mrs. John Farr Simmons nett, Jr., and Mrs. Bennett Mrs. Kevin P. Charles Mr. Peter Josten District of Columbia District of Columbia Maryland New York Mrs. Jane Stem Mr. and Mrs. Irving D. Berger Mrs. Robert H. Charles Mr. and Mrs. Richard Kaufman District of Columbia District of Columbia District of Columbia District of Columbia Mr. and Mrs. Terence P. Stewart Mrs. Edwin A. Bergman Mr. C. Thomas Clagett, Jr. Mr. and Mrs. Jack Kay District of Columbia Illinois District of Columbia Maryland Dr. and Mrs. Barry S. Strauch The Honorable Max N. Berry and Ms. Susan Cullman Mr. and Mrs. William E. Virginia Mrs. Berry District of Columbia Kimberly Mr. and Mrs. Philip A. Straus District of Columbia Mr. and Mrs. Donald de Laski Virginia New York Mr. Robert Hunt Berry Virginia Mr. and Mrs. Norman V. Kinsey Mr. Hollis C. Taggart Michigan The Honorable C. Douglas Dillon Louisiana District of Columbia Mr. and Mrs. James I. Black III and Mrs. Dillon Mr. and Mrs. Anthony A. Mr. John Edward Toole New York New York Lapham District of Columbia Mrs. James H. Blackwell Mrs. Gaylord Donnelley District of Columbia The Honorable Alexander B. New York Illinois Mr. Albert G. Lauber, Jr., and Trowbridge and The Honorable William McC. Mr. and Mrs. Richard England Mr. Craig W. Hoffman Mrs. Trowbridge Blair, Jr., and Mrs. Blair District of Columbia District of Columbia District of Columbia District of Columbia Mr. Lionel Epstein Ms. Alice Lawrence Mr. and Mrs. Robert Truland Mr. David A. Blanton III District of Columbia New York Virginia Missouri Mr. and Mrs. Frank M. Ewing Mr. and Mrs. Sperry Lea Mrs. Robert D. van Roijen* Ms. Martha O. Blaxall Maryland District of Columbia District of Columbia District of Columbia Mr. and Mrs. Thomas D. Fingle- Mr. and Mrs. Joseph B. Ledbetter Mr. and Mrs. Mallory Walker The Honorable Philip W. Bonsai ton Tennessee District of Columbia and Mrs. Bonsai Virginia Mr. William J. Levy Mr. and Mrs. Henry B. Weaver District of Columbia Mrs. William T. Finley, Jr. District of Columbia Virginia Mr. and Mrs. George M. District of Columbia Mr. and Mrs. Sydney Lewis Mr. Melvin R. Weaver Brady, Jr. Mr. and Mrs. Malcolm K. Virginia California Maryland Fleschner Mrs. Jean C. Lindsey Mr. and Mrs. P. Devers Weaver II Mrs. B. Rionda Braga Florida Mississippi Virginia Virginia Mr. and Mrs. Wolfgang K. Flottl Mr. and Mrs. John L. Loeb The Honorable Caspar Wein- The Honorable William E. New York New York berger and Mrs. Weinberger Brock III and Mrs. Brock Mr. and Mrs. Lee M. Folger Mrs. Virginia C. Mars District of Columbia District of Columbia District of Columbia Virginia Mr. and Mrs. Alan F. Wohlstetter Mrs. Wiley T. Buchanan, Jr. Mr. and Mrs. Peter Forster Mrs. Jack C. Massey Maryland District of Columbia District of Columbia Tennessee The Honorable Philip W. Buchen Mr. and Mrs. P. Wesley Foster, Jr. The Honorable Robert M. Contributing Members and Mrs. Buchen Virginia McKinney and Mrs. McKinney Mr. and Mrs. William S. Abell District of Columbia Mr. and Mrs. Michael Gelman Virginia Maryland Mrs. Poe Burling Maryland Mr. and Mrs. Robert Morey Mr. and Mrs. Charles F. Adams District of Columbia Mrs. Herbert A. Goldstone California Massachusetts Mrs. Arthur F. Burns New York Mrs. Roy Nutt Mrs. Ann Pendleton Alexander District of Columbia Mr. Albert H. Gordon Washington Virginia Mr. and Mrs. Frank P. Butler New York Mr. and Mrs. Donald R. Osborn Dr. and Mrs. David W. Ailing District of Columbia Mr. and Mrs. Peter E. Haas, Sr. New York Maryland The Honorable John Thiers California Mrs. Jefferson Patterson Mr. and Mrs. Samuel Alward Calkins District of Columbia District of Columbia District of Columbia Ms. Sandra Payson Ms. Alexandra Armstrong Mr. F. Davis Camalier District of Columbia * deceased Virginia District of Columbia

