what to see at the national gallery of art

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 Congress. Andrew West. 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 present.

The Gallery's campus includes the original neoclassical West Building, which is linked underground to the modern Due east Building and the half-dozen.i-acre (25,000 m2) Sculpture Garden.

The Gallery often presents temporary special exhibitions spanning the world and the history of art. It is one of the largest museums in North America and is open up to the public and free of charge.

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

A Virtual Tour of the National Gallery of Fine art

• "Ginevra de' Benci" by Leonardo da Vinci
• "A Young Girl Reading" by Jean-Honoré Fragonard
• "Minor Cowper Madonna" by Raphael
• "The Alba Madonna" by Raphael
• "Nude on a Divan" by Amedeo Modigliani
• "Nude on a Blueish Cushion" by Amedeo Modigliani
• "Saint Jerome" past El Greco
• "The Houses of Parliament, Sunset" past Claude Monet (National Gallery of Art, DC)
• "Breezing Upward (A Fair Air current)" by Winslow Homer
• "Madame Moitessier" by Jean-Auguste-Dominique Ingres
• "Adrienne (Woman with Bangs)" by Amedeo Modigliani
• "Watson and the Shark" past John Singleton Copley
• "The Emperor Napoleon in His Study at the Tuileries" by Jacques-Louis David
• "The Boating Party" past 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 Artist" by Berthe Morisot
• "New York" by George Bellows
• "Self-Portrait" by John Singleton Copley
• "Self-Portrait" past Benjamin Westward

• "Symphony in White, No. 1″ by 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" past Raphael
• "The Equatorial Jungle" by Henri Rousseau
• Masterpieces of the National Gallery of Art
• "Venus and Adonis" by Titian
• "Waterloo Span" by Claude Monet
• "Christ at the Bounding main of Galilee" by Circle of Tintoretto
• "Both Members of This Social club" by George Bellows
• "Guild Nighttime" by George Bellows
• "Farmhouse in Provence" by Vincent van Gogh
• "Daughter in White" by Vincent van Gogh
• "Street in Venice" past John Singer Sargent
• "Woman with a Parasol – Madame Monet and Her Son" by Claude Monet
• "A Lady Writing a Letter" by Johannes Vermeer
• "Tale of Creation" – "Genesis II" by Franz Marc
• "The Skater "by Gilbert Stuart
• "The Washington Family unit" by Edward Cruel
• "The House Maid" past William McGregor Paxton
• "Margaret Stuyvesant Rutherfurd White" past John Singer Sargent
• "La Mousmé" by Vincent van Gogh

Highlights Tour of the National Gallery of Art

"Ginevra de' Benci" by Leonardo da Vinci

Ginevra de' Benci by Leonardo da Vinci depicts a well-known immature Florentine aristocrat. Leonardo painted the portrait in Florence in 1474 to commemorate Ginevra's spousal relationship at the historic period of 16.

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

Ginevra is shown beautiful but reserved with no hint of a smile. Her gaze, although forrad, seems indifferent to the viewer.

"A Young Daughter Reading" by Jean-Honoré Fragonard

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

The daughter is reading from a pocket-sized book held, and a cushion resting against a wall supports her back. Her face up and clothes are lit from the front.

Fragonard used fine brushwork on the face and looser brushwork on the dress and cushion and the ruff, which was scratched into the pigment with the end of a brush.

"Small Cowper Madonna" by Raphael

The "Minor Cowper Madonna" is a painting by Raphael, depicting Mary and Child in the 1500'south Italian countryside. It was painted effectually 1505 during the eye of the Loftier Renaissance.

The composition is centered on the seated Madonna in a bright red dress; she is shown with fair skin and blonde hair.

She is sitting comfortably on a wooden bench, and across her lap is a dark blue mantle upon which her right hand delicately rests. There is besides a sheer translucent ribbon elegantly flowing across the top of her dress and backside her caput.

The faintest golden halo miraculously surrounds her head. In her left hand, she holds the infant Christ, who embraces her with ane arm around her dorsum, the other effectually her neck. He also has blonde hair and is looking back over his shoulder with a coy smile.

