National Gallery of Art

“El arte es una mentira que nos acerca a la verdad.” “La familia de saltimbanquis” se considera la obra más importante de la carrera temprana de Pablo Picasso. El artista español vio un paralelismo entre la vida de los saltimbanquis (acróbatas, bailarines y bufones) que pinta aquí y los artistas por ser ambos grupos que forman una “familia” entre ellos y que muchas veces viven en los márgenes de la sociedad. Se identificaba tanto que se pintó a él mismo en el cuadro—mira la cara del joven alto a la izquierda. 🖼️ Pablo Picasso, “Family of Saltimbanques,” 1905, oil on canvas, 213 x 230 cm, Chester Dale Collection, © 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York

¿Qué vamos a pintar? Esa es la pregunta que se hizo Barnett Newman, quien consideraba que los artistas se enfrentaban a una crisis moral tras la Segunda Guerra Mundial y el Holocausto. Esta reflexión, sin embargo, dio lugar a la serie de pinturas más famosa que creó, “The Stations of the Cross” (“El camino de la cruz”). Aunque lleva el nombre de un proceso de conmemoración de los últimos momentos de la vida de Cristo, estas obras no se refieren en absoluto a la religión, sino que piden a la humanidad empatía colectiva.

¿Reconoces esta obra? El artista francés, Edgar Degas, creó muchas esculturas a lo largo de su vida, sin embargo, esta, “La pequeña bailarina de catorce años”, es la única que exhibió en público. Según nos cuenta la curadora Alison Luchs, Degas era tan perfeccionista que casi nunca consideraba que una obra estuviera “completa” — prueba de que la autocrítica existe hasta en los más grandes. __ 🖼️ Edgar Degas, “Little Dancer Aged Fourteen,” 1878-1881, pigmented beeswax, clay, metal armature, rope, paintbrushes, human hair, silk and linen ribbon, cotton faille bodice, cotton and silk tutu, linen slippers, on wooden base, 99 x 35 x 35 cm, Collection of Mr. and Mrs. Paul Mellon #Degas

This 300-year-old goblet is a piece of living history. Called a "nautilus cup," it combines silver and gilding with a delicately carved shell sourced from the waters where the Indian and Pacific Oceans meet. Back in the 17th century, this cup wasn't just for drinking—it was a symbol of wealth and power, for Swedish royalty to show off to privileged visitors in a chamber full of natural and artistic wonders. In 1670, a master silversmith supplied an elaborate mount for the decorated shell, setting it above a siren who gracefully glides over the ocean—an intricate, truly mesmerizing detail. Take an even closer look in our West Building Gallery 50 (Main Floor) 🔍 __ 🐚 Dutch and Swedish 17th Century, “Nautilus Cup,” 1650 (carving), 1670 (mount) nautilus shell (nacreous layer with etched low relief), silver, and gilded silver height: 12 5/8 in., Patrons' Permanent Fund

¿Sabías que Mark Rothko no titulaba sus cuadros? “El silencio es tan certero”, dijo el artista estadounidense. Rothko quería evitar interrumpir el proceso de contemplación e imaginación del espectador al ver sus obras, por lo cual ni solía responder a preguntas sobre su significado. Esta libertad, y las reacciones del público, demuestran la habilidad humana de interpretar una misma imagen de mil formas distintas. 📍 Nuestra Torre Rothko

John Ward of Hull's 19th-century painting

Need to cool off? Here’s a work of art to help you beat the heat today: “Iceberg ahead!” In John Ward of Hull’s 19th-century painting, ice floes drift on the sea and frozen mounds of Earth tower in the distance. You can almost feel the chill at your fingertips as you move your eyes around the glacial scene…🌬 Feel better now? If that didn’t work, stop by the museum for a refreshing walk through our delightfully air-conditioned galleries #LinkInBio to visit. 🖼 John Ward of Hull, “The Northern Whale Fishery: The ‘Swan’ and ‘Isabella,’” 1840, oil on canvas, 19 x 28 in., The Lee and Juliet Folger Fund

Should art always have a deep, profound meaning? Or can art be made simply for beauty’s sake? This has been a long-standing debate in the art world. Some people say that art without meaning ignores the realities of the world, while others argue that beauty alone is enough to move us, to make us feel something. In Washington, DC, several Black artists explored this dilemma even further, pushing people to think deeper about what art can be. Watch for a great story ⬆️ __ Featuring National Gallery Curatorial Assistant Rashieda Witter (@_rashieda)��#TheHeartOfBlackWashington . . . . Faith Ringgold, “The American People Series #18: The Flag is Bleeding,” 1967, oil on canvas, 72 × 96 in., Gift of Glenstone Foundation and Patrons’ Permanent Fund Charles Ethan Porter, “Peonies in a Vase,” 1885, oil on canvas, 18 × 16 in., Gift of William and Abigail Gerdts Battey, C. M. (Cornelius Marion), 1873-1927, photographer, W.E.B. (William Edward Burghardt) Du Bois, 1868-1963, Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA http Schomburg Center for Research in Black Culture, Photographs and Prints Division, The New York Public Library. "Alain Locke " The New York Public Library Digital Collections. 1906 - 1920. James E. Purdy, 1859 - 1933, William Edward Burghardt Du Bois, 23 Feb 1868 - 27 Aug 1963, 1907, Photograph, Gelatin silver print, Image/Sheet: 5 9/16 × 3 7/8 in., National Portrait Gallery, Smithsonian Institution Restrictions Ida Jervis, “Alma Thomas working in her studio,” 1968. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution Unknown photographer, “Lois Jones,” artist and teacher, 1936/1937, negative, National Archives and Records Administration, The Harmon Foundation Collection. Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution Jimmy Wells, “James Lesesne Wells,” 1989, Gelatin silver print, co

