National Gallery of Art West Building Madison Drive Entrance Washington Dc Us

National Gallery of Art, DC – Virtual Bout

The National Gallery of Art and its attached Sculpture Garden is the national art museum in Washington, D.C., located on the National Mall.

The museum was originally privately established in 1937 for the American people by a joint resolution of the United states of america Congress. Andrew W. Mellon donated a substantial art collection and funds for construction.

The Gallery's collection of paintings, drawings, prints, photographs, sculptures, medals, and decorative arts traces the development of Western Art from the Center Ages to the nowadays.

The Gallery's campus includes the original neoclassical West Building, which is linked underground to the mod East Building and the vi.one-acre (25,000 m2) Sculpture Garden.

The Gallery often presents temporary special exhibitions spanning the world and the history of fine art. Information technology is i of the largest museums in Northward America and is open to the public and gratis of charge.

The National Gallery of Fine art, DC, includes among its many treasures the just painting by Leonardo da Vinci in the Americas and the largest mobile created past Alexander Calder.

A Virtual Bout of the National Gallery of Art

• "Ginevra de' Benci" past Leonardo da Vinci
• "A Young Girl Reading" by Jean-Honoré Fragonard
• "Small Cowper Madonna" past Raphael
• "The Alba Madonna" past Raphael
• "Nude on a Divan" by Amedeo Modigliani
• "Nude on a Blue Absorber" by Amedeo Modigliani
• "Saint Jerome" by El Greco
• "The Houses of Parliament, Sunset" by Claude Monet (National Gallery of Art, DC)
• "Breezing Upward (A Off-white Wind)" by Winslow Homer
• "Madame Moitessier" past Jean-Auguste-Dominique Ingres
• "Adrienne (Woman with Bangs)" by Amedeo Modigliani
• "Watson and the Shark" by John Singleton Copley
• "The Emperor Napoleon in His Study at the Tuileries" by Jacques-Louis David
• "The Canoeing Party" by Mary Cassatt
• "Interior of the Pantheon, Rome" by Giovanni Paolo Panini
• "Marcelle Lender Dancing the Bolero in "Chilpéric" by Henri de Toulouse-Lautrec
• "Quadrille at the Moulin Rouge" by Henri de Toulouse-Lautrec
• "A Dutch Courtyard" by Pieter de Hooch
• "The Female parent and Sis of the Creative person" by Berthe Morisot
• "New York" by George Bellows
• "Self-Portrait" by John Singleton Copley
• "Self-Portrait" by Benjamin West

• "Symphony in White, No. ane″ past James Abbott McNeill Whistler
• A Prince of Saxony by Lucas Cranach the Elder
• A Princess of Saxony by Lucas Cranach the Elder
• "Skiffs on the Yerres" by Gustave Caillebotte
• "The Niccolini-Cowper Madonna" by Raphael
• "The Equatorial Jungle" past Henri Rousseau
• Masterpieces of the National Gallery of Art
• "Venus and Adonis" by Titian
• "Waterloo Bridge" past Claude Monet
• "Christ at the Sea of Galilee" past Circle of Tintoretto
• "Both Members of This Club" by George Bellows
• "Club Dark" by George Bellows
• "Farmhouse in Provence" past Vincent van Gogh
• "Girl in White" by Vincent van Gogh
• "Street in Venice" by John Singer Sargent
• "Adult female with a Parasol – Madame Monet and Her Son" by Claude Monet
• "A Lady Writing a Letter" past Johannes Vermeer
• "Tale of Creation" – "Genesis II" by Franz Marc
• "The Skater "by Gilbert Stuart
• "The Washington Family" by Edward Vicious
• "The House Maid" by William McGregor Paxton
• "Margaret Stuyvesant Rutherfurd White" by John Vocalizer Sargent
• "La Mousmé" by Vincent van Gogh

Highlights Bout of the National Gallery of Art

"Ginevra de' Benci" past Leonardo da Vinci

Ginevra de' Benci by Leonardo da Vinci depicts a well-known young Florentine aristocrat. Leonardo painted the portrait in Florence in 1474 to commemorate Ginevra's marriage at the age of sixteen.

The juniper bush that fills much of the groundwork was regarded as a symbol of female virtue, in Renaissance Italy, while the Italian word for juniper, echo'south Ginevra'due south name.

Ginevra is shown beautiful just reserved with no hint of a grin. Her gaze, although forward, seems indifferent to the viewer.

