Skip to content Skip to sidebar Skip to footer
Home / National Portrait and National Fine Arts Collection Washington Dc

National Portrait and National Fine Arts Collection Washington Dc

Post a Comment

Fine art museum in Washington, D.C., United States

National Portrait Gallery
National Portrait Gallery Logo.jpg
National Portrait Gallery.jpg
Established 1962
Location Eighth and F Streets, NW, Washington, D.C.
Coordinates 38°53′52″North 77°01′22″West  /  38.8979°N 77.0229°Due west  / 38.8979; -77.0229 Coordinates: 38°53′52″N 77°01′22″W  /  38.8979°Northward 77.0229°W  / 38.8979; -77.0229
Visitors i,069,932
Manager Kim Sajet (2013–present)
Public transit access WMATA Metro Logo.svg (Washington Metro)
WMATA Red.svg WMATA Yellow.svg WMATA Green.svg at Gallery Place – Chinatown
Website world wide web.npg.si.edu

The National Portrait Gallery is a historic art museum between 7th, ninth, F, and G Streets NW in Washington, D.C., in the U.s.. Founded in 1962 and opened to the public in 1968, it is office of the Smithsonian Institution. Its collections focus on images of famous Americans. The museum is housed in the celebrated Onetime Patent Office Building, as is the Smithsonian American Art Museum.

History [edit]

Founding of the museum [edit]

The first portrait gallery in the The states was Charles Willson Peale'south "American Pantheon" (also known every bit "Peale's Collection of Portraits of American Patriots"), established in 1796. It closed after two years. In 1859, the National Portrait Gallery in London opened, but few Americans took detect.[1] The idea of a federally owned national portrait gallery tin can be traced back to 1886, when Robert C. Winthrope, president of the Massachusetts Historical Society, visited the National Portrait Gallery in London. Upon his render to the United States, Winthrope began pressing for the establishment of a similar museum in America.[2]

In January 1919, the Smithsonian Establishment entered into a cooperative endeavor with the American Federation of Arts and the American Mission to Negotiate Peace to create a National Art Commission. The committee's goal was to commission portraits of famous leaders from the diverse nations involved in World War I. Amid the commission's members were oil company executive Herbert Fifty. Pratt, Ethel Sperry Crocker (an art aficionado and wife of William Henry Crocker, founder of Crocker National Bank), architect Abram Garfield, Mary Williamson Averell (wife of railway executive E. H. Harriman), financier J. P. Morgan, chaser Charles Phelps Taft (brother of President William Howard Taft), steel magnate Henry Clay Frick, and paleontologist Charles Doolittle Walcott.[3] The portraits commissioned went on brandish in the National Museum of Natural History in May 1921. This formed the nucleus of what would become the National Portrait Gallery Collection.[4]

Andrew W. Mellon, whose art collection was one of the foundations of the National Portrait Gallery collection.

In 1937, Andrew Due west. Mellon donated his large collection of classic and modernist art to the United states, which led to the foundation of the National Gallery of Art. The collection included a large number of portraits. Mellon asked that, should a portrait gallery exist created, the portraits be transferred to information technology. David E. Finley, Jr., an chaser and one of Mellon's closest friends, was named the first director of the National Gallery of Art, and he pushed hard over the next several years for the establishment of a portrait gallery.[1]

In 1957, a proposal was made by the federal authorities to annihilate the One-time Patent Office Building. After a public outcry and an agreement to relieve the historic structure, Congress authorized the Smithsonian Institution to apply the structure as a museum in March 1958.[5] Shortly thereafter, the Smithsonian Fine art Commission asked the Chancellor of the Smithsonian to engage a committee to organize a national portrait museum and to plan for the establishment of this museum in the Old Patent Part Building. This committee was created in 1960.[iii]

The National Portrait Gallery (NPG) was authorized and founded past Congress in 1962.[vi] The enabling legislation defined its purpose as displaying portraits of "men and women who take fabricated pregnant contributions to the history, development, and culture of the people of the United states."[half-dozen] The legislation specified, however, that the museum's collection exist limited to painting, prints, drawings, and engravings.[3] [7] Despite the Smithsonian's own extensive drove of art and Mellon's collection, there was very little for the National Portrait Gallery to display. "To found a portrait gallery in the 1960s," Smithsonian Secretary S. Dillon Ripley said, was difficult because "American portraiture has already reached the zenith in price and the nadir in supply."[1] Ripley, whose leadership of the Smithsonian began in 1964, was a stiff supporter of the new museum, withal. He encouraged the museum's curators to build a collection from scratch based on individual pieces chosen through high-quality scholarship rather than buying complete collections from others. The NPG'due south drove was slowly built over the next five years through donations and purchases. The museum had lilliputian money at this time. Ofttimes, it located items it wanted and so asked the owner to simply donate it.[i]

The first NPG exhibit, "Nucleus for a National Collection," went on brandish in the Arts and Industries Building in 1965 (the bicentennial of James Smithson's birth). The following year, the NPG completed the Catalog of American Portraits, the first inventory of portraiture held by the Smithsonian. The catalog also documented the physical characteristics of each artwork, and its provenance (author, appointment, buying, etc.).[3] The museum moved into the Quondam Patent Office Building with the National Fine Arts Drove in 1966.[eight] Information technology opened to the public on Oct 7, 1968.[ix]

Building the collection [edit]

The Old Patent Office Building was renovated in 1969 past the architectural firm of Faulkner, Fryer and Vanderpool. The renovation won the American Institute of Architects National Honor Honour in 1970.[ten] The post-obit year, the NPG began the National Portrait Survey, an attempt to catalog and photograph all portraits in all formats held past every public and private collection and museum in the country. On July 4, 1973, the NPG opened "The Black Presence in the Era of the American Revolution, 1770–1800," the first showroom at the museum dedicated solely to African Americans. Philanthropist Paul Mellon donated 761 portraits by French-American engraver C.B.J.F. de Saint-Mémin to the museum in 1974.[3]

Congress passed legislation in January 1976 allowing the National Portrait Gallery to collect portraits in media other than graphic arts.[7] This permitted the NPG to begin collecting photographs. The Library of Congress had long opposed the move in order to protect its own office in collecting photographs, merely NPG Managing director Marvin Sadik fought hard to accept the ban eliminated.[1] The NPG rapidly expanded its photography collection, and in October 1976 established a Section of Photographs. The gallery'due south first photography exhibit, "Facing the Lite: Celebrated American Portrait Daguerreotypes," opened in September 1978.[three] Information technology also connected to build its other collections. In Feb 1977, the museum acquired an 1880 self-portrait by Mary Cassatt, one of just 2 painted by her.[3] Eleven months afterwards, the museum acquired a self-portrait by John Singleton Copley. The roundel (a round canvass), one of only iv cocky-portraits by the historic early American creative person, was donated to the NPG by the Cafritz Foundation.[11]

In May 1978, Time magazine donated 850 original portraits which had graced its cover betwixt 1928 and 1978.[12] A major exhibit of these pieces debuted in May 1979.[iii]

The Stuarts controversy [edit]

The unfinished Gilbert Stuart portrait of George Washington, one of two portraits at the eye of the "Stuarts controversy."