Sometimes, the best company is your own. Just you, your thoughts, and the art. 🙏 __ 📍 West Building, Main Floor, Gallery 55

Fathers deserve flowers, too 🫲 Dads, in honor of #FathersDay, enjoy these beautiful peonies painted by Charles Ethan Porter in 1885. 💛 Charles Ethan Porter was an American artist who has often been left out of the history books. Even though he was a talented painter, he is not as well-known as some of his contemporaries. One reason is because Porter mainly painted still lifes (a genre that was often undervalued during his time). Another reason is that he faced discrimination because of his race. Born in the 1840s, racial discrimination made it difficult for Porter to receive recognition. He had to exceed cruel expectations to make a name for himself. In a letter he wrote this his friend Mark Twain in 1883, Porter expressed his desire to show that African Americans were “capable the same as other men.” Conscious of his place in an art world dominated by white men, he was eager to show what he, and other Black artists, could do. __ 🖼 Charles Ethan Porter, “Peonies in a Vase,” 1885, oil on canvas, Gift of William and Abigail Gerdts 🎥 Video by Rino Stefano Tagliafierro

Alone in a gallery filled with Thomas Cole’s four-part masterpiece: “The Voyage of Life” ✨ #360DegreeTour Thomas Cole’s four-part masterpiece that takes you on an unforgettable journey through four paintings. The paintings follow a main character, "the hero," as he travels down the River of Life. His destination? A grand castle in the sky, symbolizing youthful dreams of success and fame. But as our hero gets closer to this dream, he gets older and things start to change. The river turns turbulent, violently pushing him into the next chapter of his life. Now, he’s up against the raw forces of nature, evil creatures, and that familiar self-doubt that threatens to consume him. Eventually, our hero manages to escape the raging twists and turns of the river, but he’s different now. He’s much older. He reaches the end of his journey, both on the river and in life. And in the last painting, we see an angel appearing from parting clouds, beckoning him toward a soft light emerging from the heavens. This series is a powerful, visual metaphor for the journey of life—full of dreams, challenges, and, ultimately, the hope of something greater. . . . . 🖼: Thomas Cole, “The Voyage of Life: Childhood, Youth, Manhood, and Old Age,” 1842, oil on canvas, Ailsa Mellon Bruce Fund

Here’s a story you might not know: in the 17th century, Jan van Kessel the Elder was this incredible Flemish painter known across Europe for his tiny, intricate insect paintings on copper. What’s really fascinating is the level of detail—he painted these beetles, flies, and butterflies with almost scientific accuracy. Van Kessel dove deep into entomology books and actually studied live insects to make sure every tiny detail was spot on. His work is this incredible blend of art and science. And in honor of his precision, we held our own creative experiment inspired by his work: recreating one of his 300-year-old still lifes in miniature using wood, paint, and a bit of resourcefulness. __ 🖼 Jan van Kessel the Elder, "Insects and a Sprig of Rosemary," 1653, oil on copper, 4 × 5 in., The Richard C. Von Hess Foundation, Nell and Robert Weidenhammer Fund, Barry D. Friedman, and Friends of Dutch Art

This 300-year-old sculpture was crafted by the first documented woman sculptor in Spain. It's a piece of history. Her name was Luisa Roldán. Born in Seville, she was one of the city's most accomplished sculptors. In 1688 Roldán and her husband moved to Madrid where her work captured the attention of King Carlos II, who appointed her to his court. She was eventually awarded the royal title of escultora de cámara. __ Luisa Roldán, "Virgin and Child" Luisa Roldán Virgin and Child, 1680/1686 painted wood overall: 22 x 9 x 6 in., Pepita Milmore Memorial Fund, Patrons’ Permanent Fund and William and Buffy Cafritz Family Sculpture Fund

