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Donald W. Reynolds Center for American Art and Portraiture – National Portrait Gallery (Washington D.C., U.S.A.)

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National Portrait Gallery

The National Portrait Gallery, a historic art museum housed in the historic Old Patent Office Building (as is the Smithsonian American Art Museum), now the Donald W. Reynolds Center for American Art and Portraiture, is part of the Smithsonian Institution.

Today, the National Portrait Gallery continues to narrate the multi-faceted and ever-changing story of America through the individuals who have shaped its culture and, through the visual arts, performing arts and new media, it presents poets and presidents, visionaries and villains, actors and activists whose lives form our national identity.

Check out “Donald W. Reynolds Center for American Art and Portraiture” and  “Donald W. Reynolds Center for American Art and Portraiture – Smithsonian American Art Museum”

Abraham Lincoln (Charles Wesley Jarvis, 1861)

Initially restricted to paintings, prints, drawings, and engravings, the collections, over the years, have grown from more than 2,000 items  1981 and, in 1990, the number of images in the museum’s photography collection reached 8,500 objects. As of 2011, the National Portrait Gallery was the only museum in the United States dedicated solely to portraiture.

In 2013, the museum had 65 employees and an annual budget of $9 million.  February 2013, it housed 21,200 works of art, which had been seen 1,069,932 visitors in 2012.  Today, the NPG collection of over 23,000 items, in all media, from daguerreotypes to digital, had grown so large that the exhibit drew its images almost entirely from the museum’s own collection.

Douglas MacArthur (Howard Chandler Christy, c. 1952)

The Hall of Presidents, a hallmark of the NPG’s permanent collection, is the largest and most complete collection in the world, except for the White House collection itself. Containing portraits of nearly all American presidents, the centerpiece of the Hall of Presidents is the famous Lansdowne portrait of George Washington. How the museum obtains presidential images has changed over the years.

From 1962 to 1987, presidential portraits were usually obtained through purchase or donation but, beginning in 1998, NPG began commissioning portraits of presidents, starting with George H. W. Bush, for its “America’s Presidents” exhibition (Gilbert Stuart’s Lansdowne portrait of George Washington is the grand introductory image to this exhibition). In 2000, NPG began commissioning portraits of First Ladies as well, beginning with Hillary Clinton.

Dwight D. Eisenhower (Thomas Edgar Stephens)

Funds for these commissions are privately raised, and each portrait costs about $150,000 to $200,000. It still continues to acquire portraits (including paintings, sculpture, photographs, caricatures, video, and time-based media) of each succeeding president.

The NPG hosts the prestigious Outwin Boochever Portrait Competition, a triennial, juried contemporary portrait exhibition widely regarded as the most prestigious portrait competition in the United States.  It also brings commissioned works into the collection. Artists working in the fields of painting, drawing, sculpture, photography, and other media are allowed to enter.

William T. Sherman (George Peter Alexander Healy, 1866)

Works must be created through a face-to-face encounter with the subject. The winner of this inaugural competition was David Lenz of Milwaukee, Wisconsin.  He was commissioned to paint a portrait of Eunice Kennedy Shriver (the founder of the Special Olympics), the first portrait commissioned of an individual who has not served as a President or First Lady.

On the left is a portrait of Stephen Van Rensselaer III (John Wesley Jarvis, 1825-35) while on the right is a portrait of Antonia Pantoja (Manny Vega, marble, glass and stone, 2014)

Dave Woody of Fort Collins, Colorado, the 2009 winner, was commissioned to photograph food pioneer Alice Waters, founder of the Chez Panisse Restaurant and Cafe, the Edible Schoolyard and champion of the Slow Food movement.

Samuel Francis Du Pont (Daniel Huntington, 1867-68)

During the 2013 competition, the total prize money 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. The artist and the NPG curators jointly decided the subject of the commission. The 2013 winner was Bo Gehring of Beacon, New York, who was commissioned to direct a close-up video and sound portrait of jazz musician Esperanza Spalding which drew delight and praise from visitors.

Here is the historical timeline of the gallery:

  • In 1962, the National Portrait Gallery was authorized and founded Congress with the mission to acquire and display portraits of individuals who have made significant contributions to the history, development, and culture of the people of the United States.
  • In 1965 (the bicentennial of James Smithson‘s birth), “Nucleus for a National Collection,” the first NPG exhibit, went on display in the Arts and Industries Building.
  • In 1966, the NPG completed the Catalog of American Portraits, the first inventory of portraiture held the Smithsonian. The catalog also documented the physical characteristics of each artwork, and its provenance (author, date, ownership, etc.). That same year, the museum moved into the Old Patent Office Building with the National Fine Arts Collection.
  • In 1968, Gilbert Stuart’s 2.4 5 m. (8  5 ft.) Lansdowne portrait (commissioned in April 1796  Senator William Bingham of Pennsylvania—one of the wealthiest men in America at the time) of George Washington was exhibited  the National Portrait Gallery, and it remained there on indefinite loan.
  • In 1969, the Old Patent Office Building was renovated the architectural firm of Faulkner, Fryer and Vanderpool.
  • In 1971, the NPG began the National Portrait Survey, an attempt to catalog and photograph all portraits in all formats held every public and private collection and museum in the country.
  • On July 4, 1973, “The Black Presence in the Era of the American Revolution, 1770–1800,” the first exhibit at the museum dedicated solely to African Americans, was opened the NPG.
  • In 1974, Philanthropist Paul Mellon donated 761 portraits  French-American engraver B.J.F. de Saint-Mémin to the museum.
  • In January 1976, Congress passed legislation allowing the NPG to collect portraits in media other than graphic arts, permitting the NPG to begin collecting photographs.
  • In October 1976, the NPG established a Department of Photographs.
  • 1977, the NPG had three curatorial divisions (Painting and sculpture, prints and drawings, and photography).
  • In September 1978, Facing the Light: Historic American Portrait Daguerreotypes,” the gallery’s first photography exhibit, was opened.
  • In February 1977, the museum acquired an 1880 self-portrait  Mary Cassatt, one of only two painted
  • In December 1977, the museum acquired a self-portrait  celebrated early American artist John Singleton Copley. The roundel (a circular canvas), one of only four self-portraits, was donated to the NPG the Cafritz Foundation.
  • In May 1978, Time magazine donated 850 original portraits which had graced its cover between 1928 and 1978.
  • In May 1979, a major exhibit of these Time magazine pieces debuted.
  • In April 1979, the Coolidge family of Boston donated five portraits of presidents George Washington, Thomas Jefferson, James Monroe, John Adams, and James Madison Gilbert Stuart, known as the Gibbs-Coolidge set, to the NPG.
  • In December 1979, the Henry Cabot Lodge family in Massachusetts donated a bust of Alexander Hamilton  John Trumbull (which may have been sculpted from the portrait which was later used for the $10 bill) and a Gilbert Stuart portrait of Representative Fisher Ames to the museum.
  • In April 1980, Varina Webb Stewart and Joel A.H. Webb, Jefferson Davis‘ great-grandchildren, presented important portraits of Jefferson Davis and his wife, Varina Howell Davis, to the NPG.
  • In 1980, the museum obtained, through purchase and loan, a number of works of graphic artist Howard Chandler Christy for exhibit. Works displayed ranged from his “Christy girl” recruiting posters to history-based works such as Scene at the Signing of the Constitution of the United States.
  • On February 7, 1980, the Museum of Fine Arts and NPG agreed to jointly purchase the two famous, unfinished Gilbert Stuart portraits of George and Martha Washington  owned  the Boston Athenaeum, which loaned them to the Museum of Fine Arts, Boston in 1876. Under the agreement, the paintings would spend three years at the National Portrait Gallery (beginning in July 1980), and then three years in Boston at the Museum of Fine Arts.
  • In 1981, two major 19th-century photography collections were added the museum. They acquired the Frederick Hill Meserve Collection of 5,419 glass negatives produced  the studio of famed Civil War photograph Mathew Brady and his assistants and, using historically accurate chemicals, paper, and techniques, prints were made of the negatives and the prints placed on rotating display.  Later, they purchased, from the Meserve family, 5,400 Civil War-era glass negatives produced  photographer Alexander Gardner including the famous “cracked-plate” portrait of Abraham Lincoln (taken in February 1865), the last photographic portrait of Lincoln taken before his death in April 1865.
  • In 1982, the museum purchased, for $1 million, a Gilbert Stuart portrait of Thomas Jefferson, 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 have the portrait spend time at both locations.
  • In 1984, museum purchased an Edgar Degas portrait of his friend, Mary Cassatt, for $1.3 million.
  • On December 31, 1984, a thief pried open a display case and stole four handwritten documents accompanying several portraits of Civil War generals. One of the documents was written and signed President Abraham Lincoln. The remaining three were written and signed  Civil War generals Ulysses S. Grant, George Meade, and George Armstrong Custer.
  • On February 8, 1985, all four documents were recovered when police arrested Norman James Chandler, a part-time mechanic’s assistant from Maryland, for the theft. Chandler quickly pleaded guilty. He was sentenced in April 1985 to two years in jail (with all but six months suspended) and two years of probation, and required to pay a $2,000 fine.
  • In 1985, the the NPG acquired their first nude work – a self-portrait painting Alice Neel painted when was 80 years old.
  • In 1987, noted photographer Irving Penn donated 120 platinum prints of fashion and celebrity portraits he produced over the past 50 years.
  • In 1990, the first daguerreotype (an early photographic process) of African American abolitionist and former slave Frederick Douglass (one of only four daguerreotypes of Douglass known to exist) was acquired.
  • In 1996, the NPG obtained, for $115,000, the earliest known daguerreotype portrait of abolitionist John Brown (created  African-American photographer Augustus Washington), whose 1859 raid on Harpers Ferry helped to spark the Civil War.
  • In January 2000, the NPG closed for a renovation of the Old Patent Office Building. Intended to take two years and cost $42 million, the renovation took seven years and cost $283 million.
  • In the fall of 2000, Neil Primrose, 7th Earl of Rosebery, offered to sell The Lansdowne portrait given as a gift to British Prime Minister William Petty FitzMaurice (the 2nd Earl of Shelburne, and later became the first Marquess of Lansdowne, hence the name of the portrait). Lansdowne died in 1805, and in 1890 the painting was purchased  the 5th Earl of Rosebery.
  • On March 13, 2001, the Donald W. Reynolds Foundation donated $30 million to buy the Lansdowne portrait. 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 display area (named for media baron Donald W. Reynolds, who created the foundation) in the Old Patent Office Building to display it.
  • In 2006, the NPG hosted the first Outwin Boochever Portrait Competition (named after long time docent and volunteer Virginia Outwin Boochever),. It drew more than 4000 entries, from which 51 finalists were chosen.
  • After the 2008 presidential election, Obama supporter Tony Podesta and his wife, Heather, donated graphic artist Shepard Fairey‘s ubiquitous “Hope” poster of Barack Obama to the National Portrait Gallery.
  • In November 2010, the NPG hosted “Hide/Seek: Difference and Desire in American Portraiture,” a major new exhibit, from October 30, 2010, to February 13, 2011, of 105 pieces curated  David C. Ward and Jonathan Katz. The exhibit focused on depictions of homosexual love through history, and was the first exhibit hosted a museum of national stature to address the topic and was also the largest and most expensive exhibit in the NPG’s history. Included in the in the exhibit was a four-minute, edited version of “A Fire in My Belly,” a short silent film  artist David Wojnarowicz. Eleven seconds of the video depicted a crucifix covered in ants.
  • In 2012, the NPG sponsored “Poetic Likeness: Modern American Poets,” a new temporary exhibit which focused on images of great American poets.