"The Alba Madonna" by Raphael

"The Alba Madonna" by Raphael depicts iii figures all looking at the cross; they represent the Madonna with the Christ Child and Saint John the Baptist equally a child.

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

"Nude on a Divan" past Amedeo Modigliani

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

However, Modigliani'due south 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 person nudity is couched in mythology or allegory, this series of paintings are without whatever such context, highlighting the painting's eroticism.

"Nude on a Blue Absorber" by Amedeo Modigliani

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

However, Modigliani'south 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 every bit a penitent and his retreat to the Syrian desert.

The cavern-similar setting recalls St Jerome'southward years equally a hermit in the desert. The book symbolizes his scholarly activeness. During the Renaissance, paintings showed Saint Jerome either in his written 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" by Claude Monet (National Gallery of Art, DC)

"The Houses of Parliament" by Claude Monet is ane 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 similar titles share the same viewpoint from Monet's terrace at St Thomas' Hospital overlooking the Thames.

The set of pictures describe different times of the day, and various atmospheric condition and light conditions, interestingly all on canvases are of approximately like size.

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

 "Breezing Upwardly (A Fair Air current)" past Winslow Homer is an iconic painting of a father and 3 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 menses.

Homer painted warm and highly-seasoned images that appealed to the postwar nostalgia for a simpler, more innocent America.

Following 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 subject standing in a blackness dress looking directly at the viewer.

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

"Adrienne (Woman with Bangs)" by Amedeo Modigliani

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

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

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

Modigliani drew inspiration from the fine art of so-called "primitive" cultures, his piece of work ofttimes resembling African or Pre-Columbian sculpture.

Adrienne'southward neck is elongated equally in may other Modigliani portraits 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 assault in Havana harbor, Republic of cuba. This painting is based on the true story of an attack that took place in 1749.

The English male child Brook Watson, then a fourteen-yr-old cabin boy, lost his leg in the attack. He was not rescued until the third attempt by the shark, which is the subject area of the painting.

The shark attack on Watson resulted in the loss of his right leg beneath the knee. Still, he went on to take a distinguished career, including becoming a Lord Mayor of London.

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

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

Napoleon is looking at the viewer and poses with his right mitt is in his jacket. His face is reminiscent of Churchill's early portraits of determination.

On the desk are a pen, several books, dossiers, and rolled-up papers. More rolled documents and a map are on the dark-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 fourth dimension on the clock is iv.13 am.

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

"The Boating Party" past Mary Cassatt

"The Boating Political party" by Mary Cassatt depicts a woman, baby, and man in a sailboat. It is i of her largest oil paintings and is an unusual painting compared to Cassatt's other artworks.

While it does prove her familiar theme of a mother and child, nigh of her other pictures are ready in domestic interiors or gardens.

In this painting, Cassatt expertly contrasts the dark figure of the oarsman with colorfully dressed figures of mother and kid. In 1890 Cassatt visited the great Japanese Print exhibition in Paris, and she started collecting Japanese prints, which had a meaning influence on her.

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

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

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

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

Panini populated the scene with strange visitors. He featured a diverse mix of Romans and visitors from all parts of guild. They besiege in the Pantheon to pray and to admire the fantastic compages.

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

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

Toulouse-Lautrec showtime encountered her when he began to attend 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 twenty times, arriving just in time to see Lender trip the light fantastic 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 built 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 background of this grouping is a self-portrait of Toulouse-Lautrec himself, who can be identified every bit 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 make full the glass, now held past the adult female.

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

If the drinker failed to accomplish the line level, the reveler would be required to drink down to the next ring. Merely when the drinker had boozer successfully to the required line would the drinking glass be passed on to the next participant.

The little girl carries a brazier of hot coals so that the ii soldiers can light their long-stemmed, white dirt pipes.

"The Mother and Sister of the Artist" by Berthe Morisot

"The Mother and Sister of the Artist" past Berthe Morisot depicts a family portrait and an intimate scene, which the artist created when Morisot'south sister stayed with her family in the winter of 1869–1870 to await the birth of her starting time child.