1 1 5 Mr. and Mrs. Carroll J. Cavanagh Ms. Ann M. Gallop Mr. and Mrs. E. Branson Ingram Mr. and Mrs. Patrick Munroe New York District of Columbia Tennessee Maryland Mrs. Harold W. Cheel Mrs. Stanley Garber* Mr. John Peters Irelan Mr. William H. Neukom New Jersey District of Columbia District of Columbia Washington Mrs. Blair Childs Mr. and Mrs. Darryl Nolan Mr. and Mrs. Hugh Newell Mr. and Mrs. William V. P. District of Columbia Garrett Jacobsen Newlin Ms. Alice W. Clement District of Columbia District of Columbia District of Columbia District of Columbia Mr. John A. Geissman Mr. James A. Johnson, Jr. The Honorable Paul H. Nitze and Mrs. H. Dunscombe Colt District of Columbia Virginia Mrs. Nitze District of Columbia District of Columbia Mr. and Mrs. Robert J. Geniesse Mr. and Mrs. Edward G. Mr. and Mrs. David F. Condon III District of Columbia Kaufman Mr. Gerson Nordlinger, Jr. Florida District of Columbia Virginia Mr. and Mrs. Edward H. Gerry Mrs. Barnet Nover Mr. Lloyd E. Cotsen New York Mr. Lawrence Kirstein District of Columbia District of Columbia California Mr. and Mrs. William T. Gibb Mr. and Mrs. John L. Oberdorfer Mrs. Shirley lone Co well Maryland Mrs. Elizabeth L. Klee District of Columbia District of Columbia Florida Mrs. Charles C. Glover Mr. and Mrs. Earle M. Craig, Jr. District of Columbia Dr. and Mrs. Ross C. Kory Mr. and Mrs. James H. Virginia Ottaway, Jr. Texas Mr. and Mrs. Robert E. Goldsten New York Mr. and Mrs. J. Wendell Crain District of Columbia Mr. and Mrs. W. Loeber Landau Mr. Alexander P. Papamarkou District of Columbia Ms. Elizabeth Marsteller Gordon New York New York Major General and Mrs. Willis D. California Mr. and Mrs. Edward W. Crittenberger, Jr. Mrs. Mackenzie Gordon, Jr. Lane, Jr. Mr. and Mrs. Thomas A. Parrott District of Columbia Virginia District of Columbia Florida Mrs. Richard Malcolm Cutts Mrs. Gordon Gray Mr. and Mrs. William Lane Mr. and Mrs. C. E. Peck Maryland Virginia District of Columbia District of Columbia Mrs. Joseph B. Danzansky Mr. and Mrs. William H. Mr. and Mrs. Herbert J. Lerner The Honorable Charles H. Percy Maryland Greer, Jr. District of Columbia and Mrs. Percy District of Columbia Dr. W. Morgan Delaney District of Columbia Mrs. Maryon Davies Lewis Virginia Mrs. N. B. Griswold California Mrs. Malcolm Price District of Columbia Mr. and Mrs. Michael D. Florida Mr. and Mrs. R. Robert Linowes Dingman Mr. and Mrs. Corbin Gwaltney Maryland Mr. and Mrs. Whayne S. Quin District of Columbia New Hampshire Maryland Dr. and Mrs. Bruce K. MacLaury Mr. and Mrs. Fitz Eugene Mr. and Mrs. Ronald J. Haan District of Columbia Mrs. Marsha Ralls-Feldman Dixon, Jr. District of Columbia Mr. and Mrs. Frank L. Mansell District of Columbia Pennsylvania The Honorable William R. Haley New York Mr. and Mrs. Thor H. Ramsing Mr. and Mrs. Donald James and Mrs. Haley Mr. and Mrs. E.A.G. Manton New York Douglass District of Columbia New York Dr. and Mrs. Coleman Raphael Texas Mr. and Mrs. John W. Hanes, Jr. Mr. and Mrs. Tom F. Marsh Maryland Mr. Gordon Eastburn Virginia Texas Mr. and Mrs. Earl C. Ravenal Virginia Dr. and Mrs. John Harmon Mrs. Thomas Marston District of Columbia Mr. and Mrs. Robert Edelson District of Columbia Virginia Miss Berenice Anne Reed Maryland Mr. John R. Hauge and Mrs. Violet B. McCandlish Maryland Mr. Nik B. Edes Ms. Debra Valentine District of Columbia Mr. Steven M. Reich District of Columbia District of Columbia Mr. and Mrs. James A. McKenna District of Columbia Mr. and Mrs. Julian Eisenstein Mrs. Robert A. Hauslohner Maryland Mr. and Mrs. Donald H. District of Columbia Pennsylvania Mr. and Mrs. Chester B. Richardson Mrs. Norman Farquhar Mr. and Mrs. Louis J. Hector