The museum’s more notable art pieces include:

Among the museum’s more prominent collections are:

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

The Great Hall

Although most of the interior has been altered for use as a museum, parts of the Old Patent Office interior are still visible.   From Robert Mills’ graceful double curved cantilevered stone staircases, one then enters the Model Hall on the building’s third floor and, turning right, leads one down the Great Hall and into more of the Patent Office’s galleries.

The painting Grant and His Generals” (Ole Peter Hansen Balling) above the graceful double curved cantilevered stone staircases

After a fire in 1877 destroyed the third floor of the building, the Great Hall, the reception area where President Lincoln and Mrs. Lincoln greeted guests attending the second inaugural ball, was remodeled by Adolf Cluss and his partner, architect Paul Schulze. The resulting interior space, a dramatic riot of color, was originally called the Model Hall. It is accentuated with late-nineteenth-century architectural highlights and has a hand-laid encaustice tille floor, curving double staircase, soaring vaulted ceilings and lit by stained glass windows.

The hall celebrates great American scientists and four of them (Benjamin Franklin, Robert Fulton, Thomas Jefferson, and Eli Whitney) are represented on large medallions in the corners of the Hall.   It seats 300 (seated dinner) and  366 (Reception) people, respectively.

The enclosed, 28,000-sq. ft. Robert and Arlene Kogod Courtyard, one of the largest and most magnificent event spaces in Washington, DC., was opened to the public on November 18, 2007 and was named after Washington philanthropists and art collectors Robert and Arlene Kogod.  With an elegant glass canopy, the courtyard, designed  world-renowned architects at Foster + Partners in London, provides a distinctive, contemporary accent to the museums’ Greek Revival building.

Robert and Arlene Kogod Courtyard

The wavy glass-and-steel roof, appearing to float over the courtyard, lets in natural light but protects visitors from the elements. So that the weight of the roof does not affect the historic building, the double-glazed glass panels, set in a grid, are completely supported  eight anodized aluminum-clad columns located around the perimeter of the courtyard.

Michael Jackson (Andy Warhol, 1984)

The courtyard’s interior design, created  internationally acclaimed landscape designer Kathryn Gustafson of Seattle-based Gustafson Guthrie Nichol Ltd., features four water scrims (each one-quarter inch deep and allowed to traverse the entire length of the courtyard); ficus and black olive trees; a variety of shrubs and ferns as well as plantings in white marble containers on a black granite floor.

Today, the Kogod Courtyard is a popular meeting place in DC. There is plenty of seating, free wifi, and a cafe with snacks for museum visitors open from 11:30 AM until 6:30 PM. It was named one of the “new seven wonders of the architecture world”  Condé Nast Traveler magazine.

National Portrait Gallery: Victor Bldg., 750 Ninth Street NW Suite 41, Washington, D.C. 20001.  Tel: (202) 633-8300. Open Wednesday–Sunday, 11:30 AM – 7 PM.

Donald W. Reynolds Center for American Art and Portraiture – Smithsonian American Art Museum (Washington D.C., U.S.A.)

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Smithsonian American Art Museum

The Smithsonian American Art Museum (commonly known as SAAM), formerly called the Smithsonian Art Collection, National Gallery of Art (not to be confused with the current National Gallery of Art), National Collection of Fine Arts, and National Museum of American Art, is a part of the Smithsonian Institution.

The museum adopted its current name in October 2000.  Together with the Renwick Gallery, its branch museum, SAAM holds one of the world’s largest and most inclusive collections of art (from the Colonial period to the present) made in the United States.

Most exhibitions in the museum take place in the old Patent Office Building (shared with the National Portrait Gallery), the museum’s main building which contains expanded permanent-collection galleries and public spaces.  The craft-focused exhibitions are shown in the Renwick Gallery.

SAAM, describing itself as being “dedicated to collecting, understanding, and enjoying American art,” celebrates the extraordinary creativity of artists whose works reflect the American experience and global connections.

Through its national education program, the museum provides electronic resources to schools and the public, maintaining seven online research databases with more than 500,000 records, including the Inventories of American Painting and Sculpture that document more than 400,000 artworks in public and private collections worldwide.

Since 1951, the museum has maintained a traveling exhibition program and, as of 2013, more than 2.5 million visitors have seen the exhibitions.

Adoration of St. Joan of Arc – a fire-etched wood relief by J. William Fosdick in 1910 to appeal to wealthy industrialists who favored richly designed interiors and uplifting art. Fosdick tapped into the fantasy of a more spiritual past and, when it was exhibited, it was praised for craftsmanship that rivaled a Medieval masterwork.

The collection, first on display in the original Smithsonian Building (now nicknamed the “Castle”), was begun in 1829 and grew as the Smithsonian buildings grew, with the collection housed in one or more Smithsonian buildings on the National Mall.

“America Receiving the Nine Muses,” by Thomas Wilmer Dewing, was painted on an imposing, gilded Steinway piano and presented to Pres. Theodore Roosevelt in 1903. Painted on the piano’s lid, it merged the Classical theme of the Muses, with America as the new standard bearer of Western culture, and is decked out in symbols of Americana, from eagles to garlands to the coats-of-arms of the first thirteen states.

By the 1920s, space had become critical and, in order to display its collection of fine art, The Smithsonian renovated the Old Patent Office Building in Washington, D.C.’s downtown cultural district.  In 1968, in its current location, the Smithsonian American Art Museum was opened to the public.

Check out “Smithsonian Castle”

“Preamble,” a show of American ingenuity by Mike Wilkins created in 1959 to mark the Constitution’s bicentennial, is a 1,000-piece puzzle using a collection of vanity license plates, from all 50 states and the District of Columbia, to phonetically spell out the preamble to the US Constitution in abbreviated script.

Now the Smithsonian American Art Museum’s main building, it is now a National Historic Landmark. An example of Greek Revival architecture, it was designed by architects Robert Mills and Thomas U. Walter.

Yielding to the Ancestors while holding the Hands of (Lonnie Holly, 1992)

The building was restored during the 1990s and, during the 2000-2006 renovation, many of the building’s exceptional architectural features were restored including  the porticos modeled after the Parthenon in Athens, a curving double staircase, colonnades, vaulted galleries, large windows and skylights as long as a city block.

The Libyan Sibyl, by William Wetmore Story, (1861-68, marble), was inspired by events leading up to the Civil War. Described by Story as “my anti-slavery sermon in stone,” it depicts the Libyan Sibyl, the eldest of the legendary prophetesses of antiquity, as she foresees the terrible fate of the African people.

During the renovation, the Lunder Conservation Center, the Luce Foundation Center for American Art, the Nan Tucker McEvoy Auditorium and the Robert and Arlene Kogod Courtyard were also added to the building.

The Throne of the Third Heaven of the Nations’ Millennium General Assembly, a complex work of art created by James Hampton over a period of 14 years (1950-64), is an array based on several religious visions that prompted him to prepare for Christ’s return to earth. The ​“third heaven” is based on scriptures citing it as the ​“heaven of heavens” — God’s realm.

The renovation of the building was completed on July 1, 2006 and, in 2008, the American Alliance of Museums awarded reaccreditation to the Smithsonian American Art Museum.

The Falling Gladiator, by William Rimmer, was based on a sculpture, from ancient Greece and Rome, of a mortally wounded man. This subject echoed the suffering of the United States on the eve of the Civil War. When the artist began work in January of 1861, six states had seceded from the Union, and the attack on Fort Sumter was just three months away.

The museum has a broad variety of American art, with more than 7,000 artists represented, and covers all regions and art movements found in the United States.

Washinton Resigning his Commission (Ferdinand Pettricj, c. 1841)

SAAM contains the world’s largest collection of New Deal art; a collection of contemporary craft, American impressionist paintings, and masterpieces from the Gilded Age; photography, modern folk art, works by African American and Latino artists, images of western expansion, and realist art from the first half of the twentieth century.

Among the Sierra Nevada, California (Albert Bierstadt, 1868, oil on canvas)

Among the significant artists represented in its collection are Nam June Paik, Jenny Holzer, David Hockney, Georgia O’Keeffe, John Singer Sargent, Albert Pinkham Ryder, Albert Bierstadt, Frances Farrand Dodge, Edmonia Lewis, Thomas Moran, James Gill, Edward Hopper, John William “Uncle Jack” Dey, Karen LaMonte and Winslow Homer.

An Eclogue (Kenyon Cox, 1890, oil on canvas)

The museum has two innovative public spaces, both opened in July 2000. The 20,400 sq. ft. Luce Foundation Center, on the third and fourth floors of American Art Museum, is the fourth center to bear the Luce Family name and the first visible art storage  study center Washington, D.C..

Luce Foundation Center

It allows visitors and patrons to browse more than 3,300 works of various niche art, usually not part of a main exhibition or gala special, in 64 secure glass cases which quadruples the number of artworks from the permanent collection on public view.

 

It features paintings densely hung on screens; sculptures; crafts and objects by folk and self-taught artists arranged on shelves. Large-scale sculptures are installed on the first floor. The center has John Gellatly’s European collection of decorative arts.

The Lunder Conservation Center is the first art conservation facility to allow the public permanent behind-the-scenes views of the preservation work of museums. Through floor-to-ceiling glass walls, conservation staff is visible to the public, allowing visitors to see, firsthand, all the techniques which conservators use to examine, treat, and preserve artworks.

The center has five conservation laboratories and studios equipped to treat paintings, prints, drawings, photographs, sculptures, folk art objects, contemporary crafts, decorative arts, and frames, using various specialized and esoteric tools, such as hygrothermographs, to maintain optimal temperature and humidity to preserve works of art.

The Center Staff from both the Smithsonian American Art Museum and the National Portrait Gallery work in the Lunder Center.

The Vine (Harriett Whitney Frishmuth, 1921-23)

Smithsonian American Art Museum: 8th & F Streets NW, Washington, D.C.. Coordinates: 38°53′52″N 77°01′24″W.