A major controversy occurred in 1979 over the National Portrait Gallery's attempt to purchase 2 Gilbert Stuart paintings. The famous, unfinished portraits of George and Martha Washington were owned by the Boston Athenaeum, which loaned them to the Museum of Fine Arts, Boston in 1876. But the Athenaeum, a individual collection, was suffering from financial difficulties by the late 1970s. Information technology twice offered to sell the ii portraits to the Museum of Fine Arts over the previous two years, but the museum declined to purchase them. The Archives began searching for another buyer, and in early on 1979 the Athenaeum tentatively reached an agreement to sell the works to the NPG for $v million. When the Archives made these discussions public in April 1979, there was strong public opposition to the sale in Boston.[13] NPG manager Marvin Sadik declined to abolish the sale, arguing that the portraits were of national historic value and belonged in the Smithsonian.[fourteen] A campaign by prominent Bostonians tried to raise $v million to proceed the portraits in Massachusetts.[xv] Boston Mayor Kevin H. White sued to continue the portraits in Boston, naming Massachusetts Attorney General Francis 10. Bellotti (which office the Commonwealth's constitution designates "custodian of public belongings") in the suit. "Everybody knows Washington has no culture—they have to buy it," White said.[16]

On Apr 12, the Athenaeum and NPG agreed to delay the sale until December 31, 1979, to requite the Boston fund-raising try a take a chance.[17] [18] Although not completely successful, the lawsuit had i effect: Chaser Full general Bellotti announced in mid-summer that the Stuart portraits could non exist sold without his permission.[18] By November 1979, the fund-raising entrada had netted simply $885,631, with a pledge from the Museum of Fine Arts to friction match the amount if necessary.[xviii] This left the campaign $4 million short of the purchase cost. The Athenaeum refused to lower the price, describing the $5 meg listing as a pregnant disbelieve from the portraits' real value.[nineteen]

With public and political force per unit area on the Smithsonian to resolve the issue, the Museum of Fine Arts and NPG agreed on February vii, 1980, to jointly buy the portraits. Under the agreement, the paintings would spend three years at the National Portrait Gallery (kickoff in July 1980), and and so three years in Boston at the Museum of Fine Arts.[xx] Attorney General Bellotti approved the programme in March.[21] Per the understanding, the portraits went on display in Washington on July 1, 1980.[22]

NPG managing director Marvin Sadik, who had expressed his dissatisfaction over the Stuart painting controversy, took a six-month-long sabbatical in Jan 1981. He announced his retirement from the museum in July.[23]

Expanding the collection [edit]

Even equally the Stuarts controversy occupied the attention of the press, the National Portrait Gallery continued to expand its collection. In Apr 1979, information technology obtained five other portraits by Gilbert Stuart. These 5 paintings — of presidents George Washington, Thomas Jefferson, James Monroe, John Adams, and James Madison — were known every bit the Gibbs-Coolidge set. The portraits were donated by the Coolidge family of Boston (without controversy).[24] In Dec, the museum obtained a bosom of Alexander Hamilton past John Trumbull (which may have been sculpted from the portrait which was later used for the $x nib) and a Gilbert Stuart portrait of Representative Fisher Ames from the Henry Cabot Guild family in Massachusetts.[25] The following April, Varina Webb Stewart and Joel A.H. Webb presented important portraits of Jefferson Davis and his wife, Varina Howell Davis, to the National Portrait Gallery. (Stewart and Webb were the Davis' not bad-grandchildren.)[3] In 1980, the museum obtained (through purchase and loan) a number of works by graphic artist Howard Chandler Christy for exhibit. Works displayed ranged from his "Christy girl" recruiting posters to history-based works such every bit Scene at the Signing of the Constitution of the Usa.[26]

The "croaky-plate" portrait of Abraham Lincoln, caused past the NPG as part of the Alexander Gardner Drove.

Past 1981, the museum had more 2,000 items in its collection.[23] Two major 19th-century photography collections were added by the museum that year. The showtime such acquisition was the Frederick Hill Meserve Collection of 5,419 glass negatives produced by the studio of famed Civil War photograph Mathew Brady and his assistants.[27] Using historically authentic chemicals, paper, and techniques, prints were made of the negatives and the prints placed on rotating display. The Washington Mail later described the importance of the acquisition by proverb information technology fabricated the NPG the "epicenter" for Brady scholarship.[28] Later that yr, 5,400 Civil State of war-era glass negatives produced by photographer Alexander Gardner were too purchased from the Meserve family. This included the famous "croaky-plate" portrait of Abraham Lincoln taken in February 1865, which was the last photographic portrait of Lincoln taken before his expiry in Apr 1865.[three]

Two major portrait purchases were too made in the early 1980s. One was a Gilbert Stuart portrait of Thomas Jefferson, for which the museum paid $i million to a private collector. A portion of the purchase price came from the Thomas Jefferson Foundation, which owns and operates Jefferson's historic plantation home of Monticello. The two parties agreed accept the portrait spend time at both locations.[29] The 2d major buy was an Edgar Degas portrait of his friend, Mary Cassatt, for which the museum paid $1.3 million.[30]

The museum suffered a major theft in 1984 — although it was non a portrait. On Dec 31, 1984, a thief pried open a brandish example and stole iv handwritten documents accompanying several portraits of Civil State of war generals. One of the documents was written and signed by President Abraham Lincoln. The remaining 3 were written and signed by Civil War generals Ulysses South. Grant, George Meade, and George Armstrong Custer. The FBI was contacted and worked with Smithsonian police force to investigate the crime. Within two weeks, a celebrated documents dealer contacted the FBI and said he had been offered the documents for auction. On February eight, 1985, police arrested Norman James Chandler, a part-time mechanic's assistant from Maryland, for the theft. Chandler chop-chop pleaded guilty. He was sentenced in Apr 1985 to two years in jail (with all only six months suspended) and two years of probation, and required to pay a $2,000 fine.[31] All four documents were recovered.[32]

The late 1980s saw the collection proceed to aggrandize, although there were fewer major additions. One meaning acquisition was a nude image — a self-portrait painting by Alice Neel acquired in 1985. Information technology was the National Portrait Gallery'due south showtime nude work. Neel was eighty years old when she painted it.[3] Two years after, noted lensman Irving Penn donated 120 platinum prints of mode and glory portraits he produced over the past 50 years.[33]

