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1990 ANNUAL REPORT National Gallery of Art

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1990 ANNUAL REPORT National Gallery of Art 1990 ANNUAL REPORT National Gallery of Art 1990 ANNUAL REPORT 1990 ANNUAL REPORT National Gallery of Art Copyright © 1991. Board of Trustees, National Gallery of Art, Washington All rights reserved. No part of this publication may be reproduced without the written permission of the National Gallery of Art, Washington, D.C. 20565 This publication was produced by the Editors Office, National Gallery of Art Edited by Tarn L. Curry Designed by Susan Lehmann, Washington, D.C. Printed by Schneidereith & Sons, Baltimore, Maryland The type is Bodoni Book, set by BG Composition, Baltimore, Maryland Photo credits: Dean A. Beasom, pp. iv, x, xiii, 2-4, 7-8, 15, 17, 21, 35, 37, 39. 50, 54, 62, 77. 80, 102 E. Irving Blomstrann, p. xi Dennis Brack, Black Star, pp. xvi, 29, 56, 58, 59, 60, 65-67, 78 Kathleen Buckalew, pp. 23, 24, 33, 42 Richard A. Carafelli, pp. 12, 63 Philip A. Charles, pp. 2, 13, 74. 89 James O. Milmoe. p. 52 Jose A. Naranjo, pp. ii-iii, viii, 10, 69, 92 Edward Owen, pp. 5,18 James Pipkin, cover Rex Stuckey, p. 46 William D. Wilson, pp. 30, 48, 70, 71 ISBN 0-89468-161-3 Pages ii-iii: Peter Paul Rubens, The Fall of Phaeton, c. 1605, Patrons' Permanent Fund, 1990.1.1 This page: Hendrick Goltzius, Arnoud van Beresteyn, c. 1579, Gift of Ruth and Joseph Bromberg in memory of their son. Michael, 1990.24.1 Contents President's Preface vi Administration Director's Report ix Protection Services 55 Art Programs Publication Sales 57 Gallery Architect 57 Acquisitions I Facilities Management 58 Renaissance Painting 9 Procurement and Supply 58 Baroque Painting 9 Personnel 58 American Painting 11 Administrative Services 59 Modern Painting 11 Audiovisual Services 59 Twentieth-Century Art 12 Sculpture and Decorative Arts 14 External Affairs Old Master Drawings 14 Development 61 Old Master Prints 16 Corporate Relations 62 Modern Prints and Drawings 18 Press and Public Information 64 Photographs 19 Special Events 64 Exhibitions 20 Visitor Services 65 Design and Installation 22 Horticulture 65 Lenders 25 Music at the Gallery 66 Conservation 29 Records and Loans 33 Center for Advanced Study Changes of Attribution 34 in the Visual Arts 69 Loans 36 Staff Activities and Publications Education 43 Financial Report 81 Library 49 Trustees and Staff 93 Photographic Archives 51 Slide Library 51 Donors 101 Editors Office 52 Photographic Services 53 Gallery Archives 53 President's Preface The 1990 fiscal year was an excellent Planning Committee were conflated, mak- one for the National Gallery as we made ing the Gallery's long-range and develop- steady and heartening progress toward ment planning an integral function of the our fiftieth anniversary goals. Last year I Trustees' Council. We were pleased to reported on our efforts to obtain gifts of welcome several new members to the works of art and funds for art purchase council this year: Ruth Kainen from for the fiftieth celebration. I am delighted Washington, D C., Peter Kimmelman to say that commitments of works of art from New York City, Diana Prince from continue to be made by collectors from Washington, D C., Benjamin Stapleton III all parts of this country and abroad, given from New York City, and Edward Swen- in the same spirit of philanthropy respon- son from Miami, Florida. sible for the creation and growth of the In turning our attention with renewed Gallery. Further, under the leadership of vigor to the Gallery's permanent collec- Robert H. Smith, the 50th Anniversary tion in preparation for the 1991 anni- Gift Committee now stands close to its versary, we have also focused on the goal of $5 million for art acquisitions. galleries in which the collection is exhib- At the time of the regular meetings, the ited. The West Building galleries are be- board of trustees invites senior staff from ing refurbished and reinstalled in an various departments in the Gallery to ap- ambitious plan overseen by the director prise us of their activities and concerns. and deputy director, and as a result, the This year we heard from members of the collection promises to look its very best library, education, and security staff, fur- next year. Judicious conservation and re- thering our understanding of the institu- framing are part of the reinstallation, as tion's day-to-day operations. are education initiatives designed to im- The Gallery's anniversary comes at a prove graphics, printed materials, and time of complex change and development visitor information. in the museum world, and indeed in the The Gallery's intensive efforts to en- non-profit sector in general. We have hance the collection have been accom- recognized the need to encourage and panied by efforts to bolster support for activate new sources of involvement, in- some of the institution's core