Download Report - National Gallery of Art

The Collecting of African American Art
I: Introduction
VII: David C. Driskell in Conversation
with Ruth Fine
VIII: Elliot Perry and Darrell
Walker in Conversation with
Michael Harris
PUBLicAtionS AnD MeDiA
>A New Look: Samuel F. B. Morse’s “Gallery
of the Louvre”
>Americans Collect Italian Renaissance Art
>Art Theft and the Tate’s Stolen Turners
>The Sydney J. Freedberg Lecture on
Italian Art
2011: Bernard Berenson and
Lorenzo Lotto
2004: The Third Italian Renaissance:
Art of the Lombard Plain
2002: The Turning Figure
2001: Michelangelo and the Medici:
From Florentine Prodigy to
Tuscan Icon
2000: The Fashioning of a Public
Persona: Duchess Eleonora di
Toledo’s Ceremonial Dress and
Her Portraits by Bronzino
1999: Art and Science in the Drawings
of Leonardo da Vinci
1998: A Carpaccio Masterpiece
Rediscovered
1997: The Young Michelangelo
>The Film-Makers’ Cooperative at Fifty
>Listen: Introduction to a Painting—
Edouard Manet’s “The Railway”
>Side by Side: Cimabue and Giotto at Pisa
>Speech on the Dedication of the East
Building of the National Gallery of Art
>Speech on the Dedication of the National
Gallery of Art
>Vilhelm Hammershøi and His
Contemporaries
>Elson Lecture: Kerry James Marshall: The
Importance of Being Figurative
>About Four Honest Outlaws
>Andrew W. Mellon: Collecting for the
Nation
>Mellon: A Life
>Conversations with Artists: Joel Shapiro,
Thoughts on the Organization of Form in
Modern Sculpture
>Nineteenth-Century Redux: A New Look
at a Great Collection of French Paintings Exhibition Features
>Exhibiting Blackness: African Americans
>Haiku Inspired by Itō Jakuchū’s “Colorful
and the American Art Museum
Realm of Living Beings” (with selections
>A Sense of Place—Norman Lewis in from the exhibition catalogue)
Harlem: “An Inquiry into the Laws of
>About the Exhibition “Joan Miró: The
Nature”
Ladder of Escape”
>Conversations with Artists: Compositions
and Collaborations: The Arts of Lou Stovall
PRINT AND MEDIA AWARDS
>Conversations with Artists: David C.
Driskell and Frank Stewart
>Remembering and Forgetting: Imagery and Print, Design Awards
Its Role in the Slave Trade and Its >The Chester Dale Collection
Abolition
>Impressionist and Post-Impressionist
>A Conversation with David C. Driskell Masterpieces from the National Gallery
of Art
>Works on Paper by African Americans: >Quarterly Film Calendar
The Growth of the National Gallery of Art AIGA 50 Winners 2012
Collection
>Edgar Degas Sculpture
>Pictures of Nothing: Abstract Art since Finalist, College Art Association’s Alfred
Pollock
H. Barr Jr. Award
Part 1: Why Abstract Art?
Part 2: Survivals and Fresh Starts >Impressionist and Post-Impressionist
Part 3: Minimalism
Masterpieces from the National Gallery
Part 4: After Minimalism
of Art
Part 5: Satire, Irony, and Abstract Art Print’s Regional Design Annual Award
Part 6: Abstract Art Now
2011
>The Pastrana Tapestries of King Afonso V >Italian Master Drawings from the
of Portugal: The Invention of Glory Wolfgang Ratjen Collection: 1525–1835
>Warhol: Headlines
>The Image of the Black in Western Art, Association of American University
Part II
Presses Book, Jacket, and Journal
>Florence: Days of Destruction
Show 2012
>Some Pages from Michelangelo’s Life Film
>Leonardo da Vinci: Artist of Sketchbooks >George Bellows
and Notebooks
Official Selection, 3rd Annual Portland
>Antico: The Making of an Exhibition Maine Film Festival
>Teaching Connoisseurship: Paul Sachs at >Joan Miró: The Ladder of Escape
Harvard University and Bernard Berenson 33rd Annual Telly Awards, Bronze Telly,
at Villa I Tatti
in the category of Cultural Programs
>Harry Callahan at 100
>Gauguin: Maker of Myth
Special Jury Award, 45th Annual
>Conversations with Artists: Mel Bochner WorldFest, Houston
>Morse at the Louvre
Screening Showcase Selection, 30th
International Festival of Films on Art,
>Warhol: Headlines Symposium
Montreal
80
Exhibition
>Antico: The Golden Age of
Renaissance Bronzes
Outstanding Small Exhibition Award,
Association of Art Museum Curators
STAFF PUBLICATIONS
>Andaleeb Banta, “A Parmigianino
Drawing Rediscovered,” Master
Drawings 50, no. 1 (2012): 49–58.
>———, five entries in Capturing the
Sublime: Italian Drawings of the
Renaissance and Baroque, ed. Suzanne
Folds McCullagh (Chicago: Art Institute
of Chicago, 2012).
>Barbara H. Berrie, “Rethinking the
History of Artists’ Pigments through
Chemical Analysis,” Annual Review
of Analytical Chemistry 5 (2012): 441–459,
doi: 10.1146/annurev-anchem-
062011-143039.