Two very of import daguerreotypes (an early photographic process) were purchased in the 1990s. The first was of African American abolitionist and one-time slave Frederick Douglass, acquired in 1990. It is one of merely iv daguerreotypes of Douglass known to exist. That year, the number of images in the museum's photography collection reached eight,500 objects.[34] Six years later, the NPG obtained for $115,000 the earliest known daguerreotype of abolitionist John Brownish, whose 1859 raid on Harpers Ferry helped to spark the Ceremonious War. The portrait was created past African American photographer Augustus Washington.[35]

Purchasing the Lansdowne portrait [edit]

In the fall of 2000, Neil Primrose, 7th Earl of Rosebery, offered to sell Gilbert Stuart's Lansdowne portrait of George Washington to the National Portrait Gallery. The painting was deputed in April 1796 past Senator William Bingham of Pennsylvania—one of the wealthiest men in America at the time. The 8 past v feet (2.iv by 1.5 yard) portrait was given equally a gift to British Prime Minister William Petty FitzMaurice. FitzMaurice was the 2nd Earl of Shelburne, and later became the first Marquess of Lansdowne (hence the proper name of the portrait). Lansdowne died in 1805, and in 1890 the painting was purchased by the fifth Earl of Rosebery. The Lansdowne portrait was displayed only 3 times in the U.s. (although several copies remained in America). On its third trip in 1968, it was exhibited by the National Portrait Gallery, and it remained there on indefinite loan. Lord Rosebery offered to sell the painting for $20 million, a price at the low end of estimates. Just the offer came with a borderline of April 1, 2001. A search for a donor, personally led by Smithsonian Secretary Lawrence Small and the Smithsonian'south Board of Regents, proved fruitless after iii months. Worried Smithsonian officials then went public in February 2001 with a plea for a donor to come up forth.[36]

On March xiii, merely two weeks before the auction borderline, the Donald W. Reynolds Foundation donated $xxx million to buy the Lansdowne portrait. Foundation chairman Fred Westward. Smith read about declining donor effort in the Wall Street Journal on February 26. Although the Reynolds Foundation generally only made grants in the areas of elder intendance, cardiovascular inquiry, and journalism, profitable with the Lansdowne purchase fell inside the foundation'south "special projects" area of responsibility.[37] NPG Director Marc Pachter flew to Nevada to meet with foundation officials on March 3, and the foundation approved the donation the following twenty-four hour period. The $30 million donation included $6 million to put the portrait on a national tour for three years (the NPG was closed for renovations until 2006), and $4 million to construct a new area in the Old Patent Office Building to display it. NPG said information technology would name this display area for Donald Due west. Reynolds, the media baron who created the foundation.[38]

Post-renovation activities [edit]

The National Portrait Gallery closed in January 2000 for a renovation of the Old Patent Office Building. Intended to take two years and toll $42 million, the renovation took seven years and cost $283 million. Inflation, delays in obtaining approval for the renovation design, the add-on of a glass awning over the open courtyard, and other issues led to increases in both time and costs. During this period, nearly of the NPG's collection went on tour around the U.s..

In March 2007, a multi-yr study of leadership at eight Smithsonian museums fabricated recommendations well-nigh the National Portrait Gallery. The report concluded that the museum needed stronger, more visionary leadership intent on creating a truly national museum. The report besides called for "administrative consolidation" of the National Portrait Gallery and the Smithsonian American Art Museum.[39]

After the 2008 presidential election, the National Portrait Gallery obtained graphic creative person Shepard Fairey's ubiquitous "Promise" poster of Barack Obama. Obama supporter Tony Podesta and his wife, Heather, donated it to the museum.[twoscore]

Hibernate/Seek controversy [edit]

In Nov 2010, the National Portrait Gallery hosted a major new exhibit, "Hibernate/Seek: Divergence and Desire in American Portraiture", curated by David C. Ward and Jonathan Katz. The exhibit focused on depictions of homosexual honey through history, and was the first exhibit hosted by a museum of national stature to address the topic.[41] It was also the largest and nigh expensive showroom in the NPG's history, and more private donors contributed to it than to any prior NPG showroom.[42] Included in the 105 pieces in the exhibit was a iv-infinitesimal, edited version of artist David Wojnarowicz's brusque silent film A Burn down in My Belly. 11 seconds of the video depicted a crucifix covered in ants.[42]

The exhibit was scheduled to run from Oct xxx, 2010, to February 13, 2011. Within days of its opening, Catholic League president William A. Donohue labeled A Burn in My Belly hate speech, anti-Catholic, and anti-Christian. A spokesperson for Representative John Boehner, incoming Speaker of the United States House of Representatives, chosen information technology an "big-headed" abuse of the public trust and a misuse of taxpayer money, although it was funded by individual donations.[42] [43] House Majority Leader Representative Eric Cantor threatened to reduce the Smithsonian's budget if the film remained on view.[44] Later consulting with National Portrait Gallery manager Martin Sullivan, co-curator David C. Ward (simply not with co-curator Jonathan David Katz),[45] Smithsonian Undersecretary Richard Kurin, and the Smithsonian'south government affairs and public relations offices, Smithsonian Secretary 1000. Wayne Clough ordered A Burn in My Belly removed from the exhibit on November 30.[42]

Clough's decision led to extensive accusations of censorship and claims that the Smithsonian was caving in to pressure from a small-scale group of vocal activists. Smithsonian officials strongly defended the video's removal. "The conclusion wasn't caving in," said Sullivan. "We don't desire to shy away from anything that is controversial, but we desire to focus on the museum's and this bear witness's strengths."[42] Kurin expressed the Smithsonian'south desire to be responsive to public opinion, only also emphasized the remaining exhibit's importance. "We are sensitive to what the public thinks about our shows and programs," he said. "We stand behind the show. It has potent scholarship with great pieces by artists who are recognized past a whole panoply of experts. It represents a segment of America."[42] On December xiii, the Andy Warhol Foundation for the Visual Arts, one of the principal sponsors of the exhibit, said information technology would inquire for its $100,000 donation back if the picture show was not restored. Clough replied, "...the Smithsonian's decision to remove the video was a difficult one and we stand by it." The donation was returned, and the Warhol Foundation ceased to support National Portrait Gallery exhibits.[46] The Robert Mapplethorpe Foundation, which donated $10,000 to support the exhibit, also ended all funding for futurity Smithsonian exhibitions. Both decisions drew criticism from some gay rights supporters, who felt the funding cuts were as well draconian in view of the fact that the remainder of the pieces connected to be exhibited.[47]