"A Immature Girl Reading" by Jean-Honoré Fragonard

"A Young Girl Reading" by Jean-Honoré Fragonard depicts a girl in profile wearing a lemon yellow dress with a white ruff collar and cuffs and purple ribbons.

The girl is reading from a small book held, and a absorber resting against a wall supports her dorsum. Her face and dress are lit from the front.

Fragonard used fine brushwork on the confront and looser brushwork on the dress and cushion and the ruff, which was scratched into the paint with the end of a castor.

"Small-scale Cowper Madonna" by Raphael

The "Small Cowper Madonna" is a painting by Raphael, depicting Mary and Child in the 1500's Italian countryside. Information technology was painted effectually 1505 during the middle of the Loftier Renaissance.

The composition is centered on the seated Madonna in a bright blood-red apparel; she is shown with fair peel and blonde hair.

She is sitting comfortably on a wooden bench, and beyond her lap is a nighttime blueish pall upon which her right hand delicately rests. There is also a sheer translucent ribbon elegantly flowing across the top of her dress and behind her head.

The faintest gold halo miraculously surrounds her head. In her left hand, she holds the baby Christ, who embraces her with one arm around her back, the other around her neck. He as well has blonde hair and is looking back over his shoulder with a coy smile.

"The Alba Madonna" by Raphael

"The Alba Madonna" past Raphael depicts iii figures all looking at the cross; they stand for the Madonna with the Christ Kid and Saint John the Baptist as a child.

The figures are grouped to the left in the round composition. The outstretched arm of the Madonna and the resting elbow on the stump with her enveloping cloak balance the group image.

"Nude on a Divan" by Amedeo Modigliani

"Nude on a Divan" by Amedeo Modigliani is ane of the dozens of nudes created by Modigliani in a modernistic style characterized past elongation of faces and figures that repeat precursors such equally Titian, Goya, and Velázquez.

Still, Modigliani's figures differ significantly in the level of raw sensuality they transmit.

Unlike depictions of female nudes from the Renaissance to the nineteenth century, in which female nudity is couched in mythology or allegory, this series of paintings are without any such context, highlighting the painting's eroticism.

"Nude on a Bluish Cushion" past Amedeo Modigliani

"Nude on a Divan" by Amedeo Modigliani is one of the dozens of nudes created past Modigliani in a modern manner characterized by elongation of faces and figures that echo precursors such equally Titian, Goya, and Velázquez.

Still, Modigliani's figures differ significantly in the level of raw sensuality they transmit.

Unlike depictions of female person nudes from the Renaissance to the nineteenth century, in which female nudity is couched in mythology or allegory, this series of paintings are without any such context, highlighting the painting's eroticism.

"Saint Jerome" by El Greco

"Saint Jerome" by El Greco shows him as an ascetic with gaunt, sunken features and white hair and beard, which are symbolic of his history as a penitent and his retreat to the Syrian desert.

The cavern-like setting recalls St Jerome's years as a hermit in the desert. The volume symbolizes his scholarly activity. During the Renaissance, paintings showed Saint Jerome either in his report or performing acts of penance in the wilderness.

These pictures adorned the walls of the homes of many humanists and scholars.

"The Houses of Parliament, Sunset" past Claude Monet (National Gallery of Art, DC)

"The Houses of Parliament" by Claude Monet is i in a series of paintings of the Palace of Westminster, home of the British Parliament, created during the early 1900s while Monet stayed in London.

All of the series of paintings with like titles share the same viewpoint from Monet's terrace at St Thomas' Hospital overlooking the Thames.

The set of pictures depict different times of the day, and various weather and lite conditions, interestingly all on canvases are of approximately like size.

"Breezing Upward (A Fair Wind)" by Winslow Homer

 "Breezing Up (A Fair Wind)" by Winslow Homer is an iconic painting of a father and iii boys out for a spirited sail.

Homer had a sensibility that allowed him to dribble art from potentially sentimental subjects and to yield straightforward views of American life of the period.

Homer painted warm and appealing images that appealed to the postwar nostalgia for a simpler, more than innocent America.

Post-obit a trip to Europe in 1866–1867, Homer adopted a warmer palette and a technique, which owed much to the influence of French artists such as Courbet, Manet, and Monet.

"Madame Moitessier" by Jean-Auguste-Dominique Ingres

"Madame Moitessier" by Jean-Auguste-Dominique Ingres is a portrait of Marie-Clotilde-Inès Moitessier (née de Foucauld) completed in 1851 which depicts the discipline standing in a black dress looking directly at the viewer.

