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Annual Report 1995

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Annual Report 1995 19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. 57: Italian 16th Century, Mercury, Andrew W. The type is Meridien, set by Cadmus Collection (Partial and Promised Gift), 1995.29.7 Mellon Fund, 1959.7.1 Financial Communications, Baltimore, p. 63: Albrecht Diirer, Male Nude with a Lion (verso), Maryland Back of title page: Antoine-Louis Barye, Walking Panther, 1831, Gift of Lisa and Leonard Baskin, c. 1500, Woodner Family Collection, 1991.182.11 ISBN 0-89468-259-8 1995.27.8 p. 69: Francisco de Goya, Maria Teresa de Borbon y Vallabriga, later Condesa de Chinchon, 1783, Ailsa Mellon Bruce Collection, 1970.17.123 p. 79: Milton Avery, Artist and Nude, 1940, Gift of Yves-Andre and Christine Istel, 1991.192.1 p. Ill: Sir Anthony van Dyck, Filippo Cattaneo, Son ofMarchesa Elena Grimaldi, 1623, Widener Collec- tion, 1942.9.93 p. 113: Henri de Toulouse-Lautrec, Quadrille at the Moulin Rouge, 1892, Chester Dale Collection, 1963.10.221 p. 121: Camille Pissarro, Peasant Woman, 1880, Chester Dale Collection, 1963.10.199 CONTENTS President's Foreword 7 Administration 53 Director's Statement 9 External Affairs Art Programs Development 57 Renaissance Paintings 13 Corporate Relations 58 Baroque Paintings 13 Press and Public Information 59 American and British Paintings 14 Special Projects 60 French Paintings 15 Special Events 60 20th-century Art 15 Horticulture 61 Sculpture and Decorative Arts 17 Music at the Gallery 61 Old Master Drawings 18 Center for Advanced Study in the Old Master Prints 20 Visual Arts 63 Modern Prints and Drawings 21 Photographs 24 Report of the Treasurer 69 Curatorial Records 25 Registration 25 Appendices Loans and the Acquisitions 79 National Lending Service 28 Loans 98 Conservation 28 Lenders 103 Exhibitions 33 Changes of Attribution 108 Design and Installation 36 Staff Publications 109 Education 39 Library 44 Trustees and Staff 111 Editors Office 49 Donors 121 Gallery Archives 51 PRESIDENT'S FOREWORD Having worked on a day-to-day basis ex-officio trustees, the chief justice of with the management of the National the Supreme Court, the secretary of Gallery of Art, I am able to report with state, the secretary of the treasury, and great confidence and pleasure that we the secretary of the Smithsonian have had a wonderful and busy fiscal Institution. year 1995. Under the valued ongoing leadership Many important works of art were of Edwin L. Cox as chairman and Lois added to the permanent collection this de Menil as vice chairman, the year by gift and purchase. Particularly Trustees' Council has been pleased to notable was the gift made by Paul welcome a number of new members to Mellon, who gave the Gallery 85 its ranks this year. They include Nancy remarkable works of 19th- and early Lee Bass from Fort Worth, Aaron 20th-century art from the Mellons' Fleischman from Washington, DC, renowned collection. We are tremen- Marina French, Joyce Menschel, and dously grateful to the Mellons for their Harvey S. Shipley Miller from New York continued generosity. We were also City, Morton Funger from Potomac, very fortunate to receive the gift (partial Maryland, and B. F. Saul II from Chevy and promised) of a significant collection Chase, Maryland. We are also very glad of works by Jean Dubuffet from the that George F. Jewett Jr. from San Stephen Hahn family. We thank them Francisco, rejoined the Council. and indeed all of the Gallery's friends We thank those members of the who have enhanced the permanent col- Trustees' Council whose terms ended in lection this year. 1995 for their years of dedication and The trustees continued to govern the service to the National Gallery of Art. Gallery with no change in the board's They are Robert M. Bass from Fort composition. It has been my distinct Worth, Carroll J. Cavanagh, John C. honor to serve as president, with Ruth Fontaine, Lore Heinemann, Stephen M. Carter Stevenson continuing as chair- Kellen, and Peter Kimmelman from man, and Alexander M. Laughlin, New York City, and Evelyn Haas from Pierre Bonnard, Paris, Rue de Parme on Bastille Day, San Francisco. 1890, Collection of Mr. and Mrs. Paul Mellon, Robert F. Erburu, and Louise W. Mellon 1995.47.2 as fellow board members, along with We note with sadness the passing of 7 two good friends of the National of enthusiastic friends. We are indebted Gallery, retired Chief Justice Warren to Juliet C. Folger and David 0. Burger in June and Gordon Hanes in Maxwell, both members of the Trustees' August. Chief Justice Burger was an ex- Council, for their continued leadership officio trustee from 1969 until his of The Circle of the National Gallery of retirement from the Supreme Court in Art, which is looking forward to cele- 1986, serving as chairman of the board brating its 10th anniversary in the next from 1969 to 1979. Gordon was an year. The Collectors Committee is also original member of the Trustees' Coun- anticipating an exciting anniversary cil, serving from 1982 to 1993, as well year, its 20th, and we thank Ruth as a founding member of the Collectors Carter Stevenson and Edwin L. Cox for Committee and a generous donor to the their chairmanship of this vital acquisi- Gallery. Both will be greatly missed. tion program for 20th-century art. The National Gallery has flourished As in past years, many corporations since its founding, thanks to a unique and foundations have contributed sig- balance of public and private funding. nificantly to the private funding needs The Gallery is extremely grateful to the of the National Gallery, particularly in federal government for its continued supporting the many special exhibitions commitment of funds for daily opera- and publications that distinguish the tions. This support is critical to the Gallery the world over. This strong sup- Gallery's role as art museum to the port has also helped enhance the nation, both to millions of visitors Gallery's national presence through a annually and, through its extensive wide array of outreach programs, outreach programs, to communities notably our annual Teacher Institute, nationwide. scholarly programs at the Center for In order to sustain the historic obliga- Advanced Study in the Visual Arts, and tion of meeting public funding with pri- advanced training programs for art vate support, last year the trustees conservators. launched the New Century Fund cam- With the continued dedication of its paign to raise $105 million to safeguard leaders, the productive partnership with those programmatic areas that rely Congress, and the spirited support of heavily, if not always exclusively, on private citizens, corporations, and foun- private support. These include the dations, the National Gallery of Art is acquisition of art, scholarship and confident of upholding the standard of research programs, and the building of excellence for which it is known. ' the Gallery's general endowment. Robert H. Smith Although we are still in the early President stages of the campaign, I am delighted to report that through significant lead- ership contributions from many close Gallery friends and patriotic citizens, we are already halfway to our goal and look forward to reaching a successful conclusion of the campaign in the com- ing years. The trustees are especially touched and pleased by the generous gifts to the New Century Fund in honor of our late chairman, Franklin D. Mur- phy, who provided invaluable leader- ship and guidance over the course of his 30-year association with the Gallery. The National Gallery continues to attract broad-based annual support for privately funded programs, most notably through two important groups 8 I) IREC T OR ' S STAT EMENT Great works of art, both new acquisi- with more than 70 related paintings, tions and loans to special exhibitions, drawings, prints, and medals, giving vis- graced the halls of the National Gallery itors a rare view of the design process of Art in fiscal year 1995 in an almost behind some of the most important unprecedented manner. As the nation's buildings in the history of Western art museum, the National Gallery is architecture—St. Peter's in Rome, the committed to bringing its millions of Duomo in Florence, and the Cathedral annual visitors not only its renowned of Pavia.
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