The controversy lasted through the exhibit's scheduled run. In tardily January 2011, the Smithsonian Board of Regents unanimously gave Clough a vote of confidence, saying his accomplishments in improving the Smithsonian's assistants, finances, governance, and maintenance in the past xix months far outweighed the damage done by the "Hide/Seek" controversy. Clough admitted, however, that he may accept acted likewise hastily in the affair (although he continued to say he made the right conclusion), and the regents asked for Smithsonian staff to study the controversy and report back on how to handle such events in the futurity. Not everyone in the Smithsonian agreed with the regents. The Washington Post reported that some (unnamed) Smithsonian museum directors and curators felt at that place would be a chilling result from Clough'due south decision. The Board of Directors of the Hirshhorn Museum and Sculpture Garden wrote an open up letter to Clough in which they said they were "securely troubled by the precedent" to remove the picture show.[48]

Outwin Boochever Portrait Competition [edit]

In 2006, the museum began hosting a triennial, juried contemporary portrait exhibition called the Outwin Boochever Portrait Competition. Named after long fourth dimension docent and volunteer Virginia Outwin Boochever, this competition is widely regarded[ who? ] as the almost prestigious portrait contest in the United states of america.[ commendation needed ] Artists working in the fields of painting, cartoon, sculpture, photography, and other media are immune to enter.[49] Works must be created through a face-to-confront come across with the subject.[50] The inaugural competition in 2006 drew more than 4000 entries, from which 51 finalists were chosen. For the 2013 contest the full prize coin of $42,000 was awarded to the top eight commended artists, and the winner received $25,000 and a commission to make a portrait for the museum's permanent collection.[51] The discipline of the commission is decided jointly by the creative person and the NPG curators. The 2006 winner was David Lenz of Milwaukee, Wisconsin, and he was commissioned to pigment a portrait of Eunice Kennedy Shriver, the founder of Special Olympics. Information technology was the first portrait commissioned of an individual who has non served equally a President or First Lady.[52] The 2009 winner, Dave Woody of Fort Collins, Colorado,[53] was commissioned to photo food pioneer Alice Waters, founder of the Chez Panisse Restaurant and Cafe, the Edible Schoolyard and champion of the Slow Food movement. The 2013 winner was Bo Gehring of Beacon, New York,[54] who was commissioned to directly a video portrait of jazz musician Esperanza Spalding.[55]

Mail service-2010 exhibits of note [edit]

In 2012, the National Portrait Gallery sponsored a new temporary exhibit, "Poetic Likeness: Modern American Poets," which focused on images of slap-up American poets. The NPG collection had grown and then large that the exhibit drew its images nigh entirely from the museum'south ain collection.[56]

Collection [edit]

The Gibbs-Coolidge Set, 5 oil paintings on wood of the first v Presidents, past Gilbert Stuart. The set was acquired by NPG in 1979.

As of 2011, the National Portrait Gallery was the only museum in the United States dedicated solely to portraiture.[6] The museum had 65 employees and a $ix meg annual upkeep in 2013. Past February 2013, it housed 21,200 works of art, which had been seen by 1,069,932 visitors in 2012.[57]

Portrait addition procedure [edit]

By 1977, the National Portrait Gallery had three curatorial divisions: Painting and sculpture, prints and drawings, and photography.[i]

Initially, the National Portrait Gallery had adequately strict rules regarding which images could enter its collection. The person depicted had to be historically significant. An individual also needed to be dead at to the lowest degree x years before their portrait could exist displayed (although some images of evidently of import living people were acquired while they notwithstanding lived). After an initial affirmative conclusion past curators at a monthly curatorial meeting, the National Portrait Gallery Commission (the museum'south board of directors) approved the person's inclusion. The commission was initially quite conservative in its cess of "historically significant," although this position began to exist more relaxed past 1969.[1] As of 2006, the definition of "historically significant" had become quite loose, although "some kind of fame or notoriety remains a prerequisite". Portraits of living individuals or those dead less than 10 years are likewise now allowed to be displayed in the museum, every bit long equally their inclusion is conspicuously important (such as presidents or generals).[58] [59]

The procedure for choosing which images the museum acquires is elementary but can be contentious. Potential acquisitions are vigorously and informally discussed at length by researchers, historians, and the curatorial departments. Some of the criteria used in the controlling process are: The number of existing portraits of the individual already in the collection, the quality of the potential portrait, the uniqueness of the potential portrait, the reputation of the portrait's author, and the cost of the portrait. Formal decisions to acquire a portrait are fabricated at monthly curatorial meetings, then ratified by the National Portrait Gallery Commission.[1]

Key exhibits and programs of the museum [edit]

Benjamin Franklin (1785) by Joseph Duplessis, given to the NPG by the Cafritz Foundation in 1987.

Frederick Douglass (1856), daguerreotype past an unknown author, acquired by the NPG in 1990.

A authentication of the National Portrait Gallery's permanent collection is the Hall of Presidents, which contains portraits of nearly all American presidents. It is the largest and most complete drove in the world, except for the White Firm collection itself.[threescore] The centerpiece of the Hall of Presidents is the famous Lansdowne portrait of George Washington. How the museum obtains presidential images has inverse over the years. Presidential portraits from 1962 to 1987 were usually obtained through purchase or donation. Kickoff in 1998, NPG began commissioning portraits of presidents, starting with George H. W. Bush. In 2000, NPG began commissioning portraits of Kickoff Ladies as well, beginning with Hillary Clinton. Funds for these commissions are privately raised, and each portrait costs about $150,000 to $200,000.[threescore]

The museum's more notable art pieces include:[a] [iii] [11] [21] [24] [25] [29] [thirty] [34] [35] [forty] [57] [61]

  • "Abraham Lincoln" (glass plate, cracked; 1865) by Alexander Gardner
  • "Alexander Hamilton" (bust, 1789) past John Trumbull
  • "Beauford Delaney" (1940) by Georgia O'Keeffe
  • "Benjamin Franklin" (c. 1785) by Joseph Duplessis
  • "Charlie Chaplin" (1925) past Edward Steichen
  • "Colin Powell" (2012) by Ron Sherr
  • "Donald Trump" (photo, 1989) past Michael O'Brien[62] [63]
  • "Ethel Waters" (1940) past Beauford Delaney
  • "Eunice Kennedy Shriver" (2009) by David Lenz[64]
  • "Frederick Douglass" (daguerreotype, 1856) past unknown artist
  • "George Washington" (unfinished, 1796) by Gilbert Stuart
  • "Henry Cabot Lodge" (1890) by John Singer Sargent
  • "Hope" (Barack Obama) (2008) by Shepard Fairey
  • "Jefferson Davis" (1849) by George Lethbridge Saunders
  • "John Adams" (1800–1815) by Gilbert Stuart
  • "John Chocolate-brown" (daguerreotype, 1846–1847) past Augustus Washington
  • Lansdowne portrait (George Washington) (1796) by Gilbert Stuart
  • "Martha Washington" (unfinished, 1796) past Gilbert Stuart
  • "Mary Cassatt" (1880–1884) by Edgar Degas
  • "Osceola" (1804–1838) by George Catlin
  • "Self-Portrait" (1880) by Mary Cassatt
  • "Cocky-Portrait" (1880–1881) by Paul Cézanne
  • "Self-Portrait" (1780–1784) past John Singleton Copley
  • "Thomas Jefferson" (1805) by Gilbert Stuart
  • "Varina Howell Davis" (1849) by John Wood Dodge
  • "Barack Obama" (2018) by Kehinde Wiley