McLaughlin District of Columbia District of Columbia Florida Florida Mr. and Mrs. William Ridge Dr. and Mrs. James J. The Honorable Richard M. Helms Mrs. Robert B. Menapace Virginia Ferguson, Jr. and Mrs. Helms District of Columbia Mrs. Eugene Henry Rietzke Maryland District of Columbia Dr. and Mrs. Robert Mendelsohn District of Columbia Mr. and Mrs. Hart Fessenden Mr. and Mrs. Joseph W. Maryland Mr. and Mrs. Eugene B. New York Henderson The Honorable Charles A. Meyer Roberts, Jr. Mr. and Mrs. Max M. Fisher District of Columbia and Mrs. Meyer Maryland Florida Mr. and Mrs. Robert B. Hirsch Illinois Mr. and Mrs. David Mr. and Mrs. William J. District of Columbia Ms. Hope Ridings Miller Rockefeller, Jr. Flather III Mr. Henry C. Hofheimer II District of Columbia New York District of Columbia Virginia The Honorable G. William Miller The Honorable John D. Rocke- Mr. and Mrs. Michael de V. Flinn Ms. Sarahanne A. Hope-Davis and Mrs. Miller feller IV and Mrs. Rockefeller District of Columbia Florida District of Columbia District of Columbia Mr. and Mrs. F. David Fowler Mr. and Mrs. George Horkan, Jr. Mr. and Mrs. Nicholas Millhouse Mr. and Mrs. Rodman C. Maryland Virginia New York Rockefeller New York Mrs. Daniel J. Fraad, Jr. Mr. Clark Hoyt and Ms. Linda Mr. and Mrs. Charles H. Moore New York Kauss District of Columbia Mr. and Mrs. Felix G. Rohatyn New York Dr. Ann Ball Frost District of Columbia Mrs. Edward P. Moore Maryland Mr. and Mrs. R. Bruce Hughes District of Columbia Mr. and Mrs. Daniel Rose District of Columbia Dr. and Mrs. David A. Morowitz New York Mr. David M. Frost Mr. and Mrs. Elihu Rose Virginia Mr. and Mrs. Allan R. Hurwitz District of Columbia Maryland Ms. Ann Philipp Moser New York * deceased Virginia

116 Ms. Helen G. Ross The Honorable Charles S. White- Benefactors of the Nation- Robert H. and Clarice Smith Virginia house and Mrs. Whitehouse al Gallery of Art Oscar L. Milmore, in memory of Mr. and Mrs. James W. Rouse Virginia Pepita Milmore Maryland Professor John Wilmerding FOUNDING BENEFACTORS Angelika Wertheim Frink Dr. and Mrs. Paul S. Russell New Jersey Burton G. and Emily Hall Andrew William Mellon Massachusetts Mr. Robert W. Wilson Tremaine Samuel Henry Kress Mr. David E. Rust New York Herbert N. and Nannette F. Joseph E. Widener in memory District of Columbia Mr. and Mrs. Hugh E. Witt Rothschild of Peter A.B. Widener Mrs. Victor Sadd Virginia David K. E. Bruce Chester Dale Virginia Mr. and Mrs. Robert E. Wood II Cornelius Van Schaak Roosevelt Lessing J. Rosenwald Mr. James J. Sandman and Ms. New York Enid Annenberg Haupt Paul Mellon Elizabeth D. Mullin Mr. David H. Woodham David Edward and Margaret Ailsa Mellon Bruce District of Columbia District of Columbia Eustis Finley Rush Harrison Kress Mr. and Mrs. Rudi E. Scheldt Ms. Jeanne R. Zeydel Morris and Gwendolyn Cafritz Tennessee District of Columbia Katharine Graham FOUNDING BENEFACTORS- The Honorable James H. Scheuer The Andrew W. Mellon PRINTS AND DRAWINGS and Mrs. Scheuer Foundation District of Columbia Lessing J. Rosenwald The Woodward Foundation Mr. and Mrs. W. H. Shapley W.G. Russell Allen Robert H. and Virginia Pratt District of Columbia Joseph E. Widener Thayer Mr. and Mrs. Paul Shatz Mrs. Walter B. James Georgia O'Keeffe District of Columbia R. Horace Gallatin John and Louise Booth Dr. and Mrs. Richard A. Simms Samuel H. Kress Foundation Gemini G.E.L. California Ruth K. Henschel Grace Vogel Aldworth Mrs. Miriam Smith The Woodward Foundation John Hay Whitney District of Columbia Robert H. and Clarice Smith The Kresge Foundation The Honorable Samuel Spencer Georgia O'Keeffe The A.W. Mellon Educational and and Mrs. Spencer The Mark Rothko Foundation Charitable Trust Maryland Dorothy