Madame Moitessier (1821–1897) was the daughter of a French ceremonious retainer who married a wealthy banker and merchant, who was a widower twice her age.

"Adrienne (Woman with Bangs)" past Amedeo Modigliani

Adrienne (Woman with Bangs) by Amedeo Modigliani is like to Modigliani's other iconic and stylized portraits.

Adrienne is depicted with a simplified, elongated oval face, gracefully sculptured nose, and simplified oral cavity highlight Modigliani's interest in African masks.

Modigliani used portraiture to explore both his psychology and that of his subjects, who were typically swain artists, friends, or lovers.

Modigliani drew inspiration from the fine art of then-chosen "archaic" cultures, his work oft resembling African or Pre-Columbian sculpture.

Adrienne's neck is elongated as in may other Modigliani portraits once again echoing his appreciation of "primitive" sculptures.

"Watson and the Shark" by John Singleton Copley

"Watson and the Shark" by John Singleton Copley depicts the rescue of the boy from a shark attack in Havana harbor, Cuba. This painting is based on the true story of an set on that took place in 1749.

The English male child Brook Watson, then a xiv-twelvemonth-sometime cabin male child, lost his leg in the set on. He was non rescued until the third attempt past the shark, which is the subject of the painting.

The shark assail on Watson resulted in the loss of his right leg below the articulatio genus. However, he went on to have a distinguished career, including becoming a Lord Mayor of London.

"The Emperor Napoleon in His Study at the Tuileries" by Jacques-Louis David

"The Emperor Napoleon in His Study at the Tuileries" past Jacques-Louis David shows Napoleon standing. This portrait is three-quarters life-size, wearing the uniform of a colonel of the Imperial Guard Foot Grenadiers with his military decorations.

Napoleon is looking at the viewer and poses with his right hand is in his jacket. His face is reminiscent of Churchill'south early portraits of decision.

On the desk-bound are a pen, several books, dossiers, and rolled-up papers. More than rolled documents and a map are on the green carpet to the left of the desk.

Napoleon is shown with unbuttoned cuffs, wrinkled stockings, disheveled hair. The flickering candles are nearly spent, and the time on the clock is 4.13 am.

These symbols are all meant to imply he has been up all night, writing laws such as the Lawmaking Napoléon. The word "Code" is prominent on the rolled papers on the desk.

"The Boating Party" by Mary Cassatt

"The Canoeing Party" by Mary Cassatt depicts a woman, babe, and human in a sailboat. It is ane of her largest oil paintings and is an unusual painting compared to Cassatt's other artworks.

While it does show her familiar theme of a mother and kid, most of her other pictures are set in domestic interiors or gardens.

In this painting, Cassatt expertly contrasts the nighttime figure of the oarsman with colorfully dressed figures of mother and child. In 1890 Cassatt visited the slap-up Japanese Impress exhibition in Paris, and she started collecting Japanese prints, which had a pregnant influence on her.

In this film, Cassatt placed the horizon at the very top of the frame in the Japanese way.

"Interior of the Pantheon, Rome" by Giovanni Paolo Panini

"Interior of the Pantheon, Rome" by Giovanni Paolo Panini depicts the interior of the famous and best-preserved of all Aboriginal Roman buildings, the Pantheon.

The Pantheon has been a prominent tourist attraction in Rome for hundreds of years. Built by Hadrian in 113–125 AD, this grand domed temple has survived structurally intact because information technology was consecrated equally a Christian church building, "St. Mary and the Martyrs", in 609 Advertizing.

Panini populated the scene with foreign visitors. He featured a diverse mix of Romans and visitors from all parts of order. They congregate in the Pantheon to pray and to admire the fantastic architecture.

"Marcelle Lender Dancing the Bolero in Chilpéric" by Henri de Toulouse-Lautrec

Marcelle Lender Dancing the Bolero in "Chilpéric" past Henri de Toulouse-Lautrec depicts the artist's favorite subject from the theater, Marcelle Lender, the red-headed actress.

Toulouse-Lautrec offset encountered her when he began to nourish the theater regularly, in 1893. His infatuation with her peak when she starred in the revival of Hervé's "Chilpéric."

Toulouse-Lautrec visited this operetta over xx times, arriving simply in fourth dimension to see Lender trip the light fantastic toe the bolero in the second act. This painting shows Lender performing a bolero from the operetta.

"Quadrille at the Moulin Rouge" by Henri de Toulouse-Lautrec

"At the Moulin Rouge" past Henri de Toulouse-Lautrec is one of several works by Toulouse-Lautrec depicting the Moulin Rouge cabaret congenital in Paris in 1889.