Donald W. Reynolds Center for American Art and Portraiture (Washington D.C., U.S.A.)

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The Donald W. Reynolds Center for American Art and Portraiture, actually a collection of institutions housed in the historic, gloriously renovated Old Patent Office Building, served as one of the earliest United States Patent Office buildings.  Here, Neo-Classicism meets 21st-century exuberance.

The Donald W. Reynolds Center for American Art and Portraiture

Covering an entire city block defined by F and G Streets and 7th and 9th Streets NW, just south of  Chinatown in downtown Washington, it now houses two Smithsonian Institution museums – the National Portrait Gallery and the Smithsonian American Art Museum.

The building’s Greek Rival-stye facade

It also houses the Lawrence A. Fleischman Gallery of the Archives of American Art; an art conservation facility (Lunder Conservation Center); an enclosed, 28,000-sq. ft. courtyard (Robert and Arlene Kogod Courtyard); a 20,400 sq. ft. open storage facility (Luce Foundation Center); a new 356-seat underground auditorium (Nan Tucker McEvoy Auditorium) and other operations within the Old Patent Office complex. By the end of 2007, more than 786,000 people had visited the two museums and, 10 years later, during the time of my visit, 1.3 million people have visited the place.

Check out “Donald W. Reynolds Center for American Art – National Portrait Gallery” and Portraiture and “Donald W. Reynolds Center for American Art and Portraiture – Smithsonian American Art Museum”

Before it became what it is today, through the Civil War and into the post-war period, the building was once home to many early government departments. It was used as a hospital, and The Bureau of Indian Affairs, the General Land Office, and the Bureau of Pensions jointly occupied the building with the Patent Office.

National Portrait Gallery

Both Clara Barton and American poet Walt Whitman worked as nurses there during the American Civil War. From 1854 to 1857, Barton worked in the building as a clerk to the Patent Commissioner, the first woman federal employee to receive equal pay. From January 24 to June 30, 1865, Waltman, who frequented “that noblest of Washington buildings” and read to wounded men, worked in Bureau of Indian Affairs before being fired for having a copy of Leaves of Grass in his desk.

Smithsonian American Art Museum

Here is the historical timeline of the building:

  • In 1836, construction of the building was started.
  • In 1851, architect Robert Mills was summarily dismissed as Congressional committees questioned his competence and his insistence on design changes that inserted unnecessary supporting columns and tie-rods. Construction continued under the direction of Thomas U. Walter, one of Mills’ harshest critics
  • During the Civil War, the building was turned into military barracks, hospital, and morgue. Wounded soldiers lay on cots in second-floor galleries, among glass cases holding models of inventions that had been submitted with patent applications.
  • In 1865, the building was completed
  • In March 1965, it was chosen as the venue for Lincoln’s Second Inaugural Ball.
  • In 1877, the building’s west wing suffered a fire, destroying some 87,000 patent models
  • From 1877–1885, it was restored by Adolf Cluss in the style he termed “modern Renaissance.”
  • In 1887, the Bureau of Pension moved to the new  Pension Bureau Building.
  • In 1898, the General Land Office and the Bureau of Indian Affairs vacated the building.
  • In 1932 the United States Civil Service Commission and the Government Accounting Office occupied the building after the Patent Office vacated it.
  • In 1942, the Government Accounting Office vacated the structure after its new headquarters nearby was complete.
  • In 1952, legislation to tear down the building and sell the land so a private parking garage could be built on the centrally located site was introduced in Congress in the waning days of the 82nd United States Congress but did not pass.
  • On March 21, 1958, Congress unanimously passed legislation authorizing the transfer of the building to the Smithsonian for a national art museum. President Dwight Eisenhower signed the legislation a few days later. Congress appropriated $33.5 million for the renovation.
  • In 1962, Congress passed legislation establishing the National Portrait Gallery
  • In November 1963, the Civil Service Commission moved out of the structure.
  • Starting in 1964, the Faulkner, Kingsbury & Stenhouse firm of architects supervised the renovation of the interior as museum space.
  • In November 1964, preparations for the buildings renovation began
  • On January 12, 1965, the building was designated as a S. National Historic Landmark.
  • By May 1965, the Grunley, Walsh Construction Co. began demolition of non-historic interior structures.
  • On October 15, 1966, it was added to S. National Register of Historic Places (NRHP reference No. 66000902).
  • By April 1968, the $6 million renovation was complete
  • In January 1968, the National Museum of American Art (now the Smithsonian American Art Museum) and the National Portrait Gallery opened. The north wing housed the art museum and the south wing housed the portrait gallery. Office space and a cafe occupied the east wing. The center courtyard had outdoor eating space for the cafe and several large trees.
  • In 1970, the renovation won the American Institute of Architects National Honor Award.
  • In 1995, the Smithsonian revealed that the building was in serious disrepair. The roof leaked, netting had to be placed in some galleries to catch falling ceiling plaster, window frames were rotting, the floor tiles in the Great Hall were crumbling, and the exterior facade was so degraded it was shedding fist-sized pieces of rock.
  • In January 1997, the Smithsonian announced that the building would close in January 2000 for a two-year, $42 million renovation (the estimated cost of the renovation then grew, initially in 2000 to $110-120 million). Hartman-Cox Architects was hired to oversee the conservation and repair. To be restored were the porticos modeled after the Parthenon in Athens, a curving double staircase, colonnades, vaulted galleries, large windows, and skylights as long as a city block.
  • Just three years later, as the renovation was about to begin, the cost of repairs had risen to $110 million to $120 million.
  • Prior to the building’s closure in January 2000, a decision was reached to allot about one-third of the building’s total space to the National Portrait Gallery while simultaneously eliminating the informal north–south division between the National Portrait Gallery and Smithsonian American Art Museum. The Smithsonian resolved the dispute practically – Art that best fit an exhibition space got it. Modern art, which often tends toward large canvases, was installed on the high-ceilinged third floor.
  • By March 2001, as the cost of the renovation rose to $180 million, Nan Tucker McEvoy (a California newspaper heiress and arts patron) donated $10 million for the renovation.
  • Later in 2001, the Henry Luce Foundation gave another $10 million.
  • In June 2001, reconstruction costs were estimated at $214 million.
  • In July 2001, the reopening was pushed back even further to July 2006.
  • In 2003, the government increased its contribution to $166 million and more than $40 million in private funds had been raised.
  • In August 2003, Congress approved a major change to the renovation design – adding a glass roof to the open courtyard in the center of the Old Patent Office Building.
  • In March 2004, the Smithsonian announced that architect Norman Foster of Foster and Partners would design the glass canopy.
  • In early November 2004, the National Capital Planning Commission(NCPC), which has statutory authority to approve all buildings and renovations in the D.C. metropolitan area, approved the preliminary design for the glass canopy.  That same month, real estate development executive Robert Kogod and his wife, Arlene (heiress to Charles E. Smith Construction fortune) donated $25 million to complete the canopy. By then, costs had risen to $298 million. $60 million in private funds still needed to be raised.
  • In January 2005, the United States Commission of Fine Arts, an advisory commission on design, approved the canopy.
  • In April 2005, the Smithsonian said that the canopy would not be ready by the time the museum reopened in July 2006, and would be installed in 2007.
  • On June 2, 2005, the the National Capital Planning Commission (NCPC) reversed its preliminary approval of the canopy
  • On August 4, 2005, the Smithsonian brought five alternatives to the NCPC.
  • On September 8, 2005, the NCPC reversed itself yet again, and approved one of the revised designs. The delay cost the Smithsonian $10 million.
  • In October 2005, the Donald W. Reynolds Foundation made a $45 million donation to the NPG to finish both the building renovation and the canopy. The Smithsonian agreed to call the two museums, the conservation center, courtyard, storage facility, and other operations within the Old Patent Office complex the “Donald W. Reynolds Center for American Art and Portraiture” in appreciation for the gift.
  • On July 1, 2006, after undergoing extensive renovations, the building and the Smithsonian American Art Museum was reopened. The total cost of the building’s renovation was $283 million.
  • In just two months, attendance at the renovated building rose significantly to 214,495.
  • On October 7, 1968, the National Portrait Gallery opened to the public.
  • In September 2007, video security cameras were hastily installed to stop vandalism as some patrons spit on art they did not like, while others kissed or touched some paintings.

Luce Foundation Center

The massive building, designed in the Greek Revival style by architect Robert Mills and Thomas U. Walter, took 31 years to complete. Mills spanned the interior spaces with masonry vaulting without the use of wooden beams. Skylights and interior light courts filled the spaces with daylight. It has a sandstone and marble façade, and a central portico modeled after the the Parthenon of Athens, a departure in Washington where previously ambitious public buildings had been based on Roman and Renaissance precedents.

The Donald W. Reynolds Center for American Art and Portraiture: 8th and F St. NW, Washington, D.C. 20001.  Tel: 202.633.1000 (recorded information/live voice).  E-mail:  info@si.edu.  Website:   www.si.edu/visit.  Coordinates: 38.89778°N 77.022936°W

National Gallery of Art – Sculpture Garden (Washington D.C., U.S.A.)

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The Sculpture Garden with the Pavilion Cafe in the background.

The 2.5-hectare  (6.1-acre), beautifully landscaped National Gallery of Art Sculpture Garden, the most recent addition to the National Gallery of Art, is located on the National Mall, on the opposite side of Seventh Street, between the National Gallery of Art’s West Building and the Smithsonian Institution‘s National Museum of Natural History.

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The elegant, circular reflecting fountain

The gorgeous garden, redesigned by landscape architects Laurie Olin and his firm OLIN after more than 30 years of planning, was completed and opened to the public on May 23, 1999.

Cheval Rouge (Red Horse), an outdoor mobile by Alexander Calder (1974), exhibits an appealing grace and, though steadfastly abstract, evoke a friendly resonance with natural forms. Here the sleek, tapering legs and tensile up-thrust “neck” recall the muscularity and power of a thoroughbred.

Aurora, by Mark di Suvero (1992 – 1993), is a tour de force of design and engineering with its sophisticated structural system that distributes eight tons of steel over three diagonal supports to combine massive scale with elegance of proportion. Several beams converge within a central circular hub and then explode outward, imparting tension and dynamism to the whole. The title comes from a poem about New York City by Federico García Lorca (Spanish, 1898–1936). The steel forms a letter “k”(the artist has said the work is a portrait of his wife, Kate).

The location provides an outdoor setting for exhibiting several monumental pieces from the museum’s modern and contemporary sculpture collection. 

An Entrance into the Paris Metropolitan, by architect Hector Guimard, was one of three entrance styles he designed for the Paris Metro that were industrially produced in painted cast iron and bronze until 1913. The designs were meant to clearly mark the new subway entrances and make the novel form of mass transportation more attractive to riders.