Among the museum'south more prominent collections are:[3] [26] [27] [33] [57]

  • Alexander Gardner (photography)
  • Howard Chandler Christy (graphic arts)
  • Irving Penn (photography)
  • Mathew Brady (photography)
  • Time magazine covers (graphic arts)

Building [edit]

National Portrait Gallery

The Robert and Arlene Kogod Courtyard at the National Portrait Gallery.

The National Portrait Gallery occupies a portion of the Sometime Patent Office Edifice, a National Historic Landmark. The building is located just south of Chinatown in downtown Washington. Constructed between 1836 and 1867,[65] the building has a sandstone and marble façade,[66] and porticoes modeled after the Parthenon.[67]

The building was used equally a hospital during the American Civil War, and both Clara Barton and Walt Whitman worked as nurses there.[68] The Agency of Indian Affairs, the General Land Office, and the Bureau of Pensions jointly occupied the edifice with the Patent Role through the Civil War and into the post-war period.[69] The massive increase in alimony processing required past the Ceremonious War led to the construction of a new Pension Bureau Edifice into which the Bureau of Pensions moved in 1887.[70] The General Country Office and the Bureau of Indian Affairs vacated the building in 1898.[71] The U.s. Civil Service Commission and the Authorities Bookkeeping Office occupied the edifice after the Patent Function vacated information technology in 1932.[72] The Government Bookkeeping Function vacated the structure in 1942, after its new headquarters nearby was complete.[73] The Civil Service Committee began amalgam its ain headquarters, and planned to vacate the building in 1962.[74]

Local D.C. businessmen asked the General Services Administration (GSA) to tear down the building and sell the state and then a private parking garage could be congenital on the centrally located site. Legislation for this purpose was introduced in Congress in the waning days of the 82nd United States Congress in 1952, but did not pass. The legislation encountered resistance from a few members of Congress, architects, and the influential Committee of 100 on the Federal City (a non-turn a profit advocate for responsible planning and land use).[75] GSA reversed class and said in June 1956 it no longer wanted to demolish the building. However, the agency said it would continue to use it for federal part space (which was in brusque supply) until the Ceremonious Service Committee vacated the structure.[76] On March 21, 1958, Congress unanimously passed legislation authorizing the transfer of the edifice to the Smithsonian for a national art museum.[77] President Dwight Eisenhower signed the legislation a few days later.[78]

Congress passed legislation establishing the National Portrait Gallery in 1962, and the Civil Service Commission moved out of the construction in November 1963.[79] Preparations for the renovation began in Nov 1964,[80] and the Grunley, Walsh Construction Co. began demolition of non-historic interior structures past May 1965.[81] The $6 million renovation was complete by April 1968,[82] and the National Portrait Gallery opened on October seven.[83]

2000 to 2007 renovation [edit]

In 1995, the Smithsonian revealed that the One-time Patent Office Building was in serious disrepair.[84] The Smithsonian announced in January 1997 that the building would close in January 2000 for a two-year, $42 meg renovation. Hartman-Cox Architects was hired to oversee the conservation and repair.[85] But just three years after, as the renovation was about to begin, the cost of repairs had risen to $110 million to $120 1000000.[86]

Prior to the edifice'due south closure in January 2000, a decision was reached to allot nearly one-3rd of the building's total space to the National Portrait Gallery while simultaneously eliminating the informal northward–south division between the NPG and American Art Museum.[87] This led to anger between the 2 museums, and a public contend about which collection deserved more space. The Smithsonian resolved the dispute practically: Art that best fit an exhibition infinite got it. (For example, since modern art often tends toward large canvases, this fine art is on the high-ceilinged tertiary floor.)[59]

The cost of the renovation rose to $180 million by March 2001. That month, Nan Tucker McEvoy (a California paper heiress and arts patron) donated $10 million for the renovation.[88] The Henry Luce Foundation gave another $10 million afterwards that year.[89] Costs connected to rising. Although Congress appropriated $33.five one thousand thousand for the renovation, reconstruction costs were estimated at $214 million in June 2001 and the museum non scheduled to reopen until 2005.[90] Just a month after, the reopening was pushed back even further to July 2006.[91]

In 2003, the government increased its contribution to $166 million. Smithsonian officials later on began discussing a major change to the renovation pattern: Calculation a glass roof to the open up courtyard in the center of the Old Patent Office Building. Congress approved the change in August 2003. In March 2004, the Smithsonian appear that builder Norman Foster, would design the glass canopy.[92] In November, Robert Kogod (a real manor development executive) and his wife, Arlene (heiress to Charles Eastward. Smith Construction fortune) donated $25 million to complete the awning. By then, costs had risen to $298 million. $60 million in individual funds however needed to be raised.[89] Today, the Kogod Courtyard is a popular meeting identify in DC. There is plenty of seating, free wifi, and a cafe[93] with snacks for museum visitors open from 11:30 am until 6:xxx pm.

Design approval for the canopy proved difficult. The blueprint had to be approved by the National Capital Planning Commission (NCPC), which has statutory say-so to corroborate all buildings and renovations in the D.C. metropolitan surface area. Although the NCPC approved the preliminary design,[89] the Advisory Council on Historic Preservation (ACHP), the Usa Department of the Interior, the D.C. State Preservation Office, and the National Trust for Historic Preservation all opposed the enclosure of the courtyard.[94] The NCPC reversed its preliminary approval on June ii, 2005.[95] Unwilling to lose the awning, the Smithsonian brought five alternatives to the NCPC on Baronial 4.[96] On September 8, 2005, the NCPC reversed itself nevertheless again, and approved one of the revised designs.[97] The delay cost the Smithsonian $10 one thousand thousand.[59] In Oct 2005, the Donald W. Reynolds Foundation made a $45 million donation to the NPG to end both the edifice renovation and the canopy.[98] The Smithsonian agreed to call the ii museums, the conservation center, courtyard, storage facility, and other operations within the Onetime Patent Office complex the "Donald West. Reynolds Center for American Art and Portraiture" in appreciation for the gift.[99] The National Portrait Gallery reopened on July 1, 2006.[100] The full price of the building's renovation was $283 million.[101]