functions. In cluding younger citizens. Part of our ef- addition to the dramatic strengthening of fort to interest younger collectors from all conservation programs through the build- parts of the country in the Gallery and in ing of an endowment intended to support art in general was a two-day program that research and training, we have begun to included intensive study sessions in con- raise new contributed funds to augment servation, lighting and installation, mat- curatorial programs. Thanks to a leader- ting and framing, and education. ship grant from The Andrew W. Mellon In order to respond more effectively to Foundation, a portion of which comes to the Gallery's national constituency, the the Gallery on a generous matching basis, Trustees' Council and the Resources curatorial research and travel funds have Martin Puryear, Lever No. 3, 1989, Gift of the been enhanced, helping to keep our tal- ahead, and we are deeply grateful to all Collectors Committee, 1989.71.1 ented curatorial staff enthusiastic and those who are helping to make the fiftieth engaged. anniversary a successful milestone in the We are thankful for the continued Gallery's history. The many commitments strong support for the Gallery's daily op- of time and resources encourage us in erations provided by the federal govern- maintaining the Gallery's record of ex- ment, and for the sustained generosity of cellence, firmly established by Andrew individuals, foundations, and corpora- Mellon some fifty years ago. tions, who help make possible art acquisi- tion, scholarly programs, exhibitions, and a host of special projects. John R. Stevenson We look forward to the challenges President Vll Giovanni Bellini and Titian, The Feast of the Gods, 1514 11529, Widener Collection, 1942.9.1 (detail) Director's Report Fiscal year 1990 at the National Gallery A thirty-minute film on The Feast of of Art was a time of intensified activity, the Gods was produced by external affairs challenging a superb staff and engaging a officer Joseph J. Krakora in conjunction dedicated board of trustees. A significant with the exhibition. Narrated by David part of our work involved preparations for Bull, in whose charge the conservation the Gallery's fiftieth anniversary in 1991. had gone forward, and coordinated Those good efforts are best recounted in closely with curator David Alan Brown, next year's report, but I would ask the film presents information gleaned readers to remember that in addition to during conservation. It includes footage its ongoing business in 1990, the Gallery of the actual cleaning of the canvas in focused considerable attention on anni- Washington and of relevant sites in versary projects. Venice, Mantua, and Ferrara. Although A continuing preoccupation at the Gal- we would be the first to insist that there lery is with the primacy of our permanent can be no substitute for standing in front collection. One example in 1990 is the at- of the original work, we have been able to tention given to The Feast of the Gods, one circulate the image to a huge audience by of the most important Renaissance paint- lending the program on videocassette to ings in America. In 1942 the Widener schools and other groups and by making family gave the Gallery this magnificent it available for purchase at nominal cost. canvas, painted by Giovanni Bellini in Made possible by The Circle of the 1514 and significantly reworked by National Gallery of Art and Salomon Inc, Titian around 1529. In 1985, as part of the film premiered not only in Washing- the Gallery's ongoing collection mainte- ton but in Venice, Rome, and Paris, with nance, the trustees approved conserva- appropriate translations of the sound- tion treatment that entailed removal of a track. The Venetian showing coincided thick, discolored varnish—revealing the with the Italian opening of the Titian ret- painting's splendid details and rich rospective, jointly organized by Venice color—and an examination of the work's and the National Gallery. Among the six physical structure and materials. In 1990 paintings the Gallery loaned to the Vene- The Feast of the Gods returned to public tian venue was The Feast of the Gods. view after four years in conservation. A Two major baroque paintings entered didactic exhibition placed the painting, the collection in 1990. An early Peter newly cleaned and reframed, in the con- Paul Rubens, The Fall of Phaeton, text of the Gallery's other Venetian c. 1605, purchased with income from Renaissance paintings. A series of illus- the Patrons' Permanent Fund, illustrates trated panels explained both the work's the dramatic moment in Ovid's Meta- recent conservation and the history of its morphoses when Apollo's prideful son was appearance during various stages of its blasted by Jupiter's thunderbolt and repainting in the sixteenth century. thrown to his death from the chariot of the sun.
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