Spider, by Louise Bourgeois (1996 – 1997), appears as looming and powerful protectresses, yet is delicate and vulnerable. Louise Bourgeois used the spider as the central protagonist in her art during the last decades of her life.

Native American species of canopy and flowering trees, shrubs, ground covers, and perennials were planted at the garden.

Graft, by Roxy Paine (2008–2009), was added to the Sculpture Garden on the 10th anniversary of its opening. It is part of a series of stainless steel sculptures the artist refers to as “Dendroids,” a term that describes a tree-like, branching form, but also evokes an artificially engineered or mutant body.

Cubi XI, a steel abstract sculpture by David Smith, is a stack of three cubes and four rectangular boxes welded together and installed on a cube-shaped base.  Part of the Cubi series of 28 sculptures, it was constructed in 1963 and was installed on April 21, 1964.

The collection is centered on an elegant circular reflecting fountain which is complemented by arching pathways of granite and crushed stone.

Four-Sided Pyramid, by Sol LeWitt, 1997 – 1999), was constructed on site by a team of engineers and stonemasons. This terraced pyramid, which also alludes to the ziggurats of ancient Mesopotamia, relates to the 1961 repeal of early 20th-century setback laws for New York City skyscrapers.

Stele II, by Ellsworth Kelly (1973), is loosely based on a French kilometer marker, an object Kelly observed during his years in Paris after World War II. This sculpture, also essentially planar and upright will, over time, weather from exposure to the elements, developing an evenly corroded, non-reflective surface.

During the winter months of December to March, the fountain is converted to an ice-skating rink which predated the construction of the garden. The outdoor Pavilion Café, which lies adjacent to the garden, offers year-round service.

Untitled, by Joel Shapiro (1989), may bring to mind a human figure in motion, yet at the same time it can be understood as an abstract sculpture that explores the properties of balance and gravity. Originally constructed from plywood sheets, the elements of this work were carefully cast to retain the wood grain pattern.

With a panoramic view of the Sculpture Garden, the cafe serves freshly made salads, soups, flatbreads, and sandwiches, with indoor and outdoor seating and no timed passes required.

Typewriter Eraser, by Claes Oldenburg and Coosje van Bruggen (1999), was based upon Claes’ childhood memories of playing with the the now obsolete typewriter eraser in his father’s office. Here the giant brush arcs back, conveying a sense of motion, as if the wheel-like eraser were rolling down the hill and making its way toward the gate of the garden.

Thinker on a Rock, by Barry Flanagan (1997), substitutes the hare for Auguste Rodin’s Thinker (1880), making an irreverent reference to one of the world’s best-known sculptures (a version of which may be seen in the West Building sculpture galleries).

The surrounding landscaped area exhibits 20th century sculptural pieces by Marc Chagall (Orphee, 1969), David Smith (Cubi XI, 1963, Cubi XXVI, 1965), Mark Di Suvero (Aurora, 1992–93), Roy Lichtenstein (House I, 1996 – 1998), Polish artist Magdalena Abakanowicz (Puellae, 1992), Sol LeWitt (Four-Sided Pyramid, 1965), Tony Smith (Wandering Rocks, 1967 and Moondog, 1964), Roxy Paine (Graft, 2008–2009), Joan Miró (Personnage Gothique, Oiseau-Eclair, 1974 – 1977), Louise Bourgeois (Spider, 1996 – 1997), Robert Indiana (AMOR, 1998 – 2006), Barry Flanagan  (Thinker on a Rock, 1997), Joel Shapiro (Untitled, 1989), Lucas Samaras (Chair Transformation Number 20B, 1996), Scott Burton (Six-Part Seating, 1985 – 1998), Ellsworth Kelly (Stele II, 1973), Alexander Calder (Cheval Rouge, 1974), George Rickey (Cluster of Four Cubes, 1992), Hector Guimard (An Entrance to the Paris Métropolitain, 1902 – 1913) and by Claes Oldenburg and Coosje van Bruggen (Typewriter Eraser, Scale X, 1999).

Personnage Gothique, Oiseau-Éclair, one of the largest sculptures of Joan Miro (1974 – 1977), features a bird cast from an object the artist created, while the top portion was cast from a cardboard box and the arch-shaped form from a donkey’s collar. The objects combine to suggest a figure while, at the same time, the empty box and unoccupied harness imply absence.

AMOR, by Robert Indiana (1998 – 2006), is a play on the artist’s famous LOVE sculpture, Indiana’s design, with its distinctively inclined O, was constructed from red and yellow polychrome aluminum.

National Gallery of Art Sculpture Garden: Constitution Ave NW &, 7th St NW, Washington, D.C. 20408. Tel: +1 202-289-3360. Open daily, 11 AM – 4 PM. Admission is free.

National Gallery of Art – West Building: American Art (Washington D.C., U.S.A.)

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Gallery 60-B

A number of permanent collection galleries in the National Gallery of Art display an iconic collection of masterworks of American painters from the Corcoran Gallery of Art’s world-renowned 17,000-piece art collection (worth US$2 billion) of paintings, sculpture, decorative arts, prints, drawings and photographs.  Acquired in late 2014, it allows for an enriched and enhanced presentation of the history of American painting.

Watson and the Shark (John Singlton Copley)

Gallery 60-A displays the Portrait of Richard Mentor Johnson (1843, oil on canvas) of successful Philadelphia portrait painter John Neagle.  In Gallery 60-B is the 1778 version of Watson and the Shark, by John Singleton Copley, that depicts the 1749 rescue of the English cabin boy Brook Watson from a shark attack in Havana, Cuba.

Epes Sargent (John Singleton Copley, c. 1760)

Eleazar Tyng (John Singleton Copley, 1772)

The second, full-size 1778 replica is now in the Museum of Fine Arts, Boston, and a third, smaller, 1782 version is in the Detroit Institute of Arts.  Flanking this painting are two other John Singleton Copley oil on canvas portrait paintings – Eleazar Tyng ( 1772) and Epes Sargent (c. 1760).

The Corinthian Maid (Joseph Wright, 1782-85)

Oedipus Cursing His Son Polynices (Henry Fuseli, 1786)

Gallery 61 houses the The Corinthian Maid (1782-85) and Italian Landscape (1790), both by Joseph Wright; John Johnstone, Betty Johnstone and Miss Wedderburn (1790-95) by Sir Henry Raeburn; The Lavie Children (c. 1770) by Johann Zoffany; and Oedipus Cursing His Son Polynices (1786) by Henry Fuseli; among others.

Thomas Amory II (John Singleton Copley, 1770-72)

The House of Representatives (Samuel Finley Breese Morse)

At Gallery 62 is the Portrait of a Gentleman (c. 1760, oil on canvas) by English-born Joseph Blackburn; the Portrait of Thomas Amory II (c. 1770–1772, oil on canvas) by John Singleton Copley; Benjamin and Eleanor Ridgely Laming (1788) by Charles Willson Peale; Lady With a Harp (1818) by Elizabeth Ridgely; and the monumental history painting The House of Representatives (1822, oil on canvas) by Samuel Finley Breese Morse (a portraitist of some renown and the inventor of the telegraph) among others.

The Departure (Thomas Cole, 1837)

Gallery 64 houses poet-painter Thomas Cole’s The Departure and The Return, oil on canvases commissioned, as a pair, by wealthy landowner William Peterson Rensselaer.  Both were painted in 1837.

Sunrise in the Catskills (Thomas Cole, 1826)

Other Thomas Cole paintings on display include Sunset in the Catskills (1826) and A View to the Mountain Pass Called Notch of the White Mountains (1839).

Lake Lucerne (Albert Bierstadt, 1858)

The Stranded Ship (Asher Brown Durand)

Also on display are Autumn – On the Hudson River (1860, oil on canvas) and The Spirit of War (1851, oil on canvas), both by Jasper Francis Cropsey; Lake Lucerne (1858, oil on canvas) by Albert Bierstadt and The Stranded Ship (1884, oil on canvas) by Asher Brown Durand.

A Pastoral Visit (Neil Norris Brooke, 1881)

At Gallery 65 is A Pastoral Visit (1881, oil on canvas), a genre scene, by Richard Norris Brooke, depicting African-American life in the 1870 s and 1880s; Waiting for the Stage (1851, oil on canvas) painted by Baltimore native Richard Caton Woodville in Paris; Leisure and Labor (1858, oil on canvas), commissioned by William T. Walters (founder of the Walters Art Museum in Baltimore) and painted by Maryland artist Frank Blackwell Mayer; The Tough Story – Scene in a Country Tavern (1837, oil on wood) by William Sidney Mount (America’s most celebrated painter of genre scenes); Cottage Scenery (1845), a work that blends genre and landscape by George Caleb Bingham; and the intriguing and unusual trompe-l’oeil still life Poor Artist’s Cupboard (c.1815, oil on wood) by Charles Bird King.

Check out “Walters Art Museum”

The Return of Rip Van Winkle (John Quidor, 1849)

Take Your Choice (John Frederick Peto, 1885)

Also on display are The Return of Rip Van Winkle (1849) by John Quidor; Take Your Choice (1885, oil on canvas) by John Frederick Peto; The Old Violin (1886. oil on canvas) by William Michael Harnett; and The Jolly Flatboatmen (1846) and Cottage Scenery (1845), both by George Caleb Bingham.

Shaw 54th Regiment Memorial

Gallery 66 is home to Augustus Saint-Gauden‘s plaster version of the The Shaw 54th Regiment Memorial, a bas-relief sculpture group 15 ft. high, 18 ft. wide and 3 ft. deep which is a monument to the Union Army’s first African American regiment that fought in the Civil War.

Abraham Lincoln, (George Peter Alexander Healy, 1860)

The original 1897 memorial stands in bronze on the edge of Boston Common. The exhibit, opened last September 21, 1997, includes plaster sketches and related studies. 

Check out “Boston Commons” 

Maryland Heights – Siege of Harpers Ferry (William Macleod)

Hanging nearby and sharing this connection to the Civil War are two Corcoran Collection paintings – George Peter Alexander Healy‘s portrait of Abraham Lincoln (1860), the first portrait for which the President posed following his election, and William MacLeod’s Maryland Heights: Siege of Harpers Ferry.

Niagara (Frederic Edwin Church, 1857)

Gallery 67 displays the magnificent Niagara (1857, oil on canvas) and the tropical view Tamaca Palms (1854, oil on canvas), both by Frederic Edwin Church; the idyllic Buffalo Trail: The Impending Storm (1869, oil on canvas) the final great Western landscape of Albert Bierstadt.