The loose white morn robe discreetly disguises the pregnancy.

"New York" by George Bellows

New York past George Bellows is a big 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, only Bellows drew on several commercial districts to create an imaginary composite.

His focus was to show the crowds and traffic to convey a sense of the metropolis'southward hectic pace. Bellows assembled all of these diverse elements of New York into ane scene.

"Cocky-Portrait" past John Singleton Copley

Self-Portrait by John Singleton Copley depicts the artist x years subsequently his deviation from Boston. In London, he achieved success as a portraitist for the adjacent two decades.

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

"Self-Portrait" by Benjamin West

Self-Portrait" by Benjamin West depicts the artists with the light strongest on his confront and easily, and the rest of the film falls into shadow. West began his career as a portrait painter in Philadelphia and New York.

Patrons granted him a scholarship visit Rome, the showtime American creative person to be given this opportunity. An before 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" past James Abbott McNeill Whistler

"Symphony in White, No. 1" by James Abbott McNeill Whistler shows a woman in full figure standing on a wolf skin in front of a white pall 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 experiment in white on white.

This colour scheme was a subject he would render to afterward, in 2 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 i-person skiffs existence paddled along a river with its banks densely wooded.

The skiff in the foreground dominates the painting. It is an open canoe designed to accommodate 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 bract at each end.  The bows of the skiff produce patterned ripples in the water, in which the vivid color of the paddle and man's vivid colors are seen in the reflection.

"The Niccolini-Cowper Madonna" by Raphael

"The Niccolini-Cowper Madonna" past Raphael, also known as the Large Cowper Madonna, depicts Mary and Child, against a blue sky. The painting was the final of Raphael's Florentine paintings before he left for Rome.

An inscription on the border of Madonna'due south bodice, "MDVIII.R.5.Pin," indicates that it was painted in 1508 past 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" by Henri Rousseau

"The Equatorial Jungle" past Henri Rousseau was ridiculed during much of his life as a naïve painting. Rousseau's technique included the utilize of controlled castor strokes, which made each object in the motion picture appear outlined.

Somewhen, 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" by Claude Monet

Waterloo Bridge past Claude Monet is 1 in a series of paintings of the famous bridge in London. All of the pictures in the "Waterloo Bridge" series share the aforementioned viewpoint overlooking the Thames.

The paintings draw dissimilar times of the day and very different conditions and light atmospheric condition. From 1899 through 1901, Monet ready up his paints in the Savoy hotel and on the river's northward banking concern and painted the bridge over 40 times.

He depicted the "Waterloo Bridge" more than than either the "Houses of Parliament" or the "Charing Cross Bridge," from his 2 other London serial.

"Christ at the Body of water of Galilee" past Circumvolve of Tintoretto

"Christ at the Body of water of Galilee" by Lambert Sustris or a member of the Circle of Tintoretto, depicts Jesus Christ equally he raises a paw toward the apostles, who are in a boat on massive waves and beneath stormy skies.

Christ is depicted backlit by the rising sun on the shore of Lake Galilee as he appears to the 7 men in a boat. 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 right side of the boat, where the grab would be plentiful. When Peter saw Christ, he jumped into the water to swim to shore.

Every bit the sunrise begins to burnish the waves and sky, 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 Sea of Galilee. In the Gospels, Jesus walks on the surface of the Bounding main of Galilee and feeds the thousands nearly 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's early on prize-fighting subjects. The painting'due south title is a reference to the do in private athletic clubs of introducing the contestants to the audition as "both members" to circumvent the law.

The Lewis Law fabricated prize-fighting illegal in New York Land. Boxing connected in New York on a club membership basis until 1911.

Boxing was a controversial field of study, but the interracial theme made this painting even more than and so, especially since the black boxer appears to be winning the match.

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

"Club Dark" 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 able-bodied society in New York City where attendees paid club membership fees instead of access fees to a specific fight, allowing them to adventure on matches legally.