Attendance at the renovated building rose significantly to 214,495 in just two months. In the past, both museums had drawn just 450,000 over 12 months. The achievement was even more impressive in the face of flat or failing attendance at all other Smithsonian museums.[102] The college attendance was not all positive. Some patrons spit on art they did non like, while others kissed or touched some paintings. Video security cameras were hastily installed in September 2007 to stop the vandalism.[103] By the end of the year, more than 786,000 people had visited the ii museums.[104]

Governance and directors [edit]

The National Portrait Gallery is governed by a lath of directors known as the National Portrait Gallery Committee. The commission members are appointed by the Regents of the Smithsonian Institution. The museum is led by a Manager, who oversees its day-to-day activities. Directors of the museum include:

  • Charles Nagel – July one, 1964 – 1969
  • Marvin Sadik – 1969 – July 1981[23]
  • Alan M. Fern – June 1982 – 2000[105]
  • Marc Pachter – 2000–2007[106]
  • Martin E. Sullivan – 2008–2012[107]
  • Wendy Wick Reaves – 2012–2013 (acting)
  • Kim Sajet – April 2013–[108]

References [edit]

Notes [edit]

  1. ^ Images are paintings, drawings, or like media, unless otherwise noted.

Citations [edit]

  1. ^ a b c d e f g h Thompson, Bob. "Who Gets Into the National Portrait Gallery, and Why?" Washington Post. June 13, 1999.
  2. ^ Smith, p. 268.
  3. ^ a b c d east f g h i j g l m "Chronology of the National Portrait Gallery". Smithsonian Institution Enquiry Data System. 2012. Archived from the original on November 29, 2014. Retrieved February 5, 2013. [ better source needed ]
  4. ^ Oehser, p. 146.
  5. ^ Oehser, p. 200.
  6. ^ a b c Schultz, p. 272.
  7. ^ a b Richard, Paul. "A New Face for the Stuffy Old Portrait." Washington Postal service. April three, 1977.
  8. ^ Alexander, p. 302.
  9. ^ Richard, Paul. "A National Family unit Anthology." Washington Mail. Oct 6, 1968; Martin, Judith. "'Semi, Demi-Heroes' Open up New Gallery." Washington Postal service. Oct seven, 1968.
  10. ^ "Avery C. Faulkner." Wilmington Star-News. February 25, 2007.
  11. ^ a b Richard, Paul. "American Masterwork: Portrait Gallery's New 'Cornerstone' A Copley Self-Portrait for the Portrait Gallery." Washington Mail service. January 16, 1978.
  12. ^ Permanent Collection Illustrated Checklist, p. 7.
  13. ^ Glueck, Grace. "Athenaeum'south Dilemma." New York Times. April 6, 1979; "Free George and Martha." Washington Post. April nine, 1979.
  14. ^ Richard, Paul. "Marvin Sadik: 'I'm Resolute'." Washington Post. April 11, 1979.
  15. ^ Cowen, Peter. "For $5m, Portraits Stay Here." Boston Globe. April 12, 1979.
  16. ^ Knight, Michael. "Boston City Officials Go to Courtroom to Keep 2 Washington Portraits." New York Times. April eleven, 1979.
  17. ^ Richard, Paul. "Jump in Boston." Washington Post. April xiii, 1979.
  18. ^ a b c "Bostonians Are Falling Short in Bulldoze to Keep Art." Associated Press. November 25, 1979.
  19. ^ "Portrait Fund Drive Falls $4 Million Brusque." Washington Post. Jan eighteen, 1980.
  20. ^ "Museums in Capital and Boston to Share Washington Portraits." New York Times. February 8, 1980; "Museums Come to Terms on Stuarts." Washington Mail. February 23, 1980.
  21. ^ a b "Pact on Stuarts Approved Past Massachusetts Official." Associated Press. March 22, 1980; "Stuart Portraits Plan Wins Tentative Approval." Washington Post. March 24, 1980.
  22. ^ Rosenfeld, Megan. "New Faces in Town." Washington Post. June 24, 1980; Radcliffe, Donnie. "Dorsum In the Picture." Washington Mail service. July 4, 1980.
  23. ^ a b c "Sadik, Director, Quits National Portrait Gallery". New York Times. June 1, 1981. Retrieved February 5, 2013.
  24. ^ a b Glueck, Grace. "5 Stuarts Go to U.S. Gallery." Washington Post. Apr 10, 1979.
  25. ^ a b Richard, Paul. "Lodge Donates Two Portraits." Washington Post. December 15, 1979.
  26. ^ a b Kernan, Michael. "GEE!! Information technology's Christy." Washington Post. January 11, 1980; "The Loving Eye That Created the Christy Girl." Washington Post. January xi, 1980.
  27. ^ a b Ostrow, Joanne. "The Meserves' Photo Legacy." Washington Post. May fourteen, 1982.
  28. ^ Trescott, Jacqueline. "The Photographer Who Went to War." Washington Mail service. November vii, 2010.
  29. ^ a b Richard, Paul. "Gilbert Stuart's Jefferson Acquired for $ane Million." Washington Mail service. September 10, 1982.
  30. ^ a b Richard, Paul. "Portrait Gallery Buys Degas." Washington Post. May 22, 1984.
  31. ^ "Civil War Era Notes Are Stolen." Washington Post. January 1, 1985; Ringle, Ken. "FBI Probes Theft of Notes From Gallery." Washington Postal service. January ii, 1985; Barker, Karyn. "FBI Arrests D.C. Man in Lincoln Letter Instance." Washington Post. February nine, 1985; "Man Sentenced For Stealing Notes From Civil State of war Era." Washington Post. April 24, 1985.
  32. ^ "Man Gets 6 Months for Stealing Documents". Associated Press. Apr 24, 1985. Retrieved Feb 7, 2013.
  33. ^ a b Grundberg, Andy. "The Beautiful Peoples." Washington Post. June nineteen, 2005.
  34. ^ a b "Daguerreotype of Frederick Douglass." Washington Mail service. December 23, 1990.
  35. ^ a b Ringle, Ken. "John Brown, Captured For History." Washington Mail service. Dec nineteen, 1996.
  36. ^ Trescott, Jacqueline. "Smithsonian Battles to Go on Prized Portrait of Washington." Washington Postal service. February 23, 2001.
  37. ^ The Reynolds Foundation lath had discretion to brand grants in areas that presented patriotic or entrepreneurial opportunities or which supported a lifetime interest of foundation founder Donald W. Reynolds.
  38. ^ Trescott, Jacqueline. "A Washington Bailout." Washington Post. March 14, 2001.
  39. ^ Farhi, Paul. "Committee Sees a Lack of Money, Leadership at 8 Smithsonian Museums." Washington Mail service. March 21, 2007.
  40. ^ a b Argetsinger, Amy and Roberts, Roxanne. "Fit for a T: New at the Portrait Gallery." Washington Mail service. January 7, 2009.
  41. ^ Gopnik, Blake. "'Hide/Seek' Finds a Frame for Showing Sexual Identity." Washington Post. November 5, 2010.
  42. ^ a b c d due east f Trescott, Jacqueline. "Portrait Gallery Removes Crucifix Video From Exhibit After Complaints." Washington Post. Dec 1, 2010.
  43. ^ Almost no taxpayer money was spent on the exhibit, since it was funded by private donations.
  44. ^ Trescott, Jacqueline. "Clough Defends Removal of Video". Washington Postal service. Jan xix, 2011.
  45. ^ Trescott, Jacqueline. "After Smithsonian Exhibit's Removal, Banned Ant Video Still Creeps Into Gallery." Washington Mail. Dec 6, 2010.
  46. ^ Trescott, Jacqueline. "'Hide/Seek' Sponsor Threatens to Cut Funding for Smithsonian." Washington Post. Dec 14, 2010; Taylor, Kate. "Foundation Says It's Ending Smithsonian Support." New York Times. Dec thirteen, 2010.