>Jonathan Bober, entries on Camillo
Boccaccino, Cambiaso, and Paggi
in Capturing the Sublime: Italian Drawings
of the Renaissance and Baroque, eds.
Suzanne Folds McCullagh and Kate
Tierney Powell (Chicago: Art Institute
of Chicago, 2012).
>———, “L’Ecce Homo di Giulio Cesare
Procaccini: L’invenzione di uno stile
tra modelli acquisti e innovazione,” in
Giulio Cesare Procaccini. ‘Ecce Homo’:
l’annello mancante, eds. Giulio Bora and
Davide Dotti (Milan: Museo Diocesano,
2012), 14–19.
>David Alan Brown, “Venezia: Canaletto
e i soui rivali,” in Il vedutismo veneziano:
una nuova visione—Atti del Seminario, 27
maggio 2011, Pinacoteca di Brera, Milan
(Milan: Fondazione Bracco, 2011), 22–37.
>Faya Causey, Amber and the Ancient
World (Los Angeles: J. Paul Getty
Museum, 2012).
>———, review of Rome: A Cultural,
Visual, and Personal History, by Robert
Hughes, Washington Independent Review
of Books (April 2012).
>Oscar Chiantore, Rebecca Ploeger,
Tommaso Poli, and Barbara Ferriani,
“Materials and Techniques in the
Pictorial Oeuvre of Lucio Fontana,”
Studies in Conservation 57, no. 2
(2012): 92–105.
>Carol Christensen, “Gauguin’s Brittany
Landscape: Compositional
Transformation and Intentional
Ambiguity,” Painting Specialty Group
Postprints (Philadelphia: American
Institute for Conservation, 2012).
>Annalisa Colombo, Francesco Tassone,
Michele Mauri, Domenico Salerno,
John K. Delaney, Michael R. Palmer, E.
René de la Rie, and Ricardo Simonutti,
“Highly transparent nanocomposite
films from water-based poly (2-ethyl-2oxazoline)/TiO2
dispersions,” RSC
Advances 2 (2012): 6628–6636, doi:
10.1039/C2RA20571H.
>Harry Cooper, “On the Dot,” in Roy
Lichtenstein: A Retrospective (Chicago:
Art Institute of Chicago, 2012).
>———, “Rothko’s Soup,” in Mark
Rothko: The Decisive Decade: 1940–1950
(New York: Skira Rizzoli, 2012).
>Elizabeth Cropper, “The Fortuna critica
of Agnolo Bronzino,” in Bronzino: Artist
and Poet at the Court of the Medici/
Bronzino. Pittore e poeta alla corte dei
Medici, eds. Carlo Falciani and
Antonio Natali (Florence: Palazzo
Strozzi, 2010), 23–33.
>———, “Reading Bronzino’s Florentine
Portraits,” in Bronzino: Artist and Poet at
the Court of the Medici/Bronzino. Pittore
e poeta alla corte dei Medici, eds. Carlo
Falciani and Antonio Natali (Florence:
Palazzo Strozzi, 2010), 245–255.
>———, entry on “Pygmalion and
Galatea,” in Bronzino: Artist and Poet at
the Court of the Medici/Bronzino. Pittore
e poeta alla corte dei Medici, eds. Carlo
Falciani and Antonio Natali (Florence:
Palazzo Strozzi, 2010), 76–78.
>———, “Storia e tradizione nella Felsina
Pittrice di Carlo Cesare Malvasia,”
in Crocevia e capitale della migrazione
artistica: forestieri a Bologna e bolognesi
nel mondo (secolo XVII), ed. Sabine
Frommel (Bologna: Bononia University
Press, 2012), 65–72.
>Melanie E. Gifford, Susanna P. Griswold,
and John K. Delaney, “The Apostle Paul
by Rembrandt (and Workshop?) at
the National Gallery of Art, Washington:
Evolution and Alteration,” Techné 35
(2012): 30–35.
>Margaret Morgan Grasselli and Victor
Koshkin-Youritzin, Vernet to Villon:
Nineteenth-Century French Master
Drawings from the National Gallery of Art
(Norman, Okla.: Fred Jones Jr. Museum
of Art, University of Oklahoma, 2012).
>Ksenya Gurshtein, “OHO: Experimental
Microcosmos on the Edge of East and
West,” in L’Internationale: Post-war
Avant-gardes between 1956 and 1986
(Zurich: JRP Ringier, 2012), 208–215.
>———, “Komar and Melamid,
TransState,” entry in the electronic
catalogue of the exhibition The Desire
for Freedom. Art in Europe since 1945
(Verführung Freiheit, Kunst in Europa seit
1945) (Berlin: Deutsches Historisches
Museum and Sandstein Verlag, 2012).
>Joseph Hammond, “Negotiating
Carmelite Identity: The Scuola dei Santi
Alberto e Eliseo at Santa Maria dei
Carmini in Venice,” in Art and Identity:
Visual Culture, Politics, and Religion
in the Middle Ages and the Renaissance,
eds. Sandra Cardarelli, Emily Jane
Anderson, and John Richards
(Newcastle: Cambridge Scholars
Publishing