Ruins of the Parthenon (1880, oil on canvas, Sanford Robinson Gibbon)

Tamaca Palms (Frederic Edwin Church, 1854)

Also on display are Natural Arch at Capri (1871, oil on canvas) by William Stanley Haseltine; Second Beach, Newport (1878-80, oil on canvas) by Worthington Whittredge; Beach at Beverly (1869-72, oil on canvas) by John Frederick Kensett; and Ruins of the Parthenon (1880, oil on canvas) by Sanford Robinson Gifford.

Breezing Up – A Fair Wind (Winslow Homer, 1873-76)

Gallery 68 is devoted to the NGA’s significant Winslow Homer collection, a dozen important works by Homer spanning five decades of his prolific and varied career are on view – the late coastal scene A Light on the Sea (1897, oil on canvas), Sparrow Hall (1881-82, oil on canvas) and Breezing Up (A Fair Wind) (1873-76, oil on canvas).

A Light on the Sea (Winslow Homer, 1897)

The Brown Family (Eastman Johnson, 1869)

The atmospheric river scene Battersea Reach (c. 1863), of James McNeill Whistler, hangs nearby. Also on display is The Brown Family (1869, oil on paper on canvas) by Eastman Johnson and The Biglin Brothers Racing (1872, oil on canvas) by Thomas Eakins.

Symphony in White, No. 1 The White Girl’ (James Whistler)

Gallery 69 displays the evocative Singing a Pathetic Song (1881, oil on canvas), an evocative depiction of the home musicale, of Philadelphia native Thomas Eakins; and Symphony in White, No. 1 The White Girl’ (1861-62) by James Abbott McNeill Whistler.

Eleonora O’Donnell Iselin (John Singer Sargent, 1888)

Ellen Peabody Endicott (John Singer Sargent, 1901)

Also on display are the regal likeness of Margaret Stuyvesant Rutherfurd White (Mrs. Henry White) (1883, oil on canvas), Eleonora O’Donnell Iselin (Mrs. Adrian Iselin) (1888, oil on canvas); and Ellen Peabody Endicott (Mrs. Corninshield Endicott) (1901, oil on canvas), all by John Singer Sargent.

Valdemosa, Majorca – Thistles and Herbage on a Hillside (John Singer Sargent), 1908)

At Gallery 70 is the fishing village scene En route pour la pêche (Setting Out to Fish) (1878, oil on canvas), depicting a scene in the quiet fishing village of Cancale, and the vibrant mountain view Simplon Pass (1911), and Valdemosa, Majorca: Thistles and Herbage on a Hillside (1908), all by John Singer Sargent.

Simplon Pass (John Singer Sargent, 1911)

Poppies, Isles of Shoals (Childe Hassam, 1891)

Also on display are Poppies, Isles of Shoals (1891, oil on canvas) and Allies Day, May 1917 (1917, oil on canvas), both by Childe Hassam; the quiet and charming still life Flowers on a Window Ledge (c. 1861, oil on canvas) by John La Farge; and the luminous Mount Monadnock (1911/1914, oil on canvas) by Boston-born and New Hampshire-raised Abbott Handerson Thayer.

April Landscape (Daniel Garber, 1910)

Gallery 71 houses impressionist landscapes with American subjects – Flying Shadows (1883) by Kenyon Cox; The Mill in Winter (1921) by Edward Willis Redfield; May Night (1906) by Willard Leroy Metcalf. Josephine and Mercie (1908) by Edmund James Tarbell; Penelope (1905) by Gari Melcher; and April Landscape (1910) and South Room – Green Street (1920), both by Daniel Garber.

The House Maid (William McGregor Paxton, 1910)

All feature women subjects (often relatives of the artist) in domestic interiors engaged in activities including reading, sewing, writing, and embroidery. Intimate paintings such as The House Maid (1910) by William McGregor Paxton, and Young Woman in a Kimono (c.1901) by Alfred Henry Maurer; also contain elegant still lifes of personal and decorative objects. Two additional portraits – My Daughter (1912) by Frank Weston Benson, and Sita and Sarita (c. 1921), by Cecilia Beaux, complete the room.

Flying Shadows (Kenyon Cox, 1883)

National Gallery of Art – West Building: Constitution Ave. NW, Washington, D.C..  Tel: +1 202-842-6511.  Website: www.nga.gov. Admission is free.

National Gallery of Art (Washington D.C., U.S.A.)

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National Gallery of Art – West Building

The National Gallery of Art (NGA), and its attached 2.5-hectare (6.1-acre) Sculpture Garden, is located on the National Mall, between 3rd and 9th Streets, at Constitution Avenue NW. The NGA’s permanent collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western Art from the Middle Ages to the present.

Check out “National Gallery of Art – Sculpture Garden”

National Gallery of Art – East Building

The substantial core collection includes major works of art donated founding benefactors Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, Chester Dale and Edgar William and Bernice Chrysler Garbisch. In total, the NGA has 271,000 sq. ft. of exhibition space.

Spider (Louise Bourgeois, 1996 – 1997) – Sculpture Garden

Here are some interesting trivia regarding this museum:

Check out “National Gallery of Art – Sculpture Garden” and “Museum of Modern Art”

This national art museum includes the original Neo-Classical West Building (designed by John Russell Pope), which is linked underground to the modern East Building (designed by I. M. Pei). Often, the Gallery presents temporary special exhibitions spanning the world and the history of art.

Check out “National Gallery of Art – West Building” and  “National Gallery of Art – East Building” 

Here is the historical timeline of the museum:

  • During World War I, Andrew W. Mellon, a Pittsburgh banker (and later Treasury Secretary from 1921 until 1932)  began gathering a private collection of old master paintings and sculptures.
  • During the late 1920s, Mellon decided to direct his collecting efforts towards the establishment of a new national gallery for the United States.
  • In 1930, partly for tax reasons, Mellon formed the A. W. Mellon Educational and Charitable Trust, which was to be the legal owner of works intended for the gallery.
  • In 1930–1931, as part of the Soviet sale of Hermitage paintings, the Trust made its first major acquisition – 21 paintings from the Hermitage Museum in St. Petersburg including such masterpieces as Raphael‘s Alba Madonna, Titian‘s Venus with a Mirror, and Jan van Eyck‘s Annunciation.
  • In 1929 Mellon had initiated contact with Charles Greeley Abbot, the recently appointed Secretary of the Smithsonian Institution.
  • In 1931, Mellon was appointed as a Commissioner of the Institution’s National Gallery of Art. When the director of the Gallery retired, Mellon asked Abbot not to appoint a successor, as he proposed to endow a new building with funds for expansion of the collections. However, Mellon’s trial for tax evasion, centering on the Trust and the Hermitage paintings, caused the plan to be modified.
  • In 1935, Mellon announced in The Washington Star, his intention to establish a new gallery for old masters, separate from the Smithsonian. When asked by Abbot, he explained that the project was in the hands of the Trust and that its decisions were partly dependent on “the attitude of the Government towards the gift.”
  • In January 1937, Mellon formally offered to create the new Gallery.
  • On March 24, 1937, Mellon’s birthday, a joint resolution of the United States Congress accepted the substantial art collection and funds for construction of the building (provided through the Trust), and approved the construction of a museum for the American people on the National Mall. The new gallery, effectively self-governing (not controlled by the Smithsonian Institution), took the old name “National Gallery of Art” while the Smithsonian’s gallery would be renamed the “National Collection of Fine Arts” (now the Smithsonian American Art Museum).
  • On May 23, 1999, the National Gallery of Art Sculpture Garden, the final addition to the complex, was completed and opened to the public.
  • In 2011, an extensive refurbishment and renovation of the French galleries were undertaken. In one weekend, as part of the celebration of the reopening of this wing, organist Alexander Frey performed 4 sold-out recitals of music of France in the French Gallery.
  • In 2013, the NGA purchased, from a private French collection Gerard van Honthorst‘s 1623 painting, 1.23 by 2.06-m. (4 by 6.8 ft.) The Concert, which had not been publicly viewed since 1795.

Ginevra de Benci – Obverse (1474-78), the only painting of Leonardo da Vinci in the Americas

The Italian Renaissance collection includes two panels from Duccio‘s Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione‘s Allendale Nativity, Giovanni Bellini‘s The Feast of the Gods, Portrait of Ginevra de’ Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.

A Woman Holding a Pink (Rembrandt Van Rijn)

The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Anton Kern, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. There are also later works from the likes of Vincent van Gogh, Pablo Picasso, Henri Matisse, Jackson Pollock, and Roy Lichtenstein.

The author with the Self Portrait Vincent Van Gogh (1889) in the background

The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole‘s series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).

Watson and the Shark (John Singlton Copley)

The National Gallery of Art’s print collection began with 400 prints donated by five collectors in 1941.  In 1942, Joseph E. Widener donated his entire collection of nearly 2,000 works and, in 1943, Lessing Rosenwald donated his collection of 8,000 old master and modern prints.  Between 1943 and 1979, Rosenwald donated almost 14,000 more works. In 2008, Dave and Reba White Williams donated their collection of more than 5,200 American prints.  Today, in addition to rare illustrated books, the collection comprises 75,000 prints including collections of works by Albrecht Dürer, Rembrandt, Giovanni Battista Piranesi, William Blake, Mary Cassatt, Edvard Munch, Jasper Johns, and Robert Rauschenberg.

Walkway to the West Building and Cascade Cafe

A walkway beneath 4th Street, called “the Concourse,” connects the two buildings.  In 2008, the Concourse was transformed into Multiverse, an artistic installation by American artist Leo Villareal. The largest and most complex light sculpture by Villareal, Multiverse featured approximately 41,000 computer-programmed LED nodes that run through channels along the entire 200-foot (61 m)-long space.

Multiverse (Leo Villareal)

The concourse also includes a large auditorium for lectures, films, and other educational programs, a smaller auditorium, expansive gallery space, a food court (Cascade Café), bookstore (Concourse Bookstore) and a gift shop (Children’s Shop). Cascade Café serves an ever-changing selection of soups, salads, specialty entrées, burgers, signature sandwiches, and fresh pastries and desserts in a food-court environment.

Cascade Cafe

National Gallery of Art: Constitution Ave. NW (between 3rd and 9th Streets), Washington, D.C..   Tel: (202) 737-4215.  Website: www.nga.gov. Open Mondays to Saturdays, 10 AM – 5 PM, and Sundays, 11 AM to 6 PM.  It is closed on December 25 and January 1. Admission is free.

How to Get There: The most convenient metro stops are Archives/Navy Memorial (Yellow and Green lines; 0.2 miles); Judiciary Square (Red line; 0.5 miles), and Smithsonian (Blue and Orange lines; 0.7 miles).