J. and Benjamin B. Dorothea Tanning Ernst Mrs. Frederick M. Stafford Smith Doris Dick Havemeyer New York Julia B. Engel Walter H. and Leonore Dr. and Mrs. Irwin Stelzer Paul and Bunny Mellon Annenberg Colorado John C. Marin, Jr. David Rockefeller Drs. Joan K. and Edward J. The Armand Hammer Foundation Samuel H. Kress Foundation Stemmler Edith G. Rosenwald John Davis and Olivia Stokes District of Columbia Ruth and Jacob Kainen Hatch Mr. and Mrs. James Walker Stites III The Mark Rothko Foundation New York BENEFACTORS (1941-1993) Stavros S. Niarchos Dorothy J. and Benjamin B. Mrs. Waverly Taylor Frieda Schiff Warburg District of Columbia Adaline Havemeyer Smith Mrs. Max Beckmann Mrs. Benjamin W. Thoron Frelinghuysen District of Columbia Duncan Phillips Julia B. Engel Arnold D. Frese Foundation Mrs. David L. Titus Kate Seney Simpson District of Columbia Harris Whittemore Mrs. Charles W. Engelhard Richard King Mellon Foundation Mr. and Mrs. Thurston Twigg- Barbara Hutton Smith Ralph and Mary Booth Family of Constance B. Mellon Hawaii William Nelson Cromwell In memory of Mrs. George R. Mrs. Herbert A. Vance Benjamin E. and Regine S. Levy Brown Illinois Adolph Caspar Miller Lila Acheson Wallace Mr. and Mrs. C. Woods Vest, Jr. Sam A. and Margaret Lewisohn The Ahmanson Foundation District of Columbia Therese K. and Herbert N. Straus Amon G. Carter Foundation Mrs. Donald F. Vogel William Robertson Coe John C. and Jaan Whitehead Virginia Horace Havemeyer Joe L. and Barbara B. Allbritton Mr. and Mrs. Robert Wallick Bernice Chrysler Garbisch Robert M. and Anne T. Bass District of Columbia Edgar William Garbisch Hallmark Educational Founda- Mr. Charles B. Walstrom Syma Aaron Busiel tions Virginia Eugene and Agnes Meyer The Barra Foundation Ms. Virginia S. Warner Edith Stuyvesant Gerry Ruth K. Henschel Virginia Lillian S. Timken Mark J. Millard Mrs. John Campbell White* Ferdinand Lammot Belin University of South Florida Maryland Adele R. Levy Foundation Mrs. John K. White Alvan T. Fuller Jill and Arthur M. Sackler Virginia Horace Havemeyer, Jr. John Marin, Jr. Ms. Jaan W. Whitehead Harry Waldron Havemeyer Robert and Jane Meyerhoff District of Columbia Josephine Bay and C. Michael The Armand Hammer Foundation Paul Edith G. Rosenwald Arthur Sachs Family Petschek (Aussig) W. Averell Harriman, in memory T. Jefferson Coolidge, Jr. * deceased of Marie N. Harriman Mary Hemingway

1 17 Charles E. Culpeper Foundation, Mrs. Charles W. Engelhard The Florence and John Schu- Dorothy Rodgers in memory of Inc. In honor of Beuford and Teden mann Foundation Richard Rodgers Knight Foundation Cole Jo Ann and Julian Ganz, Jr. Andrew P. and Geraldine William Stamps Parish Fund The Andrew W. Mellon Melvin S. and Ryna G. Cohen Spreckels Fuller Sydney and Frances Lewis Foundation Richard A. and Lee Kirstein John and Susan Gutfreund The J. Paul Getty Trust Arnold D. Frese Foundation Arthur A. and Alison B. Birney Exxon Corporation Southwestern Bell Corporation Eugene L. and Marie-Louise Gar- Norma Lee and Morton Funger Charles E. Culpeper Foundation, Guest Services, Inc. baty William and Eleanor Wood Prince Inc. Reader's Digest Association Richard King Mellon Foundation B. Francis Saul Alice and John B. Rogers Annalee Newman Guest Services, Inc. The Artery Organization, Inc. Edwin Van R. and Cassandra Mrs. John D. Rockefeller 3rd Jill and Arthur M. Sackler Milton J. and Carroll Petrie Mellon Milbury Rita Schreiber William Stamps Parish Fund Henry J. Heinz II PATRONS Robert Frank Family of Oliver T. Carr, Jr. Robert W. and Louisa C. John R. Stevenson Betsey Gushing Whitney The Riggs Bank of Washington, Duemling Samuel H. Kress Foundation Leo Casteili D.C. Perry R. and Nancy Lee Bass Philip L. Graham