This painting portrays a group of three men and two women sitting around a table situated on the floor of the nightclub. In the groundwork of this grouping is a cocky-portrait of Toulouse-Lautrec himself, who can exist identified as the shorter stunted figure next to his taller companion.

"A Dutch Courtyard" by Pieter de Hooch

"A Dutch Courtyard" by Pieter de Hooch depicts two men seated at a table in the courtyard and a continuing woman. The soldier who is wearing a breastplate is setting down the pitcher he has used to fill the glass, now held by the woman.

The "pass-glass" the woman is drinking from was used in drinking games. Each participant had to drink downwards to the next line on the glass.

If the drinker failed to reach the line level, the reveler would be required to drinkable down to the next band. Only when the drinker had drunk successfully to the required line would the glass be passed on to the next participant.

The niggling daughter carries a brazier of hot coals and then that the 2 soldiers tin can low-cal their long-stemmed, white clay pipes.

"The Female parent and Sister of the Artist" by Berthe Morisot

"The Female parent and Sis of the Artist" by Berthe Morisot depicts a family portrait and an intimate scene, which the artist created when Morisot's sister stayed with her family unit in the winter of 1869–1870 to await the birth of her offset child.

The loose white forenoon robe discreetly disguises the pregnancy.

"New York" by George Bellows

New York by George Bellows is a large painting that captures the essence of modern life in New York City in 1911.

The view looks uptown toward Madison Square from the intersection of Broadway and 23rd Street, but Bellows drew on several commercial districts to create an imaginary composite.

His focus was to bear witness the crowds and traffic to convey a sense of the city's hectic step. Bellows assembled all of these various elements of New York into one scene.

"Self-Portrait" by John Singleton Copley

Self-Portrait by John Singleton Copley depicts the artist x years after his departure from Boston. In London, he accomplished success as a portraitist for the next ii decades.

He also painted several large history paintings, which were innovative in their depiction of modern subjects and mod dress. His later years were less successful, and he died heavily in debt.

"Self-Portrait" past Benjamin West

Self-Portrait" by Benjamin West depicts the artists with the light strongest on his face up and hands, and the rest of the motion-picture show falls into shadow. West began his career as a portrait painter in Philadelphia and New York.

Patrons granted him a scholarship visit Rome, the kickoff American artist to be given this opportunity. An earlier version of this portrait is exhibited in the Baltimore Museum of Art, which was created in 1770. This version is from 1776 and is more dramatic in its contrasts.

"Symphony in White, No. 1" by James Abbott McNeill Whistler

"Symphony in White, No. 1" by James Abbott McNeill Whistler shows a woman in full effigy standing on a wolf skin in front of a white drapery with a white lily in her hand.

The woman is dressed all in white, which is the color scheme of the painting. The painting was initially called "The White Girl," but later, Whistler called information technology "Symphony in White, No. 1."

Art critics have interpreted the painting as an allegory of innocence and its loss. This painting was an early on experiment in white on white.

This colour scheme was a subject field he would return to subsequently, in two other paintings that would be given the titles of Symphony in White, No. 2 (1864) and Symphony in White, No. 3 (1865–67).

"Skiffs on the Yerres" by Gustave Caillebotte

"Skiffs on the Yerres" by Gustave Caillebotte depicts three one-person skiffs beingness paddled along a river with its banks densely wooded.

The skiff in the foreground dominates the painting. It is an open canoe designed to arrange a single occupant. All the rowers appear to be wearing a straw-colored cloche hat.

The rowers are using a double-ended paddle with a heart-shaped blade at each end.  The bows of the skiff produce patterned ripples in the water, in which the bright colour of the paddle and man's bright colors are seen in the reflection.

"The Niccolini-Cowper Madonna" past Raphael

"The Niccolini-Cowper Madonna" by Raphael, also known as the Large Cowper Madonna, depicts Mary and Child, against a blue heaven. The painting was the concluding of Raphael'southward Florentine paintings earlier he left for Rome.

An inscription on the border of Madonna'south bodice, "MDVIII.R.V.PIN," indicates that information technology was painted in 1508 by Raphael of Urbino. It is more complicated than a similar painting the Small Cowper Madonna of a few years earlier, though their intimacy closely relates both pictures.

"The Equatorial Jungle" past Henri Rousseau

"The Equatorial Jungle" by Henri Rousseau was ridiculed during much of his life equally a naïve painting. Rousseau's technique included the utilise of controlled brush strokes, which made each object in the picture appear outlined.