Hirshhorn Museum and Sculpture Garden (Washington D.C., USA)

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Hirshhorn Museum and Sculpture Garden

The Hirshhorn Museum and Sculpture Garden, an art museum  sited halfway between the Washington Monument and the US Capitol, anchoring the southernmost end of the so-called L’Enfant axis (perpendicular to the Mall’s green carpet), is part of the Smithsonian Institution.

Interior court and fountain

Conceived as the United States’ museum of contemporary and modern art, it currently focuses its collection-building and exhibition-planning mainly on the post–World War II period, with particular emphasis on art made during the last 50 years. The museum has a budget of US$8 million, which does not include the US$10 to US$12 million in operational support supplied by the Smithsonian Institution.

Geometric Mouse, Variation I, Scale A (Claes Oldenburg, 1971)

The museum was initially endowed, during the 1960s, with the permanent art collection of more than 6,000 items of Joseph H. Hirshhorn (who enjoyed great success from uranium-mining investments), started  in his forties, which consisted of works from classic French Impressionism as well as those by living artists, American modernism of the early 20th century, and sculpture brought from the Hirshhorns’ Connecticut estate and other properties.

Subcommitee (Tony Cragg, 1991, steel)

Here is the museum’s historical timeline:

  • In 1966, an Act of Congress established the Hirshhorn Museum and Sculpture Garden. Most of its funding was federal, but Hirshhorn later contributed US$1-million toward its construction.
  • On July 1967, an original plan, with an elongated, sunken rectangle crossing the Mall with a large reflecting pool across the Mall, designed by architect Gordon Bunshaft, was approved.
  • In 1969, groundbreaking takes place on the former site of the Army Medical Museum and Library (built in 1887) after the brick structure was demolished.
  • On July 1, 1971, after excavation was started, a revised design, with a smaller footprint, was approved. The revised design, deliberately stark, using gravel surfaces and minimal plantings to visually emphasize the works of art, also shifted the garden’s Mall orientation from perpendicular to parallel and reduces its size from 8,100 sq. m. (2 acres) to 5,300 sq. m. (1.3 acres).
  • In 1974, the museum was opened with three floors of painting galleries, a fountain plaza for sculpture, and the Sculpture Garden. In the first six months, one million visitors saw the 850-work inaugural show.
  • In the summer of 1979, the Sculpture Garden was closed.
  • In September 1981, the Sculpture Garden was reopened after a renovation and redesign by Lester Collins, a well-known landscape architect and founder of the Innesfree Foundation. The design introduces plantings, paved surfaces, accessibility ramps, and areas of lawn.
  • In 1985, the Museum Shop is moved to the lobby, increasing exhibition space at its former location on the lower level.
  • On December 1991, the Hirshhorn Plaza is closed.
  • In 1993, Hirshhorn Plaza is reopened after a renovation and redesign by landscape architect James Urban. The 11,000 sq. m. (2.7-acre) area around and under the building is repaved in two tones of gray granite, and raised areas of grass and trees are added to the east and west.
  • In 2013, the Hirshhorn Museum and Sculpture Garden drew around 645,000 visitors.
  • In 2014, the Museum Shop is moved back to the lower level.

Museum Shop

Here are some technical information on the museum:

  • The building and its walls were surfaced with precast concrete aggregate of “Swenson” pink granite
  • The building has a diameter of 231 ft., 115 ft. for the interior court and 60 ft. for the fountain.
  • The building is 82 ft. high and elevated 14 ft. on 4 massive, sculptural piers.
  • The museum provides 5,600 sq. m. (60,000 sq. ft.) of exhibition space on three floors inside and nearly 4 acres outside in its two-level Sculpture Garden and plaza for a total of 197,000 sq. ft. of total exhibition space, indoors and outdoors.
  • It has a 274-seat auditorium at the lower level.
  • There are 2.7 acres around and under the museum building.
  • The 1.3-acre Sculpture Garden, across Jefferson Drive, was sunk 6–14 ft. below street level and ramped for accessibility.
  • The second and third floor galleries have 15-ft. high walls, with exposed 3-ft. deep coffered ceilings.
  • The lower level includes exhibition space, storage, workshops, offices while the fourth floor includes offices and storage.

Pumpkin (Yayoi Kusama, 2016)

The building, an open cylinder elevated on four massive “legs,” with a large fountain occupying the central courtyard, itself is an attraction.  The new federal museum’s modern look and intrusively expansive sculptural grounds is a striking contrast to everything else in the city.

Still Life with Spirit and Xtile (Jimmie Durham, 2007)

At the museum entrance is the deceptively simple Still Life with Spirit and Xitle , one of the most well-known works of art by artist Jimmie Durham (a sculptor who is known for his sense of humor and irreverence), features a slapstick disaster scene (intended to capture the clash between industrial and ancient spirits) of a 1992 Chrysler Spirit being crushed by a 9 ton red basalt boulder with a comical smiley face painted on it.

Woman Verso Untitled (Willem de Kooning, 1948)

Woman Before an Eclipse With Her Hair Disheveled by the Wind (Joan Miro, oil on canvas, 1967)

Notable artists in the Hirshhom collection include Pablo Picasso, Henri Matisse, Mary Cassatt, Thomas Eakins, Henry Moore, Jackson Pollock, Mark Rothko, Franz Kline, Hans Hofmann, Morris Louis, Kenneth Noland, John Chamberlain, Francis Bacon, Willem de Kooning, Milton Avery, Ellsworth Kelly, Louise Nevelson, Arshile Gorky, Edward Hopper, Larry Rivers, and Raphael Soyer among others.

Sleeping Muse I (Constantin Brancusi, 1909-1910, marble)

The Master Works from the Hirshhorn Collection, on view from June 9, 2016 to September 4, 2017, is a new rehanging of the permanent collection galleries at the third-level.  It features more than 75 works in virtually all media, highlights of Joseph Hirshhorn’s original gift, alongside some of the newest additions to the collection.

Untitled – Big Man (Ron Mueck, 2000, pigmented polyester resin on fiberglass)

They include several major artworks returning to view after more than a decade (such as Candian painter Jean-Paul Riopelle’s 1964 Large Triptych), as well as in-depth installations devoted to some of the most important artists in the collection.

Large Triptych (Jean-Paul Riopelle, 1964, oil on canvas)

Dog (Alberto Giacometti, 1951-57)

Exhibited are more than a dozen paintings and works on paper by Dutch abstract expressionist artist Willem de Kooning alongside sculptures by Swiss sculptor Alberto Giacometti, two of the 20th century’s greatest figurative artists.

Eleven A.M. (Edward Hopper, 1928, oil on canvas)

The Los Angeles County Museum on Fire (Ed Ruscha, 1965-68, oil on canvas)

Other cornerstones of the collection on view are Constantin Brancusi’s Sleeping Muse I (1909–10), Edward Hopper’s Eleven A.M. (1926), Edward Ruscha’s The Los Angeles County Museum on Fire (1965–68), French-American artist Louise Bourgeois’ Legs (1986/cast 2008) and Australian sculptor Ron Mueck’s Untitled (Big Man) (2000).

Window (Gerhard Richter, 1968, oil on canvas)

The End of Ending (Eduardo Basualdo, 2012)

In an adjacent room is The End of Ending (2012), a massive sculptural installation by Argentinian artist Eduardo Basualdo which occupies all but a sliver of walkable space in a gallery. R.S.V.P. X (1976/2014), the performative sculpture  by African-American Senga Nengudi (among a group of artists in 1970’s Los Angeles who explored conceptual art in their pursuit of a distinctly African-American aesthetic), also appears at the museum for the first time.

Spearfishing (Peter Doig, 2013)

Siren of the Niger (Wilfredo Lam, 1950, oil and charcoal on canvas)

The exhibition is augmented by a special loan of Scottish painter Peter Doig’s painting Spearfishing (2013), which hangs alongside richly colored canvases by British figurative painter Francis Bacon, American painter Richard Diebenkorn and Cuban artist Wifredo Lam.

Field for Skyes (Joan Mitchell, 1973, oil on canvas)

1962-D (Clyfford Still, oil on canvas)

Some of the most recent additions to the Hirshhorn’s collection are represented by new cultural histories. O Abuso da História  (The Abuse of History, 2014) is a video, by Brazil-based Mexican artist Héctor Zamora, of a riotously destructive group performance at São Paulo’s historic Hospital Matarazzo.

From Continent to Continent (Mario Merz, 1985)

Cuban artist Reynier Leyva Novo’s 5 Nights (2014), from his series “The Weight of History,” in the Lerner Room (overlooking the National Mall), maps revolutionary 20th-century manifestos by Vladimir Lenin, Adolf Hitler, Fidel Castro, Mao Zedong, and Muammar Gaddafi to conceptual monochromes, based on the amount of ink spilled in the writing of each text.

Iris, Messenger of the Gods (Auguste Rodin)

During our visit to the museum, we also explored three ongoing temporary exhibits – the “Markus Lupertz: Threads of History” Exhibit, the “Linn Meyers: Our View From Here” Exhibit and the “Ai Weiwei: Trace at the Hirshhorn” Exhibit.

Check out “The Markus Lupertz: Threads of History Exhibit” “The Linn Meyers: Our View from Here Exhibit” and “”The Ai Weiwei: Trace at Hirshhorn Exhibit“

The Sculpture Garden, outside the museum, features works by artists including Auguste Rodin, David Smith, Alexander Calder, Jean-Robert Ipoustéguy, Jeff Koons, and others. A permanent installation and a major attraction, since 2007, in the Sculpture Garden is Yoko Ono‘s famous Wish Tree for Washington, DC.

Are Years What? (Mark di Suvero)

Hirshhorn Museum and Sculpture Garden: 700 Independence Ave SW & 7th St SW, National Mall, Washington, D.C. 20560, United States.  Website: www.hirshhorn.si.edu. Admission is free.  Open daily, 10 AM – 5:30 PM.

National World War II Memorial (Washington, D.C., U.S.A.)

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National World War II Memorial

The National World War II Memorial, an American memorial of national significance, sits on a 30,000 m2  (7.4-acre) piece of land (two-thirds of which is landscaping and water) on the former site of the Rainbow Pool at the eastern end of the Reflecting Pool, between the Lincoln Memorial and the Washington Monument.

The granite pillars

The memorial is dedicated to those who served in the armed forces and as civilians during World War II. It consists of 56 5.2 m. (17 ft.) tall granite pillars,  arranged in a semicircle, and a pair of small 13 m. (43-ft.) high memorial triumphal arches (crafted by Rock of Ages Corporation, the northern arch is inscribed with “Atlantic,” the southern one, “Pacific“), on opposite sides, surrounding a plaza and fountain.

The author with the Atlantic Arch in the background

Its design was based on Friedrich St. Florian‘s initial design, selected in 1997 during a nationwide design competition that drew 400 submissions from architects from around the country but altered during the review and approval process. On September 2001, ground was broken and the construction was managed by the General Services Administration.