A reminder that sometimes the best weekend plans are no plans at all. Nothing sounds better than lounging in a hammock of time like the artist in this Sanford Robinson Gifford painting. Made circa 1864, Gifford’s landscape depicts a man sitting on a sheer, rocky outcropping high above a sunlit expanse of land. The land stretches to meet a sun-dappled sea carpeted by mustard-yellow and moss-green slopes. As one of the best painters of the Hudson River School—artists who often championed the luminous beauty of the American landscape in their work—Gifford built a reputation as a maestro of light and atmosphere. And you can see that reputation shining through this painting. If you take a closer look, you’ll notice the soft glow diffused through mountains and sky, surrounding the lone figure as he rests in the valley of ease. ✨ __ 🖼 Sanford Robinson Gifford, “The Artist Sketching at Mount Desert, Maine,” 1864-1865, oil on canvas, 11 x 19 in., Gift of Jo Ann and Julian Ganz, Jr. in honor of John Wilmerding 🎥 Rino Stefano Tagliafierro

Alone in a tower filled with the world’s largest display of sculptures by Alexander Calder... In this room filled with moving sculptures by Calder, giant mobiles are suspended in the sky. In the mid-1930s, in addition to developing his classic mobiles, Calder began to explore the concept of creating three-dimensional paintings in motion. The movement of these sculptures results in flashes of forms and colors, a complex choreography of elements that blurs the line between circumstance and permanence. __ 📍 East Building, Tower, Gallery 606 © 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

You deserve some flowers today. 🫱 Share these blooms with your mom, courtesy of artist Charles Ethan Porter. #HappyMothersDay 🌸 #AboutTheArtist Charles Ethan Porter was a 19th-century American artist who has often been left out of the history books. Even though he was a talented painter, he is not as well-known as some of his contemporaries. One reason is because Porter mainly painted still lifes (a genre that was often undervalued during his time). Another reason is that he faced discrimination because of his race. Born in the 1840s, racial discrimination made it difficult for Porter to receive recognition. He had to exceed cruel expectations to make a name for himself. In a letter he wrote this his friend Mark Twain in 1883, Porter expressed his desire to show that African Americans were “capable the same as other men.” Conscious of his place in an art world dominated by white men, he was eager to show what he, and other Black artists, could do. __ 🖼 Charles Ethan Porter, “Peonies in a Vase,” 1885, oil on canvas, Gift of William and Abigail Gerdts 🎥 Video by Rino Stefano Tagliafierro

“Todas mis mejores ideas provienen de mis sueños.” — Salvador Dalí "All of my best ideas come from my dreams." — Salvador Dalí

What’s the biggest misconception about acting? 🤔 #AskAnArtist Actress and playwright Anna Deavere Smith has long written her experiences into her plays and roles, from The West Wing and Nurse Jackie to Inventing Anna. You can see her for free at the National Gallery (or via livestream) for her four-part series, “Chasing That Which Is Not Me / Chasing That Which Is Me,” where she’ll transform interviews and work from throughout her career focused on American character into lecture and performance. 📅 Sundays, May 12 and 19, 2:00 p.m. 🎟️ Register ➡️ https://bit.ly/3Qw1rpR

A makeup artist was inspired by Vincent van Gogh’s self-portrait, so she painted it herself. And the result is breathtaking 👀 Los Angeles artist Julie Hassett made a mesmerizing re-creation of one of the last paintings Van Gogh produced in his lifetime. Many of Van Gogh’s self-portraits were an experiment as he tested different techniques and paint hues. So we think he would have appreciated Hassett’s unique interpretation. 🖌️ __ 🖼️ Vincent van Gogh, “Self-Portrait,” 1889, oil on canvas, collection of Mr and Mrs John Hay Whitney

Exciting news! We have just won *four* Webby Awards, including one for this animation of an Anne Vallayer-Coster painting that was missing for centuries. The Webbys are the leading international award honoring excellence on the internet and social media. A huge congratulations to our social media and production studio teams! National Gallery award recipients include: Scott Keiner, Head of Production Studio Anabeth Guthrie, Chief of Communications Sydni Myers, Social Media Manager Karla Carnewal, Supervising Line Producer Adam Enatsky, Lead Videographer Sarah Turner, Development Coordinator Chad Lawrence, Production Specialist John Conway, Lead Audio Engineer Nick Sharp, Chief Digital Officer C.D. Dickerson, Senior Curator of European and American Art Reema Ghazi, Manager of National Programs and Partnerships Rachel Trinkley, Manager of Interpretive Resources Betsy Wieseman, Curator Alex Libby, Senior Advisor for Curatorial and Conservation Initiatives Rino Stefano Tagliafierro, Animator SWARD Productions Fred X Brownstein, Artist Chelsea Knight Terrence Hayes

Vincent van Gogh was a great admirer of Japanese art. He wrote that it made him happy and cheerful. In fact, what some people don't realize is that many of his paintings were inspired by Japanese prints, particularly those by Utagawa Hiroshige. In honor of #EarthDay, see the world through the eyes of both Van Gogh and the Japanese artists who inspired him. 💛 __ 🖼 Vincent van Gogh, “Farmhouse in Provence,” 1888, oil on canvas, 18 x 24 in., Ailsa Mellon Bruce Collection 🖼 Utagawa Hiroshige, “Cherry Blossoms in Full Bloom Along the Sumida River [Sumida-gawa hana-zakari],” 1839-1842, color woodcut on Japanese paper, 10 × 14 in., Corcoran Collection