Eventually, with the endorsement of Picasso, Matisse, and other artists, Rousseau gained the recognition he craved. Today he is known a self-taught genius famous for his imaginary jungle scenes.

"Waterloo Bridge" past Claude Monet

Waterloo Bridge past Claude Monet is ane in a series of paintings of the famous bridge in London. All of the pictures in the "Waterloo Bridge" series share the same viewpoint overlooking the Thames.

The paintings depict different times of the day and very different weather and light conditions. From 1899 through 1901, Monet set upwards his paints in the Savoy hotel and on the river'due south north bank and painted the span over 40 times.

He depicted the "Waterloo Bridge" more than either the "Houses of Parliament" or the "Charing Cross Bridge," from his two other London series.

"Christ at the Sea of Galilee" by Circle of Tintoretto

"Christ at the Sea of Galilee" by Lambert Sustris or a member of the Circumvolve of Tintoretto, depicts Jesus Christ as he raises a hand toward the apostles, who are in a gunkhole on massive waves and beneath stormy skies.

Christ is depicted backlit by the rising sun on the shore of Lake Galilee every bit he appears to the seven men in a gunkhole. This painting tells the story in the Gospels of John when the apostles had been fishing all nighttime without success.

Christ told them to bandage their nets to the correct side of the gunkhole, where the catch would be plentiful. When Peter saw Christ, he jumped into the h2o to swim to shore.

As the sunrise begins to brighten the waves and heaven, Peter extends his leg from the boat. Many of the events in the life of Jesus Christ took place in the region of Galilee and areas surrounding the Bounding main of Galilee. In the Gospels, Jesus walks on the surface of the Sea of Galilee and feeds the thousands virtually the Sea of Galilee.

"Both Members of This Lodge" by George Bellows

"Both Members of This Club" by George Bellows is the third and largest of George Bellows'southward early prize-fighting subjects. The painting's title is a reference to the practice in individual athletic clubs of introducing the contestants to the audience as "both members" to circumvent the law.

The Lewis Police force made prize-fighting illegal in New York Land. Boxing continued in New York on a club membership basis until 1911.

Boxing was a controversial subject area, but the interracial theme made this painting even more so, specially since the black boxer appears to exist winning the match.

This painting follows the success of the African American professional prizefighter Jack Johnson, who had won the world heavyweight championship in 1908. The idea of a blackness boxing champion was unsettling to and so social order.

"Club Nighttime" by George Bellows

"Club Night" by George Bellows was the first of three similar battle subjects that Bellows painted Between 1907 to 1909.

This painting represents a fight at an athletic club in New York Metropolis where attendees paid club membership fees instead of admission fees to a specific fight, allowing them to gamble on matches legally.

The public's response to boxing varied; some regarded battle as vicious and brutal, but many idea information technology a natural manifestation of masculinity.

"Farmhouse in Provence" by Vincent van Gogh

"Farmhouse in Provence" past Vincent van Gogh depicts the entrance gate to a farm with haystacks beyond the gate and with the farmhouse in the background.

When Van Gogh arrived in Arles in February 1888, the landscape was covered with snow, simply information technology was the sun that he enjoyed in Provence. And this painting captures the brilliant low-cal that he sought.

Van Gogh simplified the forms and reduced the scene to the flat patterns he admired in Japanese woodblock prints. Arles, he said, was: "the Nippon of the South."

Van Gogh used pairs of complementary or contrasting, colors which together intensified the luminescence and intensity of 1 another'south colors.

"Girl in White" by Vincent van Gogh

"Girl in White" past Vincent van Gogh depicts a young woman wearing a large xanthous lid with a knot of sky-bluish ribbons standing against a background of a dark-green wheat field.

Vincent van Gogh created this painting in 1890 in Auvers-Sur-Oise, France, during the last months of his life.

Van Gogh has used the picture's elongated plane to dramatic effect by having the woman fill most of the pictorial space, making her announced closer to the viewer.

Van Gogh shadowed her face up and gave her a distant gaze, which endows her with a touching emotional altitude.

"Street in Venice" by John Vocaliser Sargent

"Street in Venice" by John Singer Sargent is an oil on woods painting that depicts a young woman walking along the flagstones, kick her skirt with her feet. She is being observed by two darkly colored men in the shadows to her right.

Her down-turned eyes, her crossed hands, and steady pace as she passes the two men, prove the woman's business concern with the male glare equally she deliberately avoids their attending. Her shawl and skirt are shown flowing in motion, suggesting that she is moving quickly past them.