The Pacific Arch

Opened on April 29, 2004, it was dedicated by President George W. Bush on May 29, 2004. On November 1, 2004, the memorial became a national park  when authority over it was transferred to the National Park Service (under its National Mall and Memorial Parks group). As of 2009, more than 4.4 million people visit the memorial each year. In 2012, the memorial’s fountain was renovated.

The memorial’s fountain

Each of the 56 pillars, all consisting of oak (symbolizing military and industrial strength) laurel wreaths and wheat (symbolizing agricultural and breadbasket during the U.S. part in the war) laurel wreath. is inscribed with the name of one of the 48 U.S. states (as of 1945), as well as the District of Columbia, the Alaska Territory, Territory of Hawaii, the Commonwealth of the Philippines, Puerto Rico, Guam, American Samoa, and the U.S. Virgin Islands.

The pillar of the Commonwealth of the Philippines

The plaza is 102.97 m. (337 ft., 10 in.) long and 73.2 m. (240 ft., 2 in.) wide and is sunk 1.8 m. (6 ft.) below grade.  It contains a pool that is 75.2 × 45 m. (246 ft., 9 in. by 147 ft., 8 in.). The memorial also includes two, inconspicuously located “Kilroy was here” engravings which acknowledges the significance of the symbol to American soldiers during World War II and how it represented their presence and protection wherever it was inscribed.

Excerpt from a speech by Pres. Harry S. Truman

Excerpt from Pres. Franklin D. Roosevelt’s speech

The lettering for the memorial was designed by the John Stevens Shop and most of the inscriptions were hand-carved in situ. Laran Bronze, in Chester, Pennsylvania, cast all the bronzes over the course of two and a half years.

Some of the inscriptions

The Battle of Midway

The baldacchinos of the Pacific and Atlantic Arches each have laurel wreaths suspended in the air, with 4 bronze eagles carrying it, all created by sculptor Raymond Kaskey. The stainless-steel armature that holds up the eagles and wreaths was designed at Laran, in part by sculptor James Peniston, and fabricated by Apex Piping of Newport, Delaware. The chandelier sculpture symbolizes the victory of the War with the Nation’s bird carrying a Grecian symbol of victory but with an American adaptation of oak laurel wreaths to symbolize strength.

Seal using the World War II Victory Medal design

On approaching the semicircle from the east, I walked along one of two walls (right side wall and left side wall) with 24 bronze bas-relief panels (also created by sculptor Raymond Kaskey) that depict wartime scenes of combat and the home front. The scenes, as I approached on the left (toward the Pacific Arch), begin with soon-to-be servicemen getting their physical exams, taking the oath, being issued military gear, and progresses through several iconic scenes, including combat and burying the dead, ending in a homecoming scene.

The memorial flagpole

There is a similar progression on the right-side wall (toward the Atlantic arch) but the scenes are generally more typical of the European theatre with some scenes taking place in England, depicting the preparations for air and sea assaults. The last scene is of a handshake between the American and Russian armies when the western and eastern fronts met in Germany.

The Price of Freedom

The Freedom Wall, on the west side of the memorial, has a view of the Reflecting Pool and Lincoln Memorial behind it. The wall has 4,048 gold stars, each representing 100 Americans who died in the war. In front of the wall lies the message “Here we mark the price of freedom”

Jandy at the fountain area

National World War II Memorial: National Mall, Washington, D.C.

Lincoln Memorial (Washington D.C., U.S.A.)

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The Neo-Classical Lincoln Memorial

The Lincoln Memorial, an iconic American national monument built to honor Abraham Lincoln, the 16th President of the United States,  is located on the western end of the National Mall , Situated on the Washington Monument–Capitol axis, this Neo-Classical monument overlooks the Potomac River, across from the Washington Monument. Behind it is the bridge to Arlington National Cemetery.  Dedicated in 1922, it is one of several monuments built to honor an American president.

Jandy with the memorial in the background

Since the time of Lincoln’s death, demands for a fitting national memorial had been voiced. In 1868, three years after Lincoln’s assassination, the first public memorial (a statue by Lot Flannery) to Abraham Lincoln in Washington, D.C., was erected in front of the District of Columbia City Hall.

Abraham Lincoln

Here is the historical timeline of the statue’s construction:

  • In 1867,Congress passed the first of many bills incorporating a commission to erect a monument for the sixteenth president but the matter lay dormant.
  • At the start of the 20th century, under the leadership of Senator Shelby M. Cullom of Illinois, six separate bills were introduced in Congress for the incorporation of a new memorial commission. The first five bills, proposed in the years 1901, 1902, and 1908, met with defeat because of opposition from Speaker Joe Cannon. The sixth bill (Senate Bill 9449), introduced on December 13, 1910, passed.
  • In 1911, the Lincoln Memorial Commission had its first meeting and U.S. President William H. Taft was chosen as the commission’s president. Progress continued at a steady pace.
  • By 1913, Congress had approved of the Commission’s choice of design and location. With Congressional approval and a $300,000 allocation, the project got underway.
  • On February 12, 1914, a dedication ceremony was conducted
  • The following month, actual construction began.
  • As late as 1920, the decision was made to substitute an open portal for the bronze and glass grille which was to have guarded the entrance.
  • On May 30, 1922, Commission president William H. Taft (who was, by then, Chief Justice of the United States) dedicated the Memorial and presented it to Pres. Warren G. Harding, who accepted it on behalf of the American people. Lincoln’s only surviving son, 78-year-old Robert Todd Lincoln, was in attendance.  Robert Russa Moton, an African American educator and author, was one of the speakers at the dedication.

The Dedication

Here are some interesting trivia regarding the memorial:

  • In 2007, the American Institute of Architects (AIA) ranked the memorial as seventh, among 150 highest-ranked structures, in the AIA  List of America’s Favorite Architecture.
  • It has always been a major tourist attraction and, since 2010, approximately 6 million people visited the memorial annually.
  • Like other monuments on the National Mall – including the nearby Vietnam Veterans Memorial, Korean War Veterans Memorial, and National World War II Memorial – the memorial is administered by the National Park Service under its National Mall and Memorial Parks
  • The memorial’s columns, exterior walls and facade are all inclined slightly toward the building’s interior to compensate for a common feature of Ancient Greek architecture – perspective distortions which would otherwise make the memorial appear to bulge out at the top when compared with the bottom.
  • Since the 1930s, the memorial has become a symbolically sacred center focused on race relations, especially for the Civil Rights Movement. In 1939, the Daughters of the American Revolution refused to allow Marian Anderson, the African-American contralto,  to perform before an integrated audience at the organization’s Constitution Hall. Secretary of the Interior Harold L. Ickes, at the suggestion of Eleanor Roosevelt, the wife of Pres. Franklin D. Roosevelt, arranged for a performance, on Easter Sunday of that year, on the steps of the Lincoln Memorial to a live audience of 70,000 and a nationwide radio audience.
  • Since October 15, 1966, the Memorial was listed on the National Register of Historic Places.
  • The memorial grounds has been the site of many famous speeches, including Martin Luther King Jr.‘s historic “I Have a Dream” speech honoring the president who had issued the Emancipation Proclamation 100 years earlier.  It was delivered on August 28, 1963, during the rally at the end of the March on Washington for Jobs and Freedom, which proved to be a high point of the American Civil Rights Movement. It is estimated that approximately 250,000 people came to the event. The D.C. police also appreciated the location because it was surrounded on three sides by water, so that any incident could be easily contained.  On August 28, 1983, to reflect on progress in gaining civil rights for African Americans and to commit to correcting continuing injustices, crowds gathered again to mark the 20th anniversary of the Mobilization for Jobs, Peace and Freedom. In 2003, the spot on which King stood, on the landing 18 steps below Lincoln’s statue, was engraved in recognition of the 40th anniversary of the event.
  • The Memorial is replete with symbolic elements. The states of the Union at the time of Lincoln’s death are represented by the 36 columns and the inscriptions (with the dates in which they entered the Union), separated by double wreath medallions in bas-relief, in a frieze above the colonnade. The 48 states in 1922 (the year of the Memorial’s dedication) are represented by the 48 stone festoons above the columns and inscriptions above the cornice, on the attic frieze.  The murals inside portray principles seen as evident in Lincoln’s life: Freedom, Liberty, Immortality, Justice, and the Law on the south wall; Unity, Fraternity, and Charity on the north. Cypress trees, representing Eternity, are in the murals’ backgrounds.
  • The statue has been at the center of two urban legends. Some claimed that the face of Gen. Robert E. Lee, looking back across the Potomac toward Arlington House, his former home (now within the bounds of Arlington National Cemetery), was carved onto the back of Lincoln’s head.  The second popular urban legend is that Lincoln is shown using sign language to represent the president’s initials (his left hand shaped to form an “A” and his right hand to form an “L”). The National Park Service denies both legends.
  • From 1959 (the 150th anniversary of Lincoln’s birth) to 2008, the United States one cent coin depicted the memorial, with statue visible through the columns, on the reverse side.  The front bore a bust of Lincoln. The memorial also appears on the back of the U.S. five dollar bill.  The front bears Lincoln’s portrait.

The One Cent Coin

The Lincoln Memorial, as one of the most prominent American monuments, has been featured in books, films, and television shows that take place in Washington.  By 2003, it had appeared in over 60 films.  In 2009, Mark S. Reinhart compiled some short sketches of dozens of uses of the Memorial in film and television. As of 2017, according to the National Park Service, “Filming/photography is prohibited above the white marble steps and the interior chamber of the Lincoln Memorial.” Today, due to restrictive filming rules, many of the appearances of the Lincoln Memorial are actually digital visual effects.

Washington Monument and the Reflecting Pool seen from the Lincoln Memorial

Here a list of some of the movie and television films the memorial has appeared in:

Some of the fluted Doric columns at the colonnade

The Memorial, designed by Illinois-born architect Henry Bacon, in the form of a classic Greek Doric temple, features Yule marble from Colorado. The structure measures 57.8 m. (189.7 ft.) by 36.1 m. (118.5 ft.) and is 30 m. (99 ft.) high. It is surrounded by a peristyle of 36 fluted Doric columns, one for each of the 36 states in the Union at the time of Lincoln’s death, and two columns in-antis at the entrance behind the colonnade. Each of the 13 m. (44 ft.) high columns, with a base diameter of 2.3 m. (7.5 ft.), column, is built from 12 drums including the capital.

Cornice and frieze

Above the colonnade is a frieze.  The cornice, composed of a carved scroll regularly interspersed with projecting lions’ heads, is ornamented, along the upper edge, with palmetto cresting. A bit higher is a garland, joined by ribbons and palm leaves, and supported by the wings of eagles. All ornamentation on the friezes and cornices was done by Ernest C. Bairstow.

