1990 ANNUAL REPORT National Gallery of Art

Home , Albert Ritzenberg, Antal (surname), Carving, David Lloyd Kreeger, Eagle (Calder), Eagle Award (comics)

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 acquisition, 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. With its brilliant color and swirl- mourning her dead son was probably ing composition, this panel is a clear har- made for private devotion. binger of the artist's most baroque Additions to the print collection in- paintings. The Gallery's first work by Aert cluded further gifts to the Gemini G.E.L. van der Neer, Moonlit Landscape with Archive, founded at the Gallery in 1981 Bridge, c. 1650, was also purchased with to preserve an example of each of Gem- income generated by the Patrons' Perma- ini's published editions. The archive en- nent Fund. This panel is one of van der compasses every important aesthetic in Neer's largest and most important noctur- the art of our time by artists of interna- nal subjects and typifies his great skill in tional renown. First-time and long-stand- using only a few colors to produce evoca- ing donors gave the Gallery a splendid tive atmospheric effects. selection of drawings as well, ranging The Collectors Committee, at its thir- from our first drawing by Carpaccio, pur- teenth annual meeting, purchased three chased with income from the Patrons' major twentieth-century works by artists Permanent Fund, to Jasper Johns' who are new in the Gallery's sculpture Numbers, given by Leo Castelli in mem- collection: Martin Puryear's Lever No. 3, ory of Toiny Castelli. Joel Shapiro's Untitled, and Lucas Sa- The creation of the department of pho- maras' Mirrored Cell. Puryear, the 1989 tography, with Sarah Greenough as its grand prize winner of the Sao Paolo Bie- curator, reaffirms the Gallery's commit- nal and a master of wood carving, en- ment to this art form. Beginning with courages multiple associations in his work Georgia O'Keeffe's 1949 gift of a key set while allowing no single interpretation to of Alfred Stieglitz' photographs, and refo- dominate. His monumental Lever, as its cused in a significant way since our great title implies, owes a debt to the industrial Stieglitz exhibition in 1983, we have un- world, but the elegant curving shape sug- dertaken to build a major collection of gests the organic world as well. Shapiro's photographs, primarily with dense clus- Untitled strengthens the Gallery's hold- ters of works by first-rank artists. It is par- ings in constructed sculpture. Resonating ticularly heartening to report gifts of a with our works by David Smith, this group of Walker Evans' photographs, and bronze evokes a certain human athleti- Robert Frank's donation of an archive of cism, its abstract geometric components his work, including some 2,400 rolls of arranged in a balletic or acrobatic ges- film, 2,296 contact sheets, 999 work ture. This impression is reinforced by the prints, and 61 rare and vintage artist's decision to give no clue about how photographs. this work manages to stand. Samaras' A remarkable abundance of gifts in Mirrored Cell appears at first to be a large many media were received in 1990 in mirrored box, but it has an interior fur- honor of the Gallery's fiftieth anniversary nished with the trappings of a bedroom, in 1991. These are noted in the acquisi- all entirely sheathed in mirrors. Entering tions list that follows. We prefer to save this space, with its seemingly infinite re- discussion of these generous anniversary flections of light and forms, is at once ex- gifts to the nation, along with those made hilarating and disorienting. The Samaras throughout fiscal 1991, for a special edi- piece has become one of the most popu- tion of the annual report next year. lar exhibits at the Gallery, with more than The rehanging of the paintings collec- 200,000 visits made into the work under tion in the West Building is now fully the supervision of the Visitor Services under way. Deputy director Roger staff. Mandle, who spearheaded the project, With income from the Patrons' Per- has worked closely with the design and manent Fund, the Gallery this year pur- installation department under Gaillard F. chased an important Renaissance Ravenel, the senior curator of paintings sculpture, an alabaster Pieta made in the Charles S. Moffett, and individual cura- Walker Evans, Coney Island, c. 1929, Gift of Mr. and Mrs. Harry H. Lunn, Jr., in Honor of Jacob southern Netherlands in the fifteenth cen- tors. (The director, meanwhile, retained Kainen, in Honor of the Fiftieth Anniversary of the tury. Beautiful, poignant, and intimate in his traditional right to meddle.) Repaint- National Gallery of Art, 1989.89.2 scale, this powerful image of Mary ing and relighting the galleries, relabeling

x Frederic Edwin Church, West Rock, New Haven, works of art, and replacing gallery leaflets and the austere group portraits of the re- 1849, The New Britain Museum of American Art, all emphasize the primacy the Gallery ac- gents and regentesses of the Haarlem New Britain, Connecticut (detail) cords its permanent collection. We firmly almshouses from the Frans Halsmuseum. believe this reorganization of the galleries Selected and catalogued by Harvard's will add beauty and intelligibility to the Seymour Slive, who has devoted a life- presentation. time to studying Hals, the exhibition ap- The department of records and loans, peared in the United States only at the under Suzannah Fabing, continues the National Gallery. automation of provenance histories and Another monographic show, presented the biographies of some seven hundred only at the Gallery, featured nineteenth- former owners of works in the collection. century American landscape painter, Computer systems also track the move- Frederic Edwin Church. The artist trav- ment of works of art within the Gallery, eled extensively in North and South this year involving more than 12,000 America, and his journeys in Colombia transfers. and Ecuador inspired a series of im- Special exhibitions again this year ex- mensely popular large tropical land- panded the range of art the Gallery could scapes. The Metropolitan Museum's put before its visitors. Frans Hals, the first Heart of the Andes, as the centerpiece of major exhibition outside the Netherlands the exhibition, was installed alone in a on this great seventeenth-century portrait- room in a frame derived from documen- ist, assembled such notable loans as the tary photographs of its first presentation exuberant portrait of Willem van Hey- to a nineteenth-century audience. A thuysen from Munich's Alte Pinakothek scholarly catalogue by curator Franklin

xi Claude Monet, Camille Monet, Son, and Nurse in Kelly is a key contribution to the litera- counterpoint. One of the most significant Garden, 1873, private eollection ture on Church. correspondences between the two collec- Two extraordinary private collections tions involved two paintings by Monet: went on view simultaneously: Master- the Biihrle family's Camille Monet, Son, pieces of Impressionism and Post-Impres- and Nurse in Garden, and Walter and Lee sionism: The Annenberg Collection and Annenberg's Camille Monet on a Garden The Passionate Eye: Impressionist and Bench. These canvases, both painted in Other Master Paintings from the Collec- 1873 at Monet's rented villa in Argen- tion of Emil G. Biihrle brought under the teuil, are not only comparable in size and Gallery's roof a rich and beautiful con- theme, their compositions suggest that centration of French pictures from the they were intended as a pair. They have end of the nineteenth and beginning of been separated since the early years of the twentieth centuries. Ambassador this century, and it was a delight to see Annenberg was offered the opportunity to them in such proximity. have his collection shown separately, but Edvard Munch: Master Prints from he commendably insisted on the syn- the Epstein Family Collection, selections chronous timing of the two shows, one in from the largest and finest collection of the West Building and one in the East. Munch's graphic work outside Europe, The two collections allowed the Gallery to began in Washington on a tour of eight augment its own extensive holdings in this American cities. At the opening dinner field with fifteen additional works by Her Royal Highness Princess Astrid of Cezanne, eleven by Van Gogh, ten by Norway bestowed on Sarah G. Epstein Monet, and nine each by Manet, Degas, the Order of Saint Olav to recognize her Renoir, and Gauguin. Aside from the scholarship and devotion to the work of quite astounding individual glories in Norway's premier artist. Announcement each exhibition—including the Biihrle that the major portion of the Epstein fam- collection's exceptional old master paint- ily holdings would be given to the Gallery ings by Hals, Canaletto, Tiepolo, and was accompanied on the occasion of the Goya—the shows made for a fascinating exhibition by the gift of two of the artist's

xii Claude Monet, Camille Monet on a Garden Bench, most famous prints. Madonna and drawings, although avidly collected by 1873, Collection of the Honorable and Mrs. Walter The Kiss. museums and individuals worldwide, H. Annenberg Two exhibitions of twentieth-century have not been exhibited as consistently works on paper gave a valuable focus to as his prints and paintings. The 1980s: contemporary art. The Drawings of Jasper Prints from the Collection of Joshua P. Sarah G. Epstein, Princess Astrid of Norway, Gal- lery president John R. Stevenson, and Staffan Riben Johns presented highly finished works by Smith was an up-to-the-minute survey of of Statoil, the corporate sponsor of the Munch this important American artist, a drafts- American and European prints assem- exhibition man of prodigious skill and wit. Johns' bled by an extraordinarily astute collector. The exhibition Matisse in Morocco was the first project jointly organized in all phases by Western and Soviet curators: from the National Gallery, New York's Museum of Modern Art, Moscow's State Pushkin Museum of Fine Arts, and Leningrad's State Hermitage Museum. Like earlier nineteenth-century European artists, Matisse looked to North Africa as a source for exotic, colorful images, and found in it an earthly paradise. The leg- endary Russian holdings of early works by Matisse were made available as never before, with stunning results. Four triptychs of paintings were reunited, and in the course of the Gallery's research for the show, the number of known related drawings grew from a half dozen to more than sixty, some forty of which were shown here publicly for the first time.

Xlll Henri Matisse, H. Matisse by Himself, 1912, private The division charged with realizing the rior space, is staffed around the clock, collection, © Succession H. Matisse Gallery's far-reaching educational goals and is open to the public 363 days of the went through a major reorganization, re- year is a mammoth job. Administrator solving itself into six departments under Anne B. Evans, ably supported by her the energetic leadership of Linda Downs. new deputy Darrell Wilson and their Greater opportunities for intellectual en- staff, continue to streamline the daily op- richment include free art history courses erations of the Gallery and the mainte- as well as lectures, tours, and films. Sum- nance of its structures and facilities. mer Teachers' Institutes continue to per- Much of this effort is not seen by visitors, mit teachers to spend a week at the but like the bulk of an iceberg, the mas- Gallery learning how works of art from sive and invisible base is what ultimately the collection can be used in the class- supports the structure. The procurement room. An Internship in the Museum Pro- office automated its systems and nego- fession for minorities, established with tiated annual contracts to save an initial corporate funding from South- estimated $300,000 from the special ex- western Bell, this year enabled three stu- hibitions budget. The office of protection dents to work in exhibition design and services was reorganized into three de- installation, education, and with the dep- partments to serve diverse security re- uty director and the curator of photo- quirements with greater efficiency. They graphs. Exciting new technologies are protect our irreplaceable collections and also being explored to expand the fron- loans for an international audience that tiers of museum education. made more than 5.5 million visits during Maintaining a physical plant that com- the year. prises over one million square feet of inte- Illustrated reports in the following

xiv Henri Matisse, landscape Viewed from a Window, pages provide greater detail on many of 1912/1913, State Pushkin Museum of Fine Arts, the activities and achievements of an Moseow imaginative and energetic staff. We hope the reader will share our satisfaction in the accomplishments of a single year at this much-loved institution.

J. Carter Brown Director

Art Programs

Acquisitions Liechtenstein, Roy, American, born 1923 Look Mickey, 1961, oil on canvas, 1990.41.1, Gift (Partial and Promised) of the Artist, in Honor of the PAINTINGS Fiftieth Anniversary of the National Gallery of Art

Blake, William, British, 1757-1827 Neer, Aert van der, Dutch, 1603/1604-1677 Evening, c. 1820/1825, watercolor and chalk on Moonlit Landscape with Bridge, c. 1650, oil on wood, 1990.22.1, Gift of Mr. and Mrs. Gordon wood, 1990.6.1, Patrons' Permanent Fund Hanes, in Honor of the Fiftieth Anniversary of the Peale, James, American, 1749-1831 National Gallery of Art Fruit Still Life with Chinese Export Basket, 1824, oil Kirchner, Ernst Ludwig, German, 1880-1938 on panel, 1990.7.1, Gift of Mr. and Mrs. Thomas Green House in Dresden, 1909/1910 M. Evans, in Honor of the Fiftieth Anniversary of The Visit: Couple and Newcomer, 1922 the National Gallery of Art Visitors inside Lucas Samaras' Mirrored Cell, oil on canvas, 1989.60.1-2, Ruth and Jacob Rubens, Peter Paul, Sir, Flemish, 1577-1640 1969-1988, Gift of the Collectors Committee, Kainen Collection, Gift (Partial and Promised) in The Fall of Phaeton, c. 1605, oil on canvas, Honor of the Fiftieth Anniversary of the National 1989.73.1 (below and facing page), see their 1990.1.1, Patrons' Permanent Fund images multiplied and reflected into infinity Gallery of Art Snyders, Frans, Flemish, 1579-1657 Still Life with Fruit and Game, c. 1615/1620, oil on canvas, 1990.20.1, Gift (Partial and Promised) of Herman and Lila Shickman, in Honor of the Fiftieth Anniversary of the National Gallery of Art

Still, Clyfford, American, 1904-1980 1951-N, 1951, oil on canvas, 1989.87.1, Robert and Jane Meyerhoff Collection, Gift (Partial and Promised) in Honor of the Fiftieth Anniversary of the National Gallery of Art

Vallotton, Felix, Swiss, 1865-1925 The Church ofSouain, 1917, oil on canvas, 1990.30.1, Chester Dale Fund

SCULPTURE

Chia, Sandro, Italian, born 1946 Flowers Fight, wood bas-relief with gold-leaf frame and plywood assemblage, 1989.90.1, Gift of Graphicstudio and the Artist

Dine, Jim, American, born 1935 The Tampa Tool Reliefs, 1974, five aluminum reliefs, 1990.45.1-5, Gift of Jim Dine

Gottlieb, Adolph, American, 1903-1974 Wall, 1968, painted aluminum, 1990.8.1, Gift of Adolph and Esther Gottlieb Foundation, Inc.

Kelly, Ellsworth, American, born 1923 Untitled, 1988, bronze, 1989.88.1, Gift of the Artist, in Honor of the Fiftieth Anniversary of the National Gallery of Art

1 Moderno, Italian, 1467-1528 DRAWINGS Standing Hercules with the Nemean Lion, c. 1488/1489, bronze relief, 1989.91.1, Mars Appian, Adolphe, French, 1818-1898 Foundation and Lemon Foundation The Port of Monaco, 1873, charcoal, black chalk, Puryear, Martin, American, born 1941 and gray wash heightened with white chalk on blue Lever No. 3, 1989, painted wood, 1989.7 1.1, Gift paper, 1990.16.1, Ailsa Mellon Bruce Fund of the Collectors Committee Barocci, Federico, Italian, probably 1535-1612 Roland, Philippe-Laurent, French, 1746-1816 Head of a Woman, c. 1584, colored chalks on blue Bacchante with a Goat, 1796, bronze, 1989.92.1, paper, 1989.76.1, Gift of Peter Josten in memory of Gift of Mr. and Mrs. John R. Gaines, in Honor of the Stephen Spector, in Honor of the Fiftieth Anniver- Fiftieth Anniversary of the National Gallery of Art sary of the National Gallery of Art

Saint-Gaudens, Augustus, American, Barret, George, British, 1767 or 1768-1842 1848-1907 An Arcadian Landscape, watercolor, 1989.48.1, Charles Stewart Butler and Lawrence Smith Butler, Gift of The Leger Galleries Ltd. 1880-1881, plaster relief, 1990.31.1, Avalon Bibiena, Francesco Galli, Italian, 1659-1739 Fund and Margaret Bouton Memorial Fund A Magnificent Catafalque for a Deceased Nobleman, Samaras, Lucas, American, born 1936 pen and brown ink with brown and gray wash, Mirrored Cell, 1969-1988, mirror over wood, 1990.9.1, Ailsa Mellon Bruce Fund 1989.73.1, Gift of the Collectors Committee Boissieu, Jean-Jacques de, French, 1736-1810 Shapiro, Joel, American, born 1941 Mount Cairo from across the Melfa River, Untitled, 1989, bronze, 1990.29.1, Gift of the c. 1765/1766, brush and gray wash, 1990.42.1, Collectors Committee Ailsa Mellon Bruce Fund

South German 17th century Burne-Jones, Edward Coley, Sir, British, Pieta, c. 1600, gilt bronze relief, 1989.57.1, Gift of 1833-1898 Mr. and Mrs. Anthony Geber in memory of Dr. Saint Barbara, c. 1866/1870, egg tempera with oil Antal and Klarissza Geber, in Honor of the Fiftieth glazes(?) and shell gold over charcoal and graphite Anniversary of the National Gallery of Art on paper mounted to canvas, 1989.58.1, Gift of William B. O'Neal, in Honor of the Fiftieth Anniver- South Netherlandish 15th century sary of the National Gallery of Art Pieta, c. 1450/1475, alabaster, 1990.13.1, Patrons' Permanent Fund Canaletto, Italian, 1697-1768 A Courtyard in the Palazzo Pisani, possibly Federico Barocci, Head of a Woman, c. 1584, Gift c. 1760, pen and brown ink with gray wash, of Peter Josten in memory of Stephen Spector, in 1990.21.1, Gift of Robert H. and Clarice Smith, in Honor of the Fiftieth Anniversary of the National Honor of the Fiftieth Anniversary of the National Gallery of Art, 1989.76.1 Gallery of Art

South Netherlandish, Pieta, c. 1450/1475, Patrons' Permanent Fund, 1990.13.1

Caron, Antoine, French, 1521-1599 A Cavalry Battle in Roman Dress, c. 1560/1570, black chalk and brush and brown wash, heightened with white, 1990.10.1, Pepita Milmore Memorial Fund

Carpaccio, Vittore, Italian, 1455/1465-1525/1526 Eight Figures in a Landscape (Sacra Conversazione), c. 1500, pen and brown ink, 1990.43.1, Patrons' Permanent Fund

Chagall, Marc, Russian, 1887-1985 Fela and Odilon, 1915, gouache and watercolor over black chalk, 1989.85.1, Gift of Evelyn Stefansson Nef in memory of John U. Nef, in Honor of the Fiftieth Anniversary of the National Gallery of Art

Coypel, Antoine, French, 1661-1722 A Seated Faun, first quarter 18th century, red, black, and white chalks on blue paper, 1989.65.1, Gift of Lois and Georges de Menil, in Honor of the Fiftieth Anniversary of the National Gallery of Art

Crosato, Giovanni Battista, Italian, 1686-1758 Angels and Putti, pen and brown ink with gray wash over charcoal, 1989.77.1, Gift of Dr. and Mrs. Malcolm Bick in honor of Dr. Ruth Benedict Day, William, British, 1764-1807 Kainen, Jacob, American, born 1909 Langhans, Carl Gotthard, German, 1732-1808 A Singular Rock in Dove-Dale named the Pickerell, Striker, 1935, watercolor over graphite Death Stalking a Woman, pen and black ink with 1789, graphite and watercolor, 1990.18.1, Ailsa Chance, 1950, pen and black ink and brush and gray wash, 1990.42.2, Ailsa Mellon Bruce Fund Mellon Bruce Fund black ink over graphite Dance I and Dance //, 1951, colored crayon Marquet, Albert, French, 1875-1947 Fontebasso, Francesco, Italian, 1709-1769 Midsummernight, 1968, watercolor and acrylic Portrait of a Bearded Man, 1920, pen and black Apollo and Studies of the Artist's Own Hand (recto); paint ink, 1989.79.1, Anonymous Gift Head of a Woman and Studies of a Male Nude Night Wanderer, 1973, watercolor and graphite (verso), black chalk and pen and brown ink, Modersohn-Becker, Paula, German, Nova, 1977, watercolor and pastel with ink marker 1990.33.l.a-b, Gift of Mr. and Mrs. William N. 1876-1907 and pen and black ink Cafritz Portrait of a Woman, 1898, charcoal and graphite, Standard Bearer, 1979, brush and black ink over 1990.34.1, Gift of Mr. and Mrs. James T. Dyke, in watercolor Gavarni, Paul, French, 1804-1866 Honor of the Fiftieth Anniversary of the National Interaction, 1982, watercolor and pastel The Street Sweeper (Le Cantonnier), c. 1848/1852, Gallery of Art watercolor, gouache, and red chalk, 1990.40.1, Gift 1989.50.1-2,3.a-b,4-8, Gift of the Horn Gallery of Dr. and Mrs. John C. Weber Protest, 1934, brush and black ink over graphite Nolde, Emil, German, 1867-1956 Argo, 1951, watercolor, black chalk, and graphite Red and Yellow Poppies with a Blue Delphinium, Grooms, Red, American, born 1937 City Night, 1954, gouache and watercolor c. 1930/1940, watercolor on japan paper, Self portrait with extra large paper hat, 1955, pen Summer (recto), 1956; Untitled (Reclining Nude) 1990.23.1, Gift of Alexander and Judith W. and black ink and yellow watercolor with applied (verso), 1961, pen and black ink with brush and Laughlin, in Honor of the Fiftieth Anniversary of the black ink and washes, 1989.81.1, Gift of Barbara inks; pen and black ink with washes over graphite National Gallery of Art Baird Peter the Great, 1973, oil and crayon Parmigianino, Italian, 1503-1540 Grand Master, 1975, watercolor, pastel, ink marker, Guidobono, Bartolomeo, Italian, 1654-1709 The Fall of the Rebel Angels (recto); Jael and and ballpoint pen Seated Sibyl, brush and brown, blue, and gray ink Cisera(?) (verso), c. 1524/1527, pen and brown ink Night Guard, 1977, watercolor, gouache, chalk, over black chalk and graphite, heightened with with brown wash; red chalk, 1989.70.l.a-b, Pepita graphite, and collage white, 1990.5.1, Ailsa Mellon Bruce Fund Milmore Memorial Fund Cressida, 1983, watercolor and pastel Johns, Jasper, American, born 1930 1989.51.1-3,4.a-b,5-8, Gift of Christopher and Percier, Charles, French, 1764-1838 Numbers, 1966, metallic powder and graphite wash Alexandra Middendorf and Pierre-Francois-Leonard Fontaine, French, on polyester fabric, 1989.82.1, Gift of Leo Castelli Scheherazade, 1986, Paintstik and turpentine, 1762-1853 in memory of Toiny Castelli 1989.74.1, Ailsa Mellon Bruce Fund Villa Madama a Rome, in or before 1809, pen and gray ink with brown wash over graphite, 1990.12.1, Kirchner, Ernst Ludwig, German, 1880-1938 Ailsa Mellon Bruce Fund Dodo and an Older Woman Reclining before a Mirror, 1909, pen and black ink on gray-green Vittore Carpaccio, Eight Figures in a Landscape paper, 1989.75.1, Ailsa Mellon Bruce Fund (Sacra Conversazione), c. 1500, Patrons' Permanent Fund, 1990.43.1

3 Piranesi, Giovanni Battista, Italian, 1720-1778 77ie Carrying of the Cross, c. 1746, pen and gray- brown ink with gray-brown wash over black chalk, 1989.66.1, Gift of Mrs. Rudolf J. Heinemann and an Anonymous Donor

Ring, Hermann torn, German, 1521-1597 Altar of the Christian Faith, 1561, pen and black ink with gray wash and blue watercolor folded to form miniature design for a triptych altarpiece, 1990.32.1, Ailsa Mellon Bruce Fund

Schiibler, Johann Jacob, German, 1689-1741 Mezzetin and Harlequin, Disguised as the Captain, Disrupt Pantaloons Dinner, c. 1729 Mezzetin "Paints " a Portrait of Cupid by Cutting the Canvas to Reveal Harlequin, c. 1729 Mezzetin and Harlequin Use the Picture Frame to Catch Pantaloon and Pierrot, c. 1729 Pantaloon and the Doctor Fighting with Columbine and Brigatella in the Garden, c. 1729 each, pen and black ink and gray wash, 1990.4.1-4, Ailsa Mellon Bruce Fund

Tintoretto, Domenico, Italian, 1560-1635 A Crouching Man Holding a Staff (recto); A Female Nude (verso), black chalk heightened with white on blue paper; black chalk, 1990.10.6.a-b, Ailsa Mellon Bruce Fund

Troger, Paul, Austrian, 1698-1762 Saint Jerome in the Wilderness The Baptism of Christ A Desert Hermit Adoring the Crucifix The Dead Christ with Angels each, pen and brown ink and gray wash over black chalk, 1990.10.2-5, Ailsa Mellon Bruce Fund

West, Raphael Lamar, British, 1769-1850 Orlando Rescuing Oliver from the Lion, 1789, pen and brown ink and brown wash over graphite, 1990.10.7, Ailsa Mellon Bruce Fund

Wtewael, Joachim Antonisz., Dutch, c. 1566-1638 The Judgment of Paris, c. 1615, pen and brown ink with gray washes over black chalk, 1990.35.1, Ailsa Mellon Bruce Fund

Zuccari, Taddeo, Italian, 1529-1566 Mythological Figures, pen and brown ink and brown wash over red chalk, heightened with white, 1989.64.1, Ailsa Mellon Bruce Fund

Anonymous French 19th century Sketches of a Horse and a Nobleman, lithograph, Anonymous German, Christ on the Cross, 1485, 1990.37.1, Gift of Elissa L. R. Brown Ruth and Jacob Kainen Collection, Gift in Honor of Anonymous German 15th century the Fiftieth Anniversary of the National Gallery of Christ on the Cross, 1485, woodcut with gouache Art, 1990.19,1 and gold leaf (incised and stamped) on vellum, 1990.19.1, Ruth and Jacob Kainen Collection, Gift in Honor of the Fiftieth Anniversary of the National Gallery of Art

Appian, Adolphe, French, 1818-1898 The Port of Monaco, 1873, etching and dry point, 1990.17.1, Ailsa Mellon Bruce Fund

4 Baselitz, Georg, German, born 1938 Daumier, Honore, French, 1808-1879 Man Reading (Lesender Mann), 1982, woodcut with Voyageurs appreciant de moins en moins les wagons painted additions in oil paint, 1990.14.1, Joshua P. de troisieme classe . . ., published 1856 Smith Collection, Gift in Honor of the Fiftieth Anni- Danger de porter des jupons-ballons . . ., published versary of the National Gallery of Art 1857 Adelaide . . . Adelaide ... il me semble que je VOLS Bazicaluva, Ercole, Italian, c. 1610-1661 or deja venir la comete !!. . published 1857 after Qa n'est rien Eleonore . . . qa n'est rien . . . , Landscapes Dedicated to the Grand Duke of published 1857 Tuscany, 1638, complete set of 12 etchings, lithographs, 1989.62.1-4, Ailsa Mellon Bruce 1990.3.1-12, Gift of The Circle of the National Fund Gallery of Art Davis, Ronald, American, born 1937 Bol, Ferdinand, Dutch, 1616-1680 Pyramid and Cube, published 1983, aquatint and Saint Jerome in the Cave, 1644, etching and dry- photo etching point, 1990.11.1, Ailsa Mellon Bruce Fund Nebula One, published 1983, aquatint Bonnard, Pierre, French, 1867-1947 Nebula Two, published 1983, aquatint Woman with an Umbrella (Femme au Parapluie), 1989.55.13-15, Gift of Gemini G.E.L. and the 1895, color lithograph, 1989.83.1, Gift of Sidney Artist and Jean Jacques, in Honor of the Fiftieth Anniver- Demarteau, Gilles, French, 1722 or 1729-1776 sary of the National Gallery of Art Head of a Man, after Edme Bouchardon, crayon- Borgianni, Orazio, Italian, c. 1578-1616 manner etching, 1989.67.1, Gift of Ivan and Saint Christopher, etching and engraving, Jacqueline Phillips 1990.39.1, Ailsa Mellon Bruce Fund Diebenkorn, Richard, American, born 1922 Borofsky, Jonathan, American, born 1942 Scrabbling, published 1985 What is Dragging Me, published 1986, screenprint Greyland, published 1985 Foot Print (Left), published 1986, screenprint Serge, published 1985 Foot Print (Right), published 1986, screenprint Black & Grey, published 1985 Half Foot, published 1986, color photogravure Twelve, published 1985 Male Aggression, published 1986, screenprint color lithographs, 1989.55.16-20, Gift of Gemini Berlin Dream, published 1986, photogravure with G.E.L. and the Artist Jim Dine, The Mead of Poetry ft2, 1987/1989, Gift red pencil Dine, Jim, American, born 1935 of Graphicstudio and the Artist, 1989.56.2 Berlin Dream, published 1986, color photogravure The Mead of Poetry ft 1, 1987/1989, chine colle with red pencil woodcut 1989.55.1,3-8, Gift of Gemini G E L. and the The Mead of Poetry ft2, 1987/1989, chine colle Artist woodcut Arnoud van Beresteyn, c. 1579, engraving, The Mead of Poetry ft3, 1987/1989. chine colle Cathelin, Louis-Jacques, French, 1990.24.1, Gift of Ruth and Joseph Bromberg in woodcut 1738/1739-1804 memory of their son, Michael J. Gosseaume, after Charles-Nicolas Cochin II, 1781 The Oil of Gladness, 1987/1988, color etching and Philip Galle, 1761, engraving, 1990.37.2, J. Trevilliers, after Charles-Nicolas Cochin II, 1782 woodcut Madeleine R. Cury Fund etchings, 1989.84.5-6, Gift of John O'Brien 1989.56.1-4, Gift of Graphicstudio and the Artist Flavin, Dan, American, born 1933 Gonord, Pierre, French, active c. 1755-c. 1761 Celmins, Vija, American, born 1939 Jean Denis UEmpereur, after Charles-Nicolas Cochin Concentric Bearings, B, published 1985, aquatint, (to Don Judd, colorist)l, published 1987 II, 1761, crayon-manner engraving, 1989.84.9, dry point, and mezzotint (to Don Judd, colorist)2, published 1987 Gift of John O'Brien Concentric Bearings, D, published 1985, mezzotint, (to Don Judd, colorist)3, published 1987 (to Don Judd, colorist)4, published 1987 aquatint, photogravure, and drypoint Goode, Joe, American, born 1937 (to Don Judd, colorist)5, published 1987 Concentric Bearings, C, published 1985, aquatint, Untitled, published 1975, double-layered color (to Don Judd, colorist)6, published 1987 drypoint, and mezzotint screenprint on cotton fabric, 1990.27.51-53, Gift (to Don Judd, colorist)7, published 1987 December 1984, published 1985, mezzotint of Gemini G.E.L. 1989.55.9-12, Gift of Gemini G.E.L. and the (for Gina and DeWainjl, published 1987 Artist (for Gina and DeWain)2, published 1987 Gosse, Sylvia, British, 1881-1968 color lithographs, 1990.27.3-11, Gift of Gemini Sir Edmund William Gosse, 1904. etching, Cochin, Charles-Nicolas, II, French, G.E.L. and the Artist 1989.78.1, Gift of Mark Samuels Lasner 1715-1790 Francis, Sam, American, born 1923 Brunet de Neuilly Gramatte, Walter, German, 1897-1929 Louis Cesar de Ixi Baume-le-Blanc Mountain's Gate, published 1984, color lithograph Madchen (Girl), 1921, drypoint Double Room, published 1984, lithograph Louis Cesar de La Baume-le-Blanc, 1757 The Fall into Infinity, 1918, drypoint etchings, 1989.84.3,7-8, Gift of John O'Brien Not Deceived, published 1984, lithograph Die Grosse Angst (The Great Anxiety), 1918, Fragrant Breath, published 1984, lithograph drypoint After Cochin, Charles-Nicolas, II Deep Ground, published 1984, color lithograph Burial (Begrabnis), 1916, linocut Franqois de Regny, etching with engraving, Green Buddha, published 1984, color lithograph Sonia, 1923, etching 1989.84.11, Gift of John O'Brien Beaudelaire, published 1986, color lithograph The Couple (Das Paar), 1922, color etching and 1989.55.21-26, 1990.27.12, Gift of Gemini abrasion Crutchfield, William, American, born 1932 G.E.L. and the Artist Edward G. Robinson, published 1972 Three People in an Atelier, 1920, drypoint Ira Gershwin, published 1972 Goltzius, Hendrik, Dutch, 1558-161 7 Self Portrait, 1922, lithograph lithographs, 1990.27.1-2, Gift of Gemini G.E.L. Bust of a Man Facing Right, 1579 Qual (Torment), 1920/1921, color lithograph The Holy Family 1989.80.1-9, Ruth and Jacob Kainen Collection Daulle, Jean, French, 1703-1763 The Wedding of Cupid and Psyche, after Carle Vanloo, after Charles-Nicolas Cochin II, Guston, Philip, American, 1913-1980 Bartholomaeus Spranger 1754, etching, 1989.84.14, Gift of John O'Brien Remains, published 1981, lithograph, 1990.27.13, engravings, 1990.15.1 -3, Ailsa Mellon Bruce Fund Gift of Gemini G.E.L. and the Artist

5 Heizer, Michael, American, born 1944 Untitled (Red State I), published 1988 Sky Overcast, 1956 Swiss Survey II, published 1985, color offset litho- Untitled (Gray State I), published 1988 lithographs, 1989.80.10-15, Ruth and Jacob graph and screenprint color lithographs, 1990.27.35-36, Gift of Gemini Kainen Collection Swiss Survey III, published 1985, color offset litho- G.E.L. and the Artist graph and screenprint Martenasie, Pierre Francois, Flemish, Platform #3, published 1985, etching and collage Kirchner, Ernst Ludwig, German, 1880-1938 1729-1789 Platform ftl, published 1985, color dry point and Performer Bowing (Beifallheischende Artistin), Edme-Sebastien Jeaurat, after Charles-Nicolas Cochin II, 1759, engraving over etching, collage 1909, color lithograph 1989.55.27-30, Gift of Gemini G.E.L. and the The Blond Painter Stirner (Blonder Maler Stirner), 1989.84.6, Gift of John O'Brien Artist 1919, color woodcut 1989.80.16-17, Ruth and Jacob Kainen Collec- Matham, Jacob, Dutch, 1571-1631 Edition One, published 1975, screenprint tion, Gift in Honor of the Fiftieth Anniversary of the The Table of Cebes, 1592, engraving, 1989.46.1, Edition Two, published 1975, color screenprint Ruth and Jacob Kainen Collection National Gallery of Art Edition Three, published 1975, screenprint Moncrif, Francois Augustin Paradis de (author), Edition Four, published 1975, screenprint Kitaj, R. B., American, born 1932 French, 1687-1770 Edition Five, published 1975, screenprint Aviator, published 1971, lithograph with photo- 1990.27.14-18, Gift of Gemini G.E.L. graph, 1990.27.37, Gift of Gemini G.E.L. Les Chats, published 1727, 1 vol. with 9 etchings by Charles-Antoine Coypel, 1989.68.1, Ailsa Hockney, David, British, born 1937 Leithauser, Mark Alan, American, born 1950 Mellon Bruce Fund The Marriage in Hawaii of David and Ann, In the North Greenhouse, 1983, etching with Morley, Malcolm, British, born 1931 published 1984, etching graphite additions (trial proof) House Doodle, published 1984, etching In the North Greenhouse, 1983, etching Eve Born of Adam, published 1987, color intaglio Eve Born of Adam (State), published 1987, intaglio Mexican Hotel Garden, published 1984, etching 1990.2.1-2, Gift in memory of Wanda Flynn from Ann in the Studio, published 1984, color etching her family and the Prince George's Docents paper 1990.27.41-42, Gift of Gemini G.E.L. and the and aquatint Artist 1989.55.31-34, Gift of Gemini G.E.L. and the Lichtenstein, Roy, American, born 1923 Seascape, published 1985, color lithograph, wood- Artist Motherwell, Robert, American, born 1915 cut, and screenprint Palo Alto, published 1978, color lithograph, Gregory Evans, published 1976 Road before the Forest, published 1985, color litho- Gregory with Gym Socks, published 1977 graph, woodcut, and screenprint 1990.27.40, Gift of Gemini G.E.L. Gregory Reclining, published 1977 The River, published 1985, color lithograph, wood- Ann Putting On Lipstick, published 1979 Munch, Edvard, Norwegian, 1863-1944 cut, and screenprint The Kiss, 1898, color woodcut (1902 printing) Henry, published 1973 Sunshine Through the Clouds, published 1985, lithographs, 1990.27.19-23, Gift of Gemini G.E.L. Madonna, 1895, color lithograph and woodcut color lithograph, woodcut, and screenprint (1902 printing) Johns, Jasper, American, born 1930 Yellow Brushstroke, published 1985, color photo- 1990.26.1-2, The Sarah G. and Lionel C. Epstein Good Time Charley, published 1972 etching Family Collection #1 (after 'Untitled 1975'), 1976, published 1976 1989.55.46-50, Gift of Gemini G.E.L. and the Nauman, Bruce, American, born 1941 #3 (after 'Untitled 1975'), 1976, published 1976 Artist Proof of Pudding, published 1975, lithograph, #4 (after 'Untitled 1975'), 1976, published 1976 Blue Face, 1987/1989, color waxtype, woodcut, lithograph, and screenprint 1990.27.43, Gift of Gemini G.E.L. #5 (after 'Untitled 1975'), 1976, published 1976 The Mask, 1987/1989, color waxtype, woodcut, color lithographs, 1990.27.24-28, Gift of Gemini Nicolet, Benedict Alphonse, French, lithograph, and screenprint with mirrored mylar G.E.L. 1743-1806 Roads Collar, 1987/1989, waxtype, woodcut, litho- Kainen, Jacob, American, born 1909 graph, and screenprint Claude Joseph Vernet, after Charles-Nicolas Cochin II, 1781, etching, 1989.84.15, Gift of John Bright Surround, 1989, color lithograph with wood- Portrait, 1987/1989, color waxtype, woodcut, litho- O'Brien cut overlay and hand-coloring, 1989.52.1, Gift of graph, and screenprint the Smithsonian Resident Associate Program Blonde, 1987/1989, color waxtype, woodcut, litho- Nolde, Emil, German, 1867-1956 graph, and screenprint Puppets (Hampelmanner), 1913, color lithograph, Kelly, Ellsworth, American, born 1923 Grandpa, 1987/1989, color waxtype, woodcut, 1989.61.1, Epstein Family Fund Cupecoy, published 1984 lithograph, and screenprint Cul de Sac, published 1984 Der Graf (The Count), 1918, etching and aquatint Nude, 1987/1989, color waxtype, woodcut, litho- Baie Rouge, published 1984 graph, and screenprint with scraping and burnishing, 1990.36.1, Ailsa Mellon Bruce Fund Orient Beach, published 1984 1989.56.5-11, Gift of Graphicstudio and the Artist lithographs, 1989.55.35-38 Nude on Beach, published 1978 Oldenburg, Claes, American, born 1929 Philodendron I, published 1984 Colossal Screw in Landscape—Type 1, published Philodendron II, published 1984 A Bright Night, published 1978 1976, lithograph, 1990.27.44, Gift of Gemini Calla Lily II, published 1984 color lithographs, 1990.27.38-39, Gift of Gemini G.E.L Calla Lily III, published 1984 G.E.L. Calla Lily I, published 1984 Liebermann, Max, German, 1847-1935 Pearlstein, Philip, American, born 1924 Dracena II, published 1984 Sigbert Marzynski, dry point Jerusalem, Kidron Valley, 1987/1989 Dracena I, published 1984 Sigbert Marzynski, dry point (before steel facing) Jerusalem, Temple Mount, 1987/1989 transfer lithographs, 1989.55.39-45 Hyman Marzynski, 1922, dry point color woodcuts with roulette work, 1989.90.2-3, Gift of Gemini G.E.L. and the Artist 1989.49.1-3, Gift of Dr. Toni Marcy Gift of Graphicstudio and the Artist Blue 1, published 1975, color lithograph with Lingee, Therese-Eleonore, French, born 1753 Rauschenberg, Robert, American, born 1925 embossing Horsefeathers Thirteen-XI, published 1976, multi- Serrabone, published 1976, lithograph with N. Beaujeon, after Charles-Nicolas Cochin II, color offset lithograph, screenprint, collage, and embossing mezzotint, 1989.84.16, Gift of John O'Brien embossing Tavant, published 1976, lithograph with debossing Lozowick, Louis, American, 1892-1973 Horsefeathers Thirteen-XII, published 1976, multi- Cluny, published 1976, lithograph with debossing Inca Sanctuary, 1965 color offset lithograph, screenprint, pochoir, collage, Cuxa, published 1976, lithograph with embossing Luna Park, 1926 and embossing Brioude, published 1976, color lithograph with Still Life #2, 1929 Ballot, published 1975, rag, mud, and rope debossing and embossing Crane, 1929 Romances (Elopement), published 1977, color 1990.27.29-34, Gift of Gemini G.E.L. Construction, 1930 lithograph

6 Romances (Elysian), published 1977, color lithograph Romances (Castle), published 1977, color lithograph 1990.27.45-50, Gift of Gemini G E L.

Rosenquist, James, American, born 1933 "When a Leak . .published 1982 "When a Leak . . . B&W.? published 1982 color lithographs, 1989.55.51-52, Gift of Gemini G.E.L. and the Artist The Kabuki Blushes, 1986, color monoprint lithograph Crosshatch and Mutation, 1986, color monoprint lithograph The Prickly Dark, 1987, aquatint with burnishing Flowers and Females, 1986, color monoprint lithograph Sister Shrieks, 1987, color monoprint lithograph 1989.56.12-13, 1989.90.4-6, Gift of Graphic- studio and the Artist

Rothenberg, Susan, American, born 1945 Red Dance, published 1986, color lithograph Spinning, published 1986, color lithograph Tilting, published 1986, color woodcut and lithograph Breath-Man, published 1986, color woodcut, drypoint, and engraving 1989.55.53-56, Gift of Gemini G.E.L. and the Artist

Saff, Donald, American, born 1937 The Horizon is a Biological Line, published 1985, color gravure with hand-coloring Trophy for Chiang Yee, published 1985, color gravure and aquatint with hand-coloring Xian in the Evening, published 1985, color gravure and aquatint with hand-coloring A Gift for R.R., published 1985, color aquatint, spit- bite, and gravure with hand-coloring Lyttons Prologue, published 1985, color aquatint and gravure with hand-coloring Morning in Jing Xian, published 1985, color aquatint and gravure with hand-coloring Llmagerie Parisienne, published 1985, color aquatint and gravure with hand-coloring 1989.55.57-63, Gift of Gemini G.E.L. and the Artist

Saint-Aubin, Augustin de, French, 1736-1807 Jean Monnet, after Charles-Nicolas Cochin II, 1765 Jean-Charles-Philibert Trudaine, after Charles- Nicolas Cochin II, 1774 etchings, 1989.84.10,13, Gift of John O'Brien

Sandby, Paul, British, 1725-1809 Mountainous Coast with Travelers, 1762/1774, Paul Sandby, Mountainous Coast with Travelers, etching and aquatint in brown, 1989.47.1, Gift of 1762/1774, Gift of the Washington Print Club in the Washington Print Club in honor of Sherwood honor of Sherwood Smith, 1989.47.1 Smith

Serra, Richard, American, born 1939 Ernie's Mark, published 1985 Robeson, published 1985 Clara, published 1985 Shannon, Charles Haslewood, British, Sonnier, Keith, American, born 1941 Alberta Hunter, published 1985 1863-1937 Air to Air, published 1975, clear plastic stereo Glenda Lough, published 1985 Caresses LP record in dye-stamped, hand-screened double Patience, published 1985 Mother and Children album cover with voiceprint insert Tjunga Blacktop, published 1985 color lithographs, 1989.78.2-3, Gift of Mark Air to Air, published 1975, black plastic stereo LP Clara Clara I, published 1985 Samuels Lasner record in album cover Clara Clara II, published 1985 1990.27.54-55, Gift of Gemini G.E.L. Paintstik silkscreens, 1989.55.64-72, Gift of Smith, Richard, British, born 1931 Gemini G.E.L. and the Artist Drawing Boards, 1980, color soft-ground etching and aquatint, 1989.54.1, Gift of Robert L. Brown

7 Watelet, Claude Henri, French, 1718-1786 Ringling Bandwagon, 1941 Portrait of an Abbot, after Charles-Nicolas Cochin New York, 1940s II, 1767 Sunday in an Alley, 1947 S.C. Boutin, after Charles-Nicolas Cochin II, 1752 gelatin silver prints, 1989.69.1,4-8,10-11, J. D'Alembert, after Charles-Nicolas Cochin II, 1989.72.1-9, 1990.38.1-9, Anonymous Gift 1754 Roadside Sign, 1929 etchings, 1989.84.1-2,4, Gift of John O'Brien Hudson Street Boarding House, New York, 1931 Independence Day, Terra Alta, West Virginia, 1935 Weirotter, Franz Edmund, Austrian, 1730-1771 Street Scene, New York City, summer 1938 Fragment of the Old City Wall at San Giovanni gelatin silver prints, 1990.54.1 -4, Gift of Clive Laterano, 1764 Gray Family, in Honor of the Fiftieth Anniversary of The Pyramid of Sesto near the Gates of St. Pauli in the National Gallery of Art Rome, c. 1764 The Old Palace at Tivoli, c. 1764 Coney Island, c. 1929 The Outskirts of Florence, on the Way to Rome, Coney Island, c. 1929 c. 1764 "Manhattan Melodrama," c. 1929/1930 The Road Crossing Mount Praco, from Ricci to Painted Sign on Fence, Cedar Point, Ohio, 1930s Genoa, c. 1764 Berenice Abbott, c. 1930 Harbor at Livorno, c. 1764 Buildings, New York City, c. 1934 Harbor at Livorno, c. 1764 Barber Shop, New Orleans, 1935 etchings [proof states], 1989.63.1-6; etching, Photographer's Display Window, Birmingham, 1989.63.7, Ailsa Mellon Bruce Fund Alabama, 1936 A ccordion Player, 1939/1941 Whistler, James McNeill, American, 1834-1903 Woman, Chicago Loop, 1947 The Turret-Ship, 1887, etching, 1990.25.1, Gift of Blind Man with Guitar, c. 1941 Anita and Julius L. Zelman gelatin silver prints, 1989.89.1-11, Gift of Mr. and Mrs. Harry H. Lunn, Jr., in honor of Jacob Kainen, in Honor of the Fiftieth Anniversary of the National Gallery of Art

PHOTOGRAPHS Building, c. 1929 New Bedford, Massachusetts, 1931 Fireplace in Floyd Burrough s Bedroom, Hale Adams, Ansel, American, 1902-1984 County, Alabama, 1936 The Tetons and the Snake River, 1942, gelatin silver Doorbell, c. 1965 print, 1957/1961, 1989.86.1, Gift of Virginia gelatin silver prints, 1989.69.2-3,9,12, John Adams, in Honor of the Fiftieth Anniversary of the Wilmerding Fund National Gallery of Art Frank, Robert, American, born 1924 Richard Smith, Drawing Boards, 1980, Gift of Borofsky, Jonathan, American, born 1942 exhibition prints, contact prints, negatives, work Robert L. Brown, 1989.54.1 Berlin Dream Stamp, published 1986, photo-print prints, contact sheets, 1990.28.1—, Robert Frank on perforated paper, 1989.55.2, Gift of Gemini Collection; Partial and Promised Gift, Robert Frank G E L. and the Artist Collection

Evans, Walker, American, 1903-1975 Strand, Paul, American 1890-1976 Steinberg, Saul, American, born 1914 Manhattan, c. 1928 Workman, 1916, satista print Sphynx, published 1984, etching Coffee Bags, Havana, 1932 The White Fence, 1916, gelatin silver print Provincetown, published 1984, etching and Breakfast Room at Belle Grove Plantation, White Truckman's House, New York, 1920, gelatin silver drypoint Chapel, Louisiana, 1935 print North Dakota, published 1984, etching and Men, Mississippi, 1936 Wild Iris, Maine, 1927, gelatin silver print drypoint Billboard, Birmingham, Alabama, 1936 Rebecca, New Mexico, 1931, platinum print Rabbit, published 1984, etching and engraving with Barber Shop, Atlanta, Georgia, 1936 Toward the Sugar House, Vermont, 1944, gelatin embossed stamp Tupelo, Mississippi, 1936 silver print Gogol I, published 1984, color etching, aquatint, Abandoned Ante-Bellum Plantation House, 1990.44.1-6, Gift of Southwestern Bell Corpora- drypoint, and engraving with embossed stamp Vicksburg, Mississippi, 1936 tion, in Honor of the Fiftieth Anniversary of the Na- Gogol II, published 1984, color etching, aquatint, New York Milk Counter, 1929/1930 tional Gallery of Art and engraving with embossed stamp Mining Store Company, Westmoreland County, Gogol V, published 1984, color etching, aquatint, Pennsylvania, 1935 and engraving with embossed stamp Storefront and Signs, Beaufort, South Carolina, Gogol IV, published 1984, color etching, aquatint, 1936 drypoint, and engraving with embossed stamp Vicksburg, Mississippi, 1936 1989.55.73-80, Gift of Gemini G E L. and the Labor Anonymous, c. 1946 Artist Corner of State and Randolph Streets, Chicago, 1946 various artists Corner of State and Randolph Streets, Chicago, The Australian Legal Group Contemporary Print Col- 1946 lection, published 1988, portfolio with ten prints in Trash #2, c. 1965 various media, 1989.53.1-10, Gift of the Austra- Upstairs Room, Walpole, Maine, 1962 lian Legal Group New York City, 1929/1930 Villon, Jacques, French, 1875-1963 New York City, 1929/1930 Another Time: 1830 (Autre Temps: 1830), 1904, Hart Crane, c. 1930 color drypoint and aquatint with hand-coloring, House, Upstate New York, 1931 1989.59.1, Gift of Frank R. and Jeannette H. Dock Workers, Havana, 1932 Eyerly, in Honor of the Fiftieth Anniversary of Corner of State and Randolph Streets, Chicago, the National Gallery of Art 1946

8 Renaissance Painting cal works of his formative years. Van der Neer's Moonlit Landscape is important The Gallery celebrated the recent clean- not only for its imposing scale but also for ing of its Bellini and Titian masterpiece, the success of its composition and its at- The Feast of the Gods, one of the greatest mospheric effects. It is the first work by Renaissance paintings in America, by or- this important Amsterdam landscape ganizing an exhibition and symposium to painter to enter the Gallery's collection. present its findings. The label attributing Both paintings were acquired with funds this famous work to Bellini alone was from the Patrons' Permanent Fund. changed to reflect Titian's repainting of The department of northern baroque the background landscape, which painting helped organize the first retro- emerged with new clarity after conserva- spective on Frans Hals ever held in this tion. The department of Italian Renais- country. Among the masterpieces on dis- sance painting also made preparations for play were lively genre scenes such as The the major exhibition, Titian: Prince of Merry Drinker from the Rijksmuseum, Painters, scheduled to open at the Gallery portraits of remarkable power such as the in late October 1990 after premiering in great full-length Willem van Heythuysen June 1990 at its only other venue, the from the Alte Pinakothek, and the re- Palazzo Ducale in Venice. nowned group portraits of the Regents Mr. Sheldon H. Solow generously and Regentesses of the Old Men's Alms- agreed to lend his beautiful Portrait of a house from the Frans Halsmuseum, Young Man by Botticelli to the Gallery for which had never previously traveled out- one year, to complement the reinstallation side of Haarlem. The catalogue was writ- of Leonardo da Vinci's newly cleaned ten by Seymour Slive, the preeminent Ginevra de' Benci. authority on Hals, with other distin- Systematic catalogue research on Ital- guished scholars contributing essays. The ian paintings focused this year on works exhibition subsequently traveled to the by Titian and Bellini. In addition, the de- Royal Academy in London and the Frans partment of northern Renaissance paint- Halsmuseum. ing has nearly completed its entries for In conjunction with the exhibition of the systematic catalogue of German paint- Rembrandt's Landscapes: Drawings and ings. Also this year several northern Re- Prints, the department worked with the naissance paintings were removed from Gallery's department of public programs their shadow-box frames or were glazed. to organize a seminar for graduate stu- Robert Echols served as research as- dents and professors. It was held in the sistant and Elaine Trigiani as intern in exhibition galleries, with Cynthia Schnei- Italian Renaissance painting during the der of Georgetown University and Gallery academic year and the summer, while curator Arthur Wheelock, as moderators. Sally Mansfield was research assistant Discussions were led by Nancy Ash, Con- and Louise Martinez the summer intern servation Center for Art and Historic Ob- in northern Renaissance painting. servation, Philadelphia; Peter Schatborn, Rijksprentenkabinet, Amsterdam; Bou- derwijn Bakker, Municipal Archives, Am- sterdam; and William W. Robinson, Fogg Art Museum, Cambridge. Baroque Painting The department of southern baroque painting organized an installation of The National Gallery acquired two major paintings from the collections of Italian baroque paintings this year: The Fall of banks, including works by such artists as Phaeton by the great Flemish master, Pe- Caravaggio, Annibale Carracci, Guido ter Paul Rubens; and Aert van der Neer's Reni, and Salvator Rosa. Italian banks Moonlit Landscape with Bridge, c. 1650. have been active for centuries in the pre- Rubens executed his Phaeton about servation of their country's artistic heri- 1605 when he was in Italy. It is one of the tage, by collecting works of art that may most beautiful and impressive mythologi- otherwise have left Italy and by support-

9 Aert van der Neer, Moonlit Landscape with Bridge, ing conservation initiatives, exhibitions, begun in fiscal year 1990 and are all c. 1650, Patrons' Permanent Fund, 1990.6.1 and the publication of scholarly books on scheduled for completion by March (detail) Italian art. This installation, presented in 1991. An exhibition of Guercino Paint- collaboration with the Italian Ministry of ings is planned for spring 1992. Foreign Affairs and the Italian Banking Research and writing continued on the Association, coincided with the meetings systematic catalogue of Dutch and of the International Monetary Fund/ Flemish paintings. John Hayes, director World Bank in late September 1990. of the National Portrait Gallery, London, Research continued on future exhibi- completed his work on the catalogue of tions, including a major retrospective on the British paintings in our collection. Re- Anthony van Dyck, scheduled to open in search and writing began in earnest on November 1990. New installations of the the systematic catalogue volume of the seventeenth- and eighteenth-century Ital- seventeenth- and eighteenth-century Ital- ian, Spanish, and French galleries were ian paintings.