  47. ^ Capps, Kriston (Dec 17, 2010). "Mapplethorpe Foundation Withdraws Back up for Smithsonian Exhibitions". Washington City Newspaper . Retrieved February 6, 2013.
  48. ^ Trescott, Jacqueline. "Regents Support Censorship Decision." Washington Mail. Feb ane, 2011.
  49. ^ Gopnik, Blake. "Portrait Capital letter." Washington Post. May 29, 2005.
  50. ^ Gambino, Megan (Oct 25, 2011). "Last Call: Outwin Boochever Portrait Contest". Smithsonian Mag . Retrieved February eight, 2013.
  51. ^ "Frequently Asked Questions: National Portrait Gallery". Smithsonian Institution. Archived from the original on May fifteen, 2013. Retrieved June seven, 2013.
  52. ^ Sanford, Barbara (May 11, 2009). "Eunice Kennedy Shriver Portrait Unveiled". Smithsonian Magazine.
  53. ^ "National Portrait Gallery's Portrait Competition". PBS Newshour. November five, 2009.
  54. ^ Kennicott, Philip (March 22, 2013). "Boochever Portrait Competition winners". Washington Post.
  55. ^ Flower, Benjamin (November nineteen, 2014). "Bo Gehring: Reminding Us to Wearisome Down". National Portrait Gallery . Retrieved March 10, 2016.
  56. ^ Kennicott, Philip. "American Poets, On the Surface." Washington Mail service. November 4, 2012.
  57. ^ a b c "Fact Sheets: National Portrait Gallery". Smithsonian Institution. Feb one, 2013. Retrieved February half dozen, 2013.
  58. ^ Thompson, Bob. "The Changing Face of American Portraiture." Washington Mail. June 25, 2006.
  59. ^ a b c Trescott, Jacqueline. "Museums Reopen to a Brand-New View." Washington Post. July 1, 2006.
  60. ^ a b Copeland, Libby. "The Clintons: They've Been Framed!" Washington Mail. Apr 25, 2006.
  61. ^ Trescott, Jacqueline. "Take Renovation, Will Travel." Washington Post. Dec xiv, 2005.
  62. ^ Harlan, Becky (Jan 13, 2017). "National Portrait Gallery Installs Photo Of President-Elect Trump". NPR.org . Retrieved January 17, 2017.
  63. ^ Mcgraw, Meridith (Jan sixteen, 2017). "Trump Photograph Installed at the National Portrait Gallery". ABC News . Retrieved January 17, 2017.
  64. ^ "National Portrait Gallery Annual Report" [1] October 1, 2008 – September 30, 2009. p. 4,xv,back cover.
  65. ^ Cost and Cost, p. 102; Silber, p. 61; Acker, p. fourteen, accessed 2013-02-08.
  66. ^ Ross, p. 87.
  67. ^ Sandler, p. 51.
  68. ^ Dale, p. 47.
  69. ^ Fixico, p. 27; Agency of State Direction, p. 25; National Park Service, p. 8.
  70. ^ Moeller and Feldblyum, p. 100.
  71. ^ Secretary of the Interior, 1899, p. 107.
  72. ^ Public Buildings Commission, p. 24-27.
  73. ^ Commission on Appopriations, p. 466.
  74. ^ Select Subcommittee on Education, p. 159.
  75. ^ "Sen. Maybanks Fights Program to Raze CSC Edifice." Washington Mail service. November 17, 1953; "Architects Fight Plan to Raze CSC Building." Washington Post. February 24, 1954; "Committee Protests Razing Plan." Washington Post. December 17, 1955.
  76. ^ "GSA Wants to Preserve Patent Bldg." Washington Post. June 3, 1956.
  77. ^ "CSC Building to Go Art Museum." Washington Mail. March 22, 1958.
  78. ^ Sampson, Paul. "Exhibit to Tell American Art Story." Washington Post. April 2, 1958.
  79. ^ Doolittle, Jerry. "Civil Service Dedicates Home." Washington Post. November thirteen, 1963.
  80. ^ Scott, David W. "Patent Building to Become Arty." Washington Post. December 27, 1964.
  81. ^ Hailey, Jean R. "Art Collection to Go in Old Patent Function." Washington Post. May 21, 1965.
  82. ^ Richard, Paul. "A Major New Fine art Museum to Open up." Washington Post..' April 28, 1968.
  83. ^ Richard, Paul. "A National Family Album." Washington Post. October 6, 1968.
  84. ^ Trescott, Jacqueline. "The Battered Land of the Nation'due south Attic." Washington Post. June 10, 1995.
  85. ^ Lewis, Jo Ann. "Repairs to Close Two Art Museums." Washington Postal service. Jan 29, 1997.
  86. ^ Trescott, Jacqueline. "Extensive Leaks In the Nation'due south Attic." Washington Post. April 1, 2000.
  87. ^ Forgey, Benjamin. "The One-time Patent Office, Awaiting Renewal." Washington Mail. January 1, 2000.
  88. ^ Trescott, Jacqueline. "Smithsonian Art Museum Gets Second $x Million." Washington Post. March vii, 2001.
  89. ^ a b c Trescott, Jacqueline. "Sometime Patent Office Gets A $25 Million Boost." Washington Post. November xvi, 2004.
  90. ^ Trescott, Jacqueline. "Smithsonian Projects Face Delays." Washington Post. June 23, 2001.
  91. ^ Forgey, Benjamin. "Naked Splendor." Washington Post. July 20, 2003.
  92. ^ Zach Mortice (Dec 21, 2007). "Museum Courtyard Glides Through the Ages". AIArchitect. Archived from the original on Jan ane, 2013. Retrieved September 17, 2010. ; Epstein, Edward (2006-07-02). "Openings THU 13 Cesar Chavez Student". The San Francisco Chronicle. ; Trescott, Jacqueline. "Way Clear for British Architect'southward Drinking glass Deed." Washington Mail. March 16, 2004.
  93. ^ sysadmin (2015-08-21). "The Courtyard Café". npg.si.edu . Retrieved 2019-10-02 .
  94. ^ Trescott, Jacqueline. "Patent Office Roof: Pending." Washington Mail. April 25, 2005.
  95. ^ Forgey, Benjamin. "Panel Rejects Smithsonian Program For Patent Role." Washington Post. June 3, 2005.
  96. ^ Trescott, Jacqueline. "Erstwhile Patent Function Options Clearly All the same Favor Glass." Washington Mail. August 5, 2005.
  97. ^ Forgey, Benjamin. "A Roof That'southward Apparently the Best Pick." Washington Post. September 9, 2005.
  98. ^ Trescott, Jacqueline. "Smithsonian Scores a $45 Million Souvenir." Washington Postal service. October 12, 2005.
  99. ^ Trescott, Jacqueline. "Smithsonian Thanks Its Big Donor By Proper name." Washington Postal service. October 13, 2005.
  100. ^ "'Looking History in the Centre' at Portrait Gallery". National Public Radio. July 13, 2006. Retrieved September 18, 2010.
  101. ^ Philip Kennicott (November nineteen, 2007). "Seeing the Lite at Concluding". The Washington Postal service . Retrieved January fifteen, 2016.
  102. ^ Trescott, Jacqueline. "Smithsonian Attendance Down." Washington Post. September twenty, 2006.
  103. ^ Grimaldi, James Five. "GAO Faults Smithsonian Upkeep and Security." Washington Post. September 29, 2007.
  104. ^ Trescott, Jacqueline. "Some People Would Die to Wind Up at This Museum." Washington Post. May 23, 2008.
  105. ^ "Portrait Gallery Main Alan Fern to Retire". Washingtonpost.com. 2000-02-04. Retrieved 2010-12-03 .
  106. ^ Jacqueline Trescott (December 12, 2006). "Portrait Gallery Director to Retire in '07". The Washington Post.
  107. ^ Trescott, Jacqueline (May 7, 2012). "Martin Sullivan Steps Down as Portrait Gallery Director". Washington Mail . Retrieved February 5, 2013.
  108. ^ Boyle, Katherine (February 5, 2013). "National Portrait Gallery Names Kim Sajet every bit Its New Director". Washington Post . Retrieved February 5, 2013.