The Memorial’s 13 to 20 m. (44 to 66 ft.) deep concrete foundation, constructed by M. F. Comer and Company and the National Foundation and Engineering Company, is encompassed by a 57 by 78 m. (187 by 257 ft.) rectangular, 4.3 m. (14 ft.) high granite retaining wall.

The main steps leading up to the shrine on the east side, intermittently spaced with a series of platforms, begin at the edge of the shimmering Reflecting Pool, rise to the Lincoln Memorial Circle roadway surrounding the edifice, then to the main portal.  As they approach the entrance, the steps are flanked by two buttresses each crowned with a 3.4 m. (11-ft.) high tripod carved from pink Tennessee marble by the Piccirilli Brothers.

The author inside the Memorial

The Memorial’s interior is divided into three chambers by two rows of four 15 m. (50 ft.) high Ionic columns, each 1.7 m. (5.5 ft.) across at their base. The 18.3 m.(60 ft.) wide, 22.56 m. (74 ft.) deep, and 18.3 m. (60 ft.) high central chamber houses the statue of Lincoln while the north and south chambers display carved inscriptions of Lincoln’s second inaugural address and his Gettysburg Address, two well-known speeches by Lincoln.

Inscription of the Second Inaugural Address given March 4, 1865 by Lincoln barely one month before the end of the Civil War. Above it is the mural “Unity” done by Jules Guerin. The mural features the Angel of Truth joining the hands of two figures representing the North and South. Her protective wings cradle the arts of Painting, Philosophy, Music, Architecture, Chemistry, Literature, and Sculpture. Emerging from behind the music figure is a veiled image of the Future.

Pilasters, ornamented with fasces, eagles, and wreaths, border these inscriptions. Both inscriptions and adjoining ornamentation were done by Evelyn Beatrice Longman. Each inscription is surmounted by 18.3 by 3.7 m. (60 by 12 ft.) murals (“Unity,” above the Second Inaugural Address on the north wall, and “”Emancipation,” above the Gettysburg Address on the south chamber wall) by Jules Guerin.  The murals’ paint incorporated kerosene and wax to protect the exposed artwork from fluctuations in temperature and moisture.

The inscription of the Gettysburg Address on the south chamber wall. The Gettysburg Address was given by Lincoln on April 19, 1863 in Gettysburg at the dedication of Soldiers’ National Cemetery.

Abraham Lincoln, 1920, the primary statue (of Georgia white marble) of the solitary figure of Lincoln sitting in contemplation, took four years to complete.  It was carved by the Piccirilli Brothers under the supervision of the sculptor, Daniel Chester French.

The sitting statue of Abraham Lincoln

The statue, originally designed to be 3.0 m. (10 ft.) tall, was, on further consideration, enlarged to 5.8 m. (19 ft.) tall, from head to foot (the scale being such that if Lincoln were standing, he would be 8.5 m. or 28 ft. tall), to prevent it from being overwhelmed by the huge chamber.  The widest span of the statue corresponded to its height.

Cheska and Kyle

 Lincoln’s arms rest on representations of Roman fasces.  This subtle touch associates the statue with the Augustan (and imperial) theme (obelisk and funerary monuments) of the Washington Mall.  Between two pilasters discretely bordering the statue (one on each side) and above Lincoln’s head, is engraved an epitaph of Lincoln by Royal Cortissoz.

The Lincoln statue up close.  The open hand represents compassion while the fist means decisiveness. The chair Lincoln is sitting on is Roman it is draped with the American flag.

The statue rests upon an oblong 3.0 m. (10 ft.) high, 4.9 m. (16 ft.) wide and 5.2 m. (17 ft.) deep pedestal of Tennessee marble, directly beneath which is a 10.5 m. (34.5 ft.) long, 8.5 m. (28 ft.) wide and 0.17 m. (6.5 in.) high platform of Tennessee marble. The statue weighed 159 tons (175 short tons) and was shipped in 28 pieces. 

The epitaph of Lincoln by Royal Cortissoz

The ceiling, consisting of bronze girders ornamented with laurel and oak leaves, is set between panels of Alabama marble (saturated with paraffin to increase translucency). Bacon and French felt that the statue required even more light to supplement the natural light so, in 1929, they designed and installed metal slats in the ceiling to conceal floodlights, which could be modulated. In the 1970s, an elevator for handicapped was added.

Bronze girders, ornamented with laurel and oak leaves, at the ceiling

Underneath the Lincoln Memorial are exhibits that provide information on the creation of the memorial and its famous subject.

Civil Rights Exhibit

Lincoln Memorial: 2 Lincoln Memorial Cir NW, Washington, D.C. 20037, USA. Open 24 hours. Rangers are on duty from 9:30 AM to 10 PM daily.

How to Get There: The easiest way to get to the Lincoln Memorial is via Metrorail (the nearest Metro stations are Foggy Bottom and Smithsonian, both on the Orange, Blue and Silver lines) or Metrobus (take the 32, 34 or 36 routes). Capital Bikeshare also has a dock (Daniel French Drive SW) nearby. 

Washington Union Station (Washington D.C., U.S.A.)

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Washington Union Station

The 61.62-km. (38.3-mi.) Peter Pan Bus Lines bus ride, via the MD-295 S and Baltimore-Washington Parkway, from Baltimore to Washington, D.C. took us less than an hour and we arrived at the Washington Union Station (the U.S. Capitol’s major train station and transportation hub) parking garage by 9 AM.

What awaited me when I arrived at the 183 m. (600 ft.) long main hall of the station was a soaring masterpiece done in the Neo-Classically-influenced Beaux-Arts style.  Train stations are great expositions of art in public places and the Washington Union Station is one of the grandest examples of this.

Bus parking garage

The station, opened in 1907, is the only railroad station in the nation specifically authorized by the U.S. Congress.  It is the southern terminus of the Northeast Corridor, an electrified rail line extending north through major cities (Baltimore, Philadelphia, New York City, and Boston) and the busiest passenger rail line in the nation.

The station is jointly owned by Amtrak (their headquarters, Amtrak owns the platforms and tracks through the Washington Terminal Company a nearly wholly owned subsidiary, with 99.9% controlling interest) and United States Department of Transportation (they own the station building itself and the surrounding parking lots).  Itis Amtrak railroad’s second-busiest station (with annual ridership of just under 5 million) and the ninth-busiest in overall passengers served in the United States.

Main hall

Union Station, an intermodal facility, also serves MARC and VRE commuter rail services, the Washington Metro, the DC Streetcar, intercity bus lines, and local Metrobus buses.

In 1988, a headhouse wing was added and the original station was renovated for use as a shopping mall, with many shops, cafes and restaurants (the station’s former presidential suite is also now occupied by a restaurant), making it one of the busiest shopping destinations in the United States.  Today, Union Station, one of Washington DC’s busiest and best-known places, is visited by over 40 million people a year.

The author and Jandy at the main hall

The building was primarily designed by William Pierce Anderson of the Chicago architectural firm of D.H. Burnham & Company. Famed architect and planner Daniel H. Burnham (the same architect who planned Baguio City), assisted by Pierce Anderson, was inspired by a number of architectural styles and Classical elements.

For the exterior and main façade, he was inspired by the Arch of Constantine (Rome, Italy) while the great vaulted spaces of the Baths of Diocletian inspired the interior.

Check out “Arch of Constantine”

Grace, Cheska and Kyle

The station was also built on a massive scale, with a façade stretching more than 180 m. (600 ft.) and a waiting room ceiling rising 29 m. (96 ft.) above the floor.

Statues of Centurions (Louis St. Gaudens)

Stone inscriptions and allegorical sculpture were also done in the Beaux-Arts style and expensive materials such as marble, gold leaf, and white granite, from a previously unused quarry, were also used.

Statues of Centurions (Louis St. Gaudens)

In the Attic block, above the main cornice of the central block, stand six, 5.5 m. (18 ft.) high colossal statues, entitled “The Progress of Railroading,” representing deities related to rail transport in the United States created by Louis St. Gaudens, modeled on the Dacian prisoners of the Arch of Constantine and cut by Andrew E. Bernasconi, a high-grade Italian stone workman, between 1909 and 1911.

Their iconography expresses the confident enthusiasm of the American Renaissance movement – Prometheus for Fire;  Thales for Electricity; Themis for Freedom or Justice; Apollo for  Imagination or Inspiration; Archimedes for Mechanics; and Ceres for Agriculture (the substitution of Agriculture for Commerce in a railroad station iconography vividly conveys the power of a specifically American lobbying bloc).

The triumphal arch-like station entrance with the Columbus Fountain in front

St. Gaudens also created the 26 centurions for the station’s main hall. Treating the entrance to a major terminal as a triumphal arch was drawn, by Burnham, upon a tradition launched with the 1837 Euston railway station in London.

The Progress of Railroading

The monumental end pavilions were linked with long arcades, enclosing loggias, in a long series of bays that were vaulted with the lightweight fireproof Guastavino tiles favored by American Beaux-Arts architects. The final aspect owed much to the Court of Heroes at the World’s Columbian Exposition of 1893 (where Burnham had been coordinating architect) in Chicago.

The monument end pavilion linked with long arcades enclosing loggias

 

The prominent setting of Union Station’s façade at the intersection of two of Pierre (Peter) Charles L’Enfant‘s avenues (with an orientation that faced the United States Capitol just five blocks away), in a park-like green setting, is one of the few executed achievements of the City Beautiful movement, elite city planning that was based on the patte d’oie (“goosefoot”) of formal garden plans made by Baroque designers such as André Le Nôtre. Frederick Law Olmstead designed the landscape around the station.

Full-length portrait of Christopher Columbus

The Columbus Fountain (also known as the Columbus Memorial), the centerpiece of Columbus Circle in front of the station, is a public artwork by American sculptor Lorado Taft unveiled on June 7, 1912.  This semicircular double-basin fountain has a 13.7 m. (45 ft.) high shaft, in the center, whose front bears a full-length portrait of explorer Christopher Columbus wearing a mantle and staring forward, with his hands folded in front of him.

The globe representing the Western Hemisphere

Beneath him is a ship prow featuring a winged figurehead that represents the observation of discovery. On top of the shaft is a globe, representing the Western hemisphere, with four eagles on each corner connected by garland.

Elderly man representing the Old World

Two male figures (an elderly man, representing the Old World, on the right, and on the left, a figure of a Native American, representing the New World) decorating the left and right sides of the shaft.

American Indian representing the New World

At the back of the shaft is a low-relief medallion with images of Ferdinand & Isabella.  The left and right side of the fountain are guarded by two lions placed away from the base.

A pair of lions

Washington Union Station: 50 Massachusetts Avenue NE, Washington, D.C.  Coordinates: 38°53′50″N 77°00′23″W