10 Anke van Wagenberg was the research association with the Saint Louis Art Mu- assistant while Anthony Geber and Mary seum. The Church exhibition was the first Brand were interns in northern baroque major display of works by this great painting this year. Eric Garberson was the American landscape painter in almost research assistant for the systematic cata- twenty-five years, and was seen exclu- logue and Peter Lukehart was research sively at the National Gallery. The assistant for exhibitions in southern ba- Twachtman show, which focused on the roque painting. paintings created at the artist's farm in Ludovico Carracci's Mystic Marriage of Greenwich, Connecticut, was later seen at Saint Catherine was chosen as the reli- the Wadsworth Atheneum in Hartford. gious Christmas stamp for 1989. Research and planning continued for several upcoming exhibitions, including shows devoted to the works of Albert Bierstadt, William Michael Harnett, Winslow Homer, John Singer Sargent, American Painting and James McNeill Whistler. For a second year in a row, the depart- The permanent collection received con- ment co-organized with the American de- siderable attention on a variety of fronts partment at the Metropolitan Museum of over the past year. By far the most impor- Art a two-day series of lectures on Ameri- tant acquisition was James Peak's can art. These lectures will soon be pub- serenely beautiful Fruit Still Life with lished; the lectures from last year have Chinese Export Basket, which was given just appeared in a publication entitled by Mr. and Mrs. Thomas M. Evans. Al- American Art Around 1900. though the Gallery owns works by Peak's Charles Brock worked this year as a re- older brother Charles Willson and by his search and exhibition assistant and Julie nephew Rembrandt, this is the first paint- Aronson as a research assistant in Ameri- ing by this great still-life master to enter can painting, while Michele Miller was the collection. Several important paint- the summer intern and Bridget Man- ings, including the recently acquired oogian served as a volunteer summer Expulsion of Adam and Eve from Para- intern. dise by Benjamin West and Natural Arch at Capri by William Stanley Haseltine, underwent treatment in the Gallery's conservation laboratory. There was notable Modern Painting progress on the systematic catalogue, with the manuscript completed for the volume The National Gallery this year acquired a devoted to American naive paintings and rare and unusual painting by Felix Vallot- numerous entries researched and written ton, The Church ofSouain, 1917, one of for the volumes on academic paintings the artist's best war paintings and an ex- and on works by George Catlin. As part of cellent complement to the two paintings the overall reinstallation of the West by Vallotton already in the collection. In Building in preparation for the Gallery's addition, a period frame of exceptional fiftieth anniversary in 1991, the Ameri- quality was acquired for the painting by can galleries were completely reorganized Horace Vernet, La Chasse dans les Marais and rehung. This new installation Pontins, purchased last year. This is part achieves a more coherent relationship be- of an ongoing effort to replace inappropri- tween the British and American galleries ate frames on paintings in the Gallery and provides separate galleries for Cat- collections. lin's works and for naive paintings. During fiscal year 1990 the depart- The department of American painting ment of modern painting was especially this year organized two important exhibi- active in planning and coordinating exhi- tions, Frederic Edwin Church and John bitions. Fifty impressionist paintings from Twachtman: Connecticut Landscapes, as the Gallery collections traveled to Munich well as a third, George Caleb Bingham, in as part of an exhibition Franzdsische Im-

11 Still Lifes 1850-1900, planned for 1993; and Edouard Vuillard, for 1995. Moffett and Streicher worked at the Salomon Ar- chive in Paris to pursue research on Vuillard. Preliminary work for a large exhibition devoted to Picasso's work of the 1930s was also completed. In preparation for the fiftieth anniversary celebrations, the Gallery has begun to reinstall permanent collection galleries on the main floor of the West Building, to relabel the collection, and to create a system that provides basic information in the galleries about every painting on display in the National Gallery. This year the seventeenth-, eighteenth-, and nineteenth- century French galleries and the English galleries have been reinstalled. Professor Lorenz Eitner, recently re- tired as head of the art department and director of the museum at Stanford Uni- versity, has begun to write entries for the systematic catalogue volume on early nineteenth-century French paintings in the Gallery's collection. Work on the volume devoted to the later nineteenth-century French paintings is expected to begin next year.

Felix Vallotton, The Church of Souain, 1917, pressionisten und ihre Wegbereiter that Chester Dale Fund, 1990.30.1 (detail) opened at the Neue Pinakothek in Janu- Twentieth-Century Art ary 1990. Two spectacular shows, The Passionate Eye: Impressionist and Other This year was distinguished by a broad Master Paintings from the Collection of range of acquisitions. Ruth and Jacob Emil G. Buhrle and Masterpieces of Kainen presented two remarkable paint- Impressionism and Post-Impressionism: ings by the German expressionist artist The Annenberg Collection, opened in Ernst Ludwig Kirchner: Green House in Washington this spring, giving Gallery Dresden, 1909/1910, a strong, brightly audiences an opportunity to view an colored painting completed just as extraordinary concentration of impressio- Kirchner was entering his classic expres- nist and post-impressionist paintings. To sionist period; and The Visit—Couple and accompany these exhibitions, the edu- Newcomer, 1922, a stunning later work, cation division organized a popular sym- full of decorative folk patterns and ag- posium, On and Off the Boulevard: gressive, modern coloration. Robert and Reflections on French Painting in the Jane Meyerhoff donated Clyfford Still's Later Nineteenth Century, which was 1951-N, a dramatic composition, thickly moderated by Gallery curators, Charles painted in dark burgundy reds with an Moffett and Elizabeth Streicher. The very off-center cascade of vivid red and a flash popular selection of Small French Paint- of yellow at the top left. In building our ings, primarily works from the Ailsa Mel- collection of American abstract expressio- lon Bruce Collection, was reinstalled in nist art, Still's work has been most diffi- the East Building, to the delight and ac- cult to acquire. Now, with this compelling claim of numerous visitors. work, the Gallery can demonstrate the Initial planning and research pro- historical role that Still played in an im- gressed for two future exhibitions: French portant art movement.

12 Other generous gifts include major it is held in mysterious balance by a com- works from important American contem- plicated substructure. Martin Puryear's porary artists. Roy Lichtenstein has given Lever No. 3, 1989, is the first work by his large Look Mickey, 1961, one of the this African American artist to enter the most influential American Pop paintings. collection. Sculpted in wood, the four- The artist enlarged a comic strip image teen-foot-long object evokes memories of from a gum wrapper and created an icon animals, tools, pure forms, and ritualistic of contemporary American art. Artist implements. Lucas Samaras has created a Ellsworth Kelly contributed his beautiful fascinating sculptural/art environment, bronze Untitled, 1988, a free-standing Mirrored Cell, 1969-1988. Conceived in stele that rises nearly ten feet in a grace- the late 1960s in the spirit of theater, ful but asymmetrical arc. The material minimal structures, light-art, and "hap- has a lush, dark patination, and the form penings," the piece is also related to the has a majestic power not unlike the sculp- expressionist art of the 1980s. This ture of Brancusi. twelve-foot-square house of mirrors and The Adolph and Esther Gottlieb Foun- mirrored furniture is its own special exhi- dation was especially generous in its gift bition, drawing hundreds of visitors a of Adolph Gottlieb's large painted alumi- day. num sculpture, Wall, 1968. The artist Among the exhibitions organized by made only twenty sculptures or ma- the department this year, Matisse in quettes, and this is by far his most ambi- Morocco: The Paintings and Drawings, tious, employing elements in three 1912-1913 was the first combined show- dimensions from his distinctive painting ing of these works since 1913. A joint vocabulary of colorful "bursts," circles, project of the National Gallery with the and arcs set into a perpendicular plane. Museum of Modern Art, New York; the Finally, at its 1989 annual meeting the Pushkin Museum, Moscow; and the Her- Collectors Committee acquired for the mitage Museum, Leningrad, the exhibi- Gallery three works by contemporary ar- tion will travel to each of these cities. The tists. Joel Shapiro's Untitled, 1989, is a Drawings of Jasper Johns celebrated the handsome bronze, with multiple elements astonishing power and scope of this mas-

Joel Shapiro, Untitled, 1989, Gift of the Collectors poised in a balletic, running configura- ter artist's works on paper. This large ex- Committee, 1990.29.1 tion. Cantilevered over the floor surface, hibition is also being shown at the Kunstmuseum, Basel; the Hayward Gal- lery, London; and the Whitney Museum of American Art, New York. Extensive international negotiations continued as the National Gallery, with the Armand Hammer Museum of Art and the Metropolitan Museum, re-organized the monumental Kazimir Malevich retrospective. This exhibition began with the Stedelijk Museum, Amsterdam; the Tret- iakov Gallery, Moscow; and the State Russian Museum, Leningrad. Through the dedicated efforts of guest curator An- gelica Rudenstein, the European show was refined and expanded to bring the largest and most complete retrospective of this important Russian vanguard artist to North America. The department continued to make pe- riodic changes in the exhibition of twentieth-century art that celebrates the tenth anniversary of the East Building. Gal- leries were reinstalled to focus on Ger-

13 man expressionist prints and drawings, eluded in the volume being prepared by Duchamp's Bolte en Valise, Picabia and Graham Pollard. In connection with work Cornell, Arshile Gorky, the early on the systematic catalogue, the curators gouaches of Frantisek Kupka, and Ameri- proposed more than a dozen attribution can art from 1910 to 1940. Plans prog- changes for approval by the trustees. ressed for the 1991 presentation of the Progress continues on the development Rauschenberg Overseas Culture Inter- of an audiovisual program entitled "The change, with new paintings from R.O.C.I. Art of Sculpture," funded by a generous installed at the Gallery as promised gifts, grant from the Rauman Foundation. The which celebrate the exhibition's visits to program, which will serve as a general in- Kuala Lumpur and Moscow. troduction to sculpture, will be shown David Anfam is the resident contract continuously in the West Ruilding. author for the Mark Rothko catalogue rai- Anthony Radcliffe of the Victoria and sonne. Research and exhibition assistants Albert Museum was in residence at the serving in twentieth-century art this year Gallery for two weeks in July as the first were Cathy Craft, Laura Coyle, Christoph Mellon Consulting Curator, a position Grunenberg, and Amy Mizrahi Zorn. funded by The Andrew W. Mellon Foun- dation. He collaborated with Gallery curators and executive officers in planning Sculpture and Decorative Arts the direction of the sculpture department's acquisitions program and rein- The collection was enhanced this year by stallations of sculpture galleries. two fine gifts: a bronze group of a Bac- In conjunction with the Gallery's chante with a Goat by Philippe-Laurent fiftieth anniversary celebrations, plans for Roland, given by Mr. and Mrs. John R. reinstallation of the main floor galleries Gaines; and a south German gilt-bronze focused on an integration of Italian Re- plaquette of the Pieta, given by Mr. and naissance sculpture and painting. Plans Mrs. Anthony Geber in honor of Dr. Antal were also made for expansion and rein- and Klarissza Geber. stallation of the ground floor galleries, to The Gallery was also able to purchase take place soon after the anniversary a fine bronze plaquette by Moderno, year. The department assisted the educa- Standing Hercules with the Nemean Lion; tion department in preparing and testing a subtle and delicate plaster relief by Au- various object labels, in an effort to pro- gustus Saint-Gaudens of Charles Stewart vide visitors with more effective informa- Butler and Lawrence Smith Butler; and a tion about the works of art on exhibition. rare, beautifully carved south Netherlan- Finally, a comprehensive index of dish alabaster Pieta. plaquette collections and collectors was A new summary catalogue of the Gal- prepared, involving in-depth research in lery's collections of sculpture and decora- the dealers and auctions literature. tive arts is planned. It will be published in Serving as interns in sculpture and four volumes: the first, now in progress, is decorative arts this year were Jon Seydl on the large sculpture and small bronzes; and Christy Smith. and subsequent volumes will cover the decorative arts, medals, and plaquettes. These guides to the collections will be available to scholars and the public and Old Master Drawings will supplement the eventual six or more systematic catalogue volumes this depart- The newly formed department of old ment is preparing. master drawings oversaw three major ex- Work proceeds on the systematic hibitions in fiscal year 1990. Rembrandt catalogue of ancient and medieval sculp- Landscapes: Drawings and Prints, orga- ture and decorative arts, Renaissance nized by Cynthia Schneider of George- plaquettes, and French sculpture. Techni- town University, included fifty-five of cal analyses of Renaissance medals were Rembrandt's finest landscape drawings completed, and the results will be in- and all twenty-nine landscape prints.

14 Canaletto, A Courtyard in the Palazzo Pisani, possibly c. 1760, Gift of Robert H. and Clarice Smith, in Honor of the Fiftieth Anniversary of the National Gallery of Art, 1990.21.1

many in multiple impressions. The juxta- study by Raphael, only recently acquired position of a landscape drawing by Titian by the museum, was a special highlight. with Rembrandt's copy after it was par- The charming Gardens on Paper: Prints ticularly memorable. Old Master Draw- and Drawings 1200-1900 traced the rep- ings from the National Gallery of resentation of gardens from medieval illu- Scotland, selected by the Scottish mu- minated manuscripts through nineteenth- seum's Hugh Macandrew and National century prints, drawings, and illustrated Gallery senior curator Andrew Robison, books. All but 10 of the 114 exhibited featured Italian artists from Pisanello to works were from the Gallery's collection. Piranesi and Netherlanders from Mabuse In the Armand Hammer Galleries, we to Rembrandt as well as a group of fine continued to present small shows on a French drawings. A spectacular red chalk variety of themes. The first this year fo-

15 cused on drawings of mythological and Other significant contributions to the col- religious subjects, including the great lection included a double-sided pen Raphael cartoon of The Madonna and drawing by Parmigianino; a highly un- Child with Saint John the Baptist and usual study for an altarpiece by Hermann three remarkable sheets by Giovanni Bat- torn Ring, complete with double-sided tista Tiepolo and his son Giovanni Do- wings that open and close; and a delicate menico. The second rotation featured study for a Judgment of Paris by the drawings of figures and portraits, includ- northern mannerist Joachim Wtewael. ing stellar works by Leonardo da Vinci, The eighteenth-century collections Watteau, and Ingres. were enhanced by the purchase of a mag- A number of outstanding drawings nificent design for a catafalque by Fran- were added to the collection this year. cesco Galli Bibiena, four zany book Major gifts of Italian drawings included a illustrations by Johann Jacob Schiibler of haunting pastel on blue paper by Feder- scenes from an Italian comedy (the book ico Barocci, given by Peter Josten, a sun- is already in our collection), four mar- drenched courtyard scene by Canaletto velously bizarre religious scenes by Paul from Robert H. and Clarice Smith, and a Troger, and charming landscapes by Wil- large, marvelously varied study sheet by liam Day and Jean-Jacques de Boissieu. Francesco Fontebasso from Mr. and Mrs. The Gallery was also able to purchase a William Cafritz, our first by that artist. In large, vigorous drawing of a Shake- the French school, two new artists en- spearean subject by Raphael Lamar tered the collection with impressive West, the first work by this artist in the works: Antoine Coypel, with a magnifi- collection. Another first is the wonder- cent trois-crayons drawing on blue paper fully delicate and beautifully ornamented from Lois and Georges de Menil; and ground plan of the Villa Madama in Francois Le Moyne, with a highly refined Rome by the great French neo-classical Saint John the Baptist from Neil and Ivan decorators Percier and Fontaine. The Phillips. New donors Dr. and Mrs. John nineteenth-century collection was further C. Weber further enhanced the French enriched by the addition of Adolphe Ap- collection with their gift of a fine drawing pian's preparatory drawing on blue paper by the caricaturist and illustrator Paul for his print The Port of Monaco, an im- Gavarni. The first gift from the Leger Gal- pression of which we were able to acquire leries, Ltd., London, added a rich water- in a separate purchase. color landscape by George Barret to the Serving as a volunteer intern for three collection of English drawings, while months in old master drawings was Lau- long-time supporter William B. O'Neal rent Salome, of the Reunion des musees added much-needed strength to our pre- nationaux, France. Raphaelite drawings with the gift of a very large and impressive design for a stained- glass window by Burne-Jones. Foremost among our purchases this Old Master Prints year was a gloriously understated study for a Sacra Conversazione by Vittore Car- This new department is responsible for paccio, our first Venetian Renaissance approximately 20,000 European old drawing from the period before Titian. As master prints dating from the fifteenth is so often the case with such drawings, through the eighteenth centuries. Some the devotional purpose of this enchanting fifty objects were added to the collection scene takes second place to its lyrical po- during the year. Notable among them is etry. Equally important for the collection the complete set of twelve etched was the purchase of an exquisite and very Landscapes Dedicated to the Grand Duke rare drawing from the 1550s by Antoine of Tuscany (1638) by Ercole Bazicaluva, Caron, A Cavalry Battle in Roman Dress, purchased with funds contributed by The combining the French courtly elegance Circle of the National Gallery of Art. An- and powerful Italian form characteristic other rare print, one of the earliest known of the second school of Fontainebleau. examples of the aquatint process, is by

16 Jacob Matham, The Table of Cebes, 1592, Ruth and the British artist Paul Sandby, Moun- master prints, Italian Etchers of the Re- Jacob Kainen Collection, 1989.46.1 (detail) tainous Coast with Travelers, given by the naissance and Baroque was shown at the Washington Print Club. A further gift of Gallery in the fall of 1989. Organized by particular importance was Jacob Sue Welsh Reed of the Museum of Fine Matham's large engraving, The Table of Arts, Boston, and Richard Wallace of Cebes, printed on three sheets and dated Wellesley College, it consisted of 151 1592. This was a gift of Ruth and Jacob prints, many of them impressions of ex- Kainen. The Kainens also gave a splendid traordinary quality. The catalogue, writ- and very rare fifteenth-century woodcut ten by the organizers, is a significant of Christ on the Cross with gold leaf in the contribution to the field. background. Purchases of exceptional in- The department coordinated two other terest included etchings of Italian scenes exhibitions, Jacob Kainen: Prints and by the eighteenth-century Austrian artist Drawings and Edvard Munch: Master Franz Edmond Weirotter, all in proof im- Prints from the Epstein Family Collection, pressions; a fine impression of Ferdinand and completed research and preparations Bol's etching and drypoint, Saint Jerome for the exhibition, EvatAve: Woman in Re- in a Cave, 1644; and Orazio Borgianni's naissance and Baroque Prints, as well as etching. Saint Christopher, 1615. extensive work on the Mark J. Millard Ar- An outstanding loan exhibition of old chitectural Collection of rare books.

17 Modern Prints and Drawings tercolors, etchings, and sketchbooks by this important American modernist, ap- The department of modern prints and proximately a quarter came from our own drawings, newly formed this year, orga- collection, while the balance was drawn nized a number of exhibitions. The from public and private collections 1980s: Prints from the Collection of throughout the country. The Drawings of Joshua P. Smith presented 119 prints and Jasper Johns, including 117 exquisite illustrated books from one of the most drawings spanning this contemporary extensive private collections devoted to master's distinguished career, was co-cur- American and European artists from this ated with the department of twentieth- period. Many of the works were hand- century art. colored or unique in some aspect, and This department also organized a loan several have been donated or promised exhibition, Gemini G.E.L.: American Mas- as gifts to the National Gallery. Selections ter Prints, featuring thirty-nine works by and Transformations: The Art of John Johns, Robert Rauschenberg, Roy Lich- Georg Baselitz, Man Reading (Lesender Mann), Marin celebrated the creation at the Gal- tenstein, Sam Francis, David Hockney, 1982, Joshua P. Smith Collection, Gift in Honor of and others. Selected from our Gemini the Fiftieth Anniversary of the National Gallery of lery of the John Marin Archive. Of the Art, 1990.14.1 more than 130 exhibited paintings, wa- G.E.L. Archive, the exhibition is now available for circulation through the Na- tional Lending Service. The collection of modern prints and drawings was richly expanded during the year. Notable gifts of drawings included our first by the pioneering German artist, Paula Modersohn-Becker, whose superb Portrait of a Woman from 1898 was given by Mr. and Mrs. James T. Dyke. An early Chagall watercolor joined the collection, a gift of Evelyn Stefansson Nef; and the brilliantly colored Red and Yellow Poppies with a Blue Delphinium by Emil Nolde, in watercolor on japan paper, was given by Alexander and Judith W. Laughlin. Leo Castelli gave our first drawing by Jasper Johns, Numbers, one of the artist's classic subjects rendered in graphite pencil, graphite wash, and metallic powder wash on polyester fabric. A generous gift from Barbara Baird was the delightful pen and ink Self portrait with extra large paper hat by Red Grooms. And Jem Horn and Mr. and Mrs. Christopher Midden- dorf donated sixteen drawings in a great variety of media by Jacob Kainen. The Gallery acquired several drawings by purchase, including Scheherazade by Jacob Kainen, and Dodo and an Older Woman Reclining Before a Mirror, a splendid study in ink by Ernst Ludwig Kirchner. Ruth and Jacob Kainen have given two major prints by Kirchner—the color lithograph, Performer Bowing; and the ex- ceedingly rare color woodcut of The Blond Painter Stimer—as well as six lithographs by Louis Lozowick. Two of Munch's most powerful and romantic im- several years of planning, we have in- ages—Madonna, a color woodcut and stalled a twenty-three-drawer honeycomb lithograph of 1895 (1902 printing), and aluminum and steel storage unit capable The Kiss, a color woodcut—were given by of housing prints and drawings as large as the Sarah G. and Lionel C. Epstein Fam- 10x7 feet. Members of the Collectors ily Collection. Other important gifts in- Committee and the Gallery's Forum for cluded Jacques Villon's color aquatint, Younger Art World Leaders were given Another Time: 1830, from Frank and tours of the new facility. In addition, the Jeannette Eyerly; Bonnard's charming West Building study room welcomed 243 and very rare Woman with an Umbrella visitors. Sarah Cash, Mary Lee Corlett, from Sidney and Jean Jacques; three fine and Ben Glenn II served as exhibition as- drypoint portraits by Max Liebermann sistants in modern prints and drawings from a new donor. Dr. Toni Marcy; Draw- this year. ing Boards by Richard Smith from Robert L. Brown; Man Reading, a woodcut with oil paint additions by Georg Baselitz, from the Joshua P. Smith Collection; two Photographs impressions of In the North Greenhouse by Mark Leithauser from the family of To recognize its growing commitment to Wanda Flynn and the Gallery docents; the acquisition, exhibition, and study of and a delicate etching, The Turret-Ship, photographs, the Gallery in late 1989 by James McNeill Whistler from Anita created the curatorial department of pho- and Julius L. Zelman. Emil Nolde's color tographs. We will continue to present lithograph, Hampelmanner, depicting two scholarly exhibitions, such as the Alfred marionettes, was an important purchase Stieglitz show organized in 1983 and On this year. the Art of Fixing a Shadow: 150 Years of Among the important additions to our Photography presented in 1989, but we Gemini G.E.L. Archive were seven works have also embarked on a program to in screenprint or photogravure by Jon- build a major collection of photographs. athan Borofsky; elegant color lithographs Using the key set of 1,600 Alfred Stieglitz by Richard Diebenkorn; seven of Sam photographs as our model, we seek to ac- Francis' abstract lithographs from the quire representative holdings of work by mid-1980s; nine lithographs by David master photographers whose ideas and Hockney, including portraits of his images have most significantly shaped the friends; five lithographs by Jasper Johns; history of the medium. nineteen lithographs by Ellsworth Kelly, This year we were extremely fortunate featuring either plant forms or abstract to receive several exceptional gifts. The shapes; four prints in a variety of media Southwestern Bell Corporation, which is by Susan Rothenberg; and screenprints supporting our forthcoming Paul Strand by Richard Serra, several of which em- exhibition, gave six vintage Strand photo- ploy his distinctive Paintstik process. In graphs to the Gallery and promised an all, 133 works by twenty-six artists were additional fifty-five works. The group rep- added to the Gemini G.E.L. Archive, as resents Strand's entire career, from the gifts of the publisher and the artists. 1910s until just before his death in The Gallery's Graphic-studio Archive 1976. This is the first time that a corpo- gained nineteen works by five artists—Jim rate sponsor has funded an exhibition at Dine, Roy Lichtenstein, James Rosenqu- the Gallery and at the same time donated ist, Philip Pearlstein, and Sandro Chia— a major collection of works of art. all gifts of the publisher and the artists. In The photographer Robert Frank, addition, Tampa Tool Reliefs, a five-part widely celebrated as one of the most im- sculpture by Jim Dine, was added to that portant artists in any medium to emerge Archive as a gift of the artist. after World War II, gave the Gallery a vast The department has now spent a full archive of his work. The gift includes year in its newly renovated West Building 2,241 rolls of film, 2,296 contact sheets, study room, storeroom, and offices. After 999 work prints, and 61 rare vintage

19 photographs. This collection, which Exhibitions ranges from Frank's earliest work in Zurich to his most recent images from the The exhibition office oversaw the opening late 1980s, will make the Gallery the pri- of twenty-three exhibitions at the National mary repository of his art. Gallery during the past fiscal year, for Significant additions were also made to which more than 280 lenders from our collection of photographs by Walker twenty-seven states and eighteen coun- Evans. Twenty-six photographs were pur- tries lent over 1,870 works of art. The de- chased with funds generously donated by partment also worked on another thirty- the Horace W. Goldsmith Foundation, eight exhibitions scheduled to open in the and four were purchased through the next five years and administered the tours John Wilmerding Fund. Mr. and Mrs. of sixteen traveling exhibitions. U.S. gov- Harry H. Lunn, Jr., gave eleven photo- ernment indemnity was secured for nine graphs, and the Clive Gray family gave exhibitions, enabling a savings of four more. $1 million in insurance premiums. On the Art of Fixing a Shadow, the ex- Temporary exhibitions at the National hibition organized by the Gallery with the Gallery in fiscal year 1990 were: Art Institute of Chicago, closed at the Los Twentieth-Century Art: Selections for the Tenth Angeles County Museum of Art in Febru- Anniversary of the East Building ary 1990, having been seen by 475,000 continued from the previous fiscal year to people on its national tour. The catalogue, 31 December 1990 coordinated by Jack Cowart and Nan coauthored by Gallery curator Sarah Rosenthal Greenough with David Travis, Joel Frans Hals Snyder, and Colin Westerbeck, was 1 October 1989-31 December 1989 awarded the "Distinguished Photographic coordinated by Arthur K. Wheelock, Jr. Book of the Year 1989" by the Interna- supported by Republic National Bank and tional Center of Photography. Since many Safra Republic Holdings, S.A., Banco Safra, publications in 1989 marked the sesqui- S.A., and the Federal Council on the Arts and the Humanities centennial of the medium, this was indeed an honor. Our catalogue Alfred Frederic Edwin Church 8 October 1989-18 March 1990 Stieglitz: Photographs and Writings, by coordinated by Franklin Kelly Greenough and Juan Hamilton (1983), John Twachtman: Connecticut Landscapes was awarded a silver medal by the Inter- 15 October 1989-11 February 1990 nationalen Buchkunst-Ausstellung in coordinated by Deborah Chotner Leipzig in 1989. supported by Bell Atlantic Megan Fox continued as the exhibition Expressionism and Modern German Painting assistant in the department of photo- from the Thyssen-Bornemisza Collection graphs this year, while Toby Jurovics was 19 November 1989-14 January 1990 coordinated by Andrew Robison summer intern and William Hong the supported by the Federal Council on the Arts Southwestern Bell intern. and the Humanities * * * Drawings of Mythological and Religious Sub- The departments of prints, drawings, and jects from the Armand Hammer Collection photographs received 1,015 visitors to 3 December 1989—13 May 1990 work in their East and West Building coordinated by Margaret Morgan Grasselli study rooms this year; accessioned 311 The 1980s: Prints from the Collection of Joshua P. Smith prints and drawings, 52 photographs, 17 December 1989-8 April 1990 and the Bobert Frank photographic ar- coordinated by Ruth E. Fine chive; and arranged to lend 215 works to Reinstallation of Bellini/Titian "Feast of the 34 exhibitions in this country and Gods" abroad. Barbara Ward served under the 14 January 1990-29 April 1990 senior curator as the exhibition assistant coordinated by David Alan Brown for the fiftieth anniversary. Selections and Transformations: The Art of John Marin 28 January 1990-15 April 1990 coordinated by Ruth E. Fine

20 The Passionate Eye: Impressionist and Other Master Paintings from the Collection of Emil G. Biihrle 6 May 1990-15 July 1990 coordinated by Charles S. Moffett supported by Martin Marietta Corporation and the Federal Council on the Arts and the Humanities Masterpieces of Impressionism and Post- Impressionism: The Annenberg Collection 6 May 1990-5 August 1990 coordinated by Charles S. Moffett Figures and Portraits from the Armand Hammer Collection 20 May 1990-11 November 1990 coordinated by Margaret Morgan Grasselli The Drawings of Jasper Johns 20 May 1990-29 July 1990 coordinated by Ruth E. Fine and Nan Rosenthal supported by Ford Motor Company and the Federal Council on the Arts and the Humanities Edvard Munch: Master Prints from the Epstein Family Collection 27 May 1990-3 September 1990 coordinated by Andrew Robison supported by Statoil Old Master Drawings from the National Gallery of Scotland 24 June 1990-23 September 1990 coordinated by Andrew Robison supported by the Federal Council on the Arts and the Humanities Sargent's "Javanese Dancers" 1 July 1990-30 September 1990 coordinated by D. Dodge Thompson The Sculpture of Indonesia Edvard Munch, The Kiss, 1898, The Sarah G. and Matisse: Jazz and Other Works on Paper from 1 July 1990-4 November 1990 Lionel C. Epstein Family Collection, 1990.26.1 the National Gallery Collection and Promised coordinated by D. Dodge Thompson Gifts supported by Mobil Corporation and the Fed- 25 February 1990-3 June 1990 eral Council on the Arts and the Humanities coordinated by Ruth E. Fine George Caleb Bingham Rembrandt's Landscapes: Drawings and Prints 15 July 1990-30 September 1990 11 March 1990-20 May 1990 coordinated by Nicolai Cikovsky, Jr. coordinated by Margaret Morgan Grasselli supported by Hecht's, a division of The May supported by the Federal Council on the Arts Company Department Stores, and Monsanto and the Humanities Company Matisse in Morocco: The Paintings and Kazimir Malevich 1878-1935 Drawings, 1912-1913 16 September 1990-8 November 1990 18 March 1990-3 June 1990 coordinated by Maria Prather coordinated by Jack Cowart supported by Philip Morris Companies Inc., supported by the Richard King Mellon Foun- and the Federal Council on the Arts and the dation and the Federal Council on the Arts Humanities and the Humanities Selected Paintings from Italian Banks: Loans Gardens on Paper: Prints and Drawings Supplementing the National Gallery's 1200-1900 Collection 1 April 1990-22 July 1990 26 September 1990-11 November 1990 coordinated by Virginia Clayton coordinated by Diane De Grazia supported by Estee Lauder, Inc.

21 Design and Installation 1859. The ornate, grain-painted wooden frame was designed to exaggerate the Perhaps the most exciting project the de- sense of perspective; and the painting, in- sign department has participated in the stalled in a room by itself, engaged last fiscal year is the reinstallation of the viewers as if they were actually gazing out main floor galleries of the West Building a window at the Andes. Quotations from in preparation for the National Gallery's published contemporary critics as well as fiftieth anniversary. Beginning with the an extensive discussion of the painting in nineteenth-century French galleries, we its context allowed viewers to experience are engaged, working with each curatorial the excitement of its first presentation. department, in reexamining and rehang- The reinstallation of the splendid ing our great collection. Bellini/Titian Feast of the Gods celebrated The first priority is an art historical and its recent restoration. A small three-part architectural rearrangement of the paint- exhibition in the West Building began by ings and sculpture, taking into account presenting the painting, cleaned and the spatial imperatives of the glorious gal- newly framed, in the context of the Gal- leries in the West Building so that axial lery's other Venetian paintings from the views and balanced hangings work har- period. A free-standing text panel ex- moniously with the desired monographic plained the authorship and iconography and chronological sequencing of the of the painting. The next gallery was de- works of art. Following this, the galleries voted to a series of illustrated didactic will be newly illuminated with a combina- panels, which set out in detail the techni- tion of natural and artificial light, wherein cal record of the painting's conservation the overall volume of light will be reduced and the history of the painting's changing for conservation reasons, while at the appearance. A third section consisted of a same time the works of art will be lighted video presentation explaining both the more effectively. history and the treatment of the painting. A program of labels and gallery leaflets For Matisse in Morocco: The Paintings has been initiated that will, over the next and Drawings, 1912-1913, the depart- few years, produce a uniform and more ment designed two sections of galleries on complete system of information for the the mezzanine level of the East Building: galleries. Selected galleries will be re- the first was devoted to the drawings, and painted and an overall color scheme de- the second to the paintings. To provide a vised for the collections that respects both transitional space from full daylight, we the original historical contexts of the pic- constructed a forecourt, which visitors en- tures and the fundamental aesthetic of tered through Moroccan arches. Text the John Russell Pope interior. panels here established the historical con- The department this year also de- text for the works of art. The next space signed and installed twenty-three tempo- contained a large group of newly discov- rary exhibitions. Special installation ered Matisse drawings, set off against wall opportunities and their solutions are de- panels. An open space adjoining this gal- scribed below. lery displayed the paintings, arranged not Frederic Edwin Church focused on the chronologically, but in triptychs, as docu- artist's most famous large-scale works, mented in photographs of Matisse's April forty-nine in all, which were the basis for 1913 exhibition at Galerie Bernheim- his extraordinary contemporary renown. Jeune, Paris. All of the paintings were re- To enhance the experience of each pic- framed in a painted molding that exactly ture, the department designed a spacious replicated the molding used by Matisse installation with architectural details and when the works were first exhibited. color harmonies suggesting the historical Signs at the end of the exhibition directed context. The most elaborate evocation visitors to other locations in the East was of Church's Heart of the Andes, for Building to view installations of the Gal- which we constructed a spectacular pe- lery's own collection of paintings, paper riod frame based on documentary photo- cutouts, prints, and drawings by Matisse, graphs of the painting's first exhibition in including a proof set of Jazz (without text)

22 zanine and upper levels of the East Build- ing. Architecturally divided into six spaces, the galleries provided dramatic long views to a magnificent group of Cezannes on the mezzanine level and Van Goghs on the upper level, with the powerful Sower placed on a free-standing baffle on axis. Because the Biihrle exhibition began with a section of old master paintings and ended with a group of later twentieth-century works, molding designs and colors were varied as appropriate to their historical context. Edvard Munch: Master Prints from the Epstein Family Collection was exhibited in the West Building. The depth of this unparalleled private collection of the graphic works of Munch allowed for a comprehensive chronological presentation of Munch's prints with many impressions and color variations. The main space was configured for openness, es- tablishing complex vistas and long views, the walls being painted in warm, satu- rated colors appropriate to the fin-de- siecle period during which most of the works were created. The Sculpture of Indonesia, installed in the upper level of the East Building, presented the design department with a vari- Frederic Edwin Church's Heart of the Andes, 1859, and works recently promised to the ety of interesting challenges. The 116 The Metropolitan Museum of Art, New York, Be- Gallery. objects ranged in size from less than four quest of Mrs. David Dows, was installed in a recre- Masterpieces of Impressionism and Post- ation of a period frame inches to over six feet high; in media from Impressionism: The Annenberg Collection polished gold and silver to weathered and The Passionate Eye: Impressionist and stone; and in weight from a few ounces to Other Master Paintings from the Collec- many tons. Arranged in a loose chronol- tion of Emil G. Biihrle were concurrent ogy with emphasis on stylistic and sono- exhibitions, which, seen with the Gal- graphic comparisons, the physical setting lery's holdings, constituted an extraordi- for the works derived its detail from Indo- nary viewing of impressionist and post- nesian temple architecture. The wall cov- impressionist painting in Washington. The ering throughout the exhibition reflected Annenberg Collection was installed in the color and texture of indigenous stone, West Building galleries, with the paintings evoking the weight and feel of massive shown against rich nineteenth-century structures built of centuries-old carved, colors and illuminated by a wonderful weathered blocks. combination of natural and artificial light. Kazimir Malevich, 1878-1935, in- The works were arranged by artist, fea- stalled on the mezzanine and upper levels turing stunning concentrations of Renoir, of the East Building, offered the depart- Monet, Cezanne, Gauguin, Van Gogh. ment exciting opportunities for educa- Certain works, such as Vuillard's The Al- tional and aesthetic presentation. bum, Braque's Boats on the Beach at Interlocking spaces of severe simplicity, L'Estaque and Picasso's At the Lapin painted light gray and off-white, dis- Agile, were isolated so as to draw atten- played sequential groupings of the works. tion to their singular quality. The Biihrle Malevich's early suprematist creations Collection was presented on the mez- were hung in the mezzanine galleries, in a

23 compact configuration reflecting some- what the dissonant convention of his hanging of the 0.10. The Last Futurist Ex- hibition in 1915. At the top of the spiral staircase, the first room on the upper level presented later suprematist work with three of his architectons. The two levels were linked by a huge photo mural suspended in the stairwell, which depicted Malevich and other UNOVIS members departing for Moscow from Vitebsk around 1920. Because of Western audiences' unfamiliarity with Malevich and his achievement, the exhibition was augmented significantly with educational material, including a special room devoted to the subjects of Malevich and theater, Malevich's exhibitions, and Malevich's educational theory.