Bibliography [edit]

  • Acker, William B. Memorandum History of the Department of the Interior. Washington, D.C.: U.S. Department of the Interior, 1913.
  • Alexander, Edward P. Museum Masters: Their Museums and Their Influence. Walnut Creek, Calif.: AltaMira Press, 1995.
  • Bureau of Land Management. Landmarks in Public Land Management. Department of the Interior. Washington, D.C.: U.S. Authorities Printing Office, 1962.
  • Committee on Appropriations. First Supplemental Ceremonious Functions Appropriation Bill for 1941. Hearings Earlier the Subcommittee of the Committee on Appopriations. Committee on Appropriations. U.S. House of Representatives. 76th Cong., 3d sess. Washington, D.C.: Government Printing Office, 1940.
  • Dale, Alzina Stone. Mystery Reader'southward Walking Guide, Washington, D.C. Lincoln, Neb.: IUniverse, 1998.
  • Fixico, Donald Lee. Bureau of Indian Affairs. Santa Barbara, Calif.: Greenwood, 2012.
  • Moeller, Gerard Martin and Feldblyum, Boris. AIA Guide to the Architecture of Washington, D.C. Baltimore, Md.: Johns Hopkins University Press, 2012.
  • National Park Service. Report of the Manager of the National Park Service to the Secretary of the Interior for the Fiscal Year Ended June thirty, 1924. Washington, D.C.: Regime Printing Role, 1924.
  • Oehser, Paul H. The Smithsonian Institution. New York: Praeger Publishers, 1970.
  • Permanent Collection Illustrated Checklist. Washington, D.C.: Smithsonian Institution Press, 1980.
  • Price, Tom and Price, Susan Crites. Frommer's Irreverent Guide to Washington, D.C. Hoboken, N.J.: Wiley Publishing, 2007.
  • Public Buildings Commission. Almanac Report of the Public Buildings Commission for the Calendar Year 1932. Washington, D.C.: Authorities Printing Function, 1933.
  • Ross, Betty. A Museum Guide to Washington, D.C. Washington, D.C.: Americana Printing, 1986.
  • Sandler, Corey. Washington, D.C., Williamsburg, Busch Gardens, Richmond and Other Area Attractions. Lincolnwood, Sick.: Verulam, 2000.
  • Schultz, Patricia. 1,000 Places to See in the United States & Canada Earlier You Die. New York: Workman Publishing, 2011.
  • Secretary of the Interior. Report of the Secretary of the Interior for the Fiscal Twelvemonth Concluded June 30, 1899. Department of the Interior. Washington, D.C.: Government Printing Office, 1899.
  • Select Subcommittee on Instruction. Help to Fine Arts: Hearing Earlier the Select Subcommittee on Didactics of the Committee on Pedagogy and Labor, House of Representatives, Eighty-Seventh Congress, First Session, on H.R. 4172, H.R. 4174, and Related Bills to Help the Fine Arts in the The states. Hearing Held in Washington, D.C., May xv, 1961. Select Subcommittee on Teaching. Committee on Education and Labor. U.Due south. Firm of Representatives. 87th Cong., 1st sess. Washington, D.C.: U.Due south. Authorities Printing Office, 1961.
  • Silber, Nina. Landmarks of the Civil War. New York: Oxford Academy Printing, 2003.
  • Smith, Carol. "Portraying the Black Atlantic: Americanisation and the National Museum." In Issues in Americanisation and Civilisation. Jude Davies, Neil Campbell, and George McKay, eds. Edinburgh: Edinburgh Academy Press, 2004.
  • Ward, David C. 2004 Charles Willson Peale: Fine art and Selfhood in the Early Republic Berkley, California : University of California Press

External links [edit]

  • Official website
  • Negotiating American Identity in the National Portrait Gallery.
  • C-Span Q&A interview with Marc Pachter, December 30, 2007

statenmajaus.blogspot.com

Source: https://en.wikipedia.org/wiki/National_Portrait_Gallery_%28United_States%29

Post a Comment for "National Portrait and National Fine Arts Collection Washington Dc"