Sargent painted this work in a post-impressionist manner. It is fix in a backstreet off the Calle Larga dei Proverbi, near the Grand Culvert in Venice.

"Woman with a Parasol – Madame Monet and Her Son" by Claude Monet

"Woman with a Parasol – Madame Monet and Her Son" by Claude Monet depicts the artist'due south married woman Camille Monet and their son Jean Monet during 1875 while they were living in Argenteuil.

Monet'due south brushwork creates splashes of color to capture a moment during a stroll on a windy summer's mean solar day. Madame Monet and her son are viewed from below the horizon line, with an upward perspective, against the white clouds in an azure sky.

Sunlight shines from behind Camille to whiten the top of her parasol and the flowing cloth at her dorsum, while brightly colored wildflowers surroundings her front with xanthous.

Camille Monet'southward veil is blown by the wind, as is her swirling white apparel. The waving grass of the meadow is both in the lite and the woman's shadow, which is echoed past the shaded dark-green underside of her parasol.

Monets' seven-year-old son is placed farther away, partially concealed behind a rise in the footing and visible only from the waist upwardly, creating a sense of depth.

"A Lady Writing a Letter" past Johannes Vermeer

"A Lady Writing a Alphabetic character" by Johannes Vermeer depicts a lady writing a letter while sitting at a table in a room. She appears to have been interrupted, every bit she looks upwards towards the viewer, while she continues to hold the quill in her right hand.

The lady is dressed in an elegant lemon-xanthous morning jacket and wears pearl earrings. A necklace lies on the tabular array.

Vermeer'due south compositional focus is on the woman and her face. The smaller objects on the tabular array stand up in contrast with the large forms used in the rest of the composition, which create a geometric framework for the figure.

The tabular array is brought close to the picture plane to emphasizes the directness of her gaze. Johannes Vermeer preserves the integrity of the picture show plane to create a vivid illusion of three-dimensional space.

On the dorsum of the wall is a night painting that covers much of the background and dissimilarity with the lady's brighter colors.

"Tale of Creation" – "Genesis II" by Franz Marc

"Tale of Creation," also known equally "Genesis II" by Franz Marc, is a colored print from woodcut, illustrating the creation story in the Volume of Genesis. Pure and uncorrupted life emerges from a cluttered and dynamic swirl of interlocking forms.

Color for Marc came to embody emotional and spiritual states. Animals were frequent subjects in his paintings, every bit Marc considered them more spiritual and closer to nature than humans.

Marc, in this woodcut print, was influenced by his studies of early printed Bibles and their woodcut illustrations.

Marc was planned to include this impress in an illustrated Bible he was organizing for the Blaue Reiter, the Munich-based artist group he cofounded.

However, by 1914 at the outset of Earth War I, when Franz Marc created Schöpfungsgeschichte II (Genesis Two), he had lost his faith that the natural world could provide an antidote to what he viewed every bit a ill society.

National Gallery of Art, DC

• Museum:       National Gallery of Art, DC
• City:               Washington, D.C.
• Country:         United States
• Established:   1937
• Type:              Art Museum
• Address:        National Mall between 3rd and 7th Streets at Constitution Avenue NW, Washington, DC, 20565, National Mall, Washington, D.C.
• Public transit admission:
  • Metro:      Red Line – Judiciary Square, Xanthous Line, Green Line – Athenaeum, Blue Line,
  • Orange Line, Silverish Line – Smithsonian
  • Metrobus: quaternary Street and 7th Street NW
  • DC Circulator: 4th Street and Madison Bulldoze; 9th Street and Constitution Avenue NW

National Gallery of Fine art – Map

National Gallery of Fine art – Washington, DC.

The National Gallery: A drove of 200 artworks

Explore Museums in Washington, D.C.

• National Gallery of Art
• National Museum of American History
• National Air and Infinite Museum
• National Museum of African American History and Civilization
• National Museum of Natural History
• National Portrait Gallery
• Smithsonian American Fine art Museum
• The Phillips Collection
• Hirshhorn Museum and Sculpture Garden
• International Spy Museum

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"Character is similar a tree and reputation like a shadow.
The shadow is what we think of it; the tree is the real thing."
Abraham Lincoln

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Photo Credit: By AgnosticPreachersKid (Ain work) [CC By-SA 3.0 (creativecommons.org/licenses/past-sa/3.0)], via Wikimedia Commons 2)  By USGS, cropped and labeled past Postdlf (USGS satellite image) [Public domain], via Wikimedia Eatables

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