The public's response to boxing varied; some regarded boxing equally savage and vicious, but many thought it a natural manifestation of masculinity.

"Farmhouse in Provence" by Vincent van Gogh

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

When Van Gogh arrived in Arles in Feb 1888, the mural was covered with snow, but information technology was the sun that he enjoyed in Provence. And this painting captures the brilliant lite that he sought.

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

Van Gogh used pairs of complementary or contrasting, colors which together intensified the brilliance and intensity of ane another's colors.

"Girl in White" past Vincent van Gogh

"Daughter in White" by Vincent van Gogh depicts a young woman wearing a big xanthous chapeau with a knot of sky-bluish ribbons continuing against a background of a light-green wheat field.

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

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

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

"Street in Venice" by John Vocalist Sargent

"Street in Venice" by John Vocaliser Sargent is an oil on woods painting that depicts a young woman walking forth the flagstones, kicking her skirt with her anxiety. She is existence observed past two darkly colored men in the shadows to her right.

Her down-turned eyes, her crossed hands, and steady step equally she passes the two men, show the woman's business organization with the male person glare equally she deliberately avoids their attention. Her shawl and brim are shown flowing in motility, suggesting that she is moving quickly past them.

Sargent painted this piece of work in a post-impressionist manner. Information technology is set up in a backstreet off the Calle Larga dei Proverbi, almost the Grand Canal 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 creative person'due south wife Camille Monet and their son Jean Monet during 1875 while they were living in Argenteuil.

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

Sunlight shines from behind Camille to whiten the peak of her parasol and the flowing material at her dorsum, while brightly colored wildflowers environment her front end with yellow.

Camille Monet's veil is blown by the wind, every bit is her swirling white dress. The waving grass of the meadow is both in the calorie-free and the woman's shadow, which is echoed by the shaded greenish underside of her parasol.

Monets' seven-year-quondam son is placed further abroad, partially curtained behind a rise in the basis and visible only from the waist up, creating a sense of depth.

"A Lady Writing a Letter" past Johannes Vermeer

"A Lady Writing a Letter" past Johannes Vermeer depicts a lady writing a letter while sitting at a tabular array in a room. She appears to have been interrupted, every bit she looks upward towards the viewer, while she continues to hold the quill in her right paw.

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

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

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

On the back of the wall is a dark painting that covers much of the groundwork and contrast with the lady's brighter colors.

"Tale of Cosmos" – "Genesis Two" past Franz Marc

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

Color for Marc came to embody emotional and spiritual states. Animals were frequent subjects in his paintings, equally 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, past 1914 at the beginning of World War I, when Franz Marc created Schöpfungsgeschichte II (Genesis Two), he had lost his faith that the natural world could provide an antitoxin to what he viewed as a sick society.

National Gallery of Art, DC

• Museum:       National Gallery of Art, DC
• City:               Washington, D.C.
• Country:         United States
• Established:   1937
• Type:              Art Museum
• Accost:        National Mall between 3rd and 7th Streets at Constitution Artery NW, Washington, DC, 20565, National Mall, Washington, D.C.
• Public transit access:
  • Metro:      Carmine Line – Judiciary Square, Yellowish Line, Green Line – Archives, Blueish Line,
  • Orange Line, Silvery Line – Smithsonian
  • Metrobus: 4th Street and 7th Street NW
  • DC Circulator: 4th Street and Madison Drive; 9th Street and Constitution Avenue NW

National Gallery of Art – Map

National Gallery of Art – Washington, DC.

The National Gallery: A collection of 200 artworks

Explore Museums in Washington, D.C.

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

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"Character is similar a tree and reputation similar a shadow.
The shadow is what we think of information technology; the tree is the existent thing."
Abraham Lincoln

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Photo Credit: Past AgnosticPreachersKid (Own work) [CC By-SA 3.0 (creativecommons.org/licenses/past-sa/iii.0)], via Wikimedia Commons 2)  By USGS, cropped and labeled by Postdlf (USGS satellite epitome) [Public domain], via Wikimedia Commons

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