The Sculpture of Indonesia exhibition included the early tenth century Youthful Bodhisattva Mahjusn (right) and the late fourteenth to early fifteenth century Standing Goddess or Queen (foreground above), both from the Museum Nasional, Jakarta Lenders to Special Exhibitions Emily Fisher Landau The Honorable and Mrs. Ronald S. Lauder Alma Law PRIVATE COLLECTIONS The Margo Leavin Gallery, Los Angeles Janie C. Lee Collection of Maida and George Abrams Mr. and Mrs. Meredith J. Long Pierre Agoune R. H. Love Galleries, Inc. W. L. Van Alen Dr. and Mrs. Peter Ludwig The Honorable and Mrs. Walter H. Annenberg The Manoogian Collection Anonymous lenders Mrs. John C. Marin, Jr. The Anschutz Collection, Denver Lisa Marie Marin Betty Asher Mr. and Mrs. Donald B. Marron Associazione Bancaria Italiana Mr. and Mrs. Irving Mathews Aurora Art Fund Eleanor and C. Thomas May, Jr., Collection Banca Commerciale Italiana The Jan Perry Mayer Collection of American Works Banca Popolare delTEmilia on Paper Banca Popolare di No vara Robert and Jane Meyerhoff Collection Bentinck-Thyssen, on deposit at the Valerie Mnuchin Musee d'Etat, Grand-Duche du Luxembourg Andrew Monk Mr. and Mrs. Roger Berlind Monte dei Paschi di Siena The Boatmen's National Bank of St. Louis Mrs. Anne Morton Mr. and Mrs. Neil Bluhm Dr. and Mrs. Franklin D. Murphy Mr. and Mrs. Vincent A. Carrozza Dorothy Norman Cassa di Risparmio James and Barbara Palmer Cassa di Risparmio di Genova e Imperia Duncan Vance Phillips Cassa di Risparmio di Rome Mr. and Mrs. Meyer P. Potamkin Cassa di Risparmi e Deposit! di Prato Kimiko and John Powers Cassa di Risparmio per le Provincie Siciliane Harvey and Frangoise Rambach Jean-Christophe Castelli Dr. Ewald Rathke Leo Castelli Robert Rauschenberg Mr. and Mrs. Barton Cohen The Regis Collection, Minneapolis Douglas S. Cramer Ira D. Riklis Credito Emiliano Robert and Jane Rosenblum Credito Fondiario Paul W. L. Russell Credito Romagnolo Mrs. Stanley Samoff Aldo Crommelynck Denise and Andrew Saul Mr. and Mrs. Richard Danziger Hannelore B. Schulhof Victoria Ganz DeFelice Mr. and Mrs. Seymour Schweber Des Moines Women's Club, Hoyt Sherman Place Richard Serra and Clara Weyergraf The Duke of Devonshire and the Chatsworth House David Shapiro Trust Charles Simon Barbaralee Diamonstein and Carl Spielvogel Joshua P. Smith Mr. and Mrs. William duPont III Jean and Alvin Snowiss Anne and Joel Ehrenkranz Sheldon H. Solow Epstein Family Collection Solomon and Company Fine Art, New York The Farber Collection Sonnabend Collection Jamee and Marshall Field Mr. and Mrs. Ralph Spencer Foundation E. G. Biihrle Collection Saul P. Steinberg Collection Dr. and Mrs. Meyer Friedman A. Alfred Taubman Larry Gagosian Thyssen-Bornemisza Foundation, Lugano Joann and Julian Ganz, Jr. Mrs. Lester Trimble Kate Ganz Waddington Galleries, London Tony Ganz David Warner Foundation Mrs. Victor W. Ganz Washington University Gallery of Art Graham Gallery, Private Collection Susan Weil Lenore S. and Bernard A. Greenberg Frederick Weisman Company The Stanley Grinstein Family The White House Maxine Groffsky and Winthrop Knowlton David Whitney The Warner Collection of Gulf States Paper Wildenstein and Co. Corporation, Tuscaloosa, Alabama Mr. and Mrs. Larry Wolf Agnes Gund Nancy Ganz Wright Mr. and Mrs. Hugh Halff, Jr. Ira and Lori Young The Armand Hammer Foundation Mrs. Pamela C. Harriman Her Majesty Queen Elizabeth II Mr. and Mrs. John Hilson Hirschl and Adler Galleries Inc., New York Hiroshi Kawanishi Miriam and Erwin Kelen Mr. and Mrs. Rollin W. King Mr. and Mrs. William Janss Jasper Johns Mr. and Mrs. Frank A. Ladd

25 PUBLIC COLLECTIONS Groningen, Groninger Museum Haarlem: Frans Halsmuseum; Teylers Museum Waterville, Colby College Museum of Art

Austria The Hague, Mauritshuis Maryland Vienna: Akademia der bildenden Kiinste; Leeuwarden, Museum het Princessehof The Baltimore Museum of Art Graphische Sammlung Albertina; Hagerstown, Washington County Museum of Fine Kunsthistorisches Museum, Gemaldegalerie Leiden: Kern Institute; Rijksmuseum voor Volkenkunde Arts Belgium Rotterdam, Museum Boymans-van Beuningen Massachusetts Antwerp, Koninklijk Museum voor Sehone Kunsten Amherst, Mead Art Museum, Amherst College Poland Canada Wroclaw, Polska Akademia Nauk Andover, The Addison Gallery of American Art, Toronto, Art Gallery of Ontario Phillips Academy Ottawa, National Gallery of Canada Scotland Edinburgh, National Galleries of Scotland Boston: Isabella Stewart Gardner Museum; Museum Czechoslovakia of Fine Arts Sweden Prague, Narodni galeri v Praze Cambridge, Harvard University Art Museums Stockholm: Moderna Museet; Nationalmuseum Denmark Williamstown: Sterling and Francine Clark Art Union of Soviet Socialist Republics Copenhagen: The Royal Museum of Fine Arts; Ny Institute; Williams College Museum of Art Kuibyshev, Museum of Fine Art Carls berg Glyptotek Springfield, George Walter Vincent Smith Art Leningrad: State Hermitage Museum; Leningrad England Museum State Museum of Theatrical and Musical Arts; Cambridge, The Syndics of the Fitzwilliam Museum Pushkin House; State Russian Museum Michigan London: Trustees of the British Museum: Iveagh The Detroit Institute of Arts Moscow: State Pushkin Museum of Fine Arts; State Bequest, Kenwood (English Heritage); Trustees Tretiakov Gallery Minnesota of the National Gallery Odessa, Odessa Museum of Western and Eastern The Minneapolis Institute of Arts Oxford, The Ashmolean Museum Art Missouri Federal Republic of Germany Saratov, State Museum of Art Columbia, State Historical Society of Missouri Hamburg, Hamburger Kunsthalle, Kansas City, The Nelson-Atkins Museum of Art Kupferstichkabinett Sverdlovsk Art Gallery Ukrania, Odessa Museum of Western and Eastern St. Louis: The Saint Louis Art Museum; Washington Munich, Bayerische Staatsgemaldesammlungen, University Gallery of Art Alte Pinakothek Art New Jersey Stuttgart, Linden-Museum United States Alabama The Newark Museum France Montgomery Museum of Fine Arts New York Musee de Grenoble California Albany Institute of History and Art Paris: Centre Georges Pompidou; Ecole nationale San Diego Museum of Art Hudson, Olana State Historic Site, New York State superieure des beaux-arts; Musee Guimet; Musee Office of Parks, Recreation, and Historic Jacquemart-Andre; Musee du Louvre; Musee du San Francisco: Asian Art Museum of San Francisco; Preservation Petit Palais; Musee Picasso The Fine Arts Museums of San Francisco The Brooklyn Museum German Democratic Republic Santa Monica, The J. Paul Getty Museum New York: Sid Deutsch Gallery; IBM Corporation; Berlin, Gemaldegalerie, Kupferstichkabinett, and Colorado Kennedy Galleries, Inc.; The Metropolitan Museum fiir Indische Kunst, Staatliche Museen Denver, Captiva Corporation Museum of Art; The Museum of Modern Art; Preussischer Kulturbesitz Connecticut National Academy of Design; The New-York Schwerin, Staatliches Museum Hartford, The Wadsworth Atheneum Historical Society; The Pierpont Morgan Library; Hungary The New Britain Museum of American Art Solomon R. Guggenheim Museum; The Whitney Budapest, Szepmiiveszeti Muzeum New Haven: Yale Center for British Art; Yale Museum of American Art Indonesia University Art Gallery Poughkeepsie, Vassar College Art Gallery Bogem, Kalasan, Suaka Peninggalan Sejarah dan Delaware Rochester, Memorial Art Gallery of the University of Purbakala, 1)1 Y Wilmington, Delaware Art Museum Rochester

Jakarta: Direktorat Perlindungan dan Pembinaan District of Columbia Utica, Munson-Willams-Proctor Institute Museum of Peninggalan Sejarah dan Purbakala; Museum Corcoran Gallery of Art; Hirshhorn Museum and Art Nasional Sculpture Garden, Smithsonian Institution; The North Carolina Mojokerto, Museum Purbakala Library of Congress, Rare Book and Special Winston-Salem, Reynolda House, Museum of Prambanan, Suaka Peninggalan Sejarah dan Collections Division; National Museum of American Art Purbaka Jawa Tengah American Art, Smithsonian Institution; The Ohio Phillips Collection Solo, Museum Radya Pustaka Cincinnati: Cincinnati Art Museum; Taft Museum Florida Surabaya, Museum Mpu Tantular The Cleveland Museum of Art Orlando, Pillar Properties Yogyakarta, Museum Sono Budoyo The Columbus Museum of Art Illinois Ireland Chicago: The Art Institute of Chicago; Terra Pennsylvania Dublin, The National Gallery of Ireland Philadelphia Museum of Art Museum of American Art Italy Pittsburgh, The Carnegie Museum of Art Indiana Naples, Banco di Napoli Bloomington, Indiana University Art Museum Tennessee Rome: Banco Nazionale del Lavoro; Banco di Sicilia Nashville, The Parthenon Siena, Monte dei Paschi di Siena Des Moines Art Center Japan Dallas Museum of Art Kansas Tokyo, The Sogetsu Art Museum Wichita Art Museum Fort Worth: Amon Carter Museum; Kimbell Art The Netherlands Museum Ixmisiana Amsterdam: Museum Het Rembrandthuis; Houston, The Menil Collection Baton Rouge, Louisiana Arts and Science Center Rijksmuseum and Rijksprentenkabinet; Stedelijk Museum; Koninklijk Institut voor de Tropen

26 Virginia Charlottesville, Baley Art Museum of the University of Virginia Richmond, Virginia Museum of Fine Arts

Washington Seattle Art Museum

Lenders of Works of Art Displayed with Gallery- Collections

Ackland Art Museum, University of North Carolina at Chapel Hill Peter Paul Rubens, Imperial Couple Jan Weenix, Still Life with Dead Deer, Heron, and Hunting Implements

Roger Arvid Anderson Collection Florentine School (Circle of Michelangelo), Head of Christ

Jean-Christophe Castelli Jasper Johns, Fool's House Roy Lichtenstein, George Washington

Corcoran Gallery of Art Thomas Cole, Return from the Tournament Severin Roesen, Still Life, Flowers, and Fruit

Mrs. Robert B. Eichholz Georges Braque, Glasses and Bottles (The Battleship)

John R. Gaines Gian Lorenzo Bernini, Saint Bibiana

Jo Ann and Julian Ganz, Jr. Alfred Thompson Bricher, A Quiet Day Near Manchester

Guido Goldman Sprinkling Trust Anthony Caro, Scheherazade

The Armand Hammer Foundation Pierre Bonnard, Girl Putting on Her Stocking Francois Boucher, Landscape with a Rustic Bridge; Venus Reclining Against a Dolphin Mary Cassatt, Smiling Margot Seated in a Ruffled Bonnet Paul Cezanne, Mont Sainte-Victoire (recto) Antonio Allegri da Correggio, Study for the Madonna della Scodel (recto) Albrecht Diirer, Tuft of Cowslips Paul Gauguin, Breton Sketchbook, No. 16 (selection of pages); Landscape at Pont-Aven Vincent Van Gogh, The Magrot House, Cuesmes; The Zandemennik House; Man Polishing a Boot Jean-Auguste-Dominique Ingres, Mrs. Charles Badham Leonardo da Vinci, Sheet of Studies (recto) Edouard Manet, Man Wearing a Cloak (recto) Camille Pissarro, Montmorency Road; Pea Harvest (recto) Raphael Sanzio, Study for a Fresco of the Prophets Hosea and Jonah Rembrandt van Rijn, Study of a Beggar Man and Woman; A Biblical Subject; A Landscape with Farm Buildings among Trees Andrea del Sarto, Female Head Giovanni Battista Tiepolo, Saint Jerome in the Desert An exceptional loan to the Frans Hals exhibition was Listening to the Angels; The Virgin and Child the only life-size full-length portrait in Hals' oeuvre, Adored by Bishops, Monks and Women Willem van Heythuysen, c. 1625, from the Jean-Antoine Watteau, Young Girl; Couple Seated on Bayerische Staatsgemaldesammlungen, Munich a Bank

27 Peter Jay Collection of Candida and Rebecca Smith, Courtesy of Gilbert Stuart, John Jay M Knoedler & Company, New York David Smith, Agressive Character; Black-White Collection of Jasper John* Forward; Blue Construction; Construction with Jasper Johns, Between the Clock and the Bed; Field Forged Neck; Gondola II; Lunar Arcs on 1 Leg; Painting; No; Target Ninety Father, Ninety Son; Personage from Stove Gilbert and Ann Kinney City; Personage of August; Portrait of a Painter, Hans Hofmann, Staccato in Blue Sentinel; Sentinel V; Tank-Totem VI; Tank-Totem Collection Boris and Sophie Leavitt IX; Untitled (December 12); Untitled (Zig VI?); Paintings: Voltri XVI; Woman Bandit; Zig V William Baziotes, Tropical White House Collection Eric Fishchl, On the Stairs of the Temple Paul Cezanne, House on the Marne; The Forest; Adolph Gottlieb, Coalescence House on a Hill Philip Guston, Beggar's Joy Collection David Whitney Willem de Kooning, Woman Jasper Johns, Harlem Light David Salle, Aerialist Sculpture: Emile E. Wolf Jean Arp, Hurlou; Torse Chevalier Gerbrandt van den Eeckhout, The Levite at Gibeah Roy Lichtenstein, Brushstroke Chair and Ottoman Erving and Joyce Wolf Musee du Louvre, Reunion des musees nationaux Painting: Venetian School, Cupid on a Dolphin Francis A. Silva, Indian Rock, Narragansett Bay Sculpture: Collection of Mr. and Mrs. Paul Mellon Augustus Saint-Gaudens, Victory; Amor Caritas; Balthasar van der Ast, Basket of Flowers; Basket of Robert Louis Stevenson Fruit Frederick MacMonnies, Young Faun with Heron; Abraham Bosschaert, Vase of Flowers in a Niche Bacchante and Infant Faun Jan Brueghel the Elder, A Basket of Mixed Flowers and a Vase of Flowers Richard S. Zeisler Collection Richard Diebenkorn, Ocean Park No. 50; Ocean Fernand Leger, Two Women Park No. 61; Ocean Park No. 87; Ocean Park No. Anonymous 89 Botticelli, Portrait of a Young Man Holding a Mark Rothko, Red, Black, White on Yellow; Yellow Medallion and Blue; White and Greens in Blue; Blue, Green, Burgundian or northern French, 15th century, and Brown Heraclius I Collection Lois and Georges de Menil Central or northern Italian, 16th century. Madonna Anthony Caro, Prairie and Child with Saint John Central Italian, mid-16th century. Feast of the Robert and Jane Meyerhoff Olympian Gods Jasper Johns, Untitled (M.T. Portrait); Untitled Central Italian, mid-16th century, Apollo and (Dream) Marsyas Patsy and Raymond Nasher Collection German or south Netherlandish, 17th century. Alberto Giacometti, No More Play Triumph of Wealth National Gallery of Scotland Jean Leon Gerome, Bashi Bazouk Nicolas Poussin, The Feast of the Gods Arshile Gorky, Grey Painting; Khorkom; The Limit; Portrait of Master Bill; Self-Portrait ; Still Life on National Museum of Health and Medicine of the Armed Forces Institute of Pathology the Table Thomas Eakins, Dr. John H. Brinton David Hockney, Christopher Isherwood and Don Bachardy Morton G. Neumann Family Collection Italian, 16th century, Hercules Robert Delaunay, The Windows Jasper Johns, Flag on Orange Field, II Theo van Doesburg, Contra-Composition Ellsworth Kelly, Black Square with Blue; Red Curve Jean Dubuffet, Antonin Artaud aux Houppes; The VI; Three Gray Panels; Untitled; White Relief; Ceremonious One; Leader in a Parade Uniform White Square Lucio Fontana, Concetto Spaziale Attese Roy Lichtenstein, Cosmology; Girl with Hair Ribbon; Alberto Giacometti, Observing Head Rouen Cathedral, Set III; Still Life with Goldfish Juan Gris, Banjo with Glasses Bowl; Yellow Brushstroke II Yves Klein, The Blue Night Edouard Manet, Jeanne—Le Printemps Fernand Leger, Still Life; Man with a Dog Joan Miro, Mural Painting for a Temple I; Mural Roy Lichtenstein, Live Ammo Painting for a Temple II; Mural Painting for a Rene Magritte, Underground Fire Temple III Francis Picabia, Amorous Parade Thomas Moran, Green River Cliffs, Wyoming Pablo Picasso, Compote Dish, Glass Bottle, and Netherlandish, second half 16th century. Amorous Pipe; Young Girl with Left Arm Raised; Nude Couple Robert Ryman, Register Robert Rauschenberg, Automobile Tire Print; Black Gino Severini, The Argentine Tango Painting, Blue Eagle; Female Figure (Blueprint); Rauschenberg Overseas Culture Interchange Collection Minutiae; White Painting Robert Rauschenberg, Cuban Acre; Malaysian Thomas Sully, Queen Victoria Flower Cave; Soviet-American Array I- VI/

28 Conservation

The division made progress this year in the creation of an archival database of examination and treatment reports, which will enable complex searches for information of interest. The database will be stored on optical disks. The division continues to work with the Canadian Con- servation Institute, the Conservation Analytical Laboratory of the Smithsonian Institution, and the Tate Gallery, London, to prepare for an International Confer- ence on the Packing and Transportation of Paintings.

PAINTING CONSERVATION

Major treatments completed this year included two of the Gallery's greatest paintings: The Feast of the Gods by Giovanni Bellini and Titian, and Ginevra de' Benci by Leonardo da Vinci. Related to conservation of the Feast, the department contributed to the publication of a volume in Studies in the History of Art, production of a film, and organization of a didactic exhibition. Anticipating the conservation of Ginevra, the Gallery redesigned the space where the painting now presides again in newly revealed, luminous beauty. Three portraits by Anthony van Dyck underwent cleaning and inpainting in preparation for the forthcoming Van Dyck exhibition: Philip, Lord Wharton; Portrait of an Italian Noblewoman and Her Son; and Marchesa Elena Grimaldi (still in progress). Long-term projects slated for completion in early 1991 include Agnolo Gaddi's Madonna Enthroned with Saints and Angels, Gerard David's Saint Anne Altarpiece, and Perino del Vaga's Nativ- ity, the first two also the subjects of tho- rough technical study and research. The department also examined and/or treated several recent acquisitions and promised gifts, among them Benjamin West's Expul- sion of Adam and Eve from the Garden (still in process), Rubens' The Fall of Phaeton, and Van Gogh's Roses.

Chairman of painting conservation, David Bull, completes the restoration of Leonardo da Vinci's Ginevra de' Benci, c. 1474, Ailsa Mellon Bruce Fund, 1967.6.1 Treatment was completed on nine include the maintenance and treatment of other paintings in the Gallery's collection: these important collections as well. The Boucher's The Love Letter, Constable's decision was prompted by the results of A View of Salisbury Cathedral; Ugolino two collection surveys jointly sponsored Martelli by an unknown Florentine six- by paper conservation and the library. teenth-century artist, Meindert Hob- The department completed 410 minor bemma's A Wooded Landscape, Goya's and 48 major treatments this year. Don Bartolome Sureda and The Marquesa Among the latter were several gifts, in- de Pontejos, Gabriel Metsu's The Intruder, cluding a chalk drawing by Barocci from Tiepolo's The World Pays Hommage to which a backing was removed. A condi- Spain, and Toulouse-Lautrec's A Corner tion survey of the drawings collection con- of the Moulin de la Galette. Not only can tinued, with information on 809 of the the paintings be newly appreciated, with European drawings now entered in the the discolorations of age and later addi- computer database. The survey of Ameri- tions removed or corrected, but technical can drawings has been initiated, and 179 studies accompanying the treatments proof the 1,500 have been examined thus far. duce information about the artists' tech- Exhibition-related activities involved niques and materials that expands our the examination of 678 prints and draw- knowledge about the artists' original ings either on loan to the Gallery or intentions. loaned by it to other institutions. In addi- In addition, the department carried out tion to being examined for loan, twenty- 48 minor treatments, 500 minor exam- three pen and ink drawings by Matisse inations, and 177 major examinations. were given major treatment for the Most of the latter will contribute to tech- Matisse in Morocco exhibition. nical studies in the systematic catalogue, The essay "Watermarks in Rem- which were completed this year for the brandt's Landscape Etchings" by Nancy Garbisch Collection paintings and the Ash and Shelley Fletcher appeared in the American academic portraits. Improve- exhibition catalogue for Rembrandt's ments in the infrared reflectography Landscapes as the first published install- equipment greatly expand its capabilities. ment in the ongoing Rembrandt water- The staff continued the ongoing inspec- mark project. The department's Mellon tion of works in the collection as well as Fellow, Mark Stevenson, completed his caring for incoming exhibitions and serv- research on the history of print ing as couriers for Gallery paintings that restoration. travel on loan to other exhibitions. Getty Intern, Julie Caverne, and third-year OBJECT CONSERVATION Culpeper Fellow, Mary Bustin, worked in Object conservators, Judy Ozone and Shelley The department this year completed painting conservation this year, and the Sturman, examine a north Italian silver and enamel examinations and treatment of more than new position of chairman of painting con- chest, c. 1550-1600, Samuel H. Kress Collection, 300 objects in the Gallery collections, in- 1961.9.195 servation was created to better respond to cluding the outdoor bronze America by administrative demands. Alfredo Halegua (on loan to George Ma- son University), the newly acquired PAPER CONSERVATION southern Netherlandish alabaster Pieta, This department has traditionally over- and the popular Mirrored Cell by Lucas seen the conservation needs of the prints, Samaras. Extensive research on the Gal- drawings, and accessioned photographs lery's small but important collection of in the Gallery collections. This year, with rare Saint Porchaire ware—the Salt the growing quality and variety of acces- Cellar, Coupe, and Candlestick repre- sioned rare books and photographic ma- sent three of the approximately seventy terials in the graphics collections and unknown pieces of the French Renaissance accessioned rare books and photographic ceramics—has led to plans for an interna- materials in the library and photographic tional symposium on the subject to be co- archives, the paper conservation depart- sponsored with CASVA. ment has expanded its responsibilities to Among the department's contributions

30 to the systematic catalogue this year were year. The department also completed technical appendices on Saint Porchaire twenty-two major treatments, thirty minor ware and on the manufacture and analy- treatments, and forty-five examinations of sis of enamels for the volume on sculp- works in the Gallery's collections. Work ture and decorative arts of the medieval. has progressed on the development of Renaissance, and classical periods; tech- new techniques for and methods of eval- nical examination of approximately 33 of uation of treatment and display, and in the 182 works in the Gallery's collection conjunction with the matting and framing of seventeenth- to nineteenth-century department, a concealed mounting sys- French sculpture; and examination and tem was prepared for the display of a analysis of the collection of over 750 screenprint on fabric in the Joshua B. Renaissance medals. Smith exhibition. Progress has been Research on the wax sculptures by made on the systematic catalogue of tap- Edgar Degas progressed. Conservators estries and textile-associated pieces, and worked in the archives at the Musee d'Or- on development of the records and docu- say and the Durand-Ruel Gallery in Paris mentation of the permanent collection. and discussed information with con- In conjunction with other conservation servators and curators at the Musee du labs, the department continued research Louvre. on the use of suction for localized treat- Temporary exhibitions required con- ments on historic textiles, and Getty In- siderable attention this year. Eleven ma- tern Susan Mathisen began research into jor treatments were completed for the the stability of dyes used in conservation opening of The Sculpture of Indonesia, of our tapestries. Improvements in the including reconstruction of Water Vessel facilities have included completion of the in the Shape of an Elephant and the water treatment system in the West Build- cleaning of seven large stone sculptures. ing and installation of a new system for The Andrew W. Mellon Visiting Re- the East Building. A regularly monitored search Fellow, Myriam Serck-Dewaide, Integrated Pest Management system has examined the sculpture collection and been established for the workroom and shared her expertise on the conservation storage areas. of polychrome sculpture. She is head of The Joseph V. Columbus Tapestry the sculpture conservation departments at Symposium, organized by the department the Institut Royal Du Patrimoine Artisti- in honor of the Gallery's textile conser- que in Brussels and the Institut Fran^ais vator from 1969 to 1989, was held in de Restauration des Oeuvres d'Art in October 1989. This meeting drew 428 Paris. She delivered a public lecture on registrants from fifteen countries. In "The Examination, Conservation, and September 1990 the department spon- Restoration of Polychrome Wood and sored the biannual meeting of the Textile Polychrome Sculpture." Society of America, held at the Gallery Improvements in laboratory equip- and at the National Museum of American ment included the installation of a high- History. The topic of this international powered x-ray facility that will enhance meeting was "Textiles in Trade." the department's diagnostic capabilities, especially during technical examinations SCIENTIFIC RESEARCH for the systematic catalogue. Works that This department, formerly called the sci- were previously transported to a number ence department, has established a re- of outside facilities for radiography can search program this year. Our principal now be examined in house, which will goals are the development of stable mate- minimize handling and allow the staff rials for the conservation of works of art more efficient use of time. and the introduction of new methods for the study of artists' materials and tech- TEXTILE CONSERVATION niques. The program is described in a Fifteen textile pieces were prepared for booklet, available from the department. or maintained while on exhibition this Much of the work will be pursued in col-

31 laboration with industry, academia, other for 1991 exhibitions, which include Circa museum laboratories, and conservation 1492. institutes. In addition to its role in exhibitions, the The department purchased several department has expanded its research new pieces of equipment this year: a into the protection of works of art during weatherometer for accelerated aging ex- transit and exhibition. This ongoing re- periments; an ion trap detector to facili- search has advanced the Gallery's exper- tate identification of organic materials in tise and reputation in the area of special works of art by gas chromatography / exhibitions. The department has provided mass spectrometry; and a diode-array considerable information on lending, ultraviolet-visible spectrometer to monitor shipping, and displaying objects to the degradation of varnishes. numerous national and international Research on picture varnishes initiated organizations. recently involves testing the stability and The frame conservation studio is the optical and handling properties of closely involved with the fiftieth anniver- products that are more stable than tradi- sary reinstallation, which has required tional natural resin varnishes. Alternative routine examinations and treatment of inpainting materials are tested using 500 frames as well as construction of 8 accelerated aging techniques. These new frames. Conservators designed and research projects are undertaken in col- built 25 new frames with glazing and wa- laboration with scientists and conserva- terproof backing for Mark Rothko paint- tors at the J. Paul Getty Museum, the ings, enabling the National Lending National Institute for Standards and Tech- Service to lend to institutions with sprin- nology, and the Metropolitan Museum of kler systems. For outgoing loans, 475 Art, among other institutions. frames were examined and 120 were As in previous years, the department treated. conducted several hundred analyses of For exhibitions, the frame conserva- objects in the collection, studying artists' tion studio had to dedicate a substantial techniques and materials, distinguishing amount of time for framing. Matisse in later additions from the original object, Morocco required sixteen frames that rep- checking for anachronistic materials, or licated a profile and finish specified by characterizing products used in conserva- Matisse for those paintings. A total of tion. Inquiries from other institutions eighty-eight frames were executed for six have also been addressed, including exhibitions, and sixty-seven frames re- those from the National Museum of Natu- ceived treatment. ral History, the David Taylor Naval Ship In preparing for exhibitions and loans, Research and Development Center, the the matting and framing staff worked to Corcoran Gallery of Art, and the Library provide the public with a greater aware- of Congress. ness of the original presentation of the works of art through recreations of frames chosen by the artist. For the John Marin LOANS AND EXHIBITIONS and Jasper Johns exhibitions, exact rep- CONSERVATION licas of the artists' frames were created, The department coordinated conservation whereas for Matisse in Morocco, the draw- for eighteen exhibitions that opened this ings were housed in frames inspired by year at the Gallery, including Masterpieces Matisse's original painting frames. Tech- of Impressionism and Post-Impressionism: nical innovations designed to increase the The Annenberg Collection; The Sculpture public's enjoyment of works of art on of Indonesia; and The Drawings of jasper paper included new book-mounting Johns. Several exhibitions required con- methods for the Gardens on Paper exhibi- tinued monitoring, among them Frans tion and the use of imported Denglass for Hals; Expressionism and Modem German a large Johns charcoal drawing. A total of Painting from the Thyssen-Bomemisza 1,457 works were matted, 665 were Collection; and the tour of Treasures from framed, and 41 books were mounted. the Fitzwilliam. Preparations are ongoing Lectures and specialized tours of the col-

32 lection were given to assist the docents in done by computer, and the annual inven- answering inquiries about frames in the tory of our holdings is greatly facilitated collection. by having computer-generated lists of the contents of each room, gallery, and even storeroom drawer. Records and Loans The degree of movement that takes place is indeed a factor to be reckoned Progress on the systematic catalogue of with. During the year the department re- the collections was significant during the corded more than 12,000 moves within year. The Spanish painting volume is ex- the buildings of works in the collection. In pected to be in print by the end of 1990, addition, the registrar's office logged with the British painting volume not far 2,815 outgoing works of art, 4,491 in- behind. The first of the decorative arts coming works for exhibition, and 1,009 volumes is through the final copyediting loans to the Gallery for other purposes; stages. Completion of the manuscript for 267 works from the Gallery's collections the volume on American naive paintings, were lent to sixty-six temporary exhibi- after a decade's work, was celebrated this tions at forty-seven institutions in the spring. That volume is now being edited. United States and forty-one museums A second decorative arts volume is well in abroad. Finally, 256 extended loans were hand, and the manuscript for the German made to thirty-three domestic and twenty- painting volume is ready to be sent to six foreign sites, and seven temporary scholarly readers. loans to museums in the United States. As the authors, some forty worldwide, Many of these loans were administered carefully compile the history of previous through the National Lending Service ownership, the changes of attribution, the (NLS), including 116 works lent to twenty- history of exhibitions, and the full schol- eight exhibitions at twenty-four sites in arly bibliography, they are preparing not the United States and twelve abroad. The only the catalogue entries but also the raw vast majority of the extended loans—254, material for the second phase of the Gal- displayed at thirty-three domestic and lery's computerized database on its hold- twenty-five foreign locations—were also ings. Although the new software will not made through the NLS. Two exhibitions be installed on the mainframe until next were circulated through the NLS: "Early year, some aspects of the database have Paintings by Mark Rothko," now at the already begun to be assembled on a per- Cedar Rapids Museum of Art, and "Sud- sonal computer for eventual transfer to america: Pinturas de George Catlin," the mainframe. Provenance histories of which traveled under the auspices of the many paintings have been automated, to- United States Information Agency to gether with basic biographical informa- Mexico City and Buenos Aires in 1989 tion on some 700 individuals who at one and ended its tour at the Museo Chileno time owned works of art now in Gallery de Arte Precolombino in Santiago, Chile, collections. As it grows, this database this year. should prove to be a resource of great use Ten paintings were added to the collec- not only to other systematic catalogue au- tions, together with twelve sculptures, and thors but also to scholars in the field. 311 prints and drawings. The Gallery's The current database on the collec- photographic holdings increased by 52 tions, meanwhile, serves to make more individual works and the Robert Frank efficient many everyday tasks at the Gal- archive, which consists of 61 vintage pho- lery. The manuscript for the Summary tographs, 999 work prints, 2,296 contact Catalogue of American Paintings, which sheets, 2,241 rolls of film, and an anno- will be published by the end of 1990, tated book dummy. The registrar's office was drawn largely from the computer, issued eighty-three copyist permits. and most of the indexes and concor- dances to this volume were created elec- tronically. Recording the movement of works of art within the Gallery is also

33 Changes of Attribution PAINTINGS

Number and title: Former attribution: Changed to: The following changes of attribution are 1947.17.48 Anonymous American 18th century Anonymous British 18th century the result of scholarly research using the Portrait of a Lady latest art historical investigations and sci- 1947.17.74 Anonymous American 18th century The Schuyler Limner (possibly entific examinations. It is the policy of the Mr. Van Vechten Nehemiah Partridge) National Gallery of Art to publish these 1947.17.95 Anonymous American 18th century Maria Verelst changes regularly. The following changes Portrait of a Lady of attribution were made and approved 1956.13.11 Anonymous American 18th century Attributed to Gerardus Duyckinck Lady Undressing for a Bath (1695-1746) by the Gallery's board of trustees during 1957.11.9 Anonymous American 18th century The Schuyler Limner (possibly the 1990 fiscal year. The works are listed Mr. Willson Nehemiah Partridge) in alphabetical order by former 1958.9.12 Anonymous American 19th century Milton W. Hopkins attribution. Aphia Salisbury Rich and Baby Edward 1980.61.13 Anonymous American 19th century Anonymous British 19th century Family Group in Interior with Seven People and a Dog 1947.17.91 Anonymous unknown nationality Anonymous British 17th century Portrait of a Man 17th century 1942.8.1 Anonymous unknown nationality Attributed to George Knapton Portrait of a Man 18th century 1942.8.5 Anonymous unknown nationality Style of Joseph High more Portrait of a Lady 18th century 1947.17.15 Anonymous unknown nationality Attributed to anonymous British Portrait of a Man 18th century 18th century 1947.17.22 Anonymous unknown nationality Attributed to anonymous British Portrait of a Man 18th century 18th century 1947.17.27 Anonymous unknown nationality Anonymous British 18th century Portrait of a Lady 18th century 1947.17.39 Anonymous unknown nationality Anonymous British 18th century Portrait of a Lady 18th century 1947.17.41 Anonymous unknown nationality Attributed to anonymous British Portrait of a Lady 18th century 18th century 1947.17.43 Anonymous unknown nationality Anonymous British 18th century Portrait of a Man 18th century 1947.17.64 Anonymous unknown nationality Anonymous British 17th century Portrait of a Man 18th century 1947.17.83 Anonymous unknown nationality Attributed to anonymous British Portrait of a Man 18th century 18th century 1947.17.86 Anonymous unknown nationality Attributed to anonymous British Portrait of a Man 18th century 18th century 1947.17.87 Anonymous unknown nationality Attributed to anonymous British Portrait of a Man 18th century 18th century 1947.17.88 Anonymous unknown nationality Attributed to anonymous British Portrait of a Man 18th century 18th century 1947.17.94 Anonymous unknown nationality Anonymous British 18th century Portrait of a Man 18th century 1954.1.7 Anonymous unknown nationality Anonymous British 18th century Portrait of a Man 18th century 1942.8.24 Anonymous unknown nationality Anonymous British 19th century Robert Thew (?) 19th century 1942.9.2 Giovanni Bellini Giovanni Bellini and Titian The Feast of the Gods 1947.17.29 Attributed to Mather Brown Jeremiah Davison James, 5th Duke of Hamilton 1942.9.14 Follower of John Crome Attributed to Joseph Paul, Land- Harling Gate, Near scape with Picnickers and Donkeys by Norwich a Gate 1960.6.23 John Frederick Herring Attributed to John Frederick Her- Horses ring the Younger, Horses Heads

34 Number and title: Former attribution: Changed to:

1968.6.1 Follower of Sir Thomas Lawrence Attributed to Thomas Phillips Portrait of a Lady 1970.17.125 Circle of Benjamin Marshall Style of Benjamin Marshall Race Horse and Trainer 1988.20.1 Gerard Soest John Riley John Eldred 1942.8.15 Gilbert Stuart Carl Fredrik von Breda Mrs. William Hartigan

SCULPTURE

1942.9.283 After Nicolas de Douai and Jacques After Nicolas de Douai and Jacques Saint Agnes de Nivelles, c. 1290 de Nivelles based on a design by Jacques d'Anchin, original 1272/1298 this cast 1897/1908 1948.15.1 Giovanni Francesco Rustici Anonymous Italian 16th century, Pietro Strozzi Don Pedro Alvarez de Toledo

GRAPHICS

1988.20.3 Anonymous British 19th century Egbert van Drielst, At Donderon, in Peasant Scene in a Forest the Woods of Drenthe

Joachim Antonisz. Wtewael, The Judgment of Paris, c. 1615, Ailsa Mellon Bruce Fund, 1990.35.1

35 Loans FRANCE

Paris, Musee du Louvre EXTENDED LOANS FROM THE tSevero da Ravenna, The Christ Child GALLERY'S COLLECTIONS Paris, United States Ambassador Anonymous American 19th century, Washington at All works are part of the National Lending Service Valley Forge; Thomas Eakins, Louis Husson; A. A. unless markedt Lamb, Emancipation Proclamation; John Singer Sargent, Mrs. Joseph Chamberlain; Benjamin West, AUSTRALIA Mrs. William Beckford; James McNeill Whistler, Canberra, United States Ambassador Head of a Girl Anonymous American 19th century, Indians Cook- GUATEMALA ing Maize; George Catlin, 2 paintings of Indian life Guatemala City, United States Ambassador AUSTRIA George Catlin, 5 paintings of Indian life Vienna, United States Ambassador HUNGARY Gilbert Stuart, Mr. Ashe; Sir John Dick; George Washington; Thomas Sully, Joseph Dugan; Henry Budapest, United States Ambassador Pratt; Robert Walsh (all returned) Thomas Chambers, Storm-Tossed Frigate; Asher B. Durand, Gouveneur Kemble; George Inness, Lake Vienna, United States Ambassador to the Mutual Albano, Sunset; Thomas Sully, Abraham Kintzing Balanced Force Reduction Negotiations (all returned) Anonymous American 19th century, Brother and

Sister, Steamship Erie; George Catlin, 2 paintings of ITA LY Indian life; attributed to Reuben Rowley, Dr. John Rome, United States Ambassador Safford and Family (all returned) Walt Kuhn, Green Apples and Scoop (returned) Vienna, United States Ambassador to the Negotia- tions on Conventional Armed Forces in Europe LUXEMBOURG

Thomas Chambers, Storm-Tossed Frigate United States Ambassador George Catlin, 4 paintings of Indian life; J. G. BELGIUM Tanner, Engagement between the "Monitor" and the Brussels, United States Ambassador "Merrimac" (all returned) Anonymous American 19th century, Sisters in Black Aprons; Leila T. Bauman, U.S. Mail Boat; Joseph THE NETHERLANDS Blackburn, A Military Officer, attributed to James The Hague, United States Ambassador Reid Lambdin, Daniel Webster; Charles Peale Folk, Anonymous American 18th century. Hunting Scene Anna Maria Cumpston with a Pond (returned); George Catlin, Two Sioux Brussels, United States Ambassador to NATO Chiefs, A Medicine Man, and a Woman with a Gilbert Stuart, George Pollock; Mrs. George Pollock; Child; Frederick Carl Frieseke, Memories; Robert Thomas Sully, Ann Biddle Hopkinson; Francis Hop- Henri, Volendam Street Scene; Walt Kuhn, kinson; The Leland Sisters Pumpkins; Thomas Sully, John Quincy Adams

BRUNEI PARAGUAY

Bandar Seri Begawan, United States Ambassador Asuncion, United States Ambassador Anonymous American 19th century, Lexington George Catlin, 4 paintings of Indian life Battle Monument; George Catlin, 3 paintings of SAUDI ARABIA Indian life; Karl Knaths, Marble Mantle Riyadh, United States Ambassador COLOMBIA Walt Kuhn, Hare and Hunting Boots (returned) Bogota, United States Ambassador SWITZERLAND Anonymous American 19th century. Miss Ryan; George Catlin, 4 paintings of Indian life Bern, United States Ambassador Anonymous American 19th century, Matilda CZECHOSLOVAKIA Caroline Cruger; " We Go For the Union "; George Prague, United States Ambassador Washington Mark, Marion Feasting the British Offi- George Catlin, 3 paintings of Indian life cer on Sweet Potatoes; Thomas Sully, The Van- derkemp Children; Marguerite Zorach, Christmas EGYPT Mail (all returned)

Cairo, United States Ambassador Geneva, United States Ambassador to the Arms Anonymous American 20th century, Horizon of the Control and Disarmament Agency New World; George Catlin, 4 paintings of Indian life Anonymous American 19th century, Brother and Sister, Steamship Erie; George Catlin, 2 paintings of ENGLAND Indian life; attributed to Reuben Rowley, Dr. John London, United States Ambassador Safford and Family Sir William Beechey, General Sir Thomas Picton; Geneva, United States Ambassador to the United Francis Cotes, Miss Elizabeth Crewe; Jacob Nations Mission Eichholtz, William Clark Frazer, Thomas Gains- Anonymous American 19th century, Abraham borough, William Yelverton Davenport; George Pe- Lincoln; George Catlin, Falls of the Snake River, T. ter Alexander Healy, Roxanna Atwater Wentworth; Davies, Ship in Full Sail; Gilbert Stuart, Ann Barry; Michiel van Miereveld, Portrait of a Lady with a Mary Barry Ruff; John Singer Sargent, Miss Grace Woodhouse; Gilbert Stuart, Luke White; Benjamin West, Self Portrait

36 Montevideo, United States Ambassador George Catlin, 4 paintings of Indian life; Thomas Chambers, The Hudson Valley, Sunset

VENEZUELA

Caracas, United States Ambassador George Catlin, 2 paintings of Indian life; Rembrandt Peale, George Washington; Matthew Pratt, Madonna of Saint Jerome (all returned)

YUGOSLAVIA

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

UNITED STATES

ALABAMA

Birmingham Museum of Art Anders Zorn, Hugo Reisinger

CALIFORNIA

Oakland Museum of Art Mark Rothko, two Untitled paintings

DISTRICT OF COLUMBIA, WASHINGTON

The Architect of the Capitol Franklin C. Courter, Lincoln and His Son, Tad

Blair House Anonymous American 18th century, Portrait of a Lady (returned); John Singleton Copley, Harrison Gray; Georgia Timken Fry, Flock of Sheep; Joseph Bartholomew Kidd, after John James Audubon, Black-Backed Three-Toed Woodpecker, Joseph Bartholomew Kidd after John James Audubon, Orchard Oriole; attributed to Benjamin Marshall, Race Horse and Trainer, Fritz Muller, Capture of the "Savannah" by the "U.S.S. Perry"; Gilbert Stuart, William Hartiganf?); Thomas Wilcocks Sully and Thomas Sully, Major Thomas Biddle

Department of State, Diplomatic Reception Rooms George Catlin, 8 paintings of Indian life (2 returned) Ferdinand Bol, Saint Jerome in the Cave, 1644,

Director, Office of Management and Budget Ailsa Mellon Bruce Fund, 1990.11.1 Raoul Dufy, Regatta at Henley

Dumbarton House, The National Society of Colonial Dames of America The Octagon, The American Institute of Architects The Secretary of Transportation John Trumbull, William Rogers (returned) Foundation Style of Hendrick van Anthonissen, Ships in the Gilbert Stuart, William Thornton; Mrs. William Scheldt Estuary ; follower of Claude Lorrain, Harbor National Museum of American Art, Smithsonian Thornton at Sunset; Hugues Merle, Children Playing in a Institution Park; Rene Pierre Charles Princeteau, Horses Jacob Eichholtz, James P. Smith The Secretary of Agriculture Anonymous American 19th century, Bucks County The Secretary of the Treasury National Museum of American History, Smithsonian Farm Outside Doylestown, Pennsylvania; follower of George Catlin, 7 paintings of Indian life; fC. Gre- Institution Canaletto, The Courtyard, the Doges Palace, with the gory Stapko, Alexander Hamilton Robert Edge Pine, General William Smallwood (re- Procession of the Papal Legale; Lamar Dodd, Winter turned); Charles Peale Polk, General Washington at Supreme Court of the United States Valley; Amzi Emmons Zeliff, The Barnyard Princeton Mr. Chief Justice Rehnquist The Secretary of Commerce Anonymous American 19th century, Boy and Girl; National Museum of Health and Medicine of the Pierre Bonnard, Stairs in the Artist's Garden; Boy in Blue; Memorial to Nicholas M.S. Catlin; Pink Armed Forces Institute of Pathology Thomas Chambers, New York Harbor with Pilot Roses; Anonymous Chinese, Ch'ing Dynasty, Archery tc. Gregory Stapko, Dr. John Brinton Boat "George Washington"; Raoul Dufy, Music and Contest; Anonymous unknown nationality 18th cen- National Portrait Gallery, Smithsonian Institution the Pink Violin; Philip van Kouwenbergh, Flowers in tury, Portrait of a Man; George Catlin, 3 paintings of Gardner Cox, Earl Warren; Chester Harding, Self- a Vase; Leonid, Derrynane Harbor, Ireland Indian life; George Cuitt the Younger, Easby Abbey,

Portrait; Daniel Huntington, Dr. James Hall; Henry The Secretary of Education Near Richmond; Andre Derain, Road in Provence; Theodore Tuckerman; John Wesley Jarvis, Thomas Maurice Utrillo, Street at Corte, Corsica Jean-Louis Forain, Behind the Scenes; attributed to Paine; Gilbert Stuart, Stephen Van Rensselaer, Sturtevant J. Hamblin, Little Girl with Pet Rabbit; Irving R. Wiles, Miss Julia Marlowe The Secretary of Health and Human Services Edward Molyneux, Chapel in Provence; Ammi George Catlin, A Small Crow Village; Andre Derain, National Trust for Historic Preservation Phillips, Jane Storm Teller, Thomas Sully, Thomas Abandoned House in Provence; Still Life; Leonid, Bernard Hailstone, David E. Finley Alston; Augustus Vincent Tack, Charles Evans Faraduro, Portugal; Allen Tucker, Madison Square, Hughes; Frits Thaulow, River Scene; John Toole, Snow Skating Scene; Eugene Laurent Vail, The Flags, Saint Mark's, Venice—Fete Day

37 Mr. Justice Kennedy LOANS TO TEMPORARY George; Georgia O'Keeffe: A Portrait; Georgia O'Keeffe: A Portrait—Neck; The Terminal; From the Anonymous French 19th century, Race Course at EXHIBITIONS Longchamps; Jean Beraud, Paris, Rue du Havre; Shelton Dutch 17th century, Flowers in a Classical Vase; Works in the National Lending Service marked* London, Tate Gallery John Ferneley, In the Paddock; Henri Moret, The JOSEPH WRIGHT OF DERBY, 7 February- AUSTRALIA Island of Raguenez, Brittany 22 April 1990 Mr. Justice Marshall Melbourne, National Gallery of Victoria Joseph Wright, The Corinthian Maid; Italianate Anonymous American 19th century, Leaving the THE ENCHANTED STONE: THE GRAPHIC Landscape; circulated to Galeries Nationales du Manor House; Enrique Castro, Untitled; imitator of WORLDS OF ODI I.ON RE DON. 7 July- Grand Palais, Paris, 17 May-23 July 1990; and Van Gogh, Landscape 2 September 1990 The Metropolitan Museum of Art, New York, 6 September-2 December 1990 Mme. Justice O Connor Odilon Redon, Centaure visant les nues; La George Catlin, 5 paintings of Indian life sulamite; circulated to City Art Gallery, Auckland, New Zealand, 27 October-9 December 1990 FEDERAL REPUBLIC OF GERMANY Mr. Justice Stevens Museum Folkwang Essen Anonymous American 19th century, Portland Har- AUSTRIA VINCENT VAN GOGH UND DIE MODERNE, bor, Maine; George Catlin, Scene from the Lower Vienna, Kunsthistorisches Museum 10 August-4 November 1990 Mississippi; Eduard Gaertner, City Hall at Torun; PRINCELY COURTS FROM THE Henri Matisse, Still Life Alphonse Legros, Hampstead Heath; Franz Xaver RENAISSANCE: ROME. MANTUA. VIENNA. Winterhalter, Queen Victoria Munich, Neue Pinakothek 30 November 1989-25 February 1990 FRANZOSISCHE I M PRESSION ISTEN UND The United States Trade Representative Giulio Romano, Saint Michael; River God; The 1HRE WEGBEREITER, 25 January-18 March 1990 Anonymous American 19th century, Imaginary Sacrifice of a Goat to Jupiter 50 French paintings (including 12 National Lend- Regatta of the America's Cup Winners; Mounting of ing Service works) the Guard; View of Aberdeen, Washington; Thomas RELGIUM Museum Wiesbaden Chambers, Bay of New York, Sunset; Boston Harbor Antwerp, Rubenshuis POSITIONS OF WOMEN ARTISTS IN THE 20TH The Vice President s House JAN BOECKHORST, 7 July-2 September 1990 Anonymous American 19th century. Girl with Toy Jan Boeckhorst, The Risen Christ Surrounded by CENTURY, 1 September-25 November 1990 Rooster, George Catlin, 3 paintings of Indian life; Saints; circulated to Westfalisches Landesmuseum * Helen Frankenthaler, Wales fur Kunst und Kulturgeschichte, Miinster, Lydia Field Emmet, Olivia; after Jean-Baptiste FRANCE Greuze, Benjamin Franklin; Charles S. Humphreys, 16 September-11 November 1990 The Trotter Aix-en-Provence, Musee Granet CANADA SAINTE-VICT01RE: CEZANNE I 990, 15 June- Preservation Office, The White House The Montreal Museum of Fine Arts 31 August 1990 Anonymous American 18th century, Attack on *Paul Cezanne, Mont Sainte-Victoire Bunker's Hill with the Burning of Charles Town; DISCERNING TASTES: MONTREAL A. Hashagen, Ship "Arkansas" Leaving Havana; COLLECTORS 1 880- I 920. 8 December 1989- Musee des Beaux-Arts de Chartres John Wesley Jarvis, Commodore John Rogers; John 25 February 1990 CHAIM SOUTINE, 20June-30October 1989 Neagle, Colonel Augustus James Pleasonton; John Joseph Mallord William Turner, The Dogana and *Chaim Soutine, Pastry Chef Santa Maria della Salute, Venice Vanderlyn, John Sudam Musee d art moderne de la ville de Paris DUTCH ITALIAN ATE PAINTING. 8 June- The White House FRANTISEK KUPKA: 1871-1957 OU 22 July 1990 George Catlin, 12 paintings of Indian life; John l/INVENTION D UNE ABSTRACTION, Aelbert Cuyp, Horsemen and Herdsmen with Cattle Frederick Kensett, Landing at Sabbath Day Point, 22 November 1989-25 February 1990 Lake George; Thomas Sully, Andrew Jackson; Jean- Toronto, Art Gallery of Ontario Frantisek Kupka, Organization of Graphic Motifs II Baptiste-Camille Corot, The Eel Gatherers; Jules JACQUES LIPCH ITZ —A LIFE IN SCULPTURE. Paris, Reunion des musees nationaux, Musee du Louvre Dupre, The Old Oak; Dietz Edzard, Flowers in a 15 December 1989-1 1 March 1990 JACQUES LOUIS DAVID 1 748- 1 825, 26 October Vase; fDietz Edzard, Three Flowers in a Vase Jacques Lipchitz, Bas-Relief, I 1989-12 February 1990

FLORIDA CHILE Jacques-Louis David, Madame David; Napoleon in His Study St. Petersburg, Museum of Fine Arts Santiago, Museo Chileno de Arte Precolonibino Studio of Gerard Terborch II, The Concert SU DA M ERIC A: PINTURAS DE GEORGE Paris, Reunion des musees nationaux, Musee d'Orsay CATLIN, I November 1989-14 January 1990 l/INVENTION D'UN REGARD (1839-1918): NORTH CAROLINA * National Lending Service exhibition of 35 paint- CENT CINQUANTENAIRE DE LA PHOTO- Charlotte, Mint Museum ings by George Catlin GRAPH I E, XIX' SI E CLE, 2 October-31 December Larry Poons, Tristan da Cugna; Mark Rothko, 1989 Untitled (Black and Gray); Georges Rouault, The DENMARK Alfred Stieglitz, Shadows on the Lake—Stieglitz and Breton Wedding Copenhagen, Ordrupgaardsamlingen Walkowitz; Georgia O'Keeffe: A Portrait—Hand; Georgia O'Keeffe: A Portrait—Hands Raleigh, North Carolina Museum of Art MANET, 15 September-10 December 1989 Mark Rothko, Number 8 Edouard Manet, Oysters; The Dead Toreador; Still Saint-Paul, Fondation Maeght Life with Melon and Peaches JOAN MIR0.4 July-7 October 1990 TEXAS ENGLAND Joan Miro, The Farm Austin, Archer M. Huntington Gallery, University of Texas at Austin London, Royal Academy of Art* GERMAN DEMOCRATIC REPUBLIC FRANS HALS, 13 January-8 April 1990 Mark Rothko, Untitled Leipzig, Museum der Rildenden Kunste Frans Hals, Portrait of a Gentleman; Portrait of An MAX BECKM ANN, 20 Julv-23 September 1990 VIRGINIA Elderly Woman; Willem Coymans; A Young Man in a Max Beckmann, *The Argonauts; * Falling Man Fairfax, George Mason University Large Hat; circulated to Frans Halsmuseum, Haar- Alfredo Halegua, America; Lila Katzen, Antecedent lem, The Netherlands, 11 May-22 July 1990 GREECE Iraklion, Crete, St. Marc Basilica THE ART OF PHOTOGRAPHY: I 839- I 989, DOMENICOS THEOTOCOPOll LOS: 450TH 23 September-23 December 1989 ANNIVERSARY OF HIS BIRTH, I September- Alfred Stieglitz, Music—A Sequence of Ten Cloud 10 October 1990 Photographs, No. VIII; From the Back- Window— El Greco (Domenikos Theotokopoulos), The Holy '29/Untitled—Porch and Grape Leaves, Ixike Family with Saint Anne and the Infant Saint John

38 Ernst Ludwig Kirchner. Dodo and an Older Woman Reclining before a Mirror, 1909, Ailsa Mellon Bruce Fund, 1989.75.1

ITA LY Milan, Palazzo Reale Venice, Palazzo Ducale IMPRESSIONISTI DELL A NATIONAL Brescia, Monestero S. Giulia TIZI A N 0, 1 June-7 October 1990 GEROLAMO SAVOLDO, 3 March-31 May 1990 GALLERY OF ART DI WASHINGTON, Giovanni Bellini, The Feast of the Gods; Titian, Car- Giovanni Girolamo Savoldo, Elijah Fed by the 22 Scptembcr-29 October 1989 dinal Pietro Bembo; Doge Andrea Gritti; Ranuccio Raven; Portrait of a Knight; circulated to Schirn 45 impressionist paintings (including 10 National Farnese; Saint John the Evangelist on Patmos; Venus Kunsthalle, Frankfurt, 8 June-3 September 1990 Lending Service works) with a Mirror Venice, Palazzo Grassi Florence, Ente Casa Buonarroti Padua, Palazzo della Ragione ARTE ITALIAN A 1900-1945, 30 April-5 November LUCE, PROSPETTIVA: LA PITTURA RUBENS. 25 March-31 May 1990 1989 FIORENTINA 1)1 META QUATTROCENTO E Peter Paul Rubens, Marchese Brigida Spinola Amedeo Modigliani, Head of a Woman GIOVANNI 1)1 FRANCESCO. 15 May- Doria; circulated to Palazzo delle Esposizioni, Rome, 12 June-26 August 1990; and Palazzo della 20 August 1990 Verona, Museo di Castelvecchio Permanente, Milan, 10 September- 28 October 1990 Domenico Veneziano, Saint John in the Desert BERNARDO BELLOTTO: VERONA AND THE Villa Manin di Passariano EUROPEAN CITY, 15 June-16 September 1990 Mantua, Palazzo Te SEBASTIANO RICC1. 24 June-30 October 1989 Bernardo Bellotto, View of Munich GIULIO ROMANO: PITTORE E ARCH ITETTO, Sebastiano Ricci, A Miracle of Saint Francis of 1/ART I ST A E II. SUO TEMPO, 1 September- Paola; The Finding of the True Cross; The Last JAPAN 12 November 1989 Supper Tokyo, National Museum of Western Art Giulio Romano, Saint Michael; River God; The WILLIAM BLAKE, 18 September-25 November 1990 Sacrifice of a Goat to Jupiter William Blake, The Dance of Albion; Christian with the Shield of Faith, Taking Leave of His Companions

39 THE NETHERLANDS MASTERPIECES OF WESTERN EUROPEAN FLORIDA PAINTING OF THE XVITH-XXTH CENTURIES The Hague, Mauritshuis Coral Gables, The Lowe Art Museum, The University of FROM THE COLLECTIONS OF THE EURO- GREAT DUTCH PAINTINGS IN AMERICA. Miami PEAN COUNTRIES AND USA. 170ctober- 28 September 1990-13 January 1991 ABSTRACT EXPRESSIONISM: OTHER Aelbert Cuyp, The Maas at Dordrecht; Pieter de 28 November 1989 DIMENSIONS, 26 October-3 December 1989 Hooch, The Bedroom; Adriaen van Ostade, The Cot- El Greco (Domenikos Theotokopoulos), Laocoon; Mark Rothko, * Number 9 or Number 22; * Untitled tage Dooryard; Rembrandt van Rijn, A Young Man Rembrandt van Rijn, Self-Portrait; Titian, Venus (1951); Untitled; circulated to the Terra Museum of Seated at a Table; Jan Steen, The Dancing Couple; and Adonis; Johannes Vermeer, A Lady Writing American Art, Chicago, 23 January-11 March 1990; and The Jane Voorhees Zimmerli Art Mu- Johannes Vermeer, A Lady Writing UNITED STATES seum, Rutgers, The State University of New Jersey, NEW ZEALAND CALIFORNIA New Brunswick, 25 March-13 June 1990

Auckland, City Art Gallery Los Angeles County Museum of Art St. Petersburg, Museum of Fine Arts PICASSO BEFORE NATURE, 21 September- ROMANCE OF THE TAJ MAHAL, 17 December GAR1 MELCHERS, 10 March-6 May 1990 12 November 1989 1989-11 March 1990 *Gari Melchers, The Sisters; circulated to the Telfair Picasso, Self-Portrait Anonymous Indian, Imperial Manufactory, Large Academy of Arts and Sciences, Savannah, 9 June- Animal Rug; circulated to The Toledo Museum of 5 August 1990; and the National Academy of De- SCOTLAND Art, 29 April-24 June 1990; and the Virginia sign, New York, 8 September-4 November 1990 Edinburgh, National Gallery of Scotland Museum of Fine Arts, Richmond, 23 August- Tampa Museum of Art CEZANNE AND POUSSIN: THE CLASSICAL 25 November 1990 AT THE WATER'S EDGE: 19TH AND 20TH VISION OF LANDSCAPE, 9 August-21 October 1990 CENTURY AMERICAN BEACH SCENES, Paul Cezanne, Houses in Provence; Mont Sainte- CONNECTICUT 9 December 1989-4 March 1990 Victoire Beyond the Wall of Jas de Bouffon Hartford, Wadsworth Atheneum * Thomas Moran, The Much Resounding Sea Glasgow District Council, The Arches JOHN TWACHTMAN: CONNECTICUT THE WORDS AND THE STONES, 12 April- LANDSCAPES, 18 March-20 May 1990 HAWAII 5 November 1990 John Twachtman, Winter Harmony Honolulu, Academy of Arts * Robert Salmon, The Ship "Favorite " Maneuvering EDVARD MUNCH: MASTER PRINTS FROM DISTRICT OF COLUMBIA, WASHINGTON off Greenock THE EPSTEIN FAMILY COLLECTION. Commission on the Bicentennial of the United States Glasgow Print Studio 12 September-28 October 1990 Senate, Russell Senate Office Building GEMINI G.E.L.: AMERICAN MASTER PRINTS, Edvard Munch, The Kiss; Madonna A NECESSARY FENCE: THE UNITED STATES 11 June-4 July 1990 SENATE IN ITS FIRST ONE HUNDRED YEARS. IDAHO 39 prints from the Gemini G.E.L. Archive 6 June-5 November 1989 Boise Art Museum SPAIN Gilbert Stuart, Samuel Alleyne Otis ONE HUNDRED YEARS OF IDAHO ART: Madrid, Fundacion Juan March The Corcoran Gallery of Art 1 850- 1950. 24 June-19 August 1990 EDWARD HOPPER. 13 October 1989-4 January 1990 FACING HISTORY: THE BLACK IMAGE IN * George Catlin, 2 paintings of Indian life * Edward Hopper, Cape Cod Evening AMERICAN ART 1759-1940. 13 January- ILLINOIS 26 March 1990 Madrid, Sala de Exposiciones de la Fundacion Caja de John Singleton Copley, Watson and the Shark; The Art Institute of Chicago Pensiones Thomas Eakins, The Poleman in the Ma sh; circu- ON THE ART OF FIXING A SHADOW: 150 ARSHILE GORKY, 17 October-23 December 1989 lated to The Brooklyn Museum, 20 April— YEARS OF PHOTOGRAPHY, 16September- Arshile Gorky, The Artist and His Mother; One Year 25 June 1990 26 November 1989 the Milkweed; Nighttime, Enigma, and Nostalgia; 14 photographs; circulated to the Los Angeles Portrait of the Artist and His Mother, circulated to The Folger Shakespeare Library County Museum of Art, 21 December 1989- Whitechapel Art Gallery, London, 19 January- CATHEDRALS: FAITH IN STONE, I May- 25 February 1990 25 March 1990 12 October 1990 Giuseppe Zocchi, View of Florence Cathedral Madrid, Museo del Prado IOWA

VELAZQUEZ, 23 January-30 March 1990 National Museum of American Art, Smithsonian Cedar Rapids Art Museum Diego Velazquez, The Needlewoman Institution MARK ROTHKO, 1 September 1990-10 February 1991 THE ART OF ALBERT PINKHAM RYDER, *24 paintings by Mark Rothko SWITZERLAND 6 April-29 July 1990 OITentliche Kunstsammlung Basel Albert Pinkham Ryder, Mending the Harness; KENTUCKY PAUL CEZANNE: THE BATHERS, 10September- Siegfried and the Rhine Maidens; circulated to The Louisville, The J. B. Speed Art Museum 10 December 1989 Brooklyn Museum, 14 September 1990-8 January THEMASKOF COMEDY. THEARTOFTHE *Paul Cezanne, The Battle of Love 1991 (the latter shown only at the National Museum ITALIAN COMMEDIA. 10September- of American Art) Lugano, Fondazione Thyssen-Bornemisza 4 November 1990 AMERICAN IMPRESSIONIST PAINTINGS, National Museum of American History, Smithsonian Jacques Callot, 13 prints from Balli di Sfessania; 22 July-28 October 1990 Institution * after Antoine Watteau, The Italian Comedians *Childe Hassam, Allies Day, May 1917; John MEN AND WOMEN DRESSING THE PART. (copy) Twachtman, Winter Harmony 19 September-19 December 1989 MARYLAND Ralph Earl, *Dr. David Rogers; * Martha Tennent UNION OF SOVIET SOCIALIST REPUBLICS Rogers and Daughter Annapolis, Elizabeth Myers Mitchell Art Gallery, Saint John's College Leningrad, State Hermitage Museum The Phillips Collection IMAGE AND WORD, 17 September-31 October 1989 GAUGUIN, 30 July-4 October 1989 NICOLAS DE STAEL IN AMERICA, 9June- 3 bronzes, 1 painting, and and 16 prints Paul Gauguin, * Haystacks in Brittany; Landscape at 9 September 1990 Le Pouldu; Pair of Wooden Shoes; *Parau na te Nicolas de Stael, Ballet; circulated to the Cincinnati Varua ino (Words of the Devil); Pere Paillard; Self- Art Museum, 16 October-31 December 1990 Portrait Dedicated to Carriere; Te Pape Nave Nave (Delectable Waters)

40 MICHIGAN Tracy; *Winthrop Chandler, Captain Samuel Chandler, *Mrs. Samuel Chandler The Detroit Institute of Arts THOMAS HART BENTON: AN AMERICAN New York, The Museum of Modern Art ORIGINAL, 4 August-15 October 1989 MATISSE IN MOROCCO: THE PAINTINGS AND *Thomas Hart Benton, Trail Riders; circulated to DRAWINGS, 1912-1913, 20 June-4 September 1990 the Whitney Museum of American Art, New York, Henri Matisse, Palm Leaf, Tangier

17 November 1989-11 February 1990; and the New York, Whitney Museum of American Art Los Angeles County Museum of Art, 29 April- THE ART OF MAURICE BRAZIL 22 July 1990 PRENDERGAST, 31 May-2 September 1990

MINNESOTA Maurice Brazil Prendergast, St. Mark's, Venice

The Minneapolis Institute of Arts NORTH CAROLINA MIRROR OF EMPIRE: DUTCH MARINE ART Raleigh, North Carolina Museum of Art OF THE SEVENTEENTH CENTURY, ROTHKO PAINTINGS FROM THE NATIONAL 23 September-31 December 1990 GALLERY OF ART, 15 July-22 October 1989 Ludolf Bakhuysen, Dutch Ships in a Stormy Sea Mark Rothko, *Number 11; *Number8; * Sketch for

MISSOURI Mural H; * Untitled (Harvard Mural)

Saint Louis Art Museum OHIO ART IN CONTEXT: MONTORSOLTS Cleveland Museum of Art RECLINING PAN, 30 January-6 June 1990 FROM FONTAINEBLEAU TO THE LOUVRE: Peter Paul Rubens, Reclining Pan FRENCH MASTER DRAWINGS, 13 December

NEW JERSEY 1989-28 January 1990 Jacques Bellange, Dancer with a Tambourine; The Art Museum, Princeton University Jacques C allot, The Holy Trinity in the Tree of Life; CENTRAL EUROPEAN DRAWINGS Study of Four Horsemen; Laurent de La Hire, The 1680-1800: A SELECTION FROM AMERICAN Presentation in the Temple; Robert Nanteuil, Marin COLLECTIONS, 21 October-3 December 1989 Cureau de la Chambre; Simon Vouet, Creusa Carry- 14 old master drawings; circulated to the University ing the Gods of Troy; circulated to the Fogg Art Art Museum, University of California at Santa Bar- Museums, Harvard University, 24 February- bara, 6 January-18 February 1990 18 April 1990; and the National Gallery of Canada, Ottawa, 6 May-17 June 1990 NEW YORK

Bronxville, Sarah Lawrence College Art Gallery PENNSYLVANIA

EGYPT: THE SOURCE AND THE LEGACY, Scranton, Everhart Museum 13 February-22 April 1990 EXHIBITION CELEBRATING THE 150TH *Erastus Salisbury Field, He Turned Their Waters ANNIVERSARY OF SCRANTON, 8September- into Blood 14 October 1990 The Brooklyn Museum George Inness, The Lackawanna Valley THE INTIMATE INTERIORS OF EDOUARD SOUTH CAROLINA VUILLARD, 17 May-30 July 1990 Edouard Vuillard, The Conversation Columbia, The University of South Carolina McKissick Edward Coley Burne-Jones, Saint Barbara, Museum New York, The Metropolitan Museum of Art c. 1866/1870, Gift of William B. O'Neal, in Honor FOLK ROOTS, NEW ROOTS: FOLKLORE IN of the Fiftieth Anniversary of the National Gallery VELAZQUEZ, 28 September 1989-7 January 1990 Diego Velazquez, The Needlewoman AMERICAN LIFE, 20 August-26 November 1989 of Art, 1989.58.1 12 watercolors from the Index of American Design; CANALETTO, 30 October 1989-21 January 1990 circulated to the Strong Museum, Rochester, Canaletto, The Portello and the Brenta Canal at 9 April-9 July 1990; and the Oakland Museum, Padua; Landscape Capriccio with Column; Land- 18 August-11 November 1990 scape Capriccio with Palace MASSACHUSETTS TEXAS PIERRE BONNARD: THE GRAPHIC WORKS, Boston, Museum of Fine Arts 28 November 1989-4 February 1990 Houston, Museum of Fine Arts STILL LI FES OF THE GOLDEN AGE: Pierre Bonnard, Two Dogs in a Deserted Street; THE INTIMATE INTERIORS OF EDOUARD NORTHERN EUROPEAN PAINTINGS FROM Young Woman in Black Stockings; circulated to the VUILLARD, 17 November 1989-28 January 1990 THE HEINZ FAMILY COLLECTION, Museum of Fine Arts, Houston, 23 February- Edouard Vuillard, Breakfast; Two Women Drinking 18 October-31 December 1989 29 April 1990; and the Museum of Fine Arts, Coffee; Woman in a Striped Dress; The Yellow Cur- Abraham Mignon, Still Life with Fruit, Fish, and a Boston, 24 May-29 July 1990 tain; circulated to The Phillips Collection, Washing- Nest A CARAVAGGIO REDISCOVERED: THE LUTE ton, D C., 17 February-29 April 1990; and The MARY CASSATT: THE COLOR PRINTS, Brooklyn Museum, 17 May-30 July 1990 PLAYER, 9 February-22 April 1990 9 September-5 November 1989 Orazio Gentileschi, The Lute Player Mary Cassatt, 4 drawings and 31 prints; circulated VIRGINIA New York, Miriam and Ira D. Wallach Art Gallery, to Williams College Museum of Art, Williamstown, Leesburg, Oatlands Columbia University 25 November 1989-21 January 1990 25TH ANNIVERSARY OF THE DONATION OF JULIUS S. HELD: DRAWINGS FROM HIS OATLANDS TO THE NATIONAL TRUST FOR Williamstown, Sterling and Franeine Clark Art Institute COLLECTION, 11 April-5 May 1990 HISTORIC PRESERVATION, 16 August 1990- BETWEEN THE RIVERS: ITINERANT RIVER 30 old master drawings PAINTERS FROM THE CONNECTICUT TO THE 30 June 1991 New York, Museum of American Folk Art Fausta Vittoria Mengarini, David E. Finley HUDSON, 7 April-22 July 1990 *Erastus Salisbury Field, Paul Smith Palmer, *Mrs. FIVE STAR FOLK ART, 13September- Paul Smith Palmer and Her Twins; circulated to the 25 November 1990 Museum of Fine Arts, Springfield, Massachusetts, * Anonymous American 18th century, Dr. Philemon 9 September-4 November 1990

41 For the Kazimir Malevich exhibition (above), su- WASHINGTON TEMPORARY LOANS TO MUSEUM prematist works were installed in a manner inspired Spokane, Cheney Cowles Museum COLLECTIONS by the artist's own highly unconventional hanging of WASHINGTON SALUTES WASHINGTON: THE his 1915 exhibition. Cubo-futurist works, such as PRESIDENT AND THE STATE, 8 September- UNITED STATES Malevich s Perfected Portrait of I. V. Kliun, 1913 19 November 1989 CONNECTICUT (facing page). State Russian Museum, were hung in * George Ropes, Mount Vernon; *L. M. Cooke, an adjoining gallery Salute to General Washington in New York Harbor Hartford, Wadsworth Atheneum 6 February-18 March 1990 WISCONSIN Thomas Cole, The Notch of the White Mountains Milwaukee Art Museum (Crawford Notch); Jasper Francis Cropsey, The Spirit MANNERISM INTO BAROQUE: DRAWINGS BY of War, Fitz Hugh Lane, Lumber Schooners at Eve- TADDEO AND FEDER1C0 ZUCCARO FROM ning on Penobscot Bay

NORTH AMERICAN COLLECTIONS, 16 November MICHIGAN 1989-14 January 1990 The Detroit Institute of Arts Federico Zuccaro, Disputation of Saint Catherine of 8 October 1989-18 March 1990 Alexandria; Angels and Putti in the Clouds; Taddeo *John Frederick Kensett, Beach at Beverly Zuccaro, Study of a Man Seen from Behind; circu-

lated to the National Academy of Design, New York, MINNESOTA 13 March-29 April 1990 The Minneapolis Institute of Arts 15 October 1989-20 May 1990 Edmund Charles Tarbell, Mother and Mary

OHIO

Cincinnati Art Museum 6 October 1989-22 July 1990 Rembrandt van Rijn, An Old Lady with a Booh

Cincinnati, The Taft Museum 1 October 1989-22 July 1990 *Frank Duveneck, William Gedney Bunce

42 Education Division Academic Programs'. Offering programs for the general public and for graduate The education division has undergone a and undergraduate students, this depart- major reorganization this year to facilitate ment administers the Sunday Lecture the development of model programs to series, the Andrew W. Mellon Lectures better serve the Gallery's local and na- in the Fine Arts, and other lectures, tional public. The six newly formed de- courses, and seminars. The office also partments oversee adult programs, oversees the Summer Graduate Intern- exhibition programs, media, education ship program, which this year matched publications, education resources, and thirteen students with curatorial, library, teacher and school programs. and conservation departments in the Gal- lery. The interns were introduced to the

ADULT PROGRAMS overall workings of the museum in fifty orientation sessions. By means of tours and lectures, academic This year an Internship in the Museum offerings, and films, this department aims Profession for Minorities was initiated to provide intellectually stimulating pro- with the support of Southwestern Bell. grams for adult visitors. Three interns are working with design Tours and Lectures: Professional staff this and installation, with education, and al- year presented 117 public talks on thir- ternately with the deputy director and the teen exhibitions, including Frans Hals, curator of photographs. Two Graduate Matisse in Morocco, Frederic Edwin Lecturing Fellows gave twenty-four gal- Church, and Edvard Munch: Master lery talks this year. A grant program for Prints from the Epstein Family Collection. Spanish museum specialists has been es- Other public tours scheduled during the tablished. All interns and fellows will at- year examined numerous aspects of the tend a series of museum orientation Gallery's own collections, such as decora- sessions next year. tive arts, depictions of weather in art, and Gallery seminars were offered for still-life painting through the ages. Ap- scholars and students on the expressionist pointment tours of the collection and ex- paintings from the Thyssen-Bornemisza hibitions served more than 10,000 Collection and on Rembrandt's land- visitors. Approximately 200 VIP tours scapes. A public symposium, On and Off demonstrate our increasing responsibility the Boulevard: Reflections on French for special requests from the White Painting in the Later Nineteenth Century, House, Congress, and museums around included four guest lecturers and marked the world. the opening of the Annenberg and Biihrle In 1990 the department offered a four- exhibitions. A four-part lecture course on teen-week survey course on Art of the the art of Kazimir Malevich and the Rus- Western World and, in conjunction with sian avant-garde is being offered in con- the Annenberg and Biihrle exhibitions, junction with the Malevich exhibition. gave a five-week course on Masters of Conversations with Artists, featuring the Nineteenth-Century Painting. The office printmaker Pat Steir and the print pub- coordinated a pilot study on labeling ob- lisher Kathan Brown, gave visitors a jects displayed in the West Building, with chance to talk with two of the contributors the purpose of improving written interpre- to the exhibition of prints from the Collec- tive material. A new program to recruit tion of Joshua P. Smith. Public gallery and teach docents to give general tours of talks by conservators and curators began the collection has enabled these docents this year. to give more than 200 tours to thousands of visitors. Sixty docents gave tours in seven foreign languages to 3,300 people, and the department recruited twenty-one new volunteers.

43 SUNDAY LECTURES Kathleen Pyne, University of Notre Dame, "John Twachtman and the Problem of American Jane Addams Allen, art critic, Washington, D.C., Impressionism" "The Profane and the Sacred: Why Art Offends" Natalie Rothstein, Victoria and Albert Museum, Boudewijn Bakker, Municipal Archives, Amster- "What Silk Shall I Wear? Fashion and Choice in dam, "Rembrandt's Walks around Amsterdam" Some 18th- and 19th-century Paintings in the Na- Roger Benjamin, University of Melbourne, "The tional Gallery of Art" Colonizing Aesthetic: Matisse and Modernist Lucy Freeman Sandler, New York University, Orientalism" "From Heraldry to Portraiture: The Image of the Yve-Alain Bois, The Johns Hopkins University, Owner in Illuminated Manuscripts during the Age of "Malevich and the Quest for the Zero Degree of Chivalry" Painting" Cynthia Schneider, Georgetown University, Walter Calm, Yale University, "Thinking About the "Rembrandt's Landscapes: Drawings and Prints" Leaning Tower of Pisa" Peter Selz, University of California, Berkeley, Baron Charteris of Amisfield, Provost of Eton "German Expressionism in the Context of the Euro- College, Chairman of the Trustees, the National pean Avant-Garde" Heritage Memorial Trust Fund, "The Work of the Michael Shapiro. The Saint Louis Art Museum, National Heritage Memorial Fund" "The Rise and Fall of George Caleb Bingham" James Cuno, Dartmouth College, "On the Allegory Paul Tucker, University of Massachusetts, Boston, of the Seasons in Jasper Johns' Art" "Monet and Fin-de-Siecle France" Caecilia Davis-Weyer, Tulane University, "A Timothy Verdon, Florida State University Study Fifteen-Hundred-Year Project in Restoration: Center, Florence, "Saint Francis, Christmas at Santo Stefano Rotondo in Rome" Greccio, and the Birth of Renaissance Art" David C. Driskell, University of Maryland, "His- Richard Wallace, Wellesley College, "Italian torical Perspectives: African-American Art" Baroque Painters and Etchers" Marvin Eisenberg, University of Michigan, Irene Winter, Harvard University, "The King's "Robert Browning and Italian Renaissance Art" Able Body: Style and Meaning in Sumerian States" Jan Fonlein, Museum of Fine Arts, Boston, Joanna Woods-Marsden, University of California, "The Sculpture of Indonesia and Its Architectural Los Angeles, "State Portraiture in Renaissance Context" Italy: The Shaping of Signorial Identity" Rona Goffen, Rutgers University, New Brunswick, Hiram W. Woodward, Jr., The Walters Art Gal- "Piety, Politics, and Patronage in the Art of Gio- lery, "The Buddhist and Hindu Sculpture of Indo- vanni Bellini" nesia: Its Place in Asian Culture" Stephen Jay Gould, Museum of Comparative Zoology, Harvard University, "Frederic Church and the Changing World of Science from Humboldt to Sunday talks were also given by National Darwin" Gallery of Art staff: Charles W. Haxthausen, University of Minnesota, Molly H Bourne, summer intern, "'King in All Twin Cities, "Simulated Auras: Matter and Memory but Name and State': Portraits and Politics in the in Klee's 'Aged' Artifacts" Medici Chapel Frescoes" Reinhold Heller, University of Chicago, "Envi- Milton Brown, Samuel H. Kress Professor, Center sioning Life: The Functions of Edvard Munch's Art" for the Advanced Study in the Visual Arts, "Art and David Huntington, University of Michigan, Social Activism in the Thirties" "Frederic Edwin Church and His World" Virginia Tuttle Clayton, assistant curator of Frances Jowell, art historian, London, "The Re- graphic arts, "Gardens on Paper: Prints and Draw- discovery of Frans Hals" ings, 1200-1900" Marilyn Aronberg Lavin, Princeton University, Jack Cowart, curator of twentieth-century art, "Piero della Francesca: Artist of the Universal and "Lost and Found: Matisse's Moroccan the Particular" Sketchbooks" Hugh Macandrew, The National Gallery of Scot- Eric Denker, lecturer, "Fleeting Impressions: land, "The National Gallery of Scotland and Its French Printmaking in the 1870s" Collection" Ruth Fine, curator of modern prints and drawings, Patricia Mainardi, Brooklyn College and The "Selections and Transformations: The Art of John Graduate Center, City University of New York, "The Marin" Academic Reaction in Later Nineteenth-Century Philip Leonard, lecturer, "The Prince Regent French Art" (George IV) and Royal Patronage in England" John Walker McCoubrey, University of Pennsyl- Therese O'Malley, assistant dean, Center for the vania, "J.M.W. Turner's Slaver's: A "Dream of Advanced Study in the Visual Arts, 'A Public Mu- Color Pots?' " seum of Trees': Antebellum Designs for the National John Pinto, Princeton University, "The Trevi Mall in Washington, D C " Fountain and Scenographic Design in Eighteenth- Maria Prather. assistant curator of twentieth-cen- Century Rome" tury art, "Portable Art: Marcel Duchamp's Box in a William Pressly, University of Maryland, "Shake- Valise" speare and Art: The Relationship of Painting to Text Nan Rosenthal, curator of twentieth-century art, and Performance" "Jasper Johns: Drawing as Rereading"

44 Will Scott, lecturer, "New Thoughts on Old Mas- STATISTICAL SUMMARY OF ADULT ters: Nineteenth-Century American Art" PROGRAMS Dennis Weller, lecturer, "New Thoughts on Old Masters: Seventeenth-Century Dutch Painting" Number of Estimated events audience Arthur Wheelock, curator of northern baroque painting, "Merry Drinkers and Upright Burghers: Tours and Lectures Frans Hals and Dutch Portrait Traditions" Introductory tours* 734 16,112 Christopher With, coordinating curator of art in- Theme tours* 236 9,273 formation, "Between Tradition and Opposition: The Collection highlights* 266 6,532 Art and Career of the German Impressionist Painter Foreign language West Max Liebermann" Building introductory tours* 46 301 Film Programs: In addition to 260 docu- Special appointment tours 462 11,247 mentary and educational film presenta- Foreign language special tions, the Gallery this year hosted a appointment tours 171 3,147 number of film series, retrospectives, and Special programs 86 12,686 area premieres in conjunction with spe- Volunteer docent training 139 4,033 cial exhibitions. To complement Expres- Academic Programs sionism and Modern German Painting Gallery talks* 50 1,044 Sunday lectures from the Thyssen-Bornemisza Collection, 51 14,557 Special programs 6 1,420 the Gallery hosted two series of German films: "The Films of Alexander Kluge," Subtotal 2.247 80,352 and "A Kabinett of German Cinema, Indirect Programs 1921 to 1981." Goethe House New York Film programs 412 78,511 Radio programs 37 247,900 participated in the organization of both Recorded tours of programs and assisted with the loan of a permanent collection 2,067 number of rare films from Germany. In Recorded tours of conjunction with the Annenberg and special exhibitions 137,205 Biihrle exhibitions, a series of French Media/audiovisual programs (20th- films entitled "The French New Wave Re- century) 111,800 visited" attracted large crowds. Joel E. Siegel of Georgetown University wrote ex- Subtotal 458 577,483 Total 2,705 657,835 tensive program notes for this series. At * 1,332 lours listed in the Calendar of Events served estimated the time of the Munch exhibition, a series audience of 33,262 entitled "A Cinema of Madness and Mel- ancholy" explored the ways in which con- EXHIBITION PROGRAMS temporary filmmakers, especially from The department this year initiated educa- Norway and Sweden, have treated the subject of human alienation shading into tional programs and provided interpretive materials for twenty exhibitions. Bro- madness. Robert Kolker of the University chures were written for Twachtman, of Maryland assisted in organizing this program. Films were also shown in the Matisse in Morocco, Jasper Johns, Indo- nesia, Bingham, and the Annenberg and West Building Lecture Hall as integral Biihrle exhibitions. A leaflet on printmak- parts of the John Marin, Jasper Johns, and Munch exhibitions. ing techniques accompanied Prints from The Gallery also presented Art of the the Collection of Joshua P. Smith. For Malevich, a summary discussion of the Western World in a series of nine pro- artist's work and complex theories was grams, given to the Gallery by the pro- ducer, WNET/Channel 13 in New York. presented in the format of a petit journal, Total attendance was approximately and notebooks with information on Male- 80,000. vich's approach to art education were prepared. The brochures and petit journal are estimated to have reached audiences of 2,615,000. Six recorded tours served audiences of 137,204, and all exhibitions were provided with wall texts, which were particu-

45 Gamelan musicians from the Indonesian Embassy larly extensive for Indonesia and The which incorporated documentary footage performed concerts twice a week on a stage near Feast of the Gods. Special programs in- as well as staff interviews; and a 23-min- The Sculpture of Indonesia exhibition in the East cluded two weekend performances in ute program that assembled segments of Building conjunction with Church in which a trou- Gallery video and film offerings for use at badour/storyteller brought life and humor the Frankfurt Book Fair. An orientation to stories and songs of nineteenth-century and organizational overview was also pro- America; and a series of concerts of duced for the publication sales office. gamelan music was performed by musi- The exhibition on The Feast of the Gods cians from the Indonesian Embassy, en- was documented on video. And produc- hancing the experience of The Sculpture tion was begun on a video introduction to of Indonesia. In preparation for future ex- sculpture, supported by the Bauman hibitions, brochures and other educa- Foundation. tional materials were produced for Titian Radio Programs: This section produced and Van Dyck, and the script was written thirty-seven talks and interviews this year for an audiovisual program on the archi- to accompany Sunday evening broadcasts tecture of John Russell Pope. of the National Gallery concerts on station WGMS. These programs, presented during EDUCATION MEDIA intermission, were heard by an average of The new department name, formerly au- 6,700 listeners weekly from 1 October to diovisual productions, reflects the variety 24 June. They included talks with staff, of programming produced by the depart- guest curators, and visiting scholars, on ment. Projects this year have included: topics ranging from exhibitions to general television public service announcements art history. for Frans Hals and the Annenberg and Interactive Educational Technology: This Biihrle exhibitions; a short documentary unit coordinates the Gallery's interactive of the National Teacher Institute's sum- media and digital imaging projects, moni- mer session on American Art: 1700- tors developments in this rapidly growing 1900; a ten-minute video on the Visitor field, and serves as liaison among mu- Study Focus Group, sponsored by the seum professionals, educators, technol- Getty Center for Education in the Arts, ogy specialists, publishers, and others

46 devoted to furthering public education. In West Buildings and are at the desks dur- collaboration with these diverse groups, ing all the hours in which the Gallery is the department is developing innovative open to the public. For this fiscal year, interactive learning applications that will volunteers gave 15,428 hours of service. have significant impact on American edu- Records indicate that in midsummer cation in the 1990s. As a member of the volunteers and staff at the information Museum Education Consortium, the Na- desks responded to more than 7,500 tional Gallery has joined with the Mu- questions a week from visitors and ap- seum of Modern Art, the Boston Museum proximately 700 telephone inquiries. In of Fine Arts, the Art Institute of Chicago, this fiscal year a total of 1,659 queries the Brooklyn Museum, the Philadelphia about specific works of art and artists Museum of Art, and the Metropolitan Mu- were answered: 716 by telephone and seum of Art to develop state-of-the-art in- 943 by mail, averaging 140 questions teractive computer technologies with per month requiring special research. respect to public art instruction, classroom teaching, and self-directed learning. Extension Programs personnel manage nationwide distribution of color slide programs, films, videocassettes, and other EDUCATION PUBLICATIONS educational materials based on the Gal- This newly formed department provides lery's collections and exhibitions. Reports editorial and production support to all indicate that in fiscal year 1990, the au- other education departments, supervising dience viewing extension programs was the publication of an array of materials in- 91,376,226, of which approximately 88 tended for diverse audiences. The de- million in communities in every state in partment also produces educational the nation viewed programs on public publications on the Gallery collections not and educational television. Program pre- undertaken by other sections, including sentations reached an all-time high of the writing and management of the gal- 209,647, over half of which were televi- lery leaflet program. This program, a sion broadcasts by public and educa- long-standing and popular interpretive tional stations and networks such as PBS' vehicle for the institution's diverse collec- Adult Learning Service and ACSN, "The tions, is undergoing revision and expan- Learning Channel." The remainder of sion as part of the Gallery's fiftieth- showings represents direct use of pro- anniversary plans. The department also grams by schools, colleges, libraries, assembled, edited, and prepared for pub- museums, and other civic and cultural or- lication the National Gallery of Art: Guide ganizations that borrow materials through to Resources and Programs, and wrote a the regular short-term or affiliate ex- brief guidebook on early American art, tended-loan systems. one of a series of booklets currently in The department continues to provide preparation covering major areas of the films and videocassettes through USIA to collections. embassies and libraries; in addition, twelve programs were transmitted by

EDUCATION RESOURCES USIA's WORLDNET satellite to U.S. embassies and posts in Latin America, Africa, During fiscal year 1990 the departments the Mideast, and South Asia. The com- of extension programs and art informa- plete inventory of programs was used by tion were combined to form this new Department of Defense schools abroad department. and by military installations in the United Art Information personnel answer written States, Europe, Asia, and the Pacific and telephone inquiries from the public Fleet. Gallery films such as Winslow about the Gallery's collections and exhibi- Homer: The Nature of the Artist and Wil- tions, and teach and supervise over 130 liam Merritt Chase at Shinnecock repre- art information volunteers. The volun- sented the United States in film festivals teers staff the five information desks at in France, Belgium, and Yugoslavia. the entrances to the Gallery's East and A department film, The Landscapes of

47 Frederic Edwin Church, made in connection of art appreciation tours for elemen- tion with the Gallery's Church exhibition, tary children on themes such as families won the 1990 CINE Golden Eagle Award and heroes and heroines, hands-on "ar- and is a popular addition to the extension tcarts" used to demonstrate art tech- programs catalogue supplement that was niques, and tours relating to school published and mailed to 2,651 sites this curricula such as American art, Renais- year. Also newly available for circulation sance art, and life in the middle ages. is The Feast of the Gods, a videocassette Teacher programs, in the second year that documents the history of this major of development, included a series of painting by Giovanni Bellini and Titian. workshops that served over 750 teachers. Closed caption versions of extension pro- The National Teacher Institute, offered grams on John James Audubon, Winslow three times during the summer, registered Homer, James McNeill Whistler, and Wil- 165 teachers from over thirty states and liam Merritt Chase were also produced in Mexico, and a videotape of the program the course of the year. was produced and distributed to inter- The department continues to advise ested educators. The department is work- and review each year's issues of Art & ing with leading educators to evaluate the Man, a magazine designed for secondary impact of the institute on teachers as school audiences and published by Scho- adult learners, on teacher morale, and on lastic, Inc., in cooperation with the Na- classroom presentations. The department tional Gallery. Subscription levels also invited local teachers, principals, and remained high, reaching 200,000 for the supervisors and a national advisory panel second consecutive year. This year's is- of education experts to help plan the con- sues focused on the work of varied artists, tent of teacher programs and publica- including Caravaggio, Gauguin, David tions. This year publications included Hockney, and the American impressionist teaching packets for exhibitions on painters. Church, Rembrandt, Matisse, and the Annenberg Collection, as well as Impres- EXTENSION PROGRAM DISTRIBUTION sionism and Post-Impressionism in the Showings Audiences Gallery's collection, prepared for the in-

Color slide programs 13,096 541,880 stitute and "field-tested" in classrooms Films 14,132 731,338 by sixteen area teachers. These publica- Videocassettes 8,789 338,805 tions will be available for distribution Special loans 1,842 184,200 through the department of education Affiliate loans resources. Extended loans 32,886 1,196,252 Affiliate television 7,070 20,535,151 To promote art education for children Public/educ. television and their families, the department pro- (Networks) 131,832 67,848,600 duced family guides on the permanent TOTAL 209,647 91,376,226 collection and on the Indonesia exhibition as well as family programs for the Bing- ham exhibition. TEACHER AND SCHOOL PROGRAMS STATISTICAL SUMMARY OF This department serves teachers, school- INTERPRETIVE PROGRAMS age children, and their families through No. of Estimated tours, programs, and publications. About Events Audience 200 school program docents, taught by School tours 2.736 46.283 the professional staff, give tours to over Family programs 20 660 Teacher in-services 18 451 45,000 school children each year. The Teacher workshops 8 346 Gallery docents hosted the National Do- Teacher institutes 3 165 cent Symposium in November 1989. Docent symposium 1 650 They also participated in a peer review of Packets (39) (teachers) 845 the Gallery's docent and school tour pro- (students) 21,125 Family guide (1) 30,000 gram, which led to organizational restruc- A young visitor works intently on his project in an Video (1) 2.350 Elements of Design workshop offered by the Gal- turing and the strengthening of teaching TOTALS 2,846 102,875 lery's education division and evaluation. It also led to the introduc-

48 Library Several steadfast donors have shown remarkable generosity. In particular, Mark Library usage has increased steadily for Samuels Lasner, again added significant the past five years. The number of refer- works to our collections on nineteenth- ence queries has doubled, while on-line century British art, and Mrs. John A. database searching, circulation trans- Pope, once again has given many valu- actions, interlibrary requests, microform able titles on oriental art. Mrs. Sarah G. and vertical file usage, and outside visi- Epstein has been the single most impor- tors have all grown by more than 50 per- tant donor of material on Edvard Munch cent. In addition, the library served more and this year confirmed the future gift of departments within the Gallery by broad- her extensive library and archive of mate- ening its services. rial on Munch. Charles Rahn Fry has Readers services staff have made more given more than one thousand titles on material accessible through on-line sys- eastern European art over the past five tems. Intern Maureen Bearden entered years, including two hundred in this year. more than 1,200 artist vertical files into Mr. Fry died in September but will long the system. Porter Humphrey, volunteer, be remembered for his kindness and completed an on-line index to essays pub- generosity. lished in the Gallery's Studies in the His- John and Melinda Matson presented tory of Art. And Diana Vogelsong, head of the library with two magnificent early the audiovisual library at American Uni- books on Rome: Jean Barbault, Les plus versity, continued her sabbatical with an beaux monuments de Rome ancienne . . . evaluation of videodiscs on art and the (Rome, 1761), and Giovanni Falda, Li completion of an annotated bibliographic Giardini di Roma . . . (Rome, 1680). guide to the microform collection. The Circle of the National Gallery of Art In addition to numerous visitors from has responded most generously to re- the United States and Canada, scholars quests for the support of purchases of im- and researchers from Italy, Yugoslavia, portant art historical material; especially Switzerland, Israel, the Netherlands, significant was a collection of early guides France, and the Soviet Union consulted to Italian cities. Other purchases made library materials. The library also hosted possible by the Circle include: a visit by Elzbieta Paruszewska, head Leon Battiste Alberti, De pictura praestantissimae artis el nunquam satis . . . (Basel, c. 1540); Bernar- librarian of the National Museum of dino Corio, Historia di Milarw volgarmente scritta Warsaw, under the auspices of the Inter- . . .nella quale non solamente si veggono I'origine, i national Visitor Program of USIA. fatti & le fortune di essa Citta . . . (Venice, c. 1554); Important additions to the reference Girolamo Fabri, Ravenna ricercata overo Compendio collection include: istorico delle cosepiu notabili dell'antica citta di Ravenna (Bologna, c. 1678); Andrea Fulvio, Opera Art and Architecture Thesaurus, 3 vols. (New York, 1990); Claude Bergeron, Index des periodiques di Andrea Fulvio della antichita della citta di Roma & delli edificii memorabili di quelle . . . (Venice, d 'architecture canadiens, 1940-1980 (Quebec, c. 1543), bound with Lucius Fenestella, D'i Sacer- 1986); Victor Champier, Uannee artistique, 4 vols. dotti e d'i Magistrati Romani. . . (Venice, 1544); (Paris, 1878-1882); Contemporary Print Portfolio Famiano Nardini, Roma Antica (Rome, c. 1665); (Shawnee Mission, Kansas, 1990—); Ian Crofton, and Johann Heinrich von Pflaumern, Mercurius Ital- A Dictionary of Art Quotations (New York, 1989); icus Hospiti Fidus per Italiae praecipuas sunt visu ac Donna Ward La Cour, Artists in quotation: a dictio- scitu digna (Augsburg, c. 1625). nary of the creative thoughts of painters, sculptors, designers, writers, educators and, others (Jefferson, Many other donors have contributed to N.C., 1989); Heritage of Music, 3 vols. (New York, 1989); Wolfgang Prein, Handbuch der monogramme the library. We wish especially to thank in der europaischen Graphik vom 15 bis zum 18 Jahr Hyman Kaitz, Ruth Berenson, Congress- hundert (Munich, 1989); James Ward, Architects in man Sidney Yates, and many members of Practice, New York City 1900-1940 (Union, N.J., the Gallery staff. Notable book acquisi- 1989); and Worterbuch der mittelhochdeutschen tions include: Urkundensprache (Berlin, 1986). Kornelis van Alkemade, Nederlands displeg- tigheden: vertoonende de plegtige gebruiken aan den Gifts to the library remained constant dis, in het houden van maaltyden . . . (Rotterdam, this year, despite a general decline in gifts c. 1732-1735); Les Americains \Textes reunis et pre- to museums and libraries nationwide. sentes par Alain Bosquet. Photos, de Robert Frank]

49 c. 1552); Daniel Heinsius, Nederduytsche poemata (Amsterdam, c. 1618); Pieter Corneliszoon Hooft, R C. Hoofts Werken (Amsterdam, c. 1671); Ignazio Enrico Hugford, Vita di Anton Domenico Gabbiani Pittor Fiorentino (Florence, c. 1762); Itinerarium Provinciarum Antonini Augusti: vivius sequester de Jluminu, & aliarum rerum nominibus . . .P. Victor de regonibus . . . (Lyon, [c. 1545]); Hans Lencker, Per- spectiva: hierinnen auffs kurtzte . . . (Nuremberg, c. 1571); Giovanni Paolo Lomazzo, Della forma delle Muse, cavata da gli antichi autori greci et lat- ini opera utilissima a pittori, & scoltori di Gio. Paolo Lomazzi. . . (Milan, c. 1591); G. W. van Oosten de Bruyn, De stad Haarlem: en haare geschiedenissen, in derzelver opkomst, aanwas, vergrootingen, en lot- gevallen, uit d'oudste gedenk-stukken, en eigene stads-registers . . . (Haarlem, c. 1765); 0 Muses (Greek deities) in art; Pietro Paoletti, Architettura e la sculture del rinascimento in Venezia: ricerche storico-artistiche (Venice, c. 1893-1897); Russkoe dekorativnoe iskusstvo [redaktor A. I. Leonov] (Mos- cow, c. 1962-1965); Leonardo Salviati, Orazione di Lionardo Salviati nella morte di Michelagnolo Buonarroti (Florence, c. 1564); Louis Savot, Archi- tecture franqais des batiments particuliers (Paris, c. 1673); Giovanni Strings, Chiesa di San Marco: Capella del Serenissimo principe di Venetia (Venice, c. 1610); Cesare Vecellio, Habiti antichi: ouero, raccolta di figure delineate dal gran Titiano, e da Cesare Vecellio suo fratello . . . (Venice, c. 1664); Francesco Zanotto, Palazzo ducale di Venezia, illus- trato da Francesco Zanotto (Venice, c. 1842-1861); and Filips von Zesen Beschreibung der Stadt Amster- dam (Amsterdam, c. 1664). Two library exhibitions were installed: Expositions and World's Fairs, 1851- 1839, December 1989-March 1990, coordinated by Ruth Philbrick; and Edvard Munch, August-October 1990, coordinated by Caroline Backhand. Intern Kate Hogan prepared a pro- cedural guide for collection development. Anne M. Hudson, library technician, catalogued all of the eighteenth-century auction catalogues, which are now entered into the SCIPIO nationwide database. The cataloguing section completed a four-year project to convert 25,000 manual cataloguing records dating back to 1941 into

Antoine Coypel, A Seated Faun, first quarter 18th (Paris, [c. 1958]); Raffaello del. Bruno, Ristretto machine-readable form. Full on-line ac- century, Gift of Lois and Georges de Menil, in delle cose piu notabili della citta di Firenze . . . (Flo- cess to the entire catalogued collection is Honor of the Fiftieth Anniversary of the National rence, c. 1698); Feleciano Bussi, Istoria della citta now possible. Gallery of Art, 1989.65.1 di Viterbo (Rome, c. 1742); Compendium privi- legiorum Rev. Fabricae S. Petri. . . (Rome, 1676); M. E. Chevreul, Complement d'etudes sur la vision LIBRARY STATISTICS des couleurs (Paris, c. 1879); Calendrier pour Van- nee 1787, a Vusage des eleves qui frequentent I'Ecole Total volumes (monographs, 156,462 Royale Gratuite de Dessin (Paris, c. 1787); Pietro bound serials including auction Luigi Galletti, Ragionamento deWorigine e de'pri- catalogues, pamphlets, mieri tempi della Badia Fiorentina (Rome, microforms) c. 1773); Paolo Giovio, Iscrittioni poste sotto le vere Titles/volumes acquired with 1,931/2,100 imagini de gli huomini famosi in lettere (Florence, federal funds

50 Titles/volumes acquired with 650/812 searchers came from all over the world, trust funds including three from Moscow, two of Tides/volumes acquired by gift 1,196/1,203 whom were referred to us by the Kennan Tides/volumes acquired by 578/584 Institute. Scholars from the University of exchange Vienna; the universities of California, Added microform titles 43 Added vertical file material 5,340 Harvard, Columbia; the Museum of Fine Reference inquiries 19,886 Arts, Boston; and every university in the Computer-based bibliographic 3,404 Washington, D.C., area made extensive searches (RLIN, OCLC, ARTQUEST, use of our facilities. A scholar from the DIALOG, WILSONLINE) Istituto Germanico in Rome spent several Outside visitors 2,827 months studying our Italian photographs Titles/volumes catalogued 3,595/5,262 and negatives in preparation for a forthcoming book; and one important result is PHOTOGRAPHIC ARCHIVES an anticipated exchange with the Istituto. In the past fiscal year the photographic The subjects of research ranged from in- archives was able to purchase the photo- dividual artist's works to Gothic painting, graph and negative collection of New American portrait miniatures, surrealism, York art dealer M. R. Schweitzer, which the legend of Tristan and Isolde, the consisted of 6,000 images of American World's Columbian Exposition in Chicago and European paintings. As is the case in 1893, apocalyptic art, and musical with most dealers' archives, the range is iconography. enormously varied, and the collection has The Kress Foundation has continued added to our files of major artists as well to support the photographic archives by as to those of less well known artists. A requiring that certain of their grantees do- major microfiche purchase—the entire nate photographs used in their research photograph collection of the German Ar- to the archives. This year grants will pro- cheological Institute in Rome, more than vide us with photographs ranging from 375,000 images—enhances our classical ninth-century Japanese sculpture to Man and ancient holdings. We also obtained, Ray; nineteenth-century Italian paintings as a gift or institutional transfer, the entire to the previously unpublished Dutch photo collection from Oberlin College, drawings in the collection of the Mor- which though relatively small in numbers, avske Galerie, Brno, Czechoslovakia. is unique and broadens our holdings particularly in architecture and works from SLIDE LIRRARY American museums. The archives pres- In January 1990 the administration of the ently has 1,290,000 photographs and slide library transferred from the educa- negatives and over 4,500,000 microform tion division to the main library. At the images. same time, the slide library shifted its The department made some notable focus toward primarily supporting the re- purchases of nineteenth-century images: search of the Gallery's staff. a rare volume of photographs of the col- Figures indicating the official holdings lection of the Marquess of Hertford, pub- of the slide library are substantially less lished in 1859; a portfolio of autotypes of than those that appeared in last year's re- the Raphael drawings in the collection of port. The lantern slide collection was the Duke of Devonshire, Chatsworth, deaccessioned this year; the master slide published by the Arundel Society in collection (archival slides of Gallery ob- 1872; and two of a series of volumes on jects) was transferred to the office of the "Chateaux of the Renaissance" pub- photographic services; and the precise lished between 1855 and 1865: one on number of uncatalogued slides in the the Heidelberg Schloss, and a double vol- backlog is no longer included in the total ume on the Chateau de Fontainebleau. figures. Of the 136,847 slides in the col- Outside visitors to the photographic ar- lection, 31,083 were circulated, 716 to chives increased by 12 percent in 1990, outside borrowers, and 7,286 were reflecting efforts to disseminate our list of catalogued. holdings to the scholarly community. Re-

51 Copublishers of these volumes are Harry N. Abrams; Thames and Hudson; Bul- finch Press, Little, Brown and Co.; and the University of Pennsylvania Press. The office edited The Passionate Eye: Impres- sionist and Other Master Paintings from the Collection of Emil G. Biihrle, published by Artemis Verlag; and Paul Strand, published in association with Aperture Foundation. Brochures were produced for Biihrle; Masterpieces of Im- pressionism and Post-Impressionism: The Annenberg Collection; Matisse; Johns; In- donesia; George Caleb Bingham; and Ka- zimir Malevich, 1878-1935, as were wall labels and press kit folders. Labels were made also for installations from the permanent collection of French paintings and the work of George Catlin. Work continues on the systematic catalogue, a twenty-six-volume series documenting the Gallery's collection. Nearing completion are volumes on Spanish and British painting. Volume 24 in Studies in the History of Art was the last book pub- One loan for the John Marin exhibition was the Editors Office lished in a series of collected papers. artist's Stream, Taos Canyon, New Mexico, 1929, Seven volumes of Studies in the History The Jan Perry Mayer Collection of Works on Paper This department made the activities of of Art CASVA symposium series came out the Gallery known to the public by edit- this year: vol. 20, Retaining the Original: ing, designing, and publishing exhibition Multiple Originals, Copies, and Reproduc- catalogues, volumes in the systematic cat- tions; vol. 25, The Fashioning and Func- alogue of the collections, scholarly jour- tioning of the British Country House; vol. nals, and a great variety of brochures, 26, Winslow Homer, vol. 27, Cultural announcements, calendars, and other Differentiation and Cultural Identity in ephemera. Copublication agreements al- the Visual Arts; vol. 35, The Architectural low us to offer books to a wider audience Historian in America; vol. 37, American than can visit Washington, and new ave- Art around 1900, and vol. 40, The Feast nues of distribution were sought at the of the Gods: Conservation, Examination, Frankfurt Book Fair. This year we also and Interpretation. Volume 40 served a commissioned a logo and began prepara- dual role, documenting a didactic exhibitions for two special books commemorat- tion as well as a CASVA symposium de- ing the Gallery's fiftieth anniversary: a voted to recent studies on the Gallery's history of the Gallery, and an exhibition Bellini/Titian masterpiece. Other CASVA catalogue of gifts of works of art. publications produced during the year Exhibition-related efforts include the were Sponsored Research in the History of publication of the catalogues The 1980s: Art 9 and Center 10: Research Report and Prints from the Collection of Joshua P. Record of Activities. The University Press Smith; Rembrandt's Landscapes: Draw- of New England distributes Studies in the ings and Prints; Matisse in Morocco: The History of Art. Paintings and Drawings, 1912-1913; Ephemeral publications covered a Gardens on Paper; The Drawings of Jasper wide variety of topics. There were an- Johns; Edvard Munch: Master Prints from nouncements of public events as diverse the Epstein Family Collection; Old Master as film series, concerts, educational ser- Drawings from the National Gallery of vices for teachers and schools, and the Scotland; and The Sculpture of Indonesia. many CASVA symposia and fellowships;

52 brochure on Gallery programs and ser- CASVA scholars and staff. Department vices; guides to making donations to the photographers cover special events and Gallery; a redesigned calendar of events; activities such as exhibition openings, The Circle Bulletin; the Gallery newslet- press conferences, the National Teacher ter; and educational publications for chil- Institute, CASVA symposia, VIP visits, and dren visiting the Gallery. award ceremonies. The National Gallery received the In fiscal year 1990 photographic ser- International Center of Photography's vices added 27,960 black and white pho- "Infinity Award" for the Photography tographs and 2,391 color transparencies Book of the Year for On the Art of Fixing to the files, issued 2,049 permissions for a Shadow: 150 Years of Photography. reproduction, and lent 5,047 color transparencies for reproduction. The photographic laboratory produced 7,615 black PHOTOGRAPHIC SERVICES and white negatives, 52,820 prints, Photographic services provides color 20,795 35mm slides, 3,466 color trans- transparencies, slides, and black and parencies, and 2,088 color negatives. white photographs to museums, scholars, The coordinator of photography serves institutions, publishers, visitors, and Gal- as executive secretary to the Gallery's lery staff; authorizes reproductions of committee for media projects, which re- works in the Gallery collections; and coor- views and oversees all audiovisual proj- dinates requests for work to be performed ects involving the Gallery, including the by the photographic laboratory. The de- rapidly changing field of "electronic pub- partment also obtains photographs and lishing" (CD-ROM, digital imaging, video- transparencies of works to be loaned to discs, etcetera). temporary exhibitions at the Gallery, and manages the photographic needs of all Gallery departments as well as museums participating in exhibition tours. During Gallery Archives the past year new computer programs have improved the efficiency of our ser- With the installation of a new automated vice by updating and streamlining office system in the fall, the Gallery Archives procedures and better extracting data achieved full subject retrieval of finding from the Gallery's mainframe system. aids to its historical materials, vastly im- The photographic laboratory provides proving access to the documents. Re- a wide variety of services to Gallery de- searchers from the United States and partments and responded to a record other nations as well as from numerous number of photographic requests this Gallery departments took advantage of year. Foremost among the department's this improved capability in their research responsibilities is the photography of in archival holdings. works of art in the Gallery's collections, Archives staff planned and began de- 2,000 of which were photographed this velopment of a database of the estimated year. In addition, we took photographs of 20,000 architectural plans and drawings many other works in temporary exhibi- for the Gallery's buildings. Upon comple- tions, including slides of nearly all of the tion, this database will permit rapid and paintings in the Church, Hals, Matisse, accurate item-level retrieval of these ma- and Bingham exhibitions. The depart- terials for architectural historians and ment furnishes great numbers of black building staff. and white photographs for publicity in Throughout the year important groups connection with special exhibitions, and of records were processed and opened to this year began to produce duplicate researchers, including public information transparencies as well. We also provide files and records from the offices of the color transparencies for posters, post- deputy director, chief curator, library, and cards, slide sets, and other reproductions education division. Archives staff began a sold in Gallery bookstores; and study special project to improve the organiza- slides or black and white photographs for tion and housing of historical photographs

53 %

Emil Nolde, Red and Yellow Poppies with a Blue and negatives. Vital records were sent off- Richard Bales, Elizabeth Croog, Elise Delphinium, c. 1930/1940, Gift of Alexander and site for security storage as part of the Gal- Ferber, Elizabeth Foy, John Hand, Wil- Judith W. Laughlin, in Honor of the Fiftieth Anni- lery's continuing emergency management liam Moss, Frances Smyth, and A. C. versary of the National Gallery of Art, 1990.23.1 program. Viebranz. (detail) The oral history program continued its Jane Pope Ridgway, daughter of West interviews of prominent observers and Building architect, John Russell Pope, participants in the Gallery's past to help loaned documents and photographs of fill gaps in written documentation. Among important materials relating to her father those interviewed were Henry Beville, so that copies could be made to augment Mary Elizabeth Burnet, Wanda Chramiec, Gallery Archives holdings. Henry Beville, Mel Edelstein, Lloyd Hayes, Franklin Wanda Chramiec, Lloyd Hayes, Mrs. Murphy, Jane Pope Ridgway, Noel Smith, Ernest Feidler, Noel Smith, and Thelma Edith Standen, Thelma Thomas, and Thomas also loaned photographs and Charles Walstrom. In accordance with other historical materials so that copies policies defined by the Oral History Advi- could be added to the archives. Archival sory Committee, the interviews were tran- holdings were further augmented by sub- scribed, reviewed, and deposited for stantial transfers of historical materials research in the Gallery Archives. Mem- from offices throughout the Gallery. bers of the advisory committee are

54 Administration

The National Gallery of Art recorded the chief of the office of protection ser- 5,580,005 visits in fiscal year 1990. Al- vices in the overall management of the though this figure represents a 10 percent human, financial, and material resources drop in attendance compared with last fis- entrusted to their office. In addition, the cal year, it is less pronounced than de- deputy chief oversees the development clines at most of the monuments and and implementation of security programs, museums on the national Mall. Among policies, and procedures relating to day- the exhibitions drawing more than to-day operations at the Gallery. This po- 300,000 visits were Masterpieces of Im- sition was not filled as of the end of fiscal pressionism and Post-Impressionism: The 1990. Annenberg Collection and Edvard Munch: Technical Services—David Schott, for- Master Prints from the Epstein Family Col- merly in charge of technical services for lection. More than 200,000 visits were the Art Institute of Chicago, was hired in recorded for Frederic Edwin Church; September as the Gallery's deputy chief Matisse in Morocco; Impressionist and for technical services, responsible for de- Other Master Paintings from the Collec- veloping and managing the complex tech- tion of Emil G. Biihrle; and The Art of nical systems used in the protection of the John Marin. Well over 100,000 enjoyed Gallery's collections and its off-site facili- Frans Hals; John Twachtman; Rem- ties. He directs the development and im- brandt's Landscapes; Matisse: Jazz and plementation of fire and security alarm Other Works on Paper, and the reinstalla- systems, locks and key control, as well as tion of the Gallery's Bellini/Titian Feast of safety plans for the permanent collection, the Gods. temporary exhibitions, special events, storage spaces, and designated construction projects. He also oversees the proper installation, repair, and security of all Protection Services alarms, lock and key access controls, closed-circuit television, radio systems, Jay W. Chambers, formerly chief of the and enhancements to the security console protection division for the Smithsonian room. Institution, was hired in January as chief As part of the reorganization, the elec- of the Gallery's office of protection ser- tronic and locksmith shops were com- vices. To further enhance the Gallery's se- bined under the leadership of Angelo curity, this division was reorganized into Catucci, who was promoted to technical three departments—Operations, Techni- services supervisor. cal Services, and Administration—each Administration and Special Operations— managed by a deputy chief. George Martin, formerly the Gallery's se- Operations—The responsibilities of the curity training manager, was promoted to deputy chief for operations are to assist deputy chief for administration and spe-

55 Security guards are trained in the use of fire cial operations, responsible for assisting and services, history of the National Gal- extinguishers in the daily security operation and in the lery of Art, responding to emergencies, planning, organizing, directing, evaluat- and handling lost and found property. ing, and coordinating of the protection Forty-two hours of classes were con- services program at the Gallery. He man- ducted for U.S. Special Police Training, ages the division's personnel program attended by six guards. Training included and the administrative and management arrest procedures, report writing, re- functions of security, including develop- volver qualification, law of arrest, and ment and implementation of a detailed D.C. and federal criminal code. Weekly training program and preparation and supervisory training included two-hour control of the division's annual budget. sessions held every Wednesday, labor re- Among the efforts undertaken this year lations training, and a 24-hour manage- to enhance the Gallery's security were nu-. ment workshop. merous training programs. Seven classes Training also was instituted three in basic security, which were attended by mornings a week at the roll call when offi- fifty guards, covered subjects such as fine cers are given their daily assignments. art protection, Gallery rules and regula- The education division and curators pro- tions, public relations, safety, use of fire vided information to the security force extinguishers, standard first-aid and CPR, about new exhibitions. information about the Gallery's collection

56 Publication Sales The Gallery bookstores continue to be recognized as an excellent source of This department serves the needs of the books on all aspects of the history of art public by offering a broad selection of and architecture. Book sales contributed catalogues, books, and reproductions of almost one-fourth of the total sales for the works of art from the Gallery collections. year. As in the past, income from these The Gallery experienced a very strong activities supports the sales program and year in sales this year, surpassed only by provides for special exhibition catalogues sales in the banner years of 1986 and and the publication of other scholarly 1988. Best-selling exhibition catalogues works in the history of art. were Church; Matisse; Annenberg; and Over 700,000 visitors were served in Biihrle. Sales of catalogues for Twacht- person this year and another 7,500 man; Hals; Feast of the Gods; Marin; through the mail. The publications sales Munch; and The Drawings of Jasper Johns service continues to expand its outreach were also strong. Altogether, more than by pursuing retail, wholesale, and licens- 100,000 exhibition catalogues were sold ing opportunities both in the United this year. Visitors also purchased more States and abroad. than two million printed reproductions, including postcards, note cards, greeting cards, framed and unframed large and small reproductions, and posters. Al- Gallery Architect though temporary exhibitions contribute notably to poster sales, the overall The architects and design professionals in strength of the reproductions program this office design and coordinate projects continues to be the broad representation that serve to improve both the environ- of works from the Gallery collections. ment and function of Gallery work spaces More than 700 works of art are repro- and the visitors' experience of the excep- duced on postcards, and more than 400 tional Pei and Pope buildings. on large and small reproductions. A sampling of projects completed or in In addition to the permanent sales progress in 1990 illustrates the diversity shops on the ground floor of the West of this office's work: redesign of offices in Building and on the concourse level be- the conservation lab; design of a special tween the East and West Buildings, the storage unit to accommodate works of art publications sales service operated tem- on paper measuring up to seven by ten porary sales areas for the Church; feet; design of new silkscreen department Matisse; Biihrle; and Annenberg exhibi- facilities and horticulturist's offices that tions. The service operated two joint sales include a floral design laboratory, both areas: the Johns; Munch; and Gardens on projects nearing the start of construction; Paper: Prints and Drawings exhibitions modifications to the East Building revolv- were served from an area in the West ing doors to improve their appearance Building, and The Sculpture of Indonesia and operation; and improvements to the and George Caleb Bingham were served acoustical quality of the slide library pre- from an area in the East Building. A third sentation room. Design work is in prog- permanent sales shop on the concourse ress for fiscal year 1991 construction in level of the East Building near the audi- two departments suffering from severe torium represented Twachtman; Rem- overcrowding: education offices will have brandt Drawings; Old Master Drawings more autonomous work space for each from the National Gallery of Scotland, department, and publications offices will and the continuing installation of twen- be organized to function as a contiguous tieth-century painting and sculpture in unit and to more graciously accommodate the East Building. These special locations outside contacts. offer the visitors convenience, service, Liaison work has continued on two ma- and a selection of focused materials that jor projects during the year: Pei Cobb extends the visitors' enjoyment of the Freed & Partners' comprehensive space works of art. use study and proposed East Building ex-

57 A comprehensive safety training program was developed and implemented, which educates staff concerning the dangers of asbestos and various chemicals and makes available at key locations throughout the Gallery a series of data sheets on hazardous materials. This year the work control center implemented the preven- tive maintenance module of the Gallery's automated maintenance management system, which is designed to reduce the pos- sibility of an emergency breakdown and facilitate efficient scheduling of maintenance.

Procurement and Supply

In fiscal year 1990 the procurement office was integrated into the Gallery's automated financial management and purchasing system, which enables all aspects of procurement to be accomplished via an on-line, real-time, interactive system. This system makes it possible for departments to have on-line information Visitors study Max Ernst's A Moment of Calm, pansion, and The Office of Dan Kiley's about the day-to-day status of budgets 1939, Gift of Dorothea Tanning Ernst, 1982.34.1, design of the National Sculpture Garden. and purchasing activity. The office estab- in the reinstallation of Twentieth-Century Art Another significant project now in its ini- lished annual contracts to facilitate con- tial planning phase is the proposed re- tracting support for the Gallery's busy placement of the original West Building exhibition schedule, with estimated sav- skylight system. The existing single- ings to the Gallery of over $300,000. An glazed skylights will be replaced with a agreement was reached with a travel system that uses current skylight technol- agency to establish an on-site travel office ogy, designed to provide desired fighting to serve Gallery employees. Relocation of in the main floor galleries, to control ul- storage from ground floor spaces in the traviolet radiation, and to provide proper West Building was completed, with equip- environmental conditions between the ment and supplies identified, labeled, skylights and Gallery lay lights. and sent to the Gallery's off-site warehouse.

Facilities Management Personnel In addition to operating and maintaining the Gallery's facilities, this office provided Recruitment was the focus of significant logistical support for more than 130 spe- activity in the personnel office this year. cial events, seminars, meetings, and con- To ensure that the employee base of the certs. An aggressive energy conservation Gallery reflects the cultural diversity of program managed by the department fo- American citizens, the personnel staff cused in 1990 on changes in the lighting stepped up efforts to attract qualified mi- system and working with the utility com- norities. The Gallery actively recruited for pany to reduce energy usage, both of both professional and administrative va- which contributed to significant savings. cancies at minority-sponsored symposia

58 and conferences for art professionals. In Audiovisual Services addition, the personnel office established many contacts with senior citizen groups, This year was an exceptionally busy one military bases, and community associa- for the staff of this department. In additions in an effort to open up new recruit- tion to the ongoing support provided to ment resources to support our security Gallery film programs, CASVA symposia, force's needs. special events, press briefings, concerts, and the like, the audiovisual staff provided technical assistance for the Teacher Institute offered by the Gallery's educa- Administrative Services tion division, the textile symposium sponsored by the conservation division, and The administrative services office insti- two continuously running programs: one tuted several new systems to improve effi- on The Feast of the Gods; and one on the ciency and enhance the tracking of office Gallery's twentieth-century collection. In support costs. The printing and duplicat- the first in-house effort of its kind, this ing shop installed a color copier and auto- staff made a digital recording and master- mated its distribution lists. Automated ing of the National Gallery Vocal Arts cost tracking and allocation systems were Ensemble for compact disc release inter- implemented to better control postage nationally. Installation of a large-screen and courier expenses. Plans are in the fi- video system and Dolby stereo sound sys- nal stages for a new Gallery telephone tem in the East Building auditorium is and voice mail system, scheduled for in- providing a state-of-the-art visual and stallation by April of 1991. Telecom- sound experience for visitors viewing Engineers check the chilled water temperature in munication devices for the deaf are being films and videos related to Gallery collec- the machine room of the East Building installed at the art information desks. tions and exhibitions.

i- Young visitors enjoy the fountains on the plaza between the National Gallery's East and West Buildings External Affairs

Development Office lace-Reader's Digest Fund for its exceptional gifts in this category. With the advent of the Gallery's fiftieth The Patrons' Permanent Fund, an en- anniversary, this office redoubled efforts dowment for art acquisition at the Gallery to meet immediate and long-term funding that was established by private donations, goals. In fiscal year 1990 the Gallery re- enabled the Gallery in 1990 to purchase ceived $4.4 million in gifts from individ- four important works of art: Modersohn- uals, $5.8 million from foundations, and Becker's Portrait of a Woman, Aert van an additional $773,700 from corpora- der Neer's Moonlit Landscape with tions for purposes other than exhibition Bridge, the Carpaccio drawing Sacra Con- support. We are grateful for the support versazione, and a Pieta by an anonymous of all donors, who are listed on pages Flemish sculptor. 101-108 of this report. The Andrew W. Mellon Foundation This office helps implement strategies awarded the Gallery a $750,000 grant in recommended by the development com- support of curatorial initiatives. A portion mittee of the Trustees' Council. This year of the grant is in the form of a challenge, the office published a booklet on How and gifts secured toward this sum will be You Can Give, providing information matched by the foundation on a one-to- about planned giving, an area we con- one basis. Substantial commitments for tinue to explore. The Gallery is also work- this effort have already been made by ing to interest and substantially involve Kathrine D. Folger and The Very Rever- younger individuals, and sponsored a end and Mrs. Charles U. Harris. two-day "Forum for Younger Arts World Foundations continue to support the Leaders" toward this goal. Gallery in many areas, including educa- Under the leadership of trustee Robert tion, exhibitions, symposia, films, pub- H. Smith, the 50th Anniversary Gift Com- lications, and research. The Getty Grant mittee neared its goal of $5 million. This Program generously provided funds for special group of individuals, foundations, the purchase of books about Italian art and corporations will make possible the and architecture for the Gallery library; purchase of one or more works of art for internships in conservation; and the pro- the collection. The development office is duction of the systematic catalogue vol- also seeking funds for other anniversary ume on classical, African, medieval, and programs and working with curators to Renaissance objects, enamels, and ce- encourage gifts-in-kind. ramics in the Gallery's collection. The This year the Gallery received several Florence J. Gould Foundation has agreed significant gifts for art acquisition, which to support the Guercino exhibition sched- are mentioned in the relevant curatorial uled for 1992, and the Arnold D. Frese sections of this report. We would like to Foundation, Inc., continues to support acknowledge in particular the Lila Wal- the Gallery's effort to facilitate the inter-

61 national exchange and exhibition of art. Corporate Relations CASVA too continues to benefit from the active and ongoing support of several This office secures corporate support for foundations. Gallery exhibitions and works with corpo- Support for the conservation program rate contributors to ensure that their rela- was greatly bolstered by gifts from the tionship with the Gallery is mutually Edward John Noble Foundation, the beneficial. The office also seeks corporate Charles E. Culpeper Foundation, Inc., support for exhibition-related projects and the Ann and Gordon Getty Founda- such as films and videos, advertising, tion. These gifts were applied to The An- press materials, educational programs, drew W. Mellon Foundation's $1 million brochures, audiovisual programs, special challenge grant for conservation endow- events, and catalogues. This year the of- ment and will be matched by the Mellon fice has continued to explore new oppor- foundation on a one-to-one basis. Vital to tunities for corporations, including an preserving the beauty of the works in the international corporate membership pro- Gallery collections, the conservation de- gram, acquisitions of works of art, a mi- partment also engages in research, pub- nority internship program, conservation, lication, and scholarly exchange that and consortium sponsorship. enlarge the Gallery's contribution to the Fifteen corporations and one founda- national and international museum tion made contributions amounting to community. $4,877,500 in support of thirteen exhibi- Guided by Robert H. Smith and tions and related projects in fiscal year Katharine Graham, The Circle of the Na- 1990, and another eight corporations tional Gallery of Art continued to grow in provided support for seven exhibitions its fourth year, bringing in more than half and related projects scheduled from Paul Strand, Wild Iris, Maine, 1927, Gift of South- a million dollars and enjoying an 86 per- October 1990 through 1992, totaling western Bell Corporation, in Honor of the Fiftieth cent annual renewal rate. Circle members $3,011,700. Anniversary of the National Gallery of Art, support a wide variety of programs at the Corporate friends returning to the 1990.44.4 (detail) Gallery, and the impact of their involve- Gallery in 1990 included Bell Atlantic, ment is felt in the United States and which concluded its support of a series of abroad. This year Circle members under- three exhibitions on American painting as wrote the production of a film on The the sponsor of John Twachtman: Connect- Feast of the Gods, shown at the Gallery in icut Landscapes. Ford Motor Company conjunction with an exhibition that fo- was the sponsor of The Drawings of Jasper cused on the newly restored painting. Johns, Philip Morris supported Kazimir The film was then translated into Italian Malevich 1878-1935, and GTE set a re- and screened at the premiere of the cord for exhibition support, with its sixth Titian exhibition at the Palazzo Ducale in show at the Gallery in the past decade, Venice. Circle funds purchased Leon Bat- Masterpieces of Impressionism and Post- tista Alberti's De Pictura, an early and Impressionism: The Annenberg Collection. important Renaissance treatise on the A number of corporations formed theory of painting; and a suite of twelve their first associations with the Gallery in etchings by Ercole Bazicaluva. Other Cir- 1990. Estee Lauder, Inc., supported cle projects this year included funding a Gardens on Paper: Prints and Drawings fellowship program for young museum 1200-1900, Monsanto joined The May professionals from Spain, and providing Department Stores Company in support critical support for a documentary the of George Caleb Bingham, and Statoil Gallery is producing on the occasion of its made possible the exhibition of Edvard fiftieth anniversary. The Circle is an ex- Munch: Master Prints from the Epstein cellent example of the significant results a Family Collection. Silvio Berlusconi Com- public-private partnership can produce, munications and Galileo Industrie Ot- as it makes possible projects and pro- tiche, Venezia, supported Titian: Prince grams of consistently high quality that of Painters. benefit every visitor and for which there The Gallery enjoyed the support of a are no federal funds. number of Washington-based corpora-

62 tions in 1990, including first-time spon- 1991/1992, Circa 1492: Art in the Age of sors Hecht's, a division of The May Exploration. Department Stores Company, and Martin Canon joined Republic National Bank Marietta, which supported The Passionate as the first corporate contributors to a Eye: Impressionist and Other Master new resource at the Gallery, the Fund for Paintings from the Collection of Emil G. the International Exchange of Art. Corpo- Biihrle. We celebrated the move of an old rate contributions to this fund are used to corporate friend, Mobil Corporation, to support a wide range of international pro- the Washington metropolitan area, with grams including films and exhibitions. their support of The Sculpture of This year the Gallery also initiated its Indonesia. first corporate membership program, the In conjunction with their support of the International Corporate Circle. We are exhibition, Mobil was also the sponsor of pleased to have all of our fiscal 1990 pro- the film. The Art of Indonesia: Tales from gram sponsors as founding members. the Shadow World, which was broadcast Circle membership will afford various on PBS, shown at the Gallery during the benefits to other corporations who are course of the exhibition, and will be dis- new to the Gallery, including invitations to tributed on videocassette by the Gallery an annual black-tie Corporate Circle din- and Home Vision. Films represent an in- ner, Gallery film previews, and other creasingly popular vehicle for corporate events abroad; complimentary publica- support, providing an opportunity for visi- tions and videocassettes; and VIP arrange- bility in this country and abroad as well ments for passes and tours of exhibitions. as at the Gallery. Salomon Inc provided The annual contribution for membership support for The Feast of the Gods, a film is $10,000. documenting the conservation of the Gal- The corporate relations office actively lery's masterpiece by Bellini and Titian. explored a number of other opportunities In addition to its national distribution, this year for corporate visibility in asso- the film was translated into Italian and ciation with the Gallery. A consortium of French, and the Gallery hosted film pre- corporations has been formed in support views and receptions in Venice, Rome, of Circa 1492, and its members include

Southwestern Bell Corporation was the first corpora- and Paris. Support was also secured from Republic National Bank, Ameritech, and tion to be recognized as a benefactor to the National Canon, Inc., and Canon USA, Inc., for a The Nomura Securities Co., Ltd., in part- Gallery, with its name engraved in marble in the film that is currently in production in con- nership with The Mitsui Taiyo Kobe West Building junction with an exhibition planned for Bank, Ltd. Long-lead press events were held in Washington and Tokyo to announce the exhibition and related film E and the support of these corporations. Cl Research and writing continued on the forthcoming publication. The Corporate Patron, which will salute for the first time collectively those corporations that have supported exhibitions here. The book is made possible by a grant from Fortune magazine, and its publication will coin- cide with the Gallery's fiftieth anniversary. NYNEX will support a John Singer Sargent exhibition, and a large portion of the grant will go toward conservation of El Jaleo, one of the great icons of Ameri- can art. A press luncheon was held in New York to announce plans by South- western Bell Corporation to give sixty-one photographs by Paul Strand to the Gal- lery in conjunction with its support of the Strand exhibition. Southwestern Bell is

63 the first corporate sponsor to join the Morning and NBC TV's Sunday Today as ranks of those foundations and individ- well as on French television's channels 1 uals whom the trustees recognize as bene- and 5 and in numerous magazines and factors of the National Gallery. The cor- dailies. Mentioning the unique Soviet- poration also helped initiate a minority in- American curatorial and institutional co- ternship program at the Gallery for the operation that made the show possible, academic year 1990/1991. the press also made note of the many In recognition of the broad and in- drawings in the show that had been dis- novative range of projects supported by covered only in preparation for the Southwestern Bell at the Gallery and else- exhibition. where, the corporation was this year Mrs. Bush's tour of Masterpieces of Im- awarded the National Medal of Art. pressionism and Post-Impressionism: The Southwestern Bell is only the fourth Annenberg Collection before the opening corporation to receive this award, which dinner attracted the attention of numer- was presented to chairman Edward E. ous major U.S. media, wire services, and Whitacre, Jr., by President Bush at a daily newspapers. A later tour for Lady White House luncheon. Bird Johnson, Lynda Robb, and daughter Catherine Robb, conducted by The Hon- orable Walter H. Annenberg, was also covered by the press. Press and Public Information CASVA's new Soros Visiting Senior Re- search Fellowship Program for scholars The information office serves as liaison from central Europe and U.S.S.R. re- between the National Gallery and a grow- ceived special attention in the press this ing number of media contacts, which in year, with several articles and a report in fiscal year 1990 included more than many languages broadcast by Radio Free 2,000 daily and weekly newspapers, Europe on the experiences of the first more than 200 magazines, and un- Soros Fellows. counted radio and television stations around the world. On Columbus Day 1989 Italian president Francesco Cossiga Special Events and American First Lady Barbara Bush visited the Gallery for a press conference The office of special events organizes and to announce the October 1990 opening coordinates such activities at the National of Titian: Prince of Painters, and the Oc- Gallery as visits by heads of state and tober 1991 opening of one of the Gal- other distinguished guests, opening lery's most ambitious exhibitions, Circa events for temporary exhibitions, recep- 1492: Art in the Age of Exploration. The tions, film premieres, and meetings of the press conference received extensive cov- Trustees' Council and Collectors Commit- erage from American and Italian news tee. Among the most important of these media. are the events held by trustees to thank Press coverage of The Feast of the Gods lenders to exhibitions and donors to the exhibition and film was particularly suc- collection. This year the office of special cessful, due to increasing public interest events organized preview events for in art conservation. In addition to being twenty-one major exhibitions. reviewed in depth by many domestic and Of great interest was the preview of Ex- international media, the exhibition and pressionism and Modern German Painting film were featured on a science segment from the Collection of Baron Thyssen- of ABC TV's Good Morning America. Bomemisza, as it coincided with the his- In a year that saw high levels of press toric opening of the Berlin Wall. The coverage for all of our special exhibitions, preview of Matisse in Morocco was memo- the show that drew the largest press re- rable for the musicians who flew from sponse was Matisse in Morocco. It was Morocco to perform at the Gallery and for discussed at length on several network the native Moroccan plants and flowers programs, including CBS TV's Sunday that filled the East Building.

64 three exhibitions on the same day. More than 600 tour groups from the United States and abroad took advantage of this service. In addition, we monitored 45,000 visitors at daily showings of the Gallery's documentary on The Feast of the Gods, oversaw 211,995 visits to the newly acquired Mirrored Cell by Lucas Samaras, and assisted with the nineteen Sculpture of Indonesia gamelan concerts, attended by some 3,900 people. This department responds to phone calls from across the nation; distributes brochures at the entrances to all exhibitions and at many outside sources in colleges, museums, and government agencies; and addresses the concerns of visitors via comment cards and letters to the Gallery. We also tabulate and distrib- ute attendance figures for East and West Buildings, exhibitions, and special events.

Horticulture

J. Carter Brown greets Gordon Parks, creator of the The most important twentieth-century ballet/documentary film, Martin, in tribute to Dr. art event was the dinner to preview The This department played a major role in Martin Luther King, Jr., which premiered at the Drawings of Jasper Johns, to which con- the presentation of two exhibitions this National Gallery before airing on National Public temporary artists and friends of Johns year. For Frederic Edwin Church, displays Television came from around the world. The Epstein of tropical foliage in the galleries made family's Munch collection brought many the lush greenery in the paintings almost come to life. Many of the species depicted visitors from Norway, led by HRH Princess Astrid, and the various events by Church were used in the plantings. surrounding The Sculpture of Indonesia For Matisse in Morocco, groves of cypress were distinguished by many officials from trees framed the entrance, and visitors that country. then passed through a terrace planting of The gallery's film, The Feast of the oleanders, jasmine, and cypress common Gods, was shown in both Venice and to gardens in Morocco. Special plantings Rome, with receptions at the Palazzo also enhanced the Biihrle and Annenberg Mocenigo and the American Embassy exhibitions as well as Bingham, Indo- residence in Rome. For the second year nesia, and Old Master Drawings from, the the Gallery's films have provided an ex- National Gallery of Scotland. The depart- cellent vehicle for thanking lenders and ment also participated in the annual cur- donors who cannot visit Washington. atorial series, which presented a preview of the Gardens on Paper exhibition and a walking tour of the National Gallery greenhouses. Visitor Services Interior plantings at the Gallery changed little during fiscal year 1990. During 1990 this department assisted Two of the larger ficus trees in the East with 274,772 visits to the Matisse in Mo- Building were replaced, and the garden rocco exhibition, 341,473 to see the An- courts in the West Building were modified nenberg Collection, and 209,731 to see slightly. We added Chinese fan palms and the Biihrle Collection. In May we coordi- Chinese evergreens in the East Garden nated passes so that visitors could see all Court to increase the lushness of the envi-

65 performed two concerts at the Gallery, as well as concerts and master classes at the University of Maryland, Baltimore County. The forty-seventh American Mu- sic Festival, which ran from April 22 through May 27, featured new as well as neglected American works, with Paul Hume joining George Manos for the broadcast commentaries during intermission. Mr. Hume was also the narrator for Aaron Copland's Lincoln Portrait, performed on the occasion of the 125th anniversary of Lincoln's death. The festival also featured jazz pianist McCoy Tyner, who played with the support of bass and drums to a full house of enthusiastic listeners. Attendance at festival concerts was higher than in previous years, as was attendance in general throughout the season. A concert that included music by the Dutch painter and composer Gerard von Brucken Fock was played by Dutch pianist Paul Komen to mark the opening of the Frans Hals exhibition. Other repertoire chosen especially for the Gallery in- ronment, and we reduced the density of cluded mezzo-soprano Glenda Maurice's the foliage at eye level in the West Garden rendition of Le travail du peintre by Court to accommodate the Sunday eve- Francis Poulenc, pianist Coleman Blum- ning concert crowds. Attention to exterior field performing Mussorgsky's Pictures at plantings focused on the establishment of an Exhibition, and Richard Bales' Na- premier lawns for the Gallery's fiftieth an- tional Gallery Suite No. 1, played on 4 niversary in 1991. We also began re- February by the National Gallery Orches- designing the fountain gardens on tra, George Manos conducting, in a con- Madison Drive to make them more open cert honoring the composer's seventy-fifth and inviting to the visiting public. birthday. The National Gallery Orchestra concert of 14 January was recorded by the BBC for use in the program "Relative Music at the Gallery Values." All regions of the United States were represented by the musicians who Thirty-nine Sunday evening concerts performed at the Gallery in the were presented in the West Garden Court 1989-1990 season, as were Holland, of the National Gallery in fiscal year Norway, Canada, the Soviet Union, and 1990. Concerts were supported by funds Brazil. The Maryland Camerata pre- bequeathed to the Gallery by William sented the annual Christmas concert and Nelson Cromwell and F. Lammot Belin, one of the American Music Festival con- with additional subvention from the Mu- certs, which included works by George sic Performance Trust Funds of the Re- Manos (Missa brevis, 1945) and Cam- cording Industry through Local 161-170 erata director Samuel Gordon (Reflections of the American Federation of Musicians 7988). and from the Embassy of Canada. The Gallery's sixty-five-year-old Stein- The National Gallery Orchestra per- way concert grand piano, described by formed ten concerts under the direction Paul Hume as one of Washington's musi- of George Manos. The National Gallery cal treasures, underwent major renova- Vocal Arts Ensemble, also under Manos, tion during the summer, which should

66 enable it to function as the Gallery's pri- mary instrument for another season or two. The piano came to the Gallery as a used instrument and has been played regularly in concerts here for more than forty years, which is probably a record, since the useful life span of such pianos is normally ten to fifteen years. The Gallery concerts were the subject of fourteen reviews in various media, fourteen newspaper photo previews, and a special broadcast on WGMS radio, and they were broadcast live by the same station. The fiftieth-anniversary concert season was previewed in August in an article in the Washington Times.

A complete listing of the 1989-1990 concert season follows:

OCTOBER I National Gallery Orchestra 8 National Gallery Orchestra 15 Paul Komen, piano 22 Truls Mork, cello, and Juhani Lagerspetz, piano George Manos conducts the National Gallery 29 Paul Tardif, piano Orchestra in a Sunday Evening Concert NOVEMBER 5 National Gallery Vocal Arts Ensemble 12 National Gallery Orchestra 19 Canadian Piano Trio Forty-seventh American Music Festival 26 Agi Rado, piano APRIL DECEMBER 22 National Gallery Orchestra with Paul 3 Donald Collup, baritone, with Kenneth Mer- Hume, narrator rill, piano, and chamber ensemble 29 The American String Quartet 10 National Gallery Orchestra MAY 17 Maryland Camerata 6 Maryland Camerata JANUARY 13 McCoy Tyner Trio 7 National Gallery Orchestra 20 Robert DeGaetano, piano 14 National Gallery Orchestra 27 National Gallery Orchestra 21 Coleman Blumfield, piano 28 Charleston String Quartet JUNE FEBRUARY 3 Duncan Stearns, piano 4 National Gallery Orchestra 10 Ariel Trio II Michelle Howard, soprano, and Mark 17 Daria Telizyn, piano Markham, piano 24 National Gallery Orchestra 18 Dmitry Feovanov, piano 25 National Gallery Vocal Arts Ensemble WORLD PREMIERES MARCH SERGEY PROKOFIEV 4 National Gallery Orchestra with Henriette Dumka, 18 February 1990 Schellenberg, soprano

11 Glenda Maurice, mezzo-soprano, and Ruth FIRST WASHINGTON Palmer, piano PERFORMANCES 18 The Amadeus Trio STANLEY RARIN 25 Stephen Honigberg, cello, and Kathryn Five Preludes, 21 January 1990 Brake, piano JOSEPH CASTALDO APRIL Quartet, 1978, 28 January 1990 1 Oleh Krysa, violin, and Tatyana Tchekina, VYTAUTASRARKAUSKAS piano Partita for Solo Violin, 1 April 1990 8 Maria Meirelles, piano RORERT DEGAETANO 15 Classical Brass and Rosewood Consort The Challenger, 20 May 1990

Center for Advanced Study in the Visual Arts ^'oeAcadem,cYear

At the founding of the Center in 1979, a viet Union. The Center has received sup- four-part program of fellowships, meet- port for scholarly meetings, programs, ings, publications, and research was insti- and events from various sources, includ- tuted. In its tenth year, in addition to ing International Exhibitions Foundation ongoing activities in these four areas, the in honor of its founder and former presi- Center continued meetings with the Asso- dent Mrs. John A. Pope, the Arthur Vin- ciation of Research Institutes in Art His- ing Davis Foundations, the Getty Trust, tory, a union of twelve institutions in the Samuel H. Kress Foundation for the North America that support advanced re- symposium, "Eius Virtutis Studiosi," and search through fellowship and related the Banca Commerciale Italiana and programs. Incorporated in spring 1987, Alitalia for the symposium, "Intellectual ARIAH enables member institutions, as a Life at the Court of Frederick II group, to develop and seek funding for Hohenstaufen." jointly sponsored programs and projects Members of the board of advisors and to share visiting scholars. The Center serve overlapping appointments, usually also took part in meetings of the Washing- for three-year terms. In December 1989 ton Collegium for the Humanities, made Anne d'Harnoncourt, The Philadelphia up of nine research institutions, and this Museum of Art, and Egbert Haverkamp- year sponsored a lecture by Robert L. Begemann, Institute of Fine Arts, New Patten in a Collegium series entitled "The York University, completed their terms. In World of the Child." January 1990 Svetlana Alpers, University A variety of private sources support the of California, Berkeley; Everett Fahy, The programs of the Center. Senior, predoc- Metropolitan Museum of Art; William toral, and curatorial fellowships are Loerke, Dumbarton Oaks; and Jules funded by endowments from The Andrew Prown, Yale University, began their W. Mellon Foundation and the Chester terms. Five others continued to serve: Dale bequest, and by Robert H. and Donald Preziosi, University of California, Clarice Smith for the Smith predoctoral Los Angeles; John Rosenfield, Harvard fellowship in Northern Renaissance paint- University; Juergen Schulz, Brown Uni- ing. The Samuel H. Kress Foundation versity; Linda Seidel, The University of provides funds for the Kress Professor, Chicago; and Cecil L. Striker, University for Kress senior fellowships, a Kress post- of Pennsylvania. Members of the board doctoral fellowship, and Kress and Davis also comprise the selection committees predoctoral fellowships. The Wyeth En- that review fellowship applications. dowment and Ittleson Foundation also The resident community of scholars at Frans Snyders, Still Life with Fruit and Game, c. support predoctoral fellowships. The the Center in 1989-1990 included the 1615/1620, Gift (Partial and Promised) of Herman and Lila Shickman, in Honor of the Fiftieth Anni- Soros Foundation provides funds for a Samuel H. Kress Professor, seven senior versary of the National Gallery of Art, 1990.20.1 visiting senior research fellowship for fellows, thirteen visiting senior fellows, (detail) scholars from central Europe and the So- and five predoctoral fellows. Non-resident

69 scholars included eleven predoctoral fel- Dale Kinney, Bryn Mawr College, Samuel H. lows. Research by the scholars in resi- Kress Senior Fellow (joint appointment as Distinguished Professor in the History of Art, dence involved diverse media, including George Washington University), 1989-1990 architecture, painting, graphic arts, Patricia Leighten, University of Delaware, ivories and mosaics, originating in cul- Samuel H. Kress Senior Fellow, 1989-1990 tures ranging from ancient Greece to mid- Piotr Piotrowski, Adam Mickiewicz University, twentieth-century America. Some focused Ailsa Mellon Bruce Senior Fellow, on aesthetics, patronage, perception the- 1989-1990 ory, or philology; while others examined VISITING SENIOR FELLOWS the political meaning in the design of in- Doreen Bolger, Amon Carter Museum, Ailsa ternational exhibitions, and the history of Mellon Bruce Visiting Senior Fellow, summer art history. 1990

SAMUEL H. KRESS PROFESSOR John Stephen Gage, Cambridge University, Paul Mellon Visiting Senior Fellow, spring 1989-1990 1990 Milton IK Brown, has been a resident Ann Eden Gibson, Yale University, Ailsa professor at the Graduate School and Mellon Bruce Visiting Senior Fellow, summer University Center of the City University of 1990 i New %rk since 1979. He has recently Bianca Kiihnel, Hebrew University, Paul been appointed Phi Beta Kappa Visiting Mellon Visiting Senior Fellow, summer 1990 Scholar, and senior fellow of the Pren- Gustav Kiihnel, Tel Aviv University, Ailsa Mellon Bruce Visiting Senior Fellow, summer dergast Project at the Williams College 1990 Art Museum, and Sacks Professor at the Patricia Mainardi, Brooklyn College, City Hebrew University, Jerusalem. His distin- University of New York; Graduate School, City guished career includes appointments to University of New York, Paul Mellon Visiting the Princeton University art department's Senior Fellow, spring 1990 visiting committee and the Smithsonian Sherrin Marshall, Plymouth State College of Institution Council. He is presently the the University System of New Hampshire, Paul Mellon Visiting Senior Fellow, fall 1989 chairman of the advisory board of the Ar- Ailsa Mellon Bruce Senior Fellow Piotr Piotrowski Zygmunt Wazbinski, Institute of Fine Arts, chives of American Art. Among Professor talks with Kress Professor Milton W. Brown University of Torun, Poland, Ailsa Mellon Brown's publications are monographs on Bruce Visiting Senior Fellow, winter 1990 the painting of the French revolution, the Ernst van de Wetering, University of Amster- Armory Show, and American art before dam, Paul Mellon Visiting Senior Fellow, fall 1900. While at the Center, he worked on 1989 the Prendergast Project catalogue rai- Dieter Wuttke, University of Bamberg, Paul sonne and completed essays on the after- Mellon Visiting Senior Fellow, fall 1989 math of the Armory Show and on Paul Lorand Zentai, National Museum of Fine Arts Museum, Budapest, Ailsa Mellon Bruce Visit- Strand's contributions to photography. ing Senior Fellow, winter 1990

SENIOR FELLOWS SOROS VISITING SENIOR RESEARCH David Bindman, Westfield College, University FELLOWS of London, Ailsa Mellon Bruce Senior Fellow, Maria Poprzecka, Institute of Art History, War- spring 1990 saw University, Soros Visiting Senior Fellow, Janet Cox-Rearick, Hunter College and the summer 1990 Graduate School, City University of New York, Olga Pujmanova, National Gallery, Prague, Paul Mellon Senior Fellow, fall 1989 Soros Visiting Senior Fellow, summer 1990 Robert W. Gaston, LaTrobe University, Samuel H. Kress Senior Fellow, fall 1989 AILSA MELLON BRUCE NATIONAL Kristian Knud Jeppesen, University of Arhus, GALLERY OF ART CURATORIAL FELLOW, Ailsa Mellon Bruce Senior Fellow, 1989-1990 1989-1990 Margaret Morgan Grasselli, curator of old Kristian Knud Jeppesen, University of Arhus, master drawings Ailsa Mellon Bruce Senior Fellow, 1989-1990 PREDOCTORAL FELLOWS Kristian Knud Jeppesen, University of Arhus, Robert Mark Antliff* [Yale University], Mary Ailsa Mellon Bruce Senior Fellow, Davis Predoctoral Fellow, 1988—1990 1989-1990

70 MEETINGS

Colloquia Patricia heighten, "Anticolonialism and Primitivism: The Politics of the Sublime Grotesque" Robert W. Gaston, "Rethinking Renaissance Decorum" Milton W. Brown, "The Emergence of the Machine Image in American Art" Piotr Piotrowski, "The Dialectics of Destiny" Kristian Knud Jeppesen, "The Maussolleion at Halikarnassos: Toward the Recovery of a Clas- sical World Wonder" Dale Kinney, "The Iconography of the Dip- tych Nicomachorum-Symmachorum" David Bindman, " '0 Death Where is Thy Sting?': Roubiliac, Theology, and Politics in Eighteenth-Century England"

Participants in the seminar Prints and Prototypes, Andrea L. Bolland [University of North Caro- Shop Talks sponsored by the Center for Advanced Study in the lina at Chapel Hill], Chester Dale Predoctoral Christopher Thomas, "The Afterlife of the Visual Arts, discuss works of art in the exhibition Fellow, 1989-1990 Lincoln Memorial, 1922-Present" galleries John Davis* [Columbia University], Wyeth Jeffrey Weiss, "Marcel Duchamp in Context: Predoctoral Fellow, 1988-1990 Avant-Gardism and the Culture of Mystifica- Carolyn S. Dean [University of California, Los tion and Blague" Angeles], Chester Dale Predoctoral Fellow, Robert Mark Antliff, "Rhythm and Simul- 1989-1990 taneity: A Bergsonian Debate" Isabelle Frank [Harvard University], Paul John Davis, "Hucksters and Prophets in Mellon Predoctoral Fellow, 1988-1991 Paint: The Selling of the Holy Land Image in Alessandra Galizzi [The Johns Hopkins Uni- Nineteenth-Century America" versity], David E. Finley Predoctoral Fellow, Sarah Schroth, "The Private Picture Collec- 1988-1991 tion of the Duke of Lerma" Randall C. Griffin [University of Delaware), Incontri Wyeth Predoctoral Fellow, 1989-1991 Fernando Marias, Universidad Autonoma de RondaJ. Kasl [New York University, Institute Madrid, "Science and Art in Spanish Renais- of Fine Arts], Paul Mellon Predoctoral Fellow, sance Architecture" 1989-1992 Boris Marshak, State Hermitage Museum, Amy Kurlander [Harvard University], Mary Leningrad, "Recent Excavations and New Davis Predoctoral Fellow, 1989-1991 Finds at Pandjikent" Mitchell F. Merling [Brown University], Sam-

uel H. Kress Predoctoral Fellow, 1989-1991 Symposia Nadine M. Orenstein [New York University, EiUS VIRTUTIS STUDIOS!: CLASSICAL AND Institute of Fine Arts], David E. Finley Pre- doctoral Fellow, 1989-1992 POST-CLASSICAL STUDIES IN MEMORY OF FRANK EDWARD BROWN (1908-1988), D. Fairchild Ruggles [University of Pennsylva- 17-18 November 1989 nia], Ittleson Predoctoral Fellow, 1989-1991 Co-sponsored with the American Academy in Sarah Schroth* [New York University, Insti- Rome; first part of symposium held at the tute of Fine Arts], David E. Finley Predoctoral Fellow, 1987-1990 American Academy in Rome, 6 June 1989 Participants: Malcolm Bell III, University of Christopher Thomas* [Yale University], Sam- uel H. Kress Predoctoral Fellow, 1988-1990 Virginia; Herbert Bloch, Harvard University (emeritus); Richard Brilliant, Columbia Uni- Jeffrey Weiss* [New York University, Institute versity; Vincent Bruno, The University of of Fine Arts], Paul Mellon Predoctoral Fellow, 1987-1990 Texas, Arlington; Joseph Coleman Carter, The Marjorie E. Wieseman [Columbia University], University of Texas, Austin; Jacquelyn Collins Robert H. and Clarice Smith Predoctoral Clinton, Wells College; John H. D'Arms, The Fellow, 1989-1990 University of Michigan; Susan B. Downey, University of California, Los Angeles; Alfred *in residence 19 September 1989-31 August Frazer, Columbia University; David F. Grose, 1990 University of Massachusetts, Amherst; Anne

71 Laidlaw, Hollins College; William L. Mac- Seminar Donald, George Mason University; Susan B. Prints and Prototypes, 3 November 1989 Matheson, Yale University Art Gallery; Lucy Lectures Shoe Meritt, The University of Texas, Austin; Robert L. Patten, Rice University, "Childhood Henry A. Millon, Center for Advanced Study in Crisis," 25 October 1989 in the Visual Arts; James Packer, North- Christian Heck, Universite de Strasbourg, western University; John Pinto, Princeton "New Research on Grunewald and the Isen- University; J. J. Pollitt, Yale University; Emel- heim Altarpiece," 13 March 1990 ine Richardson, Durham, N.C.; Lawrence Richardson, Jr., Duke University; Russell T. PUBLICATIONS Scott, Bryn Mawr College; Fikret K. Yegiil, University of California, Santa Barbara The Center annually compiles a record of the scholarly events and research of the INTELLECTUAL LIFE AT THE COURT OF preceding year. Center 10, published in FREDERICK II HOHENSTAUFEN, October 1990, contains general informa- 18-20 January 1990 Participants: David S.H. Abulafia, Cambridge tion about the fellowship program, the University; Caroline Bruzelius, Duke Univer- program of meetings, and the publication sity; Rebecca W. Corrie, Bates College; Carla and research programs, along with a list Ghisalberti, Universita degli Studi di Roma I of the board of advisors and the members "La Sapienza"; Peter Herde, Universitat of the Center, and a list of the activities Wiirzburg; Rainer Kahsnitz, Germanisches for 1989-1990. Center 10 also contains Nationalmuseum, Nuremberg; Virginia summary reports on research conducted Roehrig Kaufmann, Princeton, N.J.; Herbert L. by the resident members of the Center in Kessler, The Johns Hopkins University; Wolf- 1989-1990, and by several predoctoral gang Kronig, Universitat Koln; Jill Meredith, fellows from the previous academic year. Duke University Museum of Art; Henry A. Millon, Center for Advanced Study in the Vi- Publication of the proceedings of the sual Arts; Piero Morpurgo, Universita degli Center symposia in Studies in the History Studi di Roma I "La Sapienza"; Massimo 01- of Art continued with the appearance of doni, Universita degli Studi di Salerno; Giulia Retaining the Original: Multiple Origi- Orofino, Universita degli Studi di Firenze; Val- nals, Copies, and Reproductions, vol. 20; entino Pace, Universita degli Studi di Roma I Italian Plaquettes, vol. 22; The Fashion- "La Sapienza"; James M. Powell, Syracuse ing and Functioning of the British Country University; Gary M. Radke, Syracuse Univer- House, vol. 25; Winslow Homer, vol. 26; sity; Willibald Sauerlander, Zentralinstitiit fur Cultural Differentiation and Cultural Kunstgeschichte in Munchen (emeritus); Ant- Identity in the Visual Arts, vol. 27; and onio Thiery, Radiotelevisione Italiana, Rome The Architectural Historian in America, MIDDLE ATLANTIC SYMPOSIUM IN THE vol. 35. Symposia volumes nearing pub- HISTORY OF ART: TWENTIETH ANNUAL lication are "The Mall in Washington: SESSIONS, 6-7 April 1990 1791-1991," "New Perspectives in Co-sponsored with the Department of Art His- Early Greek Art," and "American Art tory, University of Maryland at College Park around 1900." Volumes being edited in- Participants: Thomas Dale (The Johns Hop- kins University], introduced by William clude "Nationalism in the Arts," "Urban Tronzo; Kathryn Borten [The American Uni- Form and Meaning in South Asia," "Mi- versity], introduced by Mary D. Garrard; chelangelo Drawings," "Art and Power in Heidi Homik [The Pennsylvania State Univer- Seventeenth-Century Sweden," "The Pas- sity], introduced by Barbara Wisch; John J. toral Landscape," "The Artist's Work- Chvostal [University of Pittsburgh], intro- shop," and "Eius Virtutis Studiosi: duced by Ann Sutherland Harris; Raffaella Classical and Post-Classical Studies in Pulejo [University of Delaware], introduced by Memory of Frank Edward Brown." David M. Stone; Kimberly Jones [University of Another regular publication of the Maryland), introduced by June Hargrove; Ka- Center is the directory of art history re- ren L. Pignataro [The George Washington Uni- search projects supported by granting in- versity], introduced by David Bjelajac; Helen stitutions in the United States and abroad: Langa [The University of North Carolina, Chapel Hill], introduced by Arthur S. Marks; Sponsored Research in the History of Art 9 Victoria Jean Beck [University of Virginia], in- lists awards for 1988-1989 and troduced by Lydia Gasman 1989-1990.

72 Staff Activities

J. Carter Brown, director, served ex officio the search committee for an executive direc- on the Federal Council on the Arts and the tor, as vice president of the board of the Ster- Humanities, and the boards of the National ling and Francine Clark Art Institute, and as a Trust for Historic Preservation and the Penn- member of the visiting committee of the Wil- sylvania Avenue Development Corporation. liams College Museum of Art. He participated Reappointed by President Bush in 1989, he in the J. P. Getty Trust's focus group confer- continued as chairman of the Commission of ence, was a panelist in the Smithsonian Insti- Fine Arts, and, ex officio in that capacity, on tution's conference on cultural diversity, and the board of trustees of the John F. Kennedy was chair of a panel on education in the Center for the Performing Arts and as a mem- Smithsonian's conference on gender perspec- ber of its executive and fine arts accessions tives in museums. He lectured widely, includ- committees. He continued as a member of the ing an address to the Huntington (West President's Committee on the Arts and Hu- Virginia) Gallery's board of trustees and major manities, as treasurer of the White House His- supporters, and a talk at Bar Harbor, Maine, torical Association, and on the board of on issues relating to the National Endowment trustees of the National Geographic Society, for the Arts. He continued as a member of the and the boards of the Winterthur Museum, Charles Hosmer Morse Foundation advisory the Corning Museum of Glass, the Storm King committee, as chairman of the Netherlands- Art Center, the American Federation of Arts, American Amity Trust cultural advisory com- and the World Monuments Fund. In addition, mittee, and as a member of the New Zealand- he served on the Harvard College visiting United States Arts Foundation cultural advi- committee for the fine arts, the U.S. National sory committee. Committee for the History of Art, and as a Henry A. Millon, dean, CASVA, continued as member of the advisory board of the Morris vice chairman of the board of trustees of the and Gwendolyn Cafritz Foundation, as well as American Academy in Rome, on the advisory the board of governors of the John Carter committee of the Getty Art History Informa- Brown Library at Brown University. He also tion Program, as the scientific secretary of the continued as a member of the National Por- working group for art history information of trait Gallery Commission, serving on its acqui- the International Committee of the History of sition committee. Art, on the U.S. committee overseeing the Roger Man die, deputy director, was appoin- merger of the U.S.-based Repertoire Interna- ted by President Bush to another term on the tionale de la litterature d'art and the French National Council on the Arts, by HRH Juan Repertoire d'art et archeologie, as vice chair- Carlos as "protector" of the Real Fundacion man of the Council of American Overseas de Toledo, and by Secretary Nicholas Brady Research Centers, as a delegate to the Inter- as cultural advisor to the Department of Trea- national Committee of the History of Art, and sury Preservation Committee. He served on on the architecture advisory group for the Art task forces on museum education for the Na- and Architecture Thesaurus. He served on the tional Endowment for the Arts and the Ameri- visiting committee of the Arthur M. Sackler can Association of Museums. He continued as Gallery, and on the boards of the Canadian chairman of the executive committee of the Centre for Architecture, the Temple Hoyne American Federation of Arts and a member of Buell Center for the Study of American Archi-

73 lecture, the Foundation for Documents of Ar- chitecture, and the National Building Museum. He continued on the review panel for the Gladys Kriebel Delmas Foundation and as visiting professor at Massachusetts In- y stitute of Technology. He presented a paper, ' "Bianchini's Excavations and Reconstruction , of the Palatine in the Early Eighteenth Cen- tury" at the symposium, Eius Virtutis Studiosi, Ax";, f co-sponsored by the Center and the American Academy in Rome.

Daniel Herrick, treasurer, continued as a member of the board of trustees of the Foun- dation Center, New York, on the board of di- •I rectors for the American Council for the Arts, and as a member of the financial officers group of the Museum Presidents Conference. He is co-chairman of an American Association of Museums task force on accounting policies. . He was appointed a member of the University of Virginia President's Council on the Arts. He 1 continues on the board of directors of the New York Life Fund and two smaller investment -va=, funds that are subsidiaries of the New York Life Insurance Company. Augustus Saint-Gaudens, Charles Stewart Butler and Lawrence Smith Butler, 1880-1881, Avalon Fund Philip C. Jessup, Jr., secretary and general and Margaret Bouton Memorial Fund, 1990.31.1 counsel, chaired a panel on "Restricted Im- ages" at the annual American Law Institute / American Bar Association course on "Legal Washington Dance Exchange, and of the Ben- sance portraiture held at the Museum of Fine Problems of Museum Administration," for nington Council, an advisor for the Historic Arts, Boston. He participated in a symposium which he was also on the planning committee. Georgetown Foundation, and a member of the on Giovanni Gerolamo Savoldo in Brescia in He gave a talk on the freedom of museums to advisory panel for the J. Paul Getty Trust and connection with an exhibition to which the sell, trade, or otherwise dispose of objects in Metropolitan Museum of Art joint program for Gallery lent two paintings. their collections at a symposium in Amster- art on film. dam on international art trade and law, orga- Kathleen Buckalew, photographer, had an nized by the law faculty of the University of Nancy Anderson, assistant curator of Ameri- exhibition of her color photographs. She gave Geneva and the International Chamber of can art, gave lectures on "Albert Bierstadt: slide presentations at George Washington Uni- Commerce. He was elected to the board of The Uses of Fiction," at the Metropolitan Mu- versity and the University of Oregon of her trustees of the Asia Society, and continued as seum of Art, "Albert Bierstadt: The Power of photographs of women's communities. chairman of the advisory committee for its Invention," at the Buffalo Bill Historical Cen- Christine Challingsworth. research assis- Washington Center. He was appointed to the ter in Cody, Wyoming, and "Albert Bierstadt: tant, CASVA, completed her dissertation, "The committee on international cultural affairs of Art and Enterprise," at the University of 1708 and 1709 Concorsi Clementini at the the United States Information Agency, served Washington, Seattle. Accademia di San Luca in Rome and the Es- as a delegate to the Mexican-American Com- Caroline Backlund, librarian, lectured on tablishment of the Academy of Arts and Sci- mission on Cultural Cooperation organized by "Coping with the Profusion of Auction Litera- ences as an Autonomous Building Type," for USIA in Mexico City, and continued as a mem- ture" at the ARLIS annual conference. Pennsylvania State University. ber of the National Advisory Committee of the Nieolai Cikovsky, Jr., curator of American USIA'S Hubert H. Humphrey North-South Fel- Daphne Barbour, associate object conserva- art and deputy senior curator of paintings, lowship Program, as president of Friends of tor, was awarded a Robert H. Smith Fellow- gave the lectures, "Impressionism or Post-Im- the Hospital for Sick Children (Toronto), Inc., ship to continue research in Paris on Degas' pressionism" at the Virginia Museum of Fine and as trustee of the Obor Foundation of wax sculpture. Arts, "Inness and Italy" at Fordham Univer- which he was elected secretary and treasurer. Barbara Berrie, conservation scientist, lec- sity at Lincoln Center, "Currents in Bingham tured at Georgetown University on "Instru- Joseph J. Krakora, external affairs officer, Scholarship" for the George Caleb Bingham mental Analysis at the National Gallery." continued on the board of the Cultural Policy symposium at the Saint Louis Art Museum, Institute, for which he also served as vice David Alan Brown, curator of Italian and "Looking into Winslow Homer" at the president. He continued as a founding direc- Renaissance painting, gave a lecture on National Museum of American Art, Smithso- tor of the Fund for New American Plays. He is "Leonardo and the Ladies with the Ermine nian Institution. He served on the Internal also a member of the board of advisors for the and the Book" at a symposium on Renais- Revenue Service art advisory panel.

74 Susan Clay, library technician, exhibited a tion," for the triennial meeting of the ICOM served on the visiting committee of the Well- sculpture at the Kathleen Ewing Gallery in Committee for Conservation in Dresden, coor- esley College Art Museum and on its acquisi- Washington, D.C., and several paintings in a dinated the working group session, and pre- tions subcommittee, and continued research group show at the Arlington Arts Center. sented a paper on "Chemistry and Analysis of on Etruscan bronze thymiateria in Paris and John Cogswell, senior information specialist, Dammar Resin." He was reelected coordina- London under a Robert H. Smith Fellowship. tor of the working group for the next three spoke to the adult forum of St. Albans Church Gail Feigenbaum, curator of academic pro- years. He was a member of the technical com- on the history and technique of the art of grams, joined the board of editors of a new mittee for the International Institute for Con- stained-glass windows. scholarly journal, Studi di storia dell'arte. She servation Congress, "Cleaning, Retouching was awarded a National Endowment for the Tracy Cooper, research assistant, CASVA, and Coatings: Technology and Practice for Ea- Humanities summer stipend for research. completed her dissertation, "The History and sel Paintings and Polychrome Sculpture" in Decoration of the Church of San Giorgio Mag- Brussels, where he presented two published Ruth E. Fine, curator of modern prints and giore in Venice," for Princeton University. She papers and chaired a session. drawings, continued on the board of directors taught a course on Italian Renaissance archi- of the College Art Association and was elected Eric Denker, coordinator of tours and lec- tecture at the Catholic University of America. to its executive committee, chaired CAA's mu- tures, taught "Nineteenth-Century Painting" seums committee, and met with the subcom- Jack Cowart, curator of twentieth-century as an adjunct professor at Georgetown Univer- mittee on electronic information for the Getty art, participated in the "Art of the 1980s" sity, and "Masterpieces of Impressionism and Art History Information Program. She also symposium organized by the Hirshhorn Mu- Post-Impressionism" for a Georgetown alumni continued on the advisory boards of Pyramid seum and Sculpture Garden, and served on college. He lectured at the Chrysler Museum Atlantic and the Philadelphia and Washington the sculptor selection committee for the Ko- on "Americans in Venice" and was elected Print Clubs, on the national alumni advisory rean War Veterans Memorial. He continued on president of the Washington Print Club. the sculpture committee for Georgetown Uni- board of the University of the Arts, Phila- versity and on the fine arts committee for the Lamia Doumato, head of reader services, delphia, and on the artist-in-residence com- Morris Arboretum of the University of served as co-chairman of the Association of mittee of Sidwell Friends School. Lectures Pennsylvania. Architectural Librarians publications commit- included "Rembrandt and Whistler" at the tee and presented a session on publications at Dallas Museum of Art, "Prints of the 1980s: Maygene Daniels, chief of Gallery Archives, the annual conference in Houston. She con- Some Reflections on a Decade" at The Fabric was named a fellow of the Society of American tinues to serve on the advisory board of AAL Workshop in Philadelphia, and "John Marin's Archivists, the highest individual honor and as book review editor for the AAL News- Sketchbooks" for a Williams College Museum awarded by the society. She also served on letter She also continues to review projects for of Art symposium on American Drawings SAA Council and was elected to the executive the National Endowment for the Humanities. 1930-1950. committee. She represented the U.S. on the She served as recorder to the architecture Marc Gotlieb, research assistant, CASVA, International Council on Archives Working special interest group at the ARLIS national completed his dissertation, "From Genre to Group on Architectural Records, served on convention. Decoration: Studies in the Theory and Criti- the 1990 review committee for the Smithso- cism of French Salon Painting, 1850-1900," nian Institution Research Resources Grant Linda B. Downs, head of the education divi- for the Johns Hopkins University. Program and on the visiting committee for the sion, participated in the museum assessment Smithsonian Institution Archives, and com- program of the American Association of Mu- Margaret Morgan Grasselli, curator of old pleted work as chair of the search committee seums, and in the Getty Curriculum Develop- master drawings, completed her Ailsa Mellon for the director of the Archives of American ment Institute. She was the keynote speaker at Bruce Curatorial Fellowship at CASVA, continu- Art. She also served on the steering committee the Southeastern Art Museum Educators' ing research on the drawings of Watteau. She for the Foundation for Documents of Architec- Forum, gave a seminar on "Gender Perspec- lectured at the Pierpont Morgan Library on ture manual project. tives: The Impact of Women on Museums" at "A Practical Guide to the Functions of the Smithsonian Institution, and participated Drawings." Diane De Grazia, curator of southern ba- in a panel discussion at the annual meeting of roque painting, served as discussant in the Sarah Greenough, curator of photographs, the American Educational Research session on French seventeenth-century art at lectured at the Royal Academy in London, the Association. the College Art Association annual meeting. Saint Louis Museum of Art, the J. Paul Getty She spoke at Michigan State University on the Suzannah Faking, managing curator of rec- Museum, and the Kunsthaus, Zurich. Gallery's collection. ords and loans, was elected president of the Susana Halpine, Mellon Fellow, presented a Museum Computer Network's board of E. Rene de la Rie, head of scientific re- poster at Chrom Expo, gave a lecture to the trustees. She spoke at the annual meeting of search, lectured at the conservation center of Washington Chromatography Discussion the Museum Documentation Association in the Institute of Fine Arts, New York Univer- Group on "Media Analysis of a Fifteenth-Cen- Cambridge, England, and was named a mem- sity, at the Washington Conservation Guild, the tury Italian Painting Using Amino Acid Analy- ber of the Art Information Task Force, work- Royal Dutch Chemical Society in Amsterdam, sis on an HPLC System," and presented a ing under the auspices of the Getty Art the Netherlands Organization for Applied Sci- poster on "Amino Acid Analysis of Paint Me- History Information Program and the College entific Research in Delft, and the art conser- dia" at the annual meeting of the American Art Association to develop cataloguing stan- vation department at Buffalo State College. He Institute of Conservation. She exhibited paint- dards for works of art. She advised curators at selected and edited papers for the working ings with galleries in Massachusetts and the Art Institute of Chicago concerning that group, "Resins: Characterization and Evalua- Maryland. museum's forthcoming automation program,

75 John Hand, curator of northern Renaissance County Museum of Art, "Worthington Whitt- ture, "Humanity in Context: Transformations painting, gave lectures at the University of redge, Nationalism, and the Hudson River in Venetian Portraiture around 1550," at the Stockholm on "Margaret of Austria: Collecting School" at the Amon Carter Museum in Fort Museum of Fine Arts, Boston, and the wel- and Patronage in Northern Europe in the Six- Worth, "Frederic Edwin Church and the coming address at the first day of issue cere- teenth Century" and "Joos van Cleve, an Ant- World of the Hudson River School" at the mony for the Jefferson Memorial postcard at werp Painter of the Sixteenth Century." He North Carolina Museum of Art, and "The the World Stamp Expo. He spoke on "The Art gave the lecture, "What Does a Curator Do?" Frederic Edwin Church Exhibition" at the of Costa Rica " at the National Museum at San at the Nationalmuseum, Stockholm. University of Pennsylvania. Jose, on "The Image of Rome" in a series co- Linda Heinrich, drawing coordinator, de- Donna Kwederis, drawing coordinator, was sponsored by the Smithsonian Resident Asso- ciates and the Paul VI Institute for the Arts, signed a display case for the Jacob Parrot commissioned by the National Trust for His- on "The Trace of the Old Southwest in The Medal of Honor at the U.S. Capitol Building, toric Preservation to design a pedestal for the and designed various display cases for the bust of Dolly Madison to be displayed at Birds of America'. John James Audubon's U.S. Supreme Court. Montpelier. Drawings and Writings from the Natchez Dis- trict" in Natchez, Mississippi, and on Gretchen Hirsehauer, assistant curator of Roger Lawson, head of cataloguing, partici- "Georgetown's Le Baize, the Renaissance, Italian Renaissance painting, directed a Rome pated in a panel discussion on "Integrated and Beyond," at the annual meeting of the Seminar study program for the Smithsonian Services: Changing Library Roles for the In- Georgetown University board of regents. He National Associates. formation Age" at the annual meeting of led an alumni study tour for Georgetown's Willow Johnson, secretary, won the Paul ARLts/NA, and in a workshop sponsored by the summer program in Fiesole, Italy. Research Libraries Group art and architecture Robeson 1990 Vocal Competition and was a Suzanne Quillen Lomax, organic chemist, finalist of the 1990 Bel Canto Foundation program committee and the Art and Architec- ture Thesaurus in Williamstown to test the lectured on the "Application of Chemistry to Competition. She appeared as guest soloist for the Examination of Works of Art" for the the American Ballet Theater Gala at the Ken- newly published thesaurus vocabulary in on- line cataloguing. northeast regional section of the American nedy Center and performed principal operatic Chemical Society, and for the Institute for roles in Die Fledermaus (Beethoven Society), Philip Leonard, lecturer, taught courses for Chemical Education Workshop. Madame Butterfly (Annapolis Opera), Susan- the Smithsonian Resident Associates on nah (The American University), and Lucia di "Claude Monet: Impressionist Landscapes," Alison Luchs, associate curator of early Lammermoor (Eldbrooke Artist Series). She "The Styles of the Eighteenth Century," and European sculpture, served as a reader-con- sang with the Washington Opera in Lucia di "Impressionism: The Art of Modern Life." sultant for the fellowship program of the Lammermoor, Aspem Papers, and Die Fleder- For continuing education at Goucher College, American Association of University Women's maus, and in the Kennedy Center's Amahl Baltimore, he presented Saturday Art Study Educational Foundation. She continued as and the Night Visitors. She gave a recital at Days on "Impressionism: The Art of Modern vice president of the Dupont Circle Catholic University. Life" and "Henri Matisse: In Quest of Conservancy. Paradise." Leo J. Kasun, resource and program pro- Mary McWilliams, acting curator of aca- duction specialist, curated an exhibition on demic programs, delivered a lecture, "Allego- Douglas Lewis, curator of sculpture and dec- ries Unveiled: European Sources for a Safavid "The Photographs of Henry Arthur Taft" for orative arts, continued as chairman of the ac- the Historical Society of Washington, for Velvet," at the biennial symposium of the Tex- quisitions committee of the Mount Holyoke tile Society of America in Washington, D.C. which he also serves on the exhibitions com- College Art Museum, and member of the visit- mittee. He was lecturer for two Smithsonian ing committee of the Smith College Museum Charles S. Moffett, curator of modern paint- Associate study tours, "Van Gogh's World" of Art, the art advisory committee for the Law- ing and senior curator of painting, served as a and "Modern Masters in the South of France." renceville School, the American fellowship trustee of Middlebury College. He partici- He continued as treasurer for the Dupont Cir- committee of the Belgian-American Educa- pated in the Museum Management Institute cle Conservancy and the Washington chapter tional Foundation, the boards of the Bauman sponsored by The J. Paul Getty Trust, the of the Victorian Society in America. Foundation and the Washington Collegium for American Federation of Arts, and the Univer- Franklin Kelly, curator of American art, was the Humanities, and the Friends of the Folger sity Art Museum at the University of Califor- a panelist for the Smithsonian Institution Spe- Shakespeare Library. He continued as chair- nia, Berkeley. He was a member of the cial Exhibitions Fund and for the National En- man of the quality assurance subcommittee advisory committee for the Program for Art on dowment for the Humanities. He gave lectures and vice chairman of the citizens' stamp advi- Film, sponsored by the Getty Trust. sory committee for the U.S. Postal Service. He on "Frederic Edwin Church, J.M.W. Turner, Donald Myers, Mellon assistant curator of was a professorial lecturer at Georgetown Uni- and the Passion for Landscape" at the Ameri- sculpture, presented a paper on "The Francis- versity and the University of Maryland, where can Studies Association annual meeting in cans and the Inclusion of the Good Thief, St. he taught a museum seminar on Italian Re- Toronto, "Frederic Church and the Aspira- Dismas, in Depictions of Christ's Descent into naissance sculpture. He lectured on "The tions of Thomas Cole" at the University of Limbo" at the International Congress on Me- Building of Baroque Rome" at the Cooper- Delaware, "Frederic Church's Passion for dieval Studies. Landscape" at the Chrysler Museum in Nor- Hewitt Museum, and on "The Architecture of folk, "Frederic Edwin Church and the Mean- Renaissance Florence," "Florentine Early Re- Therese O'Malley, assistant dean, CASVA, ing of Landscape" and "William Wilson naissance Sculpture," and "Gianlorenzo Ber- continued as a senior fellow for the depart- Corcoran and 'The Encouragement of the nini and the Papal Court" at the Walters Art ment of studies in landscape architecture at American Genius' " at the Los Angeles Gallery. He gave the Claude Michelson Lec- Dumbarton Oaks. She was invited to serve as

76 guest curator for an exhibition on the inter- Charles Ritchie, assistant curator of prints Wilford W. Scott, lecturer, spoke to the Pine relationship of English and American gardens and drawings, was on the review panel for Manor Alumnae Association and the Fre- at the Virginia Steele Scott Gallery at the Congressional Arts Caucus art competition for derick Arts Center Foundation on "Matisse in Huntington Library. high school students. He gave a presentation Morocco." He also lectured in Frederick on at CASVA on research done in conjunction with "The Art and Life of Frederic Edwin Judy L. Ozone, associate object conservator, the exhibition, The 1980s: Prints from the Col- Church." For a Georgetown University alumni gave a presentation on glass deterioration at lection of Joshua P. Smith. college, he led a walking tour of "The Archi- the triennial meeting of the ICOM Committee tectural Treasures of Annapolis." He contin- Andrew Robison, curator of prints and for Conservation in Dresden. She coauthored ued as a member of the Annapolis Planning with Shelley Sturman a chapter on "The Cur- drawings and senior curator, continued on the and Zoning Commission. atorial Care of Glass, Ceramics, and Stone" international editorial advisory board of Mas- for a National Park Service museum ter Drawings, the board of directors of the Marianna Shreve Simpson, associate dean, handbook. Drawing Society, and the advisory board of CASVA, taught an "Introduction to Islamic Art: the Washington Print Club. The Art of the Book" at Georgetown Univer- Margaret Parsons, coordinator of film sity. She gave a paper on "Introducing a programs, served as a juror in the fine arts di- Nan Rosenthal, curator of twentieth-century Manuscript Made for Bahram Mirza, Prince vision for the American Film and Video Festi- art, lectured on "Jasper Johns' Ventrilo- and Patron of the Safavid Dynasty" to a meet- val, and as an evaluator for the Program for quism" at Wellesley College and completed ing of the North American Historians of Isla- Art on Film sponsored by the Getty Trust. She her Ailsa Mellon Bruce Curatorial Fellowship mic Art at the Metropolitan Museum. She continued on the advisory board of Interact, at CASVA. She became a member of the board organized and chaired a research session on and served as secretary for the Washington of trustees of the Barnett Newman "Islamic Art 650-1250" for the annual meet- Foundation. chapter of the Victorian Society of America, ing of the College Art Association, and contin- and on the media arts panel for the Maryland H. Diane Russell, curator of old master ued to serve as chair of the art history State Arts Council. prints, taught a course on "Approaches to Art program for CAA's next annual meeting. Ruth R. Perlin, head of education re- History" at American University. She was a Julie Springer, coordinator of teacher pro- sources, addressed a joint national meeting of juror for the David Lloyd Kreeger Award in grams, chaired a panel on the Gallery's pilot art history given by the department of art at the Organization of American Historians and Teacher Institute at the annual meeting of the the Society for History in the Federal Govern- Georgetown University. National Art Education Association, and was ment on educational uses of videodisc tech- Lynn P. Russell, head of adult programs, on a panel addressing "Current Issues in nology. She served as a peer reviewer of gave a slide lecture at the Chrysler Museum in Teacher Education" for the American Asso- education outreach programs at the Parrish Norfolk on "Duccio's Maesta and Fourteenth- ciation of Museums. She presented educa- Art Museum, Southampton, N.Y. Century Sienese Art." tional strategies for "Teaching Twentieth- Glenn Perry, silkscreen production, exhibited paintings with the International Associa- tion of Visual Artists. Roy Lichtenstein, The River, published 1985, Gift of Gemini G.E.L. and the Artist, 1989.55.48 Maria Prather, assistant curator of twentieth- century art, served as juror of "Art in the Woods" for the Overland Park Arts Commis- sion in Kansas City, delivered a series of lectures on Paul Gauguin aboard a cruise ship in the Society and Marquesas Islands, and lectured on post-impressionism for the Gallery's summer Teacher Institute. Anna M. Rachwald, librarian, delivered a paper on the "Aesthetics of Polish Books in the 20th Century" at the national convention of the American Association for the Advance- ment of Slavic Studies, and served as chairman for the association's annual meeting. She gave a paper on "Efforts of the American Art Commission to Recover Polish Printed Mate- rials and Art Objects Taken from Poland by Nazi Germany during World War II" at the World Congress for Soviet and East European Studies in Harrogate, England. Anne Ritchie, oral historian, was elected president of the Oral History Association's mid-Atlantic region, and served on the association's international committee. Century Art" at the Maryland Art Education Association, and taught a Smithsonian Resi- dent Associates program, "Learning to Love Modern Art." Jeremy S trick, associate curator of twentieth-century art, served as juror for the Chautauqua National Exhibition, and as selection panelist for the Prince George's County Art in Public Places program. Shelley G. Sturman, head of object conservation, was elected to a second term as president of the Washington Conservation Guild, and served as a member of the first advisory council for the American Institute for Conser- vation. She again co-chaired the poster sessions for the annual meeting of the AIC. She gave a lecture on "The Manufacture, Deterio- ration, and Treatment of Ormolu" for a furniture conservation course at the Smithsonian Institution's Conservation Analytical Labora- tory. At the ICOM meeting in Dresden she presented a paper coauthored with Judy Ozone on "The Courier Experience," and a paper in collaboration with Barbara Berrie on "Corro- sion and Efflorescence Problems of a Medi- eval Enamelled Ciborium." She and Mellon Fellow Albert Marshall gave a joint Gallery talk on the conservation of the large Calder The design department's silkscreen shop repro- mobile. duces Matisse's signature as a "supergraphic" at the entrance to the Matisse in Morocco exhibition Susan Taylor, research assistant, CASVA, completed her dissertation, "Ut Pictura Horti: Hubert Robert and the Bains d'Apollon at Versailles," for the University of Pennsylvania. Arthur K. Wheelock, Jr., curator of north- Mary Ellen Wilson, coordinator of volunteer ern baroque painting, served as professor of docents, served on a panel entitled "Museum Neal Turtell, executive librarian, served on art history at the University of Maryland, Partnership" for the National Docent the art and architecture program of the Re- where he taught a course in northern baroque Symposium. search Libraries Group, on the North Ameri- painting and a graduate seminar on Frans can Art Libraries Resources committee of the Christopher B. With, coordinating curator Hals. He helped organize a new course on Art Libraries Association, on the Washington of art information, lectured on Adolph Men- painting techniques and conservation issues Art Libraries Resources committee, and on zel's interpretation of nineteenth-century Ger- for the consortium of Washington area univer- the board of Pyramid Atlantic. man history at the Frick Collection in New sities. He gave lectures on "Looking at Ver- York, and participated in a seminar on French Kathleen Walsh-Piper, head of teacher meer: The Artist's Working Method" at the impressionism for the Smithsonian National and school programs, served as a review pan- University of California, Davis, "Images of Associates. In Baltimore he spoke on Marc elist for the U.S. Department of Education's Reality, Images of Arcadia: Seventeenth-Cen- Chagall for the Lecture Group, on "German National School Recognition Program, on tury Netherlandish Paintings from Swiss Col- Guilt and Contemporary German Art" for the the education committee of the American As- lections" at the Bass Museum, Miami Beach, Art Seminar Group, and on German expres- sociation of Museums, and on a peer review and Crocker Art Gallery, Sacramento, "Fan- sionism for the docents at the Baltimore Mu- panel at the Amon Carter Museum. She pre- tasy and Reality in Dutch Still Life Painting" seum of Art. He gave a gallery talk on visual sented lectures to the docents at the Hirsh- for a symposium at the University of Virginia, literacy for the docents at the Corcoran Gal- horn Museum and Sculpture Garden on "The "Convention and Innovation in the Portraiture lery of Art. Importance of the Theme in Museum Les- of Frans Hals" at the University of Texas, sons" and to the National Docent Symposium. "Van Dyck and His Historical Reputation" at PUBLICATIONS Dennis P. Weller, lecturer, spoke to the a symposium held in honor of Julius Held, Co- Netherlands board of tourism, the Van Loom lumbia University, and "S(. Praxedis: New Anson, Gordon, coauthor. "Technics: Natural Foundation in Amsterdam, on "Art and Cul- Light on the Early Vermeer" at the Royal Cas- Light in Museums: An Asset or a Threat?" Prog- ture in the Netherlands." He gave a course for tle, Warsaw. He received a Robert H. Smith ressive Architecture (May 1990). a Georgetown alumni college on "Painting in Fellowship to continue work on a book about Backlund, Caroline, editor. Art Information Re- the Low Countries: Fifteenth to Seventeenth Vermeer. search Methods and Resources, by Lois Swan Jones. Centuries." 3d rev. ed. Dubuque, Iowa, 1990.

78 Brown, David Alan. Review of Leonardo e i Eiche, Sabine. "July 1547 in Palazzo Farnese." . Landmark application on the Bulletin Leonardeschi a Brera by Pietro Marani, and of Dis- Mitteilungen des Kunsthistorischen Institutes in Flo- Building, 717 6th Street, N.W., submitted to the egni e dipinti Leonardeschi dalle collezioni milanesi. renz 33, no. 2/3 (1989). Washington, D C. Historic Preservation Office, 2 October 1989. Raccolta Vinciana 23 (1989): 27-32. Farhad, Massumeh. "The Art of Mu'in Musavvir." . Review of Madonna und Kind: Das haus- . Review of Pittura in Alto Lario tra Quattro e In Persian Masters: Five Centuries of Painting. Bom- liche Andachtsbild im Florenz des 15. Jahrhunderts Cinquecento by Marco Rossi and Alessandro bay, 1990. by Ronald G. Kecks. Burlington Magazine 132 Rovetta. Renaissance Quarterly 42, no. 3 (fall . Review of Timur and the Princely Vision: (July 1990): 498-499. 1989): 554. Persian Art and Culture in the 15th Century by . Madonna Litta, XXIX Lettura Vinciana Glenn D. Lowry and Thomas W. Lentz. Iran Nameh Moffett, Charles S., contributing author. The Pas- (Vinci, 15 April 1989). Florence, 1990. 8 (summer 1990). sionate Eye: Impressionist and Other Master Paint- Bull, David, coauthor. The Feast of the Gods: Con- . Reviews and abstracts for A bstracta Iranica ings from the Collection of Emil G. Biihrle. Exh. cat., servation, Examination, and Interpretation. Studies 11 (1989). National Gallery of Art, Washington. Zurich and Munich, 1990. in the History of Art 40. National Gallery of Art, Fine, Ruth E., contributing author. The 1980s: Washington, 1990. Prints from the Collection of Joshua P. Smith. Exh. Ozone, Judy L. coauthor. "The Courier Experi- Chotner, Deborah, contributing author. John cat., National Gallery of Art, Washington, 1989. ence." Preprints 1990. 1COM. Los Angeles, 1990. Twachtman: Connecticut Landscapes. Exh. cat., Na- . John Marin, Exh. cat., National Gallery of Prather, Maria, contributing author. The Pas- tional Gallery of Art. Washington, 1989. Art. New York, 1989. sionate Eye: Impressionist and Other Master Paint- Cikovsky, Nicolai, Jr. Winslow Homer (New York, , coauthor. The Drawings of Jasper Johns. Exh. ings from the Collection of Emil G. Biihrle. Exh. cat., 1990). cat., National Gallery of Art. Washington, 1990. National Gallery of Art, Washington. Zurich and Munich, 1990. Clayton, Virginia Tuttle. Gardens on Paper: Prints Halpine, Susana, coauthor. "High Resolution HPLC , contributing author. The Drawings of Jasper and Drawings, 1200-1900. Exh. cat., National Gal- Fingerprinting of Purified hCG Demonstrates that Johns. Exh. cat., National Gallery of Art. Washing- lery of Art. Washington, 1990. Oxidation is a Cause of Hormone Heterogeneity" ton, 1990. . "Reminiscence and Revival: The Old-Fash- Endocrinology 126 (1990): 199-208. . Kazimir Malevich. Petit journal, National ioned Garden, 1890-1910." Antiques (April 1990). Hand, John Oliver. "Joos van Cleve's Holy Fam- Gallery of Art. Washington, 1990. Cooper, Tracy. "La facciata commemorativa di ily," The Currier Gallery of Art Bulletin (fall 1989): , coauthor. European Paintings from the Car- San Giorgio Maggiore." Andrea Palladio: nuovi con- 4-25. men and David Lloyd Kreeger Collection. Exhibition tributi. Milan, 1990. . Review of Early Netherlandish Paintings in brochure, Corcoran Gallery of Art. Washington, the Thyssen-Bornemisza Collection by Colin Eisler. Cowart, Jack, contributing author. Matisse in Mo- D.C., 1990. Apollo 131 (February 1990): 137. rocco: The Paintings and Drawings, 1912-1913. Ritchie, Charles, contributing author. The 1980s: Exh. cat., National Gallery of Art. Washington, Kasun, Leo J. "Henry Arthur Taft, Glimpses of Prints from the Collection of Joshua P. Smith. Exh. 1990. Everyday Life." Washington History 2, no. 1 (spring cat., National Gallery of Art. Washington, 1989. 1990): 50-67. De Grazia, Diane. Review of Visual Fact over Ver- Rosenthal, Nan, coauthor. The Drawings of Jasper bal Fiction: A Study of the Carracci and the Criti- Kelly, Franklin, contributing author. Frederic Ed- Johns. Exh. cat., National Gallery of Art. Washing- cism, Theory, and Practice of Art in Renaissance and win Church. Exh. cat., National Gallery of Art. ton, 1990. Washington, 1989. Baroque Italy by Carl Goldstein. Renaissance Quar- . "Let Us Now Praise Famous Men: Andy terly 42, no. 4 (winter 1989): 866-868. . "Frederic Church and the Enterprise of Warhol as Art Director." In The Work of Andy War- . Review of Correggio I Disegni by Mario Di Landscape Painting." Antiques (November 1989). hol, edited by Gary Garrels. Seattle, 1990. Giampaolo and Andrea Muzzi. Master Drawings 28, Lawson, Roger. Review of American Urban Archi- Sherman, Claire. "The Departments of Art, no. 1 (spring 1990): 83-86. tecture: Catalysts in the Design of Cities by Wayne Wellesley College, and the History of Art and Classi- de la Rie, E. Rene. "Old Master Paintings: A Attoe and Donn Logan. AAL Newsletter 9, no. 2 cal Archaeology, Bryn Mawr College, 1875-1914." Study of the Varnish Problem." Analytical Chemistry (April 1990): 5-6. In Early Years of the History of Art in the United 61 (1989): 1228A-1240A. Lewis, Douglas. "The Iconography of Veronese's States: Notes and Essays on Departments, Teaching, , coauthor. "The Effect of a Hindered Amine Frescoes in the Villa Barbara at Maser." In Nuovi and Scholars, edited by Craig Hugh Smyth and Pe- Light Stabilizer on the Aging of Dammar and Mastic Studi su Paolo Veronese, edited by Massimo Gemin. ter M. Lukehart. Princeton University, 1990. Varnish in an Environment Free of Ultraviolet Venice, 1990. Simpson, Marianna Shreve. "Codicology in the Light" and "New Synthetic Resins for Picture Var- , coauthor. "Report on the First Curatorial Service of Chronology: The Case of Some Safavid nishes." Cleaning, Retouching, and Coatings: Tech- Colloquy at the National Gallery of Art, June 1987" Manuscripts." In Les Manuscrits du Moyen-Orient: nology and Practice for Easel Paintings and Collected Papers. Studies in the History of Art 24. essais de codicologie et de paleographie. Actes du Polychrome Sculpture. Brussels, 1990. National Gallery of Art, Washington, 1990. Colloque d'Istanbul (Istanbul, 26-29 mai 1986), Doumato, Lai.iia. Frances Benjamin Johnston, Lomax, Suzanne Quillen, coauthor. "The Singlet edited by Francois Deroche. Istanbul and Paris, Architectural Photographer: A Bibliography. Mon- States of Methyl Cinnamate and Methyl Indenoate." 1989. ticello, 111., 1990. Journal of Photochemistry and Photobiology, . "Shaykh-Muhammad." In Persian Masters: . Review of Women Art and Society by A: Chemistry 47(1989): 173-179. Five Centuries of Painting, edited by Sheila R. Whitney Chadwick. Choice (June 1990): 84. Luchs, Alison. "Duveen, the Dreyfus Collection, Can by. Bombay, 1990. . "Architecture as Total Environment." Art and the Treatment of Italian Renaissance Sculpture: Sturman, Shelley G., coauthor. "The Courier Ex- Documentation 9, no. 2 (summer 1990): 68-69. Examples from the National Gallery of Art." Col- perience," Preprints 1990. ICOM. Los Angeles, . Review of Architecture of the Old South: A lected Papers. Studies in the History of Art 24. Na- 1990. Series by Lane Mills. AAL Newsletter 9, no. 1 (Janu- tional Gallery of Art, Washington, 1990. Wheelock, Arthur K., Jr. Entries on Johannes ary 1990): 5. , coauthor. "Report on the First Curatorial Vermeer and Karel Dujardin. In Opus Sacrum: Cat- . Bibliography. The Feast of the Gods: Conser- Colloquy at the National Gallery of Art, June 1987." alogue of the Exhibition from the Collection of Bar- vation, Examination, and Interpretation. Studies in Collected Papers. Studies in the History of Art 24. bara Piasecha Johnson, edited by Jozef Grabski. the History of Art 40. National Gallery of Art, Wash- National Gallery of Art, Washington, 1990. ington, 1990. Warsaw, 1990.

Financial Report

Operating fund expenditures of the Na- Since the Gallery opened to the public, tional Gallery of Art for fiscal year 1990 federal funds have supported major oper- amounted to $51.4 million, of which ations of the Gallery, including curatorial $40.6 million were federal funds appro- and education departments, security, priated to the National Gallery by Con- maintenance, and day-to-day operations. gress. The remaining expenditures of At the same time, all purchases of works $10.8 million were funded by endow- of art have been made with private funds. ment and special purpose funds as well as Construction of the East Building was pri- grants from corporations to support spe- vately financed. cial exhibitions. The sources of funding In fiscal year 1990 the Gallery's fed- 1990 operations are summarized below: eral expenditures amounted to $40.6 mil-

(S millions) % of total lion, virtually the same level as the prior year. At the beginning of the year the Gal- Federal funds #40.6 79% Private funds lery was required to absorb the cost of a Income from 3.6% pay raise, additional health benefit endowment and costs, and minor cutbacks in appro- other investments 5.2 priated funds. As a result, the planned Gifts and grants 5.6 opening of the Gallery during summer Total private funds 10.8 21% evening hours was cancelled and utility Total operating funds $51.4 100% usage curtailed wherever possible. Ex- penses were monitored closely each

FEDERAL FUNDS month and a general fiscal belt-tightening program was imposed on all aspects of The use of federal funds to operate the Gallery operations. Gallery stems from a 1937 Joint Resolu- As the year drew to a close, much time tion of Congress, which accepted an un- and effort was focused on the federal def- precedented gift that Andrew W. Mellon icit reduction program being discussed made to the people of the United States. between the Administration and Congress The gift consisted of his art collection, and the possible impact of those negotia- funds to construct a building (now the tions on the Gallery. Furloughs, seques- West Building), and an endowment fund. ters, and cutback schemes were all The Congress pledged the faith of the considered. In the end, however, the Gal- United States to provide funds for the up- lery, along with other government activ- keep, administration, and operations (in- ities, was required to close for only a cluding the protection and care of works weekend at the very beginning of the new of art acquired by the board of trustees) fiscal year. so that the Gallery would be properly Fiscal 1990 federal expenditures by Jasper Johns, Numbers, 1966, Gift of Leo Castelli in maintained and works of art exhibited functional categories in 1990 are shown memory of Toiny Castelli, 1989.82.1 regularly to the public free of charge. below.

81 The Sculpture of Indonesia—Mobil Oil Corporation Administration The Passionate Eye: Impressionist and Exhibitions Other Master Paintings from the Collec- tion of Emil G. Biihrle—Martin Marietta Corporation Foundation Development Operating Masterpieces of Impressionism and Post Operations/ Impressionism: The Annenberg Collec- Expenses Education Maintenance Fiscal Year tion—GTE Corporation Foundation Music 1990 Matisse in Morocco—Richard K. Mellon Equipment/Renovations Foundation $51.4 Million Fellowships Kazimir Malevich—PhiUp Morris Editorial Companies Inc.

Research Curatorial The Drawings of Jasper Johns—Ford Motor Company Conservation Basic support of the exhibition program Security was covered by appropriated federal funds amounting to $2.4 million. The federal government is also a major source of support for the international compo- (S millions) % of total nent of the Gallery's exhibitions through Salaries and benefits $26.5 65.3% its indemnity program, managed by the Utilities 4.3 10.6 Federal Council on the Arts and the Special exhibitions 2.4 5.9 Humanities. Under this program, the Renovation and National Gallery and other museums equipment 1.6 3.9 throughout the country have been re- Supplies, material, lieved of much of the burden of insuring and contracted services 4.7 11.6 art treasures coming to the United States Other 1.1 2.7 from abroad. During the past year, for ex- Total $40.6 100.0% ample, eight of the Gallery's exhibitions received indemnity coverage of up to $125 million each for works of art com- PRIVATE FUNDS ing from Indonesia, Switzerland, France, England, Holland, Scotland, Italy, and Unrestricted Funds the Soviet Union. Without the benefit of Unrestricted funds consist primarily of government indemnity, many, if not most, the income from the Andrew W. Mellon of these international exhibitions would Endowment Fund originally established not have been possible. in the early years of the Gallery. The in- CASVA: The Center for Advanced Study come from these funds is used for the in the Visual Arts derived 81% of its compensation of executive personnel, income from two Andrew W. Mellon payment of professional fees, insurance, Foundation endowments and grants from fundraising, and other operating costs not the Kress Foundation, individuals, and covered by federal funds. other supporting foundations. Expenses are included in the Operating Statement Restricted Funds under the headings "Educational ser- Special Exhibitions: During 1990 seven- vices" ($603,630) and "Fellowships" teen major and a few smaller special exhi- ($465,760). The remaining 19% used bitions were mounted at a total cost of for Center staffing is derived from feder- $8.5 million. More than 70% of the cost ally appropriated funds. The Center for of the exhibition program was supported Advanced Studies supported thirty-seven by the private sector. The six largest exhi- fellowships in its 1990 community of bitions underwritten by corporations and scholars in addition to its programs of foundations were: meetings, publications, and research.

82 INVESTMENTS Improvements to the operations made over the past several years, including a The investment portfolio of the Gallery rented warehouse and new computer sys- had a market value of approximately tems, raised profit margins. The net pro- $191 million on 30 September 1990, ceeds of publication sales are used to 5% lower than the preceding fiscal year. finance, through a revolving fund, the Common and preferred stocks comprised production of catalogues of the Gallery's 20.7% of the entire portfolio compared collections, Studies in the History of Art, with 43.5% at the end of fiscal year and other scholarly publications directly 1989. The portfolio is made up of endow- related to the programs of the Gallery. ment funds and, to a lesser extent, funds for special purposes that may be ex- INFORMATION SYSTEMS pended for the purposes designated by the donors. The largest single portion of To the extent funds are available, the Gal- endowment funds is the Patrons' Perma- lery seeks the latest computer equipment nent Fund, dedicated to the purchase of and technology to carry out its programs works of art. Its market value amounted and operations as efficiently as possible. to $66.2 million at the year end. The Computer technology is coordinated by portfolio is supervised by the finance the assistant treasurer for information sys- committee of the board of trustees and tems, Richard Snyder, and his dedicated managed by an investment advisory team staff of twelve. The Gallery has two main- made up of Scudder, Stevens & Clark, frames, an IBM 9370 and an IBM 4361, First Manhattan Capital Management, and a total of 355 personal computers in- both of New York, and Sound Shore Man- stalled in both buildings. The major ap- agement, Inc., of Greenwich, Connecti- plications are noted in brief below. cut. The custodian is the Riggs National Art Care: The Gallery's collection of Bank of Washington, D C. paintings, sculpture, and graphic arts is The early endowment fund established catalogued on a computerized system. by Andrew W. Mellon has been supple- Descriptions of the works of art, names of mented over the years by endowments artists, donors, and other information are given by The Andrew W. Mellon Founda- available through a network of terminals tion and Mr. Paul Mellon to operate the and personal computers. The system is Center for Advanced Study in the Visual used to conduct an annual inventory of Arts and to provide for art conservation the collection and track the movement of and building funds. During 1990 the Gal- each work of art within the buildings and lery's art purchase funds were strength- on loan to other museums throughout the ened by gifts of $2.7 million from the United States and abroad. estate of Lila Acheson Wallace and $ 1 million from the Annenberg Foundation. Fiscal Controls: Computerized financial Many other generous individuals also management systems enable the Gallery made contributions for the purchase of to exercise budgetary and accounting works of art, fellowships, and scholarly controls of day-to-day operations, special endeavors. exhibitions, and renovation projects, and to fulfill federal and private reporting re- PUBLICATIONS FUND quirements. The Gallery payroll is processed by a centralized payroll and Sales of art books, exhibition catalogues personnel system managed by the De- published by the Gallery, posters, note- partment of Agriculture at the National cards, and other two-dimensional prod- Finance Center in New Orleans. ucts reached $10.1 million in fiscal year 1990, more than 12% higher than the Library: The card catalogue in the re- prior year. This fiscal year was the third search library has been replaced by a highest sales year in the Gallery's history. computerized catalogue system with fifty Despite lagging attendance, sales reached terminals that facilitate the research work the higher level in 1990 as a result of in- of scholars and curators. The library sys- creased per capita sales to visitors. tem has communications links that give

83 access by computer to the book holdings CONCLUSION of all major research libraries in the The continuing debate over the nation's country. deficit reduction program clouds the fi- Other: Publication sales are recorded on a nancial outlook of the National Gallery. computerized sales and inventory control Nonetheless, we remain grateful to the system that ties in directly to state-of-the- Office of Management and Budget, the art computer cash registers. Gifts to the Administration, and the Congress for Gallery from friends, supporters, and their wisdom in dealing with this intract- benefactors are tracked by an automated able problem. Their efforts, coupled with system in the development office. A desk- the generous support of corporations, top publishing system enables the editors foundations, and many individuals, made office to set type ten times faster than it possible for the Gallery to continue its previously possible. Graphic displays, programs for the benefit of the public accounting spread sheets, scientific in 1990 at the highest levels of quality research, and a host of smaller but impor- and excellence. tant functions are carried out by personal computers throughout the Gallery. To take advantage of changing technology and Daniel Herrick developing software programs, the Gal- Treasurer lery continues to modernize and upgrade its existing systems.

certified public accountants Coopers &Lybrand

Report pf Independent Accountants

To the Board of Trustees of The National Gallery of Art We have audited the accompanying balance sheet of the National Gallery of Art (the "Gallery") as of September 30, 1990, and the related statements of activity of the funds for operations and changes in fund balances for the year then ended. 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 audit. We previously audited and reported on the financial statements of the National Gallery of Art for the year ended September 30, 1989, totals of which are included in the accompanying financial statements for comparative purposes only. 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 the National Gallery of Art as of September 30, 1990, and the results of its operations and changes in its fund balances for the year then ended in conformity with generally accepted accounting principles.

Washington, B.C. November 30, 1990 BALANCE SHEET 30 SEPTEMBER 1990 (with comparative totals as of 30 September 1989)

1990 1989

Nonfederal Federal Total Total

ASSETS Cash, including amounts on deposit with U.S. Treasury and interest-bearing demand deposits (Note 1) 8 2,515,785 $10,820,650 $ 13,336,435 $ 11,022,546 Receivables (Note 3) 9,110,345 47,086 9,157,431 11,402,484

Investments (Notes 1 and 2) 191,246,898 — 191,246,898 201,177,585

Publications inventory (Note 1) 3,218,640 — 3,218,640 3,495,633 Deferred charges 1,357,095 473,539 1,830,634 1,676,596

Fixed assets (Notes 1 and 4) 123,469,709 22,687,298 146,157,007 146,512,388 Total assets $330,918,472 $34,028,573 $364,947,045 $375,287,232

LIABILITIES AND FUND BALANCES Liabilities: Accounts payable, accrued expenses, and undelivered orders (Note 1) $ 3,111,325 $ 5,527,037 $ 8,638,362 $ 14,742,342 Deferred grants and appropriations 5,162,426 473,539 5,635,965 5,252,025 Total liabilities 8,273,751 6,000,576 14,274,327 19,994,367

Commitments and contingencies (Note 8)

Fund balances (Note 5): Funds for operations 2,531,044 2,531,044 3,648,859

Funds for special purposes 41,390,946 - 41,390,946 39,143,648

Endowment funds 155,253,022 — 155,253,022 161,888,903

Unobligated appropriations — 5,340,699 5,340,699 4,099,067 199,175,012 5,340,699 204,515,711 208,780,477 Capital invested in fixed assets 123,469,709 22,687,298 146,157,007 146,512,388 Total fund balances 322,644,721 28,027,997 350,672,718 355,292,865 Total liabilities and fund balances $330,918,472 $34,028,573 $364,947,045 $375,287,232

The accompanying notes are an integral part of the financial statements

85 STATEMENT OF ACTIVITY OF THE FUNDS FOR OPERATIONS FOR THE YEAR ENDED 30 SEPTEMBER 1990 (with comparative totals for the year ended 30 September 1989)

1990 1989

Nonfederal Federal Total Total

SUPPORT AND REVENUES:

U.S. Government appropriation utilized (Note 1) : ' — $40,638,810 $40,638,810 $40,463,638 Return from endowment funds, less $1,544,052 and $1,651,879 for 1990 and 1989, respectively, returned to

principal (Note 1) 3,463,108 — 3,463,108 3,017,000

Grants for special exhibitions 4,660,444 — 4,660,444 6,897,808

Income from special purpose funds utilized 1,405,624 — 1.405,624 1,177,009

Interest income 286,673 — 286,673 314,843

Income from cafeteria, recorded tours, and reimbursements 117,667 — 117,667 105,673 Total support and revenues 9,933,516 40,638,810 50,572,326 51,975,971

OPERATING EXPENSES: Programs: Curatorial 1,178,198 4,602,637 5,780,835 5,286,319 Conservation 371,180 1,518,080 1,889,260 1,591,749 Special exhibitions 6,113,923 2,412,210 8,526,133 9,117,969

Editorial and photography — 951,097 951,097 868,987 Research services 188,563 1,853,339 2,041,902 2,285,254 Educational services 793,963 2,858,673 3,652,636 3,267,003

Fellowships 465,760 — 465,760 423,353 Music 268,929 142,557 411,486 374,980 Total program expenses 9,380,516 14,338,593 23,719,109 23,215,614

Operations, security, and administration: Operations and maintenance 208,669 10,781,262 10,989,931 10,489,270

Security — 8,134,818 8,134,818 7,834,958 Administration, fiscal and legal 732,509 5,733,027 6,465,536 6,040,235

Development (Note 1) 479,819 88,443 568,262 478,014 Total operations, security, and administration 1,420,997 24,737,550 26,158,547 24,842,477

Renovation expenditures — 901,005 901,005 1,626,752

Equipment expenditures — 661,662 661,662 756,689 Total expenses 10,801,513 40,638,810 51,440,323 50,441,532 Excess of support and revenues over (under) expenses 1 (867,997) $ $ (867,997) $ 1,534,439

86 STATEMENT OF CHANGES IN FUND BALANCES FOR THE YEAR ENDED 30 SEPTEMBER 1990 (with comparative totals for the year ended 30 September 1989)

1990 1989 Nonfederal Federal No-year Funds for No-year special Funds for special Endowment One-year renovation exhibitions operations purposes funds funds funds Total Total

BALANCES, BEGINNING OF YEAB: 3,648,859 $39,143,648 $161,888,903 -i $2,167,031 $1,932,036 $208,780,477 $179,646,854

Additions: U.S. Government appropriation received 37,822,000 1,794,000 2,337,000 41,953,000 38,731,000 Return from endowment funds restricted to special purposes - 4,671,856 - 4,671,856 4,186,375 Endowment fund income returned to

principal (Note 1) 1,544,052 - - - — — 1,544,052 1,651,879

Investment income - 2,771,139 - — — — 2,771,139 2,387,985 Change in investment appreciation (depreciation) (Note 2) 29,822 (1,205,670) (13,077,713) — (14,253,561) 21,670,651

Gifts and bequests - 5,731,061 4,630,658 — — — 10,361,719 6,988,643 Excess of support and revenues over

(under) expenses (867,997) - - - - - (867,997) 1,534,439

Publications revenue — 10,553,696 — — — — 10,553,696 9,300,684 Total additions 705,877 22,522,082 (8,447,055) 37,822,000 1,794,000 2,337,000 56,733,904 86,451,656

Deductions:

Art purchases - 8,868,662 - — — — 8,868,662 6,722,841

Publications expenses - 9,746,229 - — — — 9,746,229 8,841,985 Fixed asset

expenditures 29,018 237,769 - - - — 266,787 1,050,919 Fellowships, 1 projects, and other - 1,405,624 - 1,405,624 1,177,009 ; Federal operating expenses obligated 37,818,075 901,005 1,988,363 40,707,443 39,510,490 Returned to U.S.

Treasury 3,925 — — 3,925 14,789 Total deductions 29,018 20,258,284 37,822,000 901,005 1,988,363 60,998,670 57,318,033

Transfers—In (out): Endowment fund income returned to

principal (Note 1) (1,544,052) - 1,544,052 - — — — —

Other (250,622) (16,500) 267,122 — — — — —

BALANCES,END OFYEAB $ 2,531,044 $41,390,946 $155,253,022 -1 $3,060,026 $2,280,673 $204,515,711 $208,780,477

87 Notes to the Financial Statements

Note 1. Summary of significant Federal funds represent appropriations asked prices. Purchases and sales of se- accounting policies from Congress for the operations of the curities are reflected on a trade-date Gallery. The Gallery receives "one-year" basis. Gain or loss on sales of securities is FUND ACCOUNTING—To ensure obser- appropriations, which, when not obli- based on average historical value (cost of vance of limitations and restrictions gated or expended, must be returned to securities if purchased or the fair market placed on the use of resources available the United States Treasury; and "no- value at the date of receipt if received by to the National Gallery of Art (the Gal- year" appropriations, for the repair, reno- donation). Dividends and interest are re- lery), the accounts of the Gallery are vation, and restoration of its buildings corded on the accrual basis. In accor- maintained in accordance with the prin- and for special exhibitions. No-year ap- dance with the policy of stating ciples of fund accounting. This is the pro- propriations are retained until expended. investment at fair value, the net change in cedure by which resources for various unrealized appreciation or depreciation purposes are classified for accounting The accounts of the federal funds are for the year is reflected in the statement and reporting purposes into funds estab- prepared on the obligation basis of ac- of changes in fund balances (see Note 2). lished according to their nature and pur- counting, which is in accordance with ac- poses. Separate accounts are maintained counting principles prescribed by the PUBLICATIONS INVENTORY— Publica- for each fund; however, in the accom- Comptroller General of the United States tions inventory is carried at the lower of panying financial statements, funds that as set forth in the Policy and Procedures cost or market. Cost is determined using have similar characteristics have been Manual for Guidance of Federal Agencies. the retail cost method. combined into fund groups. Accordingly, The obligation basis of accounting differs all financial transactions have been rein some respects from generally accepted corded and reported by fund group. accounting principles. Under the obliga- FIXED ASSET'S—The land occupied by The assets, liabilities, and fund bal- tion basis of accounting, commitments, the Gallery's buildings was appropriated ances of the Gallery are reported in four such as purchase orders and contracts, and reserved by the Congress of the self-balancing fund groups as follows: are recognized as expenses and the re- United States for that purpose, and no lated obligations are carried as liabilities value has been assigned in the accom- Operating funds, which include unre- even though the related goods or services panying financial statements. Buildings stricted and restricted resources, repre- have not been received. Such amounts are recorded at cost and not depreciated sent the portion of expendable funds are included in undelivered orders and since they are considered national land- available for support of the Gallery's are available until expended. marks. Equipment, furniture, and com- operations. puter software are recorded at cost and Funds for special purposes include the ART OBJECTS—In conformity with ac- depreciated on a straight-line basis over publications fund, which is used to fi- counting policies generally followed by estimated useful lives ranging from five to nance, in a revolving fund manner, the art museums, the value of art has been twenty-five years. Upon retirement of production of catalogues of the Gallery's excluded from the balance sheet. The fixed assets, the related cost and accumu- collections, and other scholarly publica- Gallery acquires its art collections lated depreciation are removed from the tions directly related to the programs of through purchase or by donation-in-kind accounts. the Gallery. Publications revenue and ex- of works of art. Only current-year pur- Depreciation of equipment, furniture, penses are recorded as an addition and chases, and not donations-in-kind, are re- and computer software is charged directly deduction, respectively, in the statement flected in the statement of changes in against "Capital invested in buildings and of changes in fund balances. Other funds fund balances. equipment" and is excluded from the for special purposes are restricted to art statement of activity of the funds for oper- acquisitions, capital construction, and fel- CASH—Nonfederal cash represents ations and statement of changes in fund lowships, among other restricted amounts held on deposit by banks includ- balances. Depreciation in the amount of purposes. ing interest-bearing demand deposits. $1,625,868 in 1990 is comprised of Endowment funds are subject to restric- Federal cash represents appropriated $402,209 of nonfederal funds and tions of gift and bequest instruments re- amounts not yet disbursed by the United $1,233,659 of federal funds. Deprecia- quiring in perpetuity that the principal be States Treasury. tion expense for 1989 was $1,428,258. invested and the income only be used. Permanent endowment funds are subject INVESTMENTS—Investments are carried REVENUE RECOGNITION-Grants, gifts, to restriction by donor, grantor, or other at current market value based upon the and bequests are recognized as support outside party. Funds functioning as en- last reported sales price at the end of the and revenues or additions to funds for dowment are subject to restriction by the fiscal year or, in the absence of a reported special purposes or endowment funds in Gallery's board of trustees. sale, upon the average of the bid and the year received or receivable, except

88 for Advanced Study in the Visual Arts, conservation of art works, fellowships, and various other operating purposes in addition to the purchases of works of art. Income derived from investments of endowment funds is accounted for as revenue of the appropriate operating fund or, if applicable, as additions to funds for special purposes. In order to minimize the inflationary erosion of the endowment funds, it is the policy of the board of trustees to limit the amount of dividends and interest available for expenditure in operations in any year and to return unused income to the principal of those endowments. In keep- ing with this policy, the amount of interest and dividends available for expenditures is equal to 5.5% of the four-year average market value of the funds. All income in excess of this amount is returned to the principal of the endowment. In addition, any amounts that were made available for expenditures yet were unused at year-end are also returned to the principal of the endowment. Total income generated by endowments for operations was $5,007,160 and $4,668,879 for the years ended 30 September 1990 and 1989, respectively. Of these amounts, $3,463,108 and $3,017,000 was used for operating purposes and, pursuant to the trustees' policy noted above, $1,544,052 and $1,651,879 was returned to principal for these respective years.

ANNUAL LEAVE—The Gallery's employees earn annual leave in accordance Philippe-Laurent Roland, Bacchante with a Goat, 1796, Gift of Mr. and Mrs. John R. Gaines, in with federal law and regulations. The cost Honor of the Fiftieth Anniversary of the National of leave is recorded as salaries expense Gallery of Art, 1989.92.1 only as leave is taken.

FUTURE IMPACT OF ACCOUNTING PRO- Pledges for the purchase of works of art OPERATING INCOME FROM ENDOW- NOUNCEMENT—The Financial Account- are recorded when collected. MENT FUND—A 1942 trust indenture es- ing Standards Board has issued State- Contributions received by the Gallery tablished a National Gallery Endowment ment No. 93, "Recognition of Deprecia- in support of special exhibitions occurring Fund for the purpose of providing income tion by Not-for-Profit Organizations." The at one or more participating museums are to support certain nongovernment expen- application of this statement is required recorded as revenue to the Gallery to the ditures of the Gallery. Subsequent to the for the Gallery's fiscal year beginning extent that shared costs are incurred by original endowment, other funds have 1 October 1990. Application of the state- the Gallery. been established to support the Center ment will require that the Gallery depreci- support received for special exhibitions, ate its buildings, the effect of which will which is deferred, along with related ex- decrease fixed assets and capital invested penses, until such exhibitions are held. in fixed assets.

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

Cost Market value Cost Market value Permanent loan to the U.S. Treasury 5,000,000 $ 5,000,000 $ 5,000,000 $ 5,000,000 Other U.S. Treasury obligations 93,905,590 93,835,414 58,168,797 58,644,462 Cash equivalents and certificates of deposit 9,614,275 9,614,275 26,923,944 26,941,074 Bonds and notes 44,713,932 43,302,153 23,140,119 23,170,289 Common and preferred stocks 42,785,043 39,495,056 72,904,453 87,421,760 Total $196,018,840 $191,246,898 $186,137,313 $201,177,585

In 1942 the Gallery, under authority of est income on this loan was $409,826 an Act of Congress, made a $5,000,000 and $431,389 for the years ended permanent loan to the United States Trea- 30 September 1990 and 1989, sury. This loan bears interest at 'k% be- respectively. low the average monthly rate for long- The change in investment appreciation term funds paid by the United States (depreciation) for the years ended Treasury (ranging from 7.625% to 30 September 1990 and 1989 is as 8.625% during fiscal year 1990). Inter- follows:

Net increase (decrease) in market value of investments $(19,812,216) $11,229,917 Realized gain on sale of investments, net 5,558,655 10,440,734 $(14,253,561) $21,670,651

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

Special exhibition grants and reimbursements $4,183,719 $ 4,639,676 Due from brokers from sales of securities 1,683,799 4,176,993 Accrued investment income 2,937,565 2,328,181 Other 352,348 257,634 Total $9,157,431 $11,402,484

90 Note 4. Fixed assets butions on a current basis and accor- Buildings and equipment consist of the following as of 30 September: dingly there are no unfunded retirement costs. Total pension expense of the Gal- 1990 1989 lery was approximately $2,564,000 and Nonfederal Federal Total Total $2,077,000 for the years ended 30 Sep- Buildings $122,215,656 $11,118,451 $133,334,107 $133,334,107 tember 1990 and 1989, respectively. Equipment 2,854,287 22,486,426 25,340,713 24,553,569 Construction-in- progress 443,104 443,104 120,575 Note 7. Income taxes 125,069,943 34,047,981 159,117,924 158,008,251 The Gallery is a nonprofit organization Accumulated exempt from federal income taxes under depreciation on the provisions of §501(c)(3) of the Inter- equipment (1,600,234) (11,360,683) (12,960,917) (11,495,863) nal Revenue Code and the applicable in- Total $123,469,709 $22,687,298 $146,157,007 $146,512,388 come tax regulations of the District of Columbia.

Note 5. Nonfederal fund balances Nonfederal funds include the following as of 30 September: Note 8. Commitments and contingencies 1990 1989 The Gallery entered into an operating Funds for operations $ 2,531,044 $ 3,648,859 lease for a warehouse beginning 1 No- vember 1988. The Gallery has the right Funds for special purposes: to cancel this lease upon twelve months' Accumulated income, gifts, grants, and bequests which written notice to the lessor after the initial are available for: five years. Future minimum rental com- Art purchases 16,502,582 15,386,846 mitments under this lease at 30 Septem- Capital construction 6,764,236 6,951,808 ber 1990, are approximately as follows: Publications 15,601,675 14,931,923

Fellowships, projects, and other 2,522,453 1,873,071 For the year ending Federal Publications Total funds for special purposes 41,390,946 39,143,648 30 September fund 1991 $237,000 $118,000 Endowment funds: 1992 244,000 122,000 1993 251,000 126,000 Endowment funds, the income of which is available for: 1994 21,000 10,000 Restricted purposes 75,503,317 79,753,746 Total $753,000 $376,000 Gallery operations 59,908,563 61,067,631 Funds functioning as endowment funds, the principal and income of which are available for: The terms of the lease include additional rent for operating expenses, real Special purposes 8,961,699 9,757,071 estate taxes, utilities, and maintenance. Unrestricted purposes 10,879,443 11,310,455 Rent expense on the above lease was Total endowment funds 155,253,022 161,888,903 $494,260 for the year ended 30 Septem- Total nonfederal funds $199,175,012 $204,681,410 ber 1990.

Note 6. Retirement benefits lery participating in the CSRS had the All permanent employees of the Gallery, option to transfer into FERS before both federal and nonfederal, hired prior 31 December 1987. to 1 January 1984, participate in the Civil Under FERS, employees pay full Social Service Retirement System (CSRS) and Security taxes in addition to their contri- those hired subsequent to 1 January bution to the Basic Benefit Plan of the 1984 participate in both the Social Secu- Federal Government. Additionally, they rity Retirement System and the new Fed- have the option to make tax-deferred con- eral Employees' Retirement System tributions to a Thrift Savings Plan and re- (FERS), which went into effect 1 January ceive a matching portion from the Gallery. 1987. Permanent employees of the Gal- The Gallery funds all retirement contri-

91 James Peale, Fruit Still Life with Chinese Export Basket, 1824, Gift of Mr. and Mrs. Thomas M. Evans, in Honor of the Fiftieth Anniversary of the National Gallery of Art, 1990.7.1 (detail) Trustees, Committees, and Officers

Board of Trustees Audit Committee (as of September 1990) Franklin D. Murphy, Chairman Franklin D. Murphy, Chairman Nicholas F. Brady, John R. Stevenson, President The Secretary of the Treasury William H. Rehnquist, John R. Stevenson The Chief Justice of the United States Ruth Carter Stevenson James A. Baker III, Robert H. Smith The Secretary of State Alexander M. Laughlin Nicholas F. Brady, The Secretary of the Treasury Finance Committee Robert McCormick Adams, John R. Stevenson, Chairman The Secretary of the Smithsonian Institution Nicholas F. Brady, Ruth Carter Stevenson The Secretary of the Treasury Robert H. Smith Robert McCormick Adams, Alexander M. Laughlin The Secretary of the Smithsonian Institution Paul Mellon, Honorary Trustee Franklin D. Murphy Ruth Carter Stevenson Robert H. Smith Alexander M. Laughlin

Art and Education Committee John R. Stevenson, Chairman Franklin D. Murphy Ruth Carter Stevenson Robert H. Smith Alexander M. Laughlin J. Carter Brown

93 John R. Stevenson William H. Rehnquist James A. Baker III Nicholas F. Brady President The Chief Justice of the United The Secretary of State The Secretary of the Treasury

Robert McCormick Adams Ruth Carter Stevenson Robert H. Smith Alexander M. Laughlin Paul Mellon The Secretary of the Smithsonian Honorary Trustee Institution

Trustees' Council Ruth Kainen Executive Officers John C. Whitehead, Chairman Stephen M. Kellen John R. Stevenson, President Lois de Menil, Vice Chairman Peter Kimmelman J. Carter Brown, Director Arthur G. Altschul Richard A. Kirstein Roger Mandle, Deputy Director Perry R. Bass Leonard A. Lauder Henry A. Millon, Dean, Robert M. Bass Ronald S. Lauder Center for Advanced Study in the Visual Arts Donald M. Blinken Judith Laughlin Anne B. Evans, Administrator Edward W. Carter Sydney Lewis Daniel Herrick, Treasurer Carroll J. Cavanagh Richard A. Manoogian Philip C. Jessup, Jr., Secretary and General Counsel James T. Dyke Frederick C. Mayer Joseph J. Krakora, External Affairs Officer Edward E. Elson Raymond D. Nasher Robert F. Erburu Diana Prince Director Emeritus Thomas M. Evans Jill Sackler John Walker John C. Fontaine James S. Smith John R. Gaines Benjamin F. Stapleton III Jo Ann Ganz Edward F. Swenson, Jr. Evelyn D. Haas Eleanor Wood Prince Gordon Hanes Ian Woodner* Pamela C. Harriman Lore Heinemann R. L. Ireland III George F. Jewett, Jr. : deceased

94 Staff

OFFICE OF THE Secretary Assistant Curators DIRECTOR Valerie Guffey Virginia Clayton Gregory D. Jecmen Director American Paintings J. Carter Brown Curator and Deputy Senior Modern Prints and Drawings Executive Assistant to the Director Curator of Paintings Curator Angela M. LoRe Nicolai Cikovskv, Jr. Ruth E. Fine Special Assistant to the Director Curator Assistant Curators Robert L. Bowen, Jr. Franklin Kelly Carlotta J. Owens Secretaries Assistant Curators Charles M. Ritchie Beth J. Noreen Nancy Anderson Staff Assistant Ann M. Wieman Deborah Chotner Thomas H. Coolsen Sarah L. Hyde Secretary Photographs Internal Auditor Susanna Atkins Larry L. Lewis Curator Auditor Modern Paintings Sarah Greenough Orin Wolf Associate Research Curator Sculpture Elizabeth P. Streicher Assistant Curator Curator of Sculpture and OFFICE OF THE Florence E. Coman Decorative Arts C. Douglas Lewis DEPUTY DIRECTOR Twentieth-Century Art Associate Curator of Early Deputy Director Curator and Head of Department European Sculpture Roger Mandle Jack Cowart Alison Luchs Assistant to the Deputy Director Curator Mellon Assistant Curator Carol W. Kellev Nan Rosenthal Donald Myers Staff Assistant Associate Curator Staff Assistant Lexi Alexander Jeremy A. Strick Willow Johnson Secretary Assistant Curator Jean Stensland Maria F. Prather RECORDS AND LOANS Secretary for Exhibitions Managing Curator PAINTINGS AND Stephanie Leone Suzannah J. Fabing TWENTIETH-CENTURY ART Departmental Secretary and Office Secretary Senior Curator and Curator of Manager Jane E. O'Meara Modern Paintings Rita Herrera Charles S. Moffett Curatorial Records and Files Staff Assistant PRINTS, DRAWINGS, Head of Department Maria Mallus PHOTOGRAPHS, AND Nancy H. Yeide SCULPTURE Renaissance Paintings Loans and the National Lending Senior Curator Curator, Italian Renaissance Service Andrew C. Robison, Jr. David Alan Brown Staff Assistant and Office Manager Head of Department Curator, Northern Renaissance Stephanie T. Belt Susanne L. Cook John Oliver Hand Assistant Staff Assistant for Exhibitions Assistant Curator, Italian Lisa E. Mariam Audrey Hill Renaissance Office of the Registrar Gretchen Hirschauer Old Master Prints Registrar Secretary Curator Mary Suzor Julia Thompson H. Diane Russell Associate Registrar Assistant Curator Baroque Paintings Anne Halpern Judith A. Brodie Curator, Southern Baroque Assistant Registrars Diane De Grazia Old Master Drawings Judith Cline Curator, Northern Baroque Michelle Fondas Curator Arthur K. Wheelock, Jr. Margaret Morgan Grasselli

u:, Supervisory Art Services Specialist Scientific Research Department Silkscreen Production Photographic Archives EDUCATION DIVISION John Poliszuk Head of Department Paul Glenshaw Curator Head of Education Assistant Supervisory Art Services Rene de la Rie Glenn Perry Ruth R. Philbrick Linda Downs Specialist Conservation Scientist Jeff Wilson Cataloguer of Decorative Arts, and Division Administrator Andrew Krieger Barbara Berrie Ju Yun Administrator Margot E. Grier Lead Art Services Technicians Organic Chemist Finisher Jerry M. Mallick Staff Assistant Daniel Shay Suzanne Quillan Lomax Dennis Bult Cataloguer of English and French Mary Hill Gary Webber Conservation Scientists Production Coordinators Art Staff Support Art Services Technicians Lisha Glinsman William Bowser Richard W. Hutton Marta Madrid Horgan Mark Clark Michael Palmer Gifford Eldredge Cataloguer of Architecture Robert Cwiok Conservation Scientist for the John Olson Andrea R. Gibbs Teacher and School Programs Ellen Evangeliste Systematic Catalogue Drawing Coordinators Cataloguer of Italian Art Head of Department Lowell Gilbertson Deborah Rendahl Linda Heinrich Karen H. Weinberger Kathleen Walsh-Piper Goven Martinez Donna Kwederis Cataloguer of Twentieth-Century Coordinator of National Teacher Loans and Exhibitions Johnnie Mizell Photographer Art Institute Conservation John Spurlock Kathleen Buckalew Rita M. Cacas Julie A. Springer Head of Department Maquette Maker Systematic Catalogue—listed with Cataloguer of Special Projects Coordinator of Teacher Workshops Mervin Richard Jane Rodgers and Materials curatorial and conservation Barbara Chabrowe Coordinator of Matting/Framing Staff Assistants Janna Eggebeen departments Circulation Desk Technician Services Christine Byers Wendy A. Cole Coordinator of School Docents Hugh Phibbs Sarah Sibbald Secretary Mary Ellen Wilson CONSERVATION Associate Conservator Production Assistant Debra K. Massey Tour Scheduler Head of Conservation Michael Pierce Victor Sparrow Mary Stuart Bace Ross Merrill Matter/F ramer Slide Library Staff Assistants Coordinator of Conservation Jenny Ritchie LIBRARY Head Slide Librarian Lea Bingham Programs Frame Conservator Executive Librarian William A. Taylor Rhenda Meiser Michael Skalka Stephan Wilcox Neal T. Turtell Assistant Slide Librarians Catherine Whitney Editorial Assistant Assistant Frame Conservator Secretary Nicholas A. Martin Adult Programs Janice Gruver Richard Ford Carolyn J. Mauler Thomas A. O'Callaghan. Jr. Staff Assistant Research Associate Clerk Typist Mary S. Wasserman Head of Department Jennifer Faith Karen Tidwell Kate M. Allen Lynn Russell Secretaries EDITORS OFFICE Coordinator of Tours and Lecture? Collection Development Eric Denker Joi Goodman EXHIBITIONS Editor-in-Chief Staff Lecturers Ellen Cunningham Chief of Exhibition Programs Librarian Frances P. Smyth Marilyn Brockway D. Dodge Thompson Caroline H. Backlund Production Manager Painting Conservation Frances Feldman Exhibition Officers Chris Vogel Chairman, Painting Department Acquisitions Cameran G. Castiel Senior Editor Philip Leonard David Bull Head of Acquisitions Wilford Scott Elizabeth Driscoll Pochter Mary Yakush Anna M. Rachwald Dennis Weller Conservator and Head of Ann Bigley Robertson Editors Order Processing Assistants Acting Coordinator of Adult Department Patricia W. Waters Tam L. Curry Sarah Fisher Susan E. Clay Program Docents Office Manager Jane Sweeney Conservator Angela M. Gnanakkan Margaret O'Neil Heather Reed Editor, CASVA Publications Ann Hoenigswald Serials Assistants Curator of Film Programs Secretaries for Loan Carol Eron Bruce B. Hebblethwaite Margaret Parsons Associate Conservators Administration Designers Inge F. Newstead Assistant to Curator of Film Carol Christensen Lena M. Hernandez Phyllis Hecht Michael Swicklik Acquisitions Technician Programs Deborah L. Miller Cynthia Hotvedt Associate Conservators for the Beatrice D. Poindexter Victoria Toye Secretary to the Chief of Editorial and Production Assistant Systemic Catalogue Curator of Academic Programs Exhibition Programs Cataloguing and Processing Ulrike Mills Catherine Metzger Gail Feigenbaum Nancy E. Stanfield Assistant for Project Management Elizabeth Walmsley Head of Cataloguing Acting Curator of Academic Abigail Walker Conservation Technician Roger C. Lawson Programs DESIGN AND Secretary Barbara Pralle Cataloguers Mary McWilliams INSTALLATION Meg Alexander Jane D. Collins Coordinator of Academic Paper Conservation Chief of Design and Installation Trudi W. Olivetti Photographic Services Programs Conservator and Head of Gaillard Ravenel Cathy F. Quinn Chief of Photographic Services Amy McCampbell Department Deputy Chief of Design and Julia G. Rubenstein Richard C. Ami Staff Assistants Shelley Fletcher Installation Marsha D. Spieth Supervisory Photographer Lucy Blankstein Senior Conservator Mark Leithauser Paula Zech William Wilson Maury Pully Pia DeSantis Pell Chief Lighting Designer/Chief of Bindery Assistant Coordinator of Photography Anne Whittle Assistant Conservator Exhibition Production Jane E. Higgins Ira Bart field Yoonjoo Strumfels Gordon Anson Cataloguing Assistants Education Resources Photographers Matter/F ramer Design and Installation Assistant J. Bryan Lane Head of Department Dean Beasom David Shen Linda Greatorex Marc L. Langston Ruth R. Perlin Richard Carafelli Head of Exhibits Shop Education Specialist Object Conservation Reader Services Philip Charles, Jr. Floyd Everly Joseph J. Reis Lorene Emerson Conservator and Head of Head of Silkscreen Shop Head of Reader Services Program Assistant Archives Photographer Department Barbara Keyes Lamia Doumato Pamela Chewning David Applegate Shelley Sturman Head of Lighting Shop Reference Librarian Resource and Program Productioi Museum Specialist Associate Conservators James Spicknall Frances P. Lederer Specialist Barbara Bernard Daphne Barbour Carpenters Reference Assistant Leo J. Kasun Laboratory Technicians Judy L. Ozone Lester Dumont George (Ted) T. Dalziel, Jr. Coordinating Curator of Art Susan Amos Thomas Holland Interlibrary Loan Assistant Information Textiles Conservation James Locke Thomas Piddington Thomas F.J. McGill. Jr. Christopher With Conservator and Head of Museum Technicians Exhibits Aide Vertical Files Librarian Supervisory Art Information Department Margaret Cooley Miller Mack Roberta Geier Specialist Sara Sanders-Buell Mary Ashton Graphic Designer Circulation Assistants Carol Boves Secretary Lisa Farrell Ariadne Y. DuBasky Desiree M. Miller Cecil Miller

96 Senior Art Information Specialist Secretary to the Kress Professor Masonry Shop Eddie Jones Energy Conservation Specialist John Cogswell and Special Projects Supervisor Paul Kelly Dennis Donaldson Art Information Specialists Amelia Henderson Nick Palumbo Sandra Lancaster Safety and Health Specialist Frances Ballard Leader Gail Max field Joseph Harchick Sponsored Research in the Roland M. Martin Thomas McBride Margaret Baucom Electrical Shop History of Art Masons Katherine Parker Elisa Patterson Electrician Foreman Mary Anne Probus Project Head William Turner James Richardson Charles Gillespie Supervisor, Booking and Shipping Claire Sherman Joseph Sandleitner Evelyn Scott Electrician Leader Program Assistant Willie Speight Carol F. Lippitt Day Housekeeping Daniel Smith Curtis Millay Lorraine Staggs Lead Audiovisual Shipping Clerk Housekeeping Supervisor Electricians Roland Young Rayfield Stevenson Architectural Drawings Project Phillip Collins Gerald Alston Affiliate Loan System Coordinator Housekeeping Foremen Sheila Tyler Project Head Melvin Klugh Kendrick Ashton Tyrone Washington Sally Reeves William Mahan Vicki Porter Rita Williams Chief Booking Clerk Darrell Waytes Thomas Turner Senior Research Associate Zilphia Wright Martha H. Aspron Housekeeping Leaders Electrician Workers Sabine Eiche James Wright, Jr. Booking & Shipping Clerk Mary Battle Robert Benoit Cassandra Raspberry James Hardy Operations George Britt Program Shipping Technicians Housekeepers OFFICE OF THE Manager David Cole Michael G. Bryant Catherine Brown Harold E. Michael Benjamin McKinnie Jennifer A. Cross ADMINISTRATOR James Clark .secretary Carlton Williams Chuckie L Harris Charles Harrison Administrator Anna Rogers Electrician Helper Dion Redman Anne B. Evans Dorothy Johnson Clerk Typist Leslie Raspberry Chief of Administrative Operations Angela Lee Exhibition Programs Kelly Lee Sheet Metal Shop Darrell Willson Betty Rufus Operating Engineers Shop Foreman Head of Department Program Analyst James Wells Utility Systems Repairer Foremen Fred Crickenberger Susan Arensberg Nancy Gianlorenzo Jesse White Joseph Barnes Sheet Metal Mechanics Assistant Curator Staff Assistants Housekeeping Workers Sterling Fisher Lorraine Karafel Sandra Dean Maurice Anderson Juan Delano Sidney Griffin Project Coordinator Jo Ann Purnell Kenneth Betts Conrad Glade Mark Teed Roily Strauss Antonio Boomer Allan Riggles Utility Systems Repairer Leaders Education Publications FACILITIES MANAGEMENT Lamont Brown Plumbing Shop Oscar Riley Pipefitter Leader Head of Department Facility Manager Lawrence Cooper Buddie Spicer Paul Dale J. Russell Sale Gregg Reynolds Douglas Curtis Anthony Thomas Pipefitters Editor Special Projects Coordinator Lewis Dobbs Larry Vanmetter Marc Breau William J. Williams Danny C. Hamm Kevin Dores Geraldine Drayton Donald Young Gregory Evans Staff Assistant Planners and Estimators Utility Systems Repairer Operators Charles Harrison Levern Jacobs Patricia S. Nolan Paul D. Heath Lester Barry Michael Warrick Vernon Henderson Work Control Center Education Media Marvin Hill Frank Bauer Clerk Typists Nathaniel Bethune Manager Production Coordinator of Audio Mable Stokes Anna M. Rogers George Brooks Craig A. MacFarlane Visual Programs Elsie Thompson Judy Williams Walter Cochins Coordinators Michael Sassani Margaret Wallace David Duggin Gwendolyn Harriston Production Coordinator of Maintenance Dale Washington Roger Dunning Linda E. Hilliard Interactive Technologies Manager Diana Wells Eugene Guthrie Donna Mann Craig MacFarlane Night Housekeeping Tracy Hallamon SECURITY DEPARTMENT Media Specialist Carpentry Shop Housekeeping Supervisor Robert Hamilton Chief, Office of Protection Services Melanie Soich Supervisor James Washington Gary Hancock Jay Chambers Alvin Adams Housekeeping Foremen Harold Jacobs Deputy Chief, Administration Wood Grafters Charles Boone Frank Lim George Martin CENTER FOR Richard Bruce Frank Ford Dante Mercurio Deputy Chief, Technical Services Abney Dorson Alvin Simpkins ADVANCED STUDY IN James Miller David Schott David King Henry Washington THE VISUAL ARTS Henry Moody Recruitment George McDonald Housekeeping Leaders Dean Harvey Moore Ronald Lowe Willard Menson Paul Cotton Henry A. Millon Clifton Mutts Investigator Carpentry Workers Geraldine Crawford Associate Dean John Ott Enis Pinar Christopher Baumann Eva Harrison Marianna S. Simpson Jesus Pena Secretary Francis Dyson, Jr. Clerk Typist Larry Smith Carol Palmer Assistant Dean Shirley Tucker Paint Shop James Stevens Therese O'Malley Housekeepers Supervisor Alexander Tonic Technical Services Research Associate/Assistant Gerald Carthorne Russell Grice Wayne Valentine Supervisor Massumeh Farhad James Dawkins Leader John Wert Angelo Catucci Research Assistants Raymond Frazier Vernon Richardson Anthony Walker Leader Marc Gotlieb Josephine Hallamon Elevator Mechanic Foreman Alvin Lineberger, Jr. Tracy Cooper John Walker Edwin Butler Welden Daugherty Locksmiths Susan Taylor Housekeeping Workers Plasterer Elevator Mechanic Robert Brown Staff Assistant James Anderson James Thompson Willie Parker David Ihrig Helen Tangires Gracie Bell Painters Machinist Foreman Electronic Mechanics Assistant to the Program of Special George Brigges Thomas Hartswick Zery Mingo Chris Cardwell Meetings Charles Chase Alphonso Holt Machinists Vihn Mai Cecelia Gallagher Willie Cook Tommy Pope Larry Brown Nathaniel Stroman Assistants to the Program of Pamela Cornes Joseph Richardson Carol Underwood Fellowships Vernessa Drain Protective Staff Deborah Gomez Lester Smith James Wilson Isaac Graham Captain of the Guard Alesia Taylor Painting Worker Instrument Mechanics Brenda Handy Nathaniel McLin Assistant to the Program of Joseph Copeland Eugene Givens Carolyn Harvey Executive Officer Regular Meetings William Sutton Carroll Jamison Nathaniel Anderson Elsa Mezvinskv Ruth Johnson

97 Supervisory Lieutenants Nathaniel Jones Gerald Glenn Verda Whitlow Assistant Gallery Architect Mike Bennett Willie Joyner Malinda Green William Wiggins Carl M. Campioli George Boomer Stinson Kelly John Hall James Williams Architects Milton Cox Alonzo Kennedy James Harris Lynn Williams Mary Ellen Chantry Carrington Miller Robert Lewis Boyd Harrison Allen Wilson Bruce D. Condit James Plush George Mackie Tawania Harvey Andre Wilson William H. Cross, Jr. Supervisory Sergeants Frank Meyers Michael Hawkins Ralph Wright Denise M. Lind Richard Allen Joseph Midgette Smithy Hill Demetrio Yabes Interior Design Specialist Dianne Allison Ronald Miles Donna Hinton James Yancey Susan A. Ritterpusch Quentin Arnold Charles Moody Alvin Holmes Program Assistant Willie Barnes Jasper Morris Fred Holmes ADMINISTRATIVE Bettye D. Miller John Cantey Dexter Moten Prise ilia Hopkins SERVICES Secretary Louis Carroll Moses Murphy Herman Howard Tamara M. Brown Chief of Administrative Services Jerome Edwards Vincent Parker Tyrone Howard Ira Bozeman David Hall Joe Peterson Margo Hyde Assistant Chief of Administrative PERSONNEL Armando Hartley Ronald Randall Gary Jackson Services Personnel Officer Richard Hartman John Jackson Jerry Reaves Sharlene Mobley Michael Bloom William Johnson Floyd Rhoades Cecil Johnson Assistant Personnel Officer Roger Kraft Edward Roberts Ivy Johnson Office Services Rebecca Kusserow Ricky Manuel Wayman Johnson Andrew Robinson Clerk Typist Staff Assistant Lawrence Marshall Felisha Jones Thomas Savoy Carolyn Brooks Page Bentzel Jimmy Morehead Calvin Simmons Kenneth Jones Driver Personnel Specialist John Palmer Franklin Smalls Ronald Jones Robert Harris John O'Neill Willie Parker Leroy Smith Quellan Josey Mail Clerks Staffing Specialists Leslie Parks Timothy Smith Crystal Kelly Felton Byrd Rick Decuir Marlene Tucker Scott Klocke Vernon Smith Gregory Hill Linda Pettiford Edward Watson Anthony Thompson A.B. Lee Messengers Staffing Clerk George Woodall William Thorp Charles Leggett Joe Jennings Lisa Scalzo Sheila Wright Larry Turner Tyrone Lewis Grady Williamson, Jr. Personnel Specialist Lead Console Operators Alvester Warren Dona Linder Printing and Duplicating Lucia Pollock Frank Ebb Charles Mason Ronald Webster-Bey Frank Schiavone Staff Assistant Walter Queen Rodney Mathew Alfred Williams Wrapper Carolyn Jasperson Console Operators John Maye Saundra Williams Evelyn Murray Receptionist Robert Brooks Rudolph McCoy Mark Wilson Gwendolyn Hines Derrick Hairston Roddie Worthington Eunice McQueen Checkroom Personnel Specialist Stanley Harley Willie Wright John Miles Supervisor Terrence Snyder William Lemmon Gallery Officers Daniel Miller Barbara Caldwell Systems Specialists Karen Perry Rukan Ahmed Leroy Miller Lead Clerk Typist Michele Caputo Ernest Reynolds Irvin Bacon Walter Monroe Dora Barksdale Darryl Cherry Security Clerks Altina Bailey Edward Moon Checkroom Attendants Raymond Lee Sammy Bardley Leroy Moreno Christy Allen Judith Randall Joe Lewis Gwendolyn Bell Willie Norman Eric Brown Nursing Clerk Amos Lynch Anthony Bledsoe John Norris Felisia Burgess Sheila Powell Security Drivers Steven Brock Darrell Oldham Ernestine Coleman Gregory Stevenson Annette Brown Justina Page Paula Gaither PROCUREMENT AND James Tasker Cleven Brown Joyce Palmer Betty Harper SUPPLY Security Officers Donnell Brown Bennie Perry Alice Holloman Hajji Al-Hadith Ronald Brown James Phillips Fransonia Littles Chief of Procurement and Supply James Allison, Jr. Serbrina Bullock Jeroboam Powell Kim Reed Joseph E. Brown Assistant Chief/Procurement Ray Andrews Benjamin Burgess Fredericko Prince Bernice Shaller Daniel Bailey Jose Cabrera Willie Pugh Kathy Sutton Manager Tammy Bennett David Caldwell Eldridge Ramsey La Verne Whitted Carolyn A. Perry Vander Blount Michelle Cameron Gary Reed Carolyn Windear Secretary Samuel Brown Albert Can- Darrell Rhoades Veronica F. Nash Paul Browner Bruce Carter Robert Rice Telephone Services Contract Specialists Otis Butler Jesus Castro William Richardson Head Telephone Operator Mary Bass Clifton Clark Ellis Caudle Dana Roberson Minnie Barbour Jenmarie Dewberry Bernard demons Clarence Coakley Geneva Rosenboro Operators Carl L. Hawkins Edwin Cluster, Jr. Walter Colbert Kenneth Rowe Barbara Coleman Claudine A. Lewis Robert Conyers James Collins Regina Roy Brenda Daniels Jeannette V. Rogue Edwin Cox Leslie Copeland John Short Zewdie Simms Procurement Clerk Venus Cristwell Michael Copeland Maxine Simmons Mamie L. Gordon Ronald Estes John Davis William Smallwood AUDIOVISUAL SERVICES Clerk Typists Julie A. Fetter Virtus Evans Roger Davis Andre Smith Chief of Audiovisual Services E. R. Johnson Francis Goler Dennis Diggs Latonya Smith Thomas Valentine Mathew McQuarrie George Hamilton Roby Ellis Alexander Stephens Assistant Darrell Harley Robert Evans Michael Strong Dorian Breau Supply Office Manager Junior Harper Neil Floyd Donnie Sutton Recording Engineer Derry Martin Eddie Harris David Fobbs Harold Thomas John Conway Supply Clerk Barbara Height Gregory Ford Robert Tinsley Projectionists Darnell Brandon Gus Henderson Paul Fortune James Townsend Jeannie Bernhards Supply Clerk/Typing Peter Henderson, Jr. James Frisby Raymond Tyndle James Gleeson Crystal M. Gonzalez Edgar Hopson Carlton Gaines Eugenio Velazquez Paavo Hantsoo Property Clerk Frank Johnson Antone Gatewood Juanita Walker Ted Harper Frankie Johnson Robert Gayleard John Washington GALLERY ARCHITECT Warehouse Operations Manager Maurice Johnson Coy Gill Gregory Watson Thomas Briscoe, Jr. Gallery Architect Yamashita Johnson Anthony Givens Michael Webster James M. Grupe

98 Warehousemen Cashiers Management Analyst GALLERY ARCHIVES SPECIAL EVENTS Horace Dawkins Michael L. Ban- Jean Krevinas Chief of Gallery Archives Assistant to the Director for Jaybee Sumter John P. Rees Accounting Technician Maygene F. Daniels Special Events Michael Little Allison Treadwell Rosa E. Jackson Architectural Archivist Genevra 0. Higginson Joe Leftwick Richard W. Updike Secretary Richard E. Saito Staff Assistant Darryl C. Thompson Harold Washburn Laurie E. Meister Archives Technicians Pauline M. Watona Merchandise Stock Clerk Kurt Helgrich Assistants General Accounting Michael Gibson Terry W. Gibson Martha J. Shears Amy Ahlberg Special Exhibition Shop Comptroller Robin Van Fleet Kristen Bomar Dale C. Rinker PUBLICATIONS SALES Manager Oral Historian Elizabeth Carpenter Accountant Chief of Publications Sales Stephanie M. Thomas Anne Ritchie Marney Faesy Kelly Liller R. Keith Webb Assistant Managers Ann Harbison Systems Accountant Assistant Chief/Merchandising Barbara L. Anderson Sarah Marsten Carol Ann Proietti Manager Suzanne Chaves OFFICE OF EXTERNAL Gretchen Snow Operating Accountants Molly T. Welch Ysabel L. Lightner Frenzetta Holloman AFFAIRS Cashiers Ruth E. Lewis External Affairs Officer Merchandising Martha Bridgers Julianne Ehrman VISITOR SERVICES Accountant Joseph J. Krakora Graphics Buyer John J. Forbis Statistician Linda K. Smith Staff Assistant and Head of Visitor Judy C. Luther Steven Koumanelis Nancy Rice Accounting Technicians Services Graphics Designer and Buyer David F. Medwith Staff Assistant Roberta Bellofatto Sandra Creighton Noriko Bove Thomas Parrette Mary Ann Verrill Cynthia W. Czubat Administrative Assistant Book Buyers Helen Smith Senior Exhibition Supervisor Brenda M. Fogle Carole Burton Charles L. Taylor Merchandise Stock Clerk Frances Winston Valerie M. Wright Annette Krouse Linda A. Hunt Exhibition Supervisor Adele Stevens DEVELOPMENT Mail Order Dorothy Wortman Retail Systems Stephanie L. Thorpe Development Officer Manager Exhibition Aides Manager Dyann Nelson-Reese Laura Smith Fisher Carroll A. Thomas Vrej Armenian Michael C. Metallo Senior Development Associate Mail Order Clerks Payroll Jean Langley Systems Programmer/Analyst Patricia A. Donovan Betty J. Brown Gordon L. Cathey Supervisory Payroll Technician Program Specialist Denise D. Graves HORTICULTURE Sales Audit Supervisor Joyan F. Rehberger Elizabeth A. Hutcheson Naureen J. Lloyd Earlene Bright Payroll Clerks Development Associate Chief of Horticulture Carolyn L. Messineo Sales Audit Sharon Black Melissa B. McCracken Donald Hand Maria L. Petrillo Mary P. Chiles Emma G. Moses Campaign Assistant Assistant Horticulturist Warehouse Operations Dianne Cina Brian Smoot Data Processing Catherine M. Conger Inventory Analyst Manager Staff Assistant Horticulturists Assistant Treasurer/Management Martin J. Drake Scott D. Stephens Kate E. Silins Deidre Armstrong Information Systems Daryl A. Murphy Warehousemen Membership Coordinator Cynthia Lawless Richard C. Snyder Accounts Payable and Receivable Dennis Callaghan Patricia C. Tobin Gardener Foreman Supervisory Computer Specialist Michael J. Chapman Raymond M. Earp Program Assistant Milton Vick Henry B. Clark James B. Everett Jennifer M. Vaughan Gardener Leaders Operations Terrance Smith Computer Systems Analysts Ulysses Greatheart Dolorace D. Bowman Manager Marvin M. Walton CORPORATE RELATIONS James Stewart Karen L. Boyd Robin D. Dowden Gardeners Training Specialist Susan E. Farr Corporate Relations and Venture West Building Shop Franklin DeFreece Stephanie Riley Michael R. Mauzy Programs Officer Manager Larry Jacobs Jack M. Tucker Elizabeth A C. Weil Edmund Manigault Nancy G. Vibert Visual Presentation Computer Programmer Analyst Assistant Corporate Relations Assistant Managers Calvin Manor Manager Susan Y. Hsia Officers Emily Ennulat Ronald McGill Richard M. Mancini Computer Programmer Elisa Buono Glazer Jeffrey B. Greer Michael Peters Technician Karen D. Canada Deborah F. Shepherd Ronald Terrell Book Sales Specialist Richard J. Lambriola Computer Operators Corporate Relations Assistants Sally P. Morris Marquita E. Dewald Susan E. Davis Mary J. Powell Office Management MUSIC Karen J. Martin Mary Ellen Connor Fraser Cashiers Assistant to the Director for Music Manager John H. McNeil Executive Assistant Dawn M. Barclift Laura A. Fitzgerald Catherine C. Labib George Manos Stephen Bjorneboe Assistants Program Assistant Music Program Assistant Bertie D. Butler Mary Hamel-Schwults Jeanette Crangle Juliana Munsing OFFICE OF Michele T. Callaghan Elizabeth C. Lipkin Music Specialist SECRETARY AND Gerald M. Habarth Karen Schwartz PRESS AND PUBLIC Stephen Ackert GENERAL COUNSEL Music Librarian Connie W. Harvey INFORMATION Philip A. Krauth Secretary and General Counsel George Gillespie Press and Public Information Kim C. Peacock Philip C. Jessup, Jr. OFFICE OF THE Officer Pierre G. Richard TREASURER Associate Secretary-General Ruth Kaplan Jennifer E. Sauer Counsel Publicists Merchandise Stock Clerks Treasurer Elizabeth A. Croog Daniel Herrick Katie Ziglar Robert G. Allen Assistant General Counsel Assistant to the Treasurer Deborah Ziska Michael D. Bailey Nancy Robinson Breuer Nancy E. Frey Information Assistants Sheldon B. Edelin Legal Assistant Assistant Treasurer/Financial Elizabeth Kimball Concourse Book Store Sarah E. Fontana Management Deborah Spears Manager Assistant Secretary Michael W. Levine Secretary Calvin O. Roebuck Kathryn K. Bart field Budget Officer Salina Muellich Assistant Managers Secretaries William H. Roache Receptionist Craig W. Himmons Carol A. Christ Operating Accountant Beverly Rosenthal Stephen R. McEvitt Montrue V. Connor Nancy Hoffmann Book Sales Specialists Financial Analyst Deborah A. Barclift Naomi R. Remes Lawrence J. Hyman

99 VOLUNTEER DOCENTS Nadine Harth Judith Newton Nicole Tordjman VOLUNTEER ART Don Markle Karin Ackerson Florence Heller Elizabeth Niederman Susan Toerge INFORMATION Geri Markle Doris Alexander Patsy Hicks Joan Nolan Ida Tracy SPECIALISTS Sarah Marsten Carol Higgins Saka Noma Margrit Trauttmansdorff Peggy Maughlin Constance Anderson Claire Ackerman Shannon Hobbs Nur Nossuli Ginger Vanderver Rebekah McKenna Puchi Angoso Gloria Albrittain Jane Hochberg Mary Catharine O'Connell Susan Van Nice Virginia McQuoid Valerie Appia Elsie Aranda Mimi Hodsoll Maijorie O'Neil Mary Ann Verrill Emilou Melvin Hannah Aurbach Marie Aranda Sharon Hotzman Linn Ong Joy Vige Barbara Mered Joyce Austin Mary Ann Arbo Marta Madrid de Horgan Giovanna Orzallesi Marie-Laure de Villepin Florence Meschter Bunny Baker Rosalie Baker Dora Horn Gail Ostergaard Mary Visscher Mari-Eleanor Miller Rosalie Baker Edith Ball Sandy Horowitz Cecilia Ouspensky Josephine Wang Christine Monsen Susana Baranano Valerie Ballard Maryan Hurtt Lily Overton Julie Warnement Barbara Moore Jean Barquin Susana Baranano Anne Irving Louise Owen Jane Weems Lynn Murphy Jane Barton Eleanor Bateman Edie Izenberg Patrisia Owens Maria Elena Weissman Oscar Naumann Kathleen Battle Georgienne Bednar Miriam Jacobson Sally Pabst Anne West Jean Nida Heinz Bauer Elaine Berson Carolyn Jasperson Anne Padelford William Whalen Darvine Noel B.J. Beers Janet Boccia Marilyn Jenkinson Martha Parker Carol Wheeler Joan Nolan Jean Bell Joyce Bourke Joan Jordano Hedwig Pasolini Sue White Libby Peck Ilona Benham Kay Brown Renate Kaplan Annabel Perlik Elizabeth Wildhack Fran Pelton Mary Lou Bremner Laina Bush Evelyn Katz Beatriz Perez-Castillo Martha Wildhack Mary Reilly Ana Maria Brown Mario Cader-Frech Lee Kelley Sophie Perrusson Mary Wilkinson James Rhee Roberta Buchanan Marian Carroll Carolyn Kelloff Miriam Piers Betty Wilson Annette Rich Donna Burnett Patricia Casson Ida Kemper Maxie Phillips Amparo Wing Judith Rich Brigit Bush Margaret Chang Mary Lou Kenary Kathleen Plowman Fran Winston John Rogers Christine Byers Joan Chapin Ilze King Nicole Polti Jean Wolf Chris Rowsome Nancy Cammack Betsye Chen Patricia Kraemer Judith Pomeranz Ursula Wolfman Margil Ruben Karen Campbell Simone Clarke Carol Kuehl Jeannette Post Dorothy Wright Cherry Sand Chantal Carderera Jean Cohen Margaret Kunz Anne Prange Fred Yamada Audri Schiller Lynn Chambers Mariene Conner Barbara Kurtz Anastasia Pratt Lois Young Susie Schwarz Angela Catalano Marcia Corey Christine La Telia Rolf Preisendorfer Gianna Zucchi Fay Shong Martha Jean Choate Linda Cox Anne Lancaster Christine Prichard Diane Soucy Joanne Chutter Sherry Cross Jacqueline Landfield Sharon Quinn Joan Steigelman Mary Anne Clancy Abby Daniels Jean Langley Regina Radicati Grace Stuart Phyllis Cochran Jennifer Darnell Anne Lanman Ursula Raeber Bonnie Sweet Elizabeth Corbin Liz des Cognets Daniele Lantran Nancy Rankin Rita Thurman Barbara Cramer Teri Des Rosiers Jo Ann Larsen Sally Ray Maria Tousimis Robert D Annucci Verda Deutscher Brigitte Lebedel Vivi Rebecchini Grace Tull Elizabeth Daoust Janet Donaldson Anne-Marie Lee Janet Renshaw Ward Van Wormer Paul Davis Kim Doyle Anne Marie Lemaire Anna Rhodes Debbie Victor Janice Delaney Donna Edmondson Fanny LeNain Peggy Rice Fran Walls Vivien DeLima Estelle Eisendrath Virginia Lincoln Margot Riddick Eileen Winkelman Jeannine Dickey Janna Evans Marilyn Lindsay Andree Rill Fran Winston Virginia Dillon Barbara Fisher Doris Loftness Rutgera de Rivera Janis Worthington Graciella Dourojeanni Angelique C. Frazer Robert Duncan Beth Loizeaux Malkia Roberts Tony Yared Marianne Freudenthal Harriet Looney Carol Robie Barbara Yaros Barbara Eberhardt Marguerite Fry Kay Looney Isabel Rodriguez Rubye Youngblood Marcy Edmiston Agnes Gavin Mariby Egea Jean Loper Wynefred Rogerson Franchia Loren Sarah Rohrer Jean Gerhardt Alice Ellington Nancy Gelman Hope Emerling Ave Maria Lorenzo Jo Roland Paul Gettel Karen Epelbaum Sharon Love-Pal umbo Myriam Roller! Lucyle Mace Deborah Rucci Alicia Golden Sylviene Le Polles Experton Marylee Hair Elizabeth Farrell Ana Marie Macchetto Madrid Sheila Ruffine Barbra Mann Lorrie Samburg Mary Hanrahan Paula Ferdinand Susan Harper Alessandra Figliuoli Anne Marchais Vicki Sant Betty Hatch Deborah File Patricia Martin Leota Sarraf Rosella Matamoros Marie Noelle Scaduto-Mendola Marika Herndon Virginia Flavin Gertrud Hodgson Phyllis Freirich Terry Matan Mary Schaad Virginia Mayo Helga Schuecktanz Becky Holthaus Marianne Freudenthal Eileen Hurley Beba Gaines Gisella McBride Sonja Self Carmen Iribarren Marilyn Galbreath Jill McKee Berta Shaefer Rebekah McKenna Mary Leigh Shepard Jane Irvin Joyce Gamse Edie Izenberg Mary Gibb Ursula Guttstadt-McKinney Claude Sieger Virginia McQuoid Joan Silverman Miriam Jacobson Dorothea Gibbs Kimberly Kendall Kay Giddens Ronald Meek Catherine Singleton Nancy Cohen Kotz Tom Gilday Judy Mencher Beatriz Slotkoff Margaret Mende Antonia Smiley Stephen Lake Irya Gittelson Shirley Lavine Pauline Gilstrap Betty Mezines Anne Louise Smith Emma Michaels Marlies Solomon Mary Lawler Gisela Gonzales de Ponette Elinore Lawrence Laure Graves Renee Mikus Chris Stackenborg Marion Lebanik Jonathan Gray Blanche Miller Gabrielle Steers Raymond Lessard Beth Griffith Caroline Miller Celia Steingold Ilse Lewy Johana Griffith Eleanor Monahan Mary Ann Sures Susan Lightsey Emmie Griggs Richard Monsen Nancy Swain Lyle Lipschultz Nancy Hafer Meredith Moore Joy Tallent Marty Longan Ann Hageman Ann Murry Karen Telis Dottie MacDonald Ludwine Hall Herlene Nagler Gail Templeton Terri Manning Melissa Harris Irmgard Neumann Elizabeth Thorn

100 Donors

Donors During Fiscal Year 1990

Abramson Family Foundation, Inc. The Circle of the National Gallery of The Fuller Foundation, Inc. ' Alice S. Acheson Art Mr. and Mrs. John R. Gaines 1 Virginia Adams George M. Coburn The Jo Ann and Julian Ganz, Jr., f The Esthy and James Adler Naomi & Nehemiah Cohen Foundation Trust | Philanthropic Fund Foundation Mr. and Mrs. Anthony Geber Daniel Aladjem Collectors Committee Gemini G.E.L. | Alsdorf Foundation Communities Foundation of Texas Ann and Gordon Getty Foundation I Susan Mary Alsop Community Foundation of Greater The J. Paul Getty Trust J The Alvord Foundation Washington, Inc. Morris and Francis Gewirz American Academy in Rome Ed Cox Foundation Foundation, Inc. Ameritech Foundation Warren and Claire Cox The Horace W. Goldsmith Foundation I Am way Environmental Foundation Charles E. Culpeper Foundation, Inc. The Gordon/Rousmaniere/Roberts The Annenberg Foundation Dart Group Foundation Fund Anonymous The Arthur Vining Davis Foundations Adolph and Esther Gottlieb The Artery Organization, Inc. Ronald Davis Foundation, Inc. The Australian Legal Group Delphi Research Associates The Florence Gould Foundation v Barbara Baird Dermatology Associates, P.C. Graphicstudio Banca Commerciale Italiana Richard Diebenkorn John E. Gray The Bauman Foundation Jim Dine GTE Foundation BellSouth Corporation DM Foundation Guest Services, Inc. Eloise B. Bender Marcia M. Dupree Philip Guston Bergman Family Charitable Trust The Elson Foundation, Inc. Evelyn and Walter Haas, Jr., Fund Robert Hunt Berry in memory of The Charles Engelhard Foundation Evelyn A. J. Hall Charitable Trust Richard King Mellon The Sarah G. and Lionel C. Epstein Mr. and Mrs. Gordon Hanes Dr. and Mrs. Malcolm Bick Family Collection The Hanes Foundation Binney & Smith Inc. Mr. and Mrs. Thomas M. Evans North Harford French Club Meyer and Joan Bo brow The T. M. Evans Foundation Charles U. and Janet C. Harris Jonathan Borofsky Incorporated Lita Annenberg Hazen Charitable Brady Foundation Frank R. and Jeannette H. Eyerly Trust John F. Bricker The Excelsior Fund William Randolph Hearst Foundation Gerald J. Brody Exxon Corporation Mrs. Rudolf J. Heinemann The Eli Broad Family Foundation Fannie Mae Foundation Henry J. and Drue Heinz Foundation Ruth and Joseph Bromberg Paul B. Fay, Jr. Michael Heizer J. Carter Brown The Fein Foundation The Henfield Foundation Robert Brown Fidelity Foundation The Henley League, Ltd. Robert L. Brown Roger S. Firestone Foundation The Honorable and Mrs. Omer L. Isabel B. Burger The Donald and Doris Fisher Hirst The Morris and Gwendolyn Cafritz Philanthropic Fund Hobby Foundation Foundation Dan Flavin David Hockney The Capital Informer, Inc. Aaron Fleischman Horn Gallery Edward W. and Hannah L. Carter Family of Wanda Flynn Janet A. Hooker Charitable Trust Leo Castelli Kathrine D. Folger Anne Horan Courtney J. Catron, Jr. The Folger Fund Raymond J. and Margaret Horowitz Vija Celmins Kathleen D. Ford Fund, Inc. J. Craig Huff, Jr. The Chase Manhattan Bank Ford Motor Company Mary S. Humelsine Chemical Bank Sam Francis Ruth Ann and Robert D. Hyson Helen Cherniak Robert Frank Grace M. Iacolucci (in memory of Chevy Chase Federal Savings Bank The Franklin Mint Elda Tuckerman) Sandro Chia Arnold D. Frese Foundation, Inc. IBM Corporation

101 erf- 5\ ^ c

r z S

^3-y; ;

• - /-£"»r

-2^?_sit6' f f

Raphael Lamar West, Orlando Rescuing Oliver from the Lion, 1789, Ailsa Mellon Bruce Fund, 1990.10.7 (detail)

102 International Exhibitions Foundation Raymond D. Nasher Company Time Inc. Magazines Gifts in Memory of Margaret Bouton: R. L. Ireland III Evelyn Stefansson Nef Mary E. Tinley Virginia T. Andrews Ittleson Foundation, Inc. The Netherlands-American Amity Truland Foundation Hannah R. Aurbach Sidney and Jean Jacques Trust, Inc. TRW Foundation Joyce T. Austin Janss Foundation Neutrogena Corporation The Union Labor Life Insurance Richard H. Bales George F. Jewett, Jr., 1965 Trust Edward John Noble Foundation, Inc. Company Charlotte Bouton Bamaby JFM Foundation Norfolk Southern Corporation United Technologies Catherine F. Bonner James A. Johnson, Jr. NYNEX Foundation Vaughn Foundation Nancy Cammack Joslyn Art Museum (Honorarium) John O'Brien Richmond and Betsy Viall, Jr. Georgiana P. Dunham Peter Josten Ralph E. Ogden Foundation, Inc. Lila Acheson Wallace/National Gallery Grose Evans Ruth and Jacob Kainen The Ohrstrom Foundation Inc. of Art Fund Elise V. H. Ferber Kaufman Americana Foundation Olin Corporation Charitable Trust Lila Wallace—Reader's Digest Fund, Phyllis Freirich The Anna-Maria & Stephen Kellen Margaret D. Olsen Inc. Mary Ann Freudenthal Foundation William B. O'Neal S. G. Warburg and Co., Ltd. Sapienza T. Gorges t Ellsworth Kelly Open Society Fund, Inc. Washington Brick and Terra Cotta Emmie A. Griggs Kimberly Charitable, Inc. Ourisman Chevrolet Co., Inc. Company Roma C. Harlan The Elbrun and Peter Kimmelman The Overbrook Foundation Washington Print Club Elizabeth L. Howard Foundation, Inc. William S. Paley Foundation, Inc. Dr. and Mrs. John C. Weber Enid G. Hyde The Seymour H. Knox Foundation, Parking Management, Inc. Arthur, Rachel, and Susan Wilkoff Carleen B. Keating Inc. Philip Pearlstein Foundation Jacqueline Landfield Kransco Group Companies Peco Foundation The Dave H. and Reba W. Williams Anna M. Link j Samuel H. Kress Foundation Pepsico Foundation, Inc. Foundation Kathryn A. Looney William G. and Francis C. Land The Peters Corporation Gordon Page Williams Thomas W. Matan Estee Lauder, Inc. Ivan and Jacqueline Phillips A. S. Wilsey Virginia M. Mayo The Lauder Foundation Pierce Associates, Inc. Eleanora M. Worth Rebekah R. McKenna Alexander M. and Judith W. Laughlin The Sally Engelhard Pingree Wrightsman Ramsing Foundation Inc. Renee M. Mikus The Greta Brown Layton Charitable Foundation Wyeth Endowment for American Art Doris Q. Murray Trust The Prince Charitable Trusts, The Young Art Associates Anne Olson i Leighton-Oare Foundation, Inc. Abbie Norman Prince Trust Anita and Julius L. Zelman Linn W. Ong The Leger Galleries Ltd. Pritzker Foundation Charles Parkhurst | Marc E. Leland Foundation R & S Associates Yotice M. Ray The James H. and Martha McG The Ravenal Foundation Marguerite F. Riddick | Lemon Foundation Reproducta Co., Inc. Wynefred W. Rogerson ! The Sydney & Frances Lewis Republic National Bank Paul W. and Sarah T. Rohrer | Foundation James Rosenquist Jeffrey Ruda ! Roy Lichtenstein Benjamin J. Rosenthal Foundation Lynn P. Russell J Mr. and Mrs. Harry H. Lunn, Jr. Rosenthal Companies Richard E. Saito | Alex and Marie Manoogian Susan Rothenberg Barbara C. Shelton Foundation Sandra H. Rouse (in memory of Marianna S. Simpson Maralo Inc. Gertrude Gerstein) Courtney B. Stevenson | Toni Marcy Donald Saff Rose G. Stem ! The Marks Foundation, Inc. Saicho Saito Ida T. Tracy | Mars Foundation Salomon Inc Janet M. Waller Janet Smith Martin Mark Samuels Lasner Elizabeth H. Wildhack | Martin Marietta Corporation Elizabeth G. Schneider Martha P. Wildhack | Foundation Richard Serra Mary R. Wilkinson Fereidoon Matin and Jean L. Matin 1718 Investments John Wilmerding ;j Mary Ellen Maune Robert F. Shapiro and Anna Marie Mary Ellen Wilson The May Department Stores Shapiro Foundation, Inc. Frances C. Winston Foundation, Inc. The Estate of Katharine Shepard ; The Eugene McDermott Foundation Herman and Lila Shickman ; Thomas and Francis McGregor Signet Trust Company Foundation Esther Simon Charitable Trust Mellon Bank William M. and Francis Sloan The Andrew W. Mellon Foundation Charles E. Smith Management, Inc. R. K. Mellon Family Foundation The Charles E. Smith Trust Menil Foundation, Inc. Joshua P. Smith Lois and Georges de Menil Margaret L. Smith Robert and Jane Meyerhoff Collection The Robert H. Smith Family Christopher and Alexandra Foundation Middendorf Robert H. and Clarice Smith Estate of Mark Millard Smithsonian Resident Associate Edward S. and Joyce I. Miller Program Judith H. Miller Alvin L. Snowiss Ellin H. Mitchell Rudolf and Barbara R. Sobernheim Pepita Milmore Memorial Fund Trust Soros Foundation—Soviet Union MJR Custody No. 1 Southwestern Bell Foundation Mobil Oil Corporation Statoil North America, Inc. Monsanto Fund Saul Steinberg James Starr Moore Memorial The Philip and Lynn Straus Foundation Foundation, Inc. Malcolm Morley Taggart and Jorgensen Gallery Philip Morris Companies Inc. The Tides Foundation

103 50th Anniversary Gift Committee Collectors Committee (as of 30 September 1990) Anonymous The Honorable and Mrs. Marc E. Mr.* and Mrs. James Alsdorf Leland Robert H. Smith, Chairman Mr. and Mrs. William E. Arthur Mr. and Mrs. Irvin L. Levy Alexander M. and Judith W. Laughlin Mrs Anne H. Bass Mr. and Mrs. Sydney Lewis Arthur G. and Diana Altschul Mr. and Mrs. Perry R. Bass Ms. Mary Ralph Lowe James S. and Laurie B. Smith Mr. and Mrs. Robert M. Bass and Dr. William Kalchoff Richard and Lee Kirstein Mr. and Mrs. Sid R. Bass Mrs. Eugene McDermott Melvin S. and Ryna Cohen Mrs. Edwin A. Bergman Mr. and Mrs. Edward C. MacEwen Arthur A. and Alison B. Bimey Mr. and Mrs. John Bowes Mr. and Mrs. John Marion Stephen M. and Anna-Marie Kellen Mr. and Mrs. Eli Broad Mr. and Mrs. Frederick R. Mayer Herbert and Barbara Gordon Mr. Douglas Bushnell Mrs. Robert B. Mayer Michael J. Swerdlow and Ms. Betty Wold Johnson Mr. and Mrs. Paul Mellon Albert H. and Shirley Small Ms. Catherine M. Conover Mr. and Mrs. Edwin Van R. Milbury Norma Lee and Morton Funger Mr. Edwin L. Cox Mr. and Mrs. Richard W. Moncrief Thelma and Melvin Lenkin Mrs. Catherine G. Curran Mrs. 0. Ray Moore David Bruce Smith Dr. and Mrs. Edwin J. De Costa Mr. William B. Mullins* Marvin and Elsie Dekelboum Dr. and Mrs. Georges de Menil Mr. Raymond D. Nasher Alan and Louise Potter Mr. and Mrs. John R. Donnell Mrs. P. Roussel Norman Albert and Ruth Abramson The Honorable and Mrs. Robert W. Mr. and Mrs. Peter O'Donnell, Jr. Fulton and Michelle Liss Duemling Mr. William S. Paley* J. W. Kaempfer, Jr. Mr. Robert B. Egelston Mrs. Patricia S. Patterson Jan and Howard Hendler Mrs. Robert B. Eichholz Mr. and Mrs. James R. Patton, Jr. Frederick Henry Prince Trust, 7/9/47 Mr. and Mrs. James A. Elkins, Jr. Mr. and Mrs. Sumner Pingree III Robert M. and Marion B. Rosenthal Mr. and Mrs. Edward E. Elson The Honorable and Mrs. Leon Polsky Mr. and Mrs. B. Francis Saul II Mrs. Charles W. Engelhard Mr. and Mrs. Frederick H. Prince Miller & Long Companies Mr. and Mrs. Thomas M. Evans Mrs. A. N. Pritzker The Williams Stamps Farish Fund Mr. and Mrs. John D. Firestone Mr. and Mrs. Jay A. Pritzker Potomac Electric Power Company Mr. and Mrs. Donald G. Fisher General Dillman A. Rash Mandell J. and Betty Lou Ourisman Mr. Aaron Fleischman Mr. and Mrs. Stewart A. Resnick Family of Oliver T. Carr Mrs. Julius Fleischmann Mr. and Mrs. John B. Rogers Riggs National Bank of Washington, Mr. and Mrs. Ben J. Fortson Mr. and Mrs. Robert D. Rogers DC. Mr. and Mrs. Julian Ganz, Jr. Mrs. Howard Ross T. A. Beach Corporation Mr. and Mrs. Gordon P. Getty Mrs. Madeleine H. Russell American Security Bank Mr. and Mrs. Carl S. Gewirz Mrs. Louisa Stude Sarofim Naomi & Nehemiah Cohen Mr. and Mrs. Gerald Gidwitz Mr. and Mrs. Benno C. Schmidt Signet Bank Mrs. Katharine Graham Mr. and Mrs. Rudolph Schulhof The Driggs Corporation Mr. and Mrs. George Gund III Mr. and Mrs. Robert Shapiro Mary and Kingdon Gould, Jr. Mr. Leo Guthman Mr. William Kelly Simpson Mr. and Mrs. D. F. Antonelli, Jr. Mr. and Mrs. Prentis Cobb Hale Mrs. Carolyn Skelly Bell Atlantic Charitable Foundation Mr. and Mrs. Hugh Halff, Jr. Mr. H. Peter Stern The Ahmanson Foundation Mr. and Mrs. Melville W. Hall and Dr. Margaret Johns Philip L. Graham Fund Mr. and Mrs. Frederic Hamilton Mrs. Ruth Carter Stevenson ARCO Foundation Mr. and Mrs. Gordon Hanes Mr. and Mrs. James F. Van Kennen 1 Peter McBean Mrs. Clarence B. Hanson Mr. and Mrs. James M. Vaughn, Jr. The Washington Post Company Mr. and Mrs. Joseph H. Hazen Mr. and Mrs. F. Howard Walsh, Jr. Ruth and Jacob Kainen Mrs. Henry J. Heinz II Mrs. Paul L. Wattis The Times Mirror Foundation Mrs. Susan Morse Hilles Mrs. Marcia S. Weisman Albert H. Gordon Mr. and Mrs. George Hixon Mr. and Mrs. David K. Welles Barbaralee Diamonstein-Spielvogel The Honorable Oveta Gulp Hobby Mr. and Mrs. Keith Wellin and Carl Spielvogel Mrs. James Stewart Hooker Mrs. John Hay Whitney Charles E. Smith Mr. and Mrs. Raymond J. Horowitz Mr. and Mrs. Dave Williams Peter and Elbrun Kimmelman Mr. and Mrs. Edward R. Hudson, Jr. The Honorable Stanley Woodward Lawrence A. and Barbara Fleischman Mr. and Mrs. R. L. Ireland III Mr. and Mrs. William Wood Prince Mobil Foundation, Inc. Mr. and Mrs. William Janss Mr. and Mrs. William T. Young John and Nancy Whitehead Mr. and Mrs. George F. Jewett, Jr. Edwin L. Cox Mr. and Mrs. Clark A. Johnson Jeanne Rowe Mathison Trust Mrs. J. Seward Johnson Arnold D. Frese Foundation Mr. and Mrs. George M. Kaufman Janet Annenberg Hooker Mr. and Mrs. Stephen M. Kellen The Honorable and Mrs. Randolph A. Kidder Mr. and Mrs. Peter Kimmelman Mr. Seymour H. Knox* Mr. and Mrs. Robert P. Kogod Mr. and Mrs. Arthur Kobacker Mr. and Mrs. Werner H. Kramarsky Mr. and Mrs. Henry R. Kravis Mr. and Mrs. Judd Leighton

*deceased

104 The Circle of the National Gallery of Art (as of 30 September 1990)

Co-chairs Mrs. Alvin A. Kraft Mrs. Thomas Lyle Williams, Jr. Mr. Peter Josten Mrs. Katharine Graham District of Columbia Georgia New York Mr. Robert H. Smith The Honorable and Mrs. Marc E. Mr. and Mrs. Edward T. Wilson Mr. and Mrs. William E. Kimberly Leland Maryland Virginia District of Columbia Sustaining Members Mr. and Mrs. Sidney S. Zlotnick Mr. and Mrs. Norman V. Kinsey Mr. Frederick P. Mascioli District of Columbia Louisiana Ms. Gillian Attfield District of Columbia New York Mr. and Mrs. Anthony A. Lapham Mr. and Mrs. Edward J. Mathias District of Columbia The Honorable and Mrs. Robert 0. Maryland Blake, Sr. Supporting Members Mr. and Mrs. Sydney Lewis Mr. and Mrs. Frederick R. Mayer District of Columbia Virginia Colorado Mr. and Mrs. James Adler Mr. and Mrs. Huntington T. Block Maryland Mrs. Jean C. Lindsey Mrs. James R. McAlee District of Columbia Mississippi Maryland Mr. M. Bernard Aidinoff Mr. and Mrs. David Bonderman New York Mr. and Mrs. John L. Loeb Mr. and Mrs. Raymond L. McGuire District of Columbia New York District of Columbia Ms. Carolyn Alper Ms. Patricia Bauman and Mr. John L. District of Columbia Mr. and Mrs. Nash M. Love Mr. and Mrs. Paul Mellon Bryant, Jr. Virginia Virginia Mr. and Mrs. Robert W. Alvord District of Columbia District of Columbia Mr. Laurence D. Lovett Dr. and Mrs. Franklin D. Murphy Mr. and Mrs. Louis Byron New York California The Honorable and Mrs. Daniel J. District of Columbia Boorstin The Honorable and Mrs. Leonard H. The Honorable and Mrs. William A. Mr. and Mrs. William N. Cafritz District of Columbia Marks Nitze II Maryland District of Columbia District of Columbia Mr. and Mrs. Harry A. Brooks The Honorable Anne Cox Chambers New York Mr. and Mrs. David 0. Maxwell Mr.* and Mrs. Daniel E. O'Sullivan Georgia District of Columbia District of Columbia Mrs. Poe Burling The Honorable and Mrs. William T. District of Columbia Mr.* and Mrs. Roy Nutt Commander and Mrs. Lester Edwin Coleman, Jr. Washington Ogilvy Mr. and Mrs. Robert C. Cafritz Virginia Mr. and Mrs. Donald R. Osborn District of Columbia District of Columbia Mr. and Mrs. Clement E. Conger New York Mr. and Mrs. Ricard R. Ohrstrom Mr. and Mrs. Kevin P. Charles Virginia Mrs. Jefferson Patterson Virginia Maryland Mrs. Shirley lone Cowell District of Columbia Mr. and Mrs. Gerald P. Peters Ms. Susan Cullman Florida Mr. and Mrs. C. Wesley Peebles New Mexico District of Columbia Mrs. Catherine G. Curran Virginia Mrs. John A. Pope Mr. and Mrs. Gaylord Donnelley New York Mr. and Mrs. Meyer P. Potamkin District of Columbia Illinois Dr. and Mrs. Georges de Menil Pennsylvania Mr. and Mrs. Norman S. Portenoy Mr. and Mrs. Jonathan S. England New York Mr. and Mrs. Gerald Rafshoon District of Columbia District of Columbia Mr. and Mrs. Roy E. Demmon District of Columbia Mr. Mark Samuels Lasner Mr. and Mrs. Richard England California Mr. and Mrs. Milton Ritzenberg District of Columbia District of Columbia Mr. and Mrs. James T. Dyke District of Columbia Mr. and Mrs. Roger Sant Mr. and Mrs. William T. Finley, Jr. Arkansas Mr. and Mrs. Rodman C. Rockefeller District of Columbia District of Columbia Mr. and Mrs. Robert F. Erburu New York Dr.* and Mrs. Stanley J. Sarnoff Mr. and Mrs. Max M. Fisher California Mr. and Mrs. Clyde E. Shorey, Jr. Maryland Florida Mr. and Mrs. Bernard Fein District of Columbia The Honorable and Mrs. Leonard L. Mr. and Mrs. William J. Flather III New York Dr. and Mrs. Lionel J. Skidmore Silverstein District of Columbia Virginia Mr. and Mrs. Lance J. Friedsam Maryland Mr. and Mrs. Lee M. Folger District of Columbia Mr. and Mrs. Robert Truland Mrs. John Farr Simmons District of Columbia Virginia Mr. and Mrs. Carl S. Gewirz District of Columbia Mr. and Mrs. George Frampton Maryland Mrs. Robert D. van Roijen Mr. and Mrs. Richard S. Smith District of Columbia District of Columbia Mr. and Mrs. John T. Gibson Pennsylvania Mr. and Mrs. Peter E. Haas District of Columbia Mr. and Mrs. Mallory Walker Mr. and Mrs. Sheldon H. Solow California District of Columbia Mr. Albert H. Gordon New York Mr. and Mrs. David G. Hanes New York Mr. Melvin R. Weaver The Honorable and Mrs. Robert D. District of Columbia California Mr. and Mrs. Gilbert C. Greenway Stuart Mr. and Mrs. John W. Hanes, Jr. District of Columbia Illinois Virginia Mr. P. Devers Weaver II Virginia Mr. and Mrs. Ronald J. Haan Mr. and Mrs. Edward F. Swenson, Jr. Mrs. Elisha Hanson District of Columbia Florida District of Columbia Mrs. Robert W. Weidenhammer Maryland Mr. and Mrs. J. Warren Harris Mr. and Mrs. Hollis C. Taggart Mrs. B. Lauriston Hardin, Jr. Virginia District of Columbia District of Columbia Mr. and Mrs. David R. Williams, Jr. Oklahoma Mrs. Iola S. Haverstick Mr. and Mrs. Ware Travelstead The Honorable and Mrs. John W. New York Connecticut Hechinger Mr. and Mrs. Alan F. Wohlstetter Maryland Mr. and Mrs. James Scott Hill Mr. and Mrs. Ladislaus Von Hoffman District of Columbia New Jersey District of Columbia Mr. and Mrs. Charles T. Hellmuth, Sr. Mr. and Mrs. Frank L. Wright Virginia Mr. and Mrs. R. L. Ireland III Mr. and Mrs. Jonathan W. Warner, Sr. Maryland New York Alabama Mrs. Thomas Hitchcock, Jr. Ms. Lisa Jorgenson Mr. P. A.B. Widener III New York District of Columbia Wyoming Mr. and Mrs. Wallace F. Holladay The Honorable and Mrs. Randolph A. Mr. and Mrs. William B. Willard District of Columbia Kidder District of Columbia Mr. and Mrs. S. Roger Horchow District of Columbia Texas Mr. and Mrs. James M. Kline The Honorable and Mrs. R. Tenney District of Columbia Johnson * deceased Maryland

105 Contributing Members Mr. and Mrs. C. Thomas Clagett, Jr. Mr. and Mrs. John T. Hardisty Mr. Edward P. Morgan Mr. and Mrs. William S. A bell District of Columbia Maryland Virginia Maryland Miss Alice W. Clement Mr.* and Mrs. Robert A. Hauslohner Mr. and Mrs. Patrick Munroe Mr. and Mrs. Charles F. Adams District of Columbia Pennsylvania Maryland Massachusetts Mrs. H. Dunscombe Colt Mr. and Mrs. John M. Heckler Mrs. John U. Nef Mrs. Ann Pendleton Alexander District of Columbia Virginia District of Columbia Virginia Mr. and Mrs. David F. Condon III Mr. and Mrs. Louis J. Hector Dr. and Mrs. Thomas P. Nigra Dr. and Mrs. David W. Ailing Virginia Florida District of Columbia Maryland Mr. Piero Corsini The Honorable Richard M. Helms Mr. Gerson Nordlinger, Jr. Amway Corporation New York District of Columbia District of Columbia Michigan Mr. and Mrs. Lloyd E. Cotsen Mr. and Mrs. Lee Hills Mr. and Mrs. James Ottaway, Jr. Mrs. Louise Steinman Ansberry California Florida New York Pennsylvania Mr. and Mrs. Earle M. Craig, Jr. Mr. and Mrs. Henry C. Hofheimer II Mrs. D. Williams Parker Mr. Richard Brown Baker Texas Virginia Georgia New York Mr. and Mrs. Charles T. Cudlip Mr. Robert P. Holmes Mr. and Mrs. Nathan W. Pearson Mr. Dwight H. Barnes District of Columbia District of Columbia Pennsylvania California Mr. and Mrs. Allerton Cushman Mr. R. Bruce Hunter The Reverend and Mrs. Charles P. Mr. and Mrs. Jordan Baruch Arizona Virginia Price District of Columbia Mr. and Mrs. Lloyd N. Cutler Mr. and Mrs. Allan R. Hurwitz Virginia Ms. Claudia Cooley and Mr. Graeme District of Columbia Maryland Mr. and Mrs. H. Charles Price Bell III The Honorable and Mrs. C. Douglas Mrs. George H. Hurwitz Texas District of Columbia Dillon Virginia Mrs. Malcolm Price Mr. and Mrs. Edwin S. Bell New York Mr. Leonard Kapiloff District of Columbia Texas Mr. and Mrs. Michael D. Dingman Maryland Mr. and Mrs. Thor H. Ramsing Mr. Munir P. Benjenk California Mr. and Mrs. Richard F. Kaufman Florida District of Columbia Mr. and Mrs. Fitz Eugene Dixon, Jr. District of Columbia Dr. and Mrs. Coleman Raphael The Honorable and Mrs. W. Tapley Pennsylvania Mrs. George C. Keiser* Maryland Bennett, Jr. Mr. and Mrs. Theodore W. Dominick District of Columbia Mr. and Mrs. Donald Rappaport District of Columbia District of Columbia Mrs. Betty A. Knox District of Columbia Mr. and Mrs. Irving D. Berger Mr. and Mrs. LeRoy Eakin III New York Mr. and Mrs. Earl C. Ravenal District of Columbia District of Columbia Mr. and Mrs. Robert Krasne District of Columbia Mr. and Mrs. Stuart A. Bernstein Mrs. Jerome W. Eberts District of Columbia Mr. and Mrs. Donald H. Richardson District of Columbia Florida Mr.* and Mrs. David Lloyd Kreeger District of Columbia Mr. Robert Hunt Berry Mrs. Kathleen Bryan Edwards District of Columbia Mrs. Eugene Henry Rietzke Michigan North Carolina Mr. and Mrs. W. Loeber Landau District of Columbia The Honorable and Mrs. Philip W. Mr. and Mrs. Julian Eisenstein New York Dr. and Mrs. Samuel W. Robinson Bonsai District of Columbia Mr. and Mrs. Edward W. Lane, Jr. Ohio District of Columbia Mr. and Mrs. Norman Farquhar Florida Mr. and Mrs. David Rockefeller, Jr. Mr. and Mrs. George M. Brady, Jr. District of Columbia Mrs. Rodney M. Layton New York Maryland Dr. and Mrs. James J. Ferguson, Jr. Pennsylvania The Honorable and Mrs. John D. Mrs. Ernest R. Bryan Maryland Mr. and Mrs. R. Robert Linowes Rockefeller IV District of Columbia Mr. and Mrs. Bertram Firestone Maryland District of Columbia Mrs. Wiley T. Buchanan, Jr. Virginia Mr. and Mrs. Lawrence E. MacElree Mr. and Mrs. Felix Rohatyn District of Columbia Mr. and Mrs. James A. Fisher Pennsylvania New York Mrs. Helen W. Buckner Pennsylvania Mrs. Hayward F. Manice Mr. and Mrs. Daniel Rose New York The Honorable and Mrs. William H. New York New York Mrs. Arthur F. Burns G. FitzGerald Mr. and Mrs. Frank L. Mansell Dr. and Mrs. Paul S. Russell District of Columbia District of Columbia New York Massachusetts Mr. and Mrs. Frank P. Butler Mrs. Kathleen DuRoss Ford Mr. and Mrs. E.A.G. Manton Mr. and Mrs. Derald H. Ruttenberg District of Columbia Michigan New York New York Mrs. Charles Pearre Cabell, Sr. Mr. and Mrs. Ben J. Fortson The Honorable and Mrs. William Mrs. Victor Sadd Virginia McC. Martin Virginia Mrs. John Moors Cabot Mrs. Daniel J. Fraad, Jr. District of Columbia Princess Genevieve Ranieri di San District of Columbia New York Mr. and Mrs. Arthur K. Mason Faustino Mr. John Thiers Calkins Mr. and Mrs. John French III District of Columbia California District of Columbia New York Mrs. Jack C. Massey Mr. and Mrs. Rudi E. Scheldt Mr. F. Davis Camalier Mrs. Stanley Garber Tennessee Tennessee District of Columbia District of Columbia Ms. Marcia V. Mayo Mr. and Mrs. Bob Lloyd Schieffer Maj. Gen. (Ret.) and Mrs. Daniel S. Mr. and Mrs. William T. Gibb Virginia District of Columbia Campbell Maryland Mrs. John I. B. McCulloch Mr. and Mrs. Irwin Schneiderman Maryland Mr. and Mrs. Kenneth R. Giddens New York New York Mr. Carroll J. Cavanagh District of Columbia Mr. and Mrs. Richard M. Merriman Dr. and Mrs. Richard A. Simms District of Columbia Mr. and Mrs. Herbert A. Goldstone District of Columbia California Mrs. Hubert W. Chanler New York The Honorable and Mrs. Charles A. Mr. and Mrs. Stephen A. Simon New York Mr. Bernard Gordon Meyer District of Columbia The Honorable and Mrs. Robert H. District of Columbia Illinois Mr. and Mrs. Sanford Slavin Charles Mr. and Mrs. Bruce Gottwald Ms. Julienne M. Michel Maryland Rhode Island Virginia New York The Honorable and Mrs. Samuel Mrs. Harold W. Cheel Mr. and Mrs. Henry B. Griswold Mr. and Mrs. A. Fenner Milton Spencer New Jersey Maryland Florida New York Mr. and Mrs. Blair Childs The Honorable and Mrs. William R. Mrs. Edward P. Moore Mrs. Frederick M. Stafford District of Columbia Haley District of Columbia New York District of Columbia

106 Mr. and Mrs. Philip Straus Benefactors of the National Gallery of Art New York Mr. and Mrs. Bruce G. Sundlun FOUNDING BENEFACTORS Enid Annenberg Haupt Stavros S. Niarchos Rhode Island Andrew William Mellon David Edward and Margaret Eustis Mrs. Charles W. Engelhard Mrs. J. H. Symington Samuel Henry Kress Finley In honor of Beuford and Teden Cole Virginia Joseph E. Widener in memory of Morris and Gwendolyn Cafritz The Andrew W. Mellon Foundation Mrs. Raymond F. Tartiere Peter A. B. Widener Katharine Graham Arnold D. Frese Foundation District of Columbia Chester Dale The Andrew W. Mellon Foundation Eugene L. and Marie-Louise Garbaty Mr. and Mrs. Morton Telford Lessing J. Rosenwald The Woodward Foundation Richard King Mellon Foundation California Paul Mellon Robert H. and Virginia Pratt Thayer Guest Services, Inc. Mrs. Walter N. Thayer Ailsa Mellon Bruce Georgia O'Keeffe Jill and Arthur M. Sackler New York Rush Harrison Kress John and Louise Booth Mr. and Mrs. William G. Thomas Gemini G.E.L. PATRONS Virginia FOUNDING BENEFACTORS- Grace Vogel A Id worth John R. Stevenson PRINTS AND DRAWINGS Mrs. Benjamin W. Thoron John Hay Whitney Samuel H. Kress Foundation Lessing J. Rosen wald District of Columbia The Kresge Foundation Philip L. Graham Fund W. G. Russell Allen Mr. John Edward Toole The A. W. Mellon Educational and Ruth Carter Stevenson Joseph E. Widener District of Columbia Charitable Trust Robert P. and Arlene R. Kogod Mrs. Walter B. James The Honorable and Mrs. Alexander B. Dorothea Tanning Ernst Family of William Larimer Mellon R. Horace Gallatin Trowbridge Doris Dick Havemeyer Amon G. Carter Foundation District of Columbia Samuel H. Kress Foundation Walter H. and Leonore Annenberg Mrs. George Angus Garrett Mr. and Mrs. Thurston Twigg-Smith Ruth K. Henschel David Rockefeller Joe L. and Barbara B. Allbritton Hawaii The Woodward Foundation Samuel H. Kress Foundation Eugene and Agnes E. Meyer Robert H. and Clarice Smith Mr * and Mrs. Herbert A. Vance John Davis and Olivia Stokes Hatch Foundation Illinois Georgia O'Keeffe The Mark Rothko Foundation Gordon and Copey Hanes The Mark Rothko Foundation Mr. and Mrs. C. Woods Vest, Jr. Stavros S. Niarchos John C. and Jaan Whitehead District of Columbia Dorothy J. and Benjamin B. Smith Dorothy J. and Benjamin B. Smith IBM Corporation Mr. Charles B. Walstrom Julia B. Engel Mrs. Max Beckmann The Leonard and Evelyn Lauder Virginia Paul and Bunny Mellon Julia B. Engel Fund John C. Marin, Jr. Ms. Virginia S. Warner Arnold D. Frese Foundation Walter and Elise Haas Fund New York The Armand Hammer Foundation Mrs. Charles W. Engelhard Anne Burnett and Charles Tandy The Honorable and Mrs. Caspar Edith G. Rosenwald Richard King Mellon Foundation Foundation Weinberger Ruth and Jacob Kainen Family of Constance B. Mellon David Rockefeller District of Columbia Thomas M. and Betty B. Evans BENEFACTORS(1941-1990) In memory of Mrs. George R. Brown Mr. and Mrs. Samuel Western Stephen M. and Anna-Maria Kellen Frieda Schiff Warburg Lila Acheson Wallace Virginia Lucille and George F. Jewett, Jr. Adaline Havemeyer Frelinghuysen The Ahmanson Foundation Mrs. John Campbell White Hallmark Educational Foundations Duncan Phillips Amon G. Carter Foundation Maryland Robert Wood Johnson, Jr., Charitable Kate Seney Simpson John C. and Jaan Whitehead Ms. Jaan W. Whitehead Trust Harris Whittemore Joe L. and Barbara B. Allbritton District of Columbia The Florence and John Schumann Barbara Hutton Robert M. and Anne T. Bass The Honorable and Mrs. Charles S. Foundation Ralph and Mary Booth Hallmark Educational Foundations Whitehouse Jo Ann and Julian Ganz, Jr. Virginia William Nelson Cromwell The Barra Foundation Melvin S. and Ryna G. Cohen Benjamin E. and Regine S. Levy Ruth K. Henschel Mr. John Wilmerding Mark J. Millard Richard A. and Lee Kirstein New Jersey Adolph Caspar Miller Arthur A. and Alison B. Birney Sam A. and Margaret Lewisohn University of South Florida Norma Lee and Morton Funger Therese K. and Herbert N. Straus Foundation William and Eleanor Wood Prince William Robertson Coe Jill and Arthur M. Sackler B. Francis Saul Horace Havemeyer John Marin, Jr. The Artery Organization, Inc. Bern ice Chrysler Garbisch Robert and Jane Meyerhoff Milton J. and Carroll Petrie Edgar William Garbisch The Armand Hammer Foundation William Stamps Farish Fund Syma Aaron Busiel Edith G. Rosenwald Family of Oliver T. Carr, Jr. Eugene and Agnes Meyer Family Petschek (Aussig) The Riggs Bank of Washington, D C. Edith Stuyvesant Gerry T. Jefferson Coolidge, Jr. Potomac Electric Power Company Lillian S. Timken Mary Hemingway The George Hyman Construction Ferdinand Lam mot Belin Charles E. Culpeper Foundation, Inc. Company Adele R. Levy Knight Foundation Seymour H. Knox A Ivan T. Fuller William Stamps Farish Fund The Ahmanson Foundation Horace Havemeyer. Jr. Sydney and Frances Lewis Diane and Norman Bernstein Harry Waldron Havemeyer The J. Paul Getty Trust Kathrine D. Folger Josephine Bay and C. Michael Paul Southwestern Bell Corporation Janet A. Hooker Arthur Sachs Guest Services, Inc. Alcoa Foundation W. Averell Harriman, in memory of Reader's Digest Association Annelise and William H.G. FitzGerald Marie N. Harriman The Charles A. Dana Foundation Robert H. and Clarice Smith PATRONS' PERMANENT FUND George W. Wyckoff Oscar L. Milmore. in memory of FOUNDING PATRONS Averell and Pamela Harriman Pepita Milmore John Hay Whitney In memory of Ella Milbank Foshay Angelika Wertheim Frink Walter H. and Leonore Annenberg The Times Mirror Foundation Burton G. and Emily Hall Tremaine Paul Mellon Family of Constance B. Mellon Herbert M. and Nannette F. Robert H. and Clarice Smith Alletta and Peter McBean Rothschild Ian Woodner Alexander M. and Judith W. Laughlin David K. E. Bruce Lila Acheson Wallace Charles U. and Janet C. Harris Cornelius Van Schaak Roosevelt Lois and Georges de Menil Reader's Digest Association

107 Laurance S. and Mary Rockefeller GTE Corporation Dorothy Rodgers in memory of Richard Rodgers Andrew P. and Geraldine Spreckels Fuller John and Susan Gutfreund Exxon Corporation Charles E. Culpeper Foundation, Inc. Alice and John B. Rogers Edwin Van R. and Cassandra Mellon Milbury Henry J. Heinz II Robert W. and Louisa C. Duemling Perry R. and Nancy Lee Bass Sydney and Frances Lewis Edwin L. Cox George M. and Linda H. Kaufman Edward G. Kaufman and Ann Claire Kaufman Gerald J. and Judith Miller Frederick R. and Jan Mayer Mobil Foundation, Inc. Ronald S. and Jo Carole Lauder In memory of Mrs. George R. Brown Brady Foundation Sarah Scaife Foundation Knight Foundation Mars Foundation Gifts and Bequests E. I. du Pont de Nemours and Company Both the buildings and the collections The Barra Foundation William Randolph Hearst Foundation of the National Gallery of Art are the re- George H. and Tessie A. Hurwitz sult of private generosity. The Board of Gordon and Ann Getty Katharine Graham Trustees has full power to receive prop- Robert M. and Anne T. Bass erty, real and personal, for the general Richard A. and Jane Manoogian purpose of the National Gallery of Art. Offers of gift or bequest of particular property should be discussed in advance with the Secretary's Office for specific important works of art, or with the Chief Librarian for books of art historical importance. Gifts may also be made by check payable to the Trustees of the National Gallery of Art. The following form of bequest may be used: I bequeath to the Trustees of the National Gallery of Art the sum of for the general purposes of the National Gallery of Art, Washington, District of Columbia.

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