Fund Pamela C. Harriman Potomac Electric Power Company Sydney and Frances Lewis Ruth Carter Stevenson Arnold and Mildred Glimcher The George Hyman Construction Edwin L. Cox Robert P. and Arlene R. Kogod Richard A. and Lee G. Kirstein Company George M. and Linda H. Kaufman Family of William Larimer Mellon The Woodner Family Seymour H. Knox Edward G. Kaufman and Ann Amon G. Carter Foundation Dorothy and Herbert Vogel The Ahmanson Foundation Claire Kaufman Mrs. George Angus Garrett The Avery Family Diane and Norman Bernstein Gerald J. and Judith Miller Joe L. and Barbara B. Allbritton Victoria Nebeker Coberly ICathrine D. Folger Frederick R. and Jan Mayer Eugene and Agnes E. Meyer Jo Ann and Julian Ganz, Jr. Janet A. Hooker Mobil Foundation, Inc. Foundation Catherine Gamble Curran Alcoa Foundation Ronald S. and Jo Carole Lauder Mr. and Mrs. Richard Mellon Gordon and Copey Hanes Annelise and William H.G. In memory of Mrs. George R. John C. and Jaan Whitehead Scaife FitzGerald Brown IBM Corporation Sarah Scaife Foundation The Charles A. Dana Foundation Brady Foundation The Leonard and Evelyn Lauder Perry R. and Nancy Lee Bass Geroge W. Wyckoff Sarah Scaife Foundation Fund Averell and Pamela Harriman Knight Foundation Walter and Elise Haas Fund PATRONS' PERMANENT FUND In memory of Ella Milbank Fos- Mars Foundation Anne Burnett and Charles Tandy hay E. I. du Pont de Nemours and FOUNDING PATRONS Foundation The Times Mirror Foundation Company John Hay Whitney David Rockefeller Family of Constance B. Mellon The Barra Foundation Walter H. and Leonore Thomas M. and Betty B. Evans Alletta and Peter McBean William Randolph Hearst Annenberg Stephen M. and Anna-Maria Alexander M. and Judith W. Foundation Paul Mellon Kellen Laughlin George H. and Tessie A. Hurwitz Robert H. and Clarice Smith Lucille and George F. Jewett, Jr. Charles U. and Janet C. Harris Gordon and Ann Getty Ian Woodner Hallmark Educational Founda- Reader's Digest Association Katharine Graham Lila Acheson Wallace tions Laurance S. and Mary Rockefeller Robert M. and Anne T. Bass Lois and Georges de Menil Robert Wood Johnson, Jr., GTE Corporation Richard A. and Jane Manoogian Stavros S. Niarchos Charitable Trust

118 GIFTS AND BEQUESTS

The buildings, collections, and many of the pro- grams of the National Gallery are largely the result of private generosity, as the Gallery must rely on private- support to fund art acquisition and many special projects. The Board of Trustees has full authority to receive funds and property, both real and personal, for the generaf purposes of the National Gallery of Art. Gifts may be made by check payabie to the Trustees of the National Gallery of Art. Donations of works of art to the Gallery's collec- tion are subject to approval by the Board of Trustees. Offers of such gifts should be discussed in advance with the Secretary and General Coun- sel (telephone 202 842-6363). Offers of gifts of books of art historical importance should be dis- cussed in advance with the Executive Librarian (telephone 202 842-6505). Deferred gifts, by which a donor makes a com- mitment to benefit the Gallery at a later date, can enable many donors to make substantially larger contributions than by an outright gift and can maximize tax benefits and cost-effectiveness of making a gift. You may indicate that the National Gallery of Art is to receive a certain sum of money, property, works of art, or a percentage of your estate. If you are considering a bequest or other form of deferred gift, we encourage you to discuss confidentially how you would like your intended gift to be used by contacting the Development Officer (telephone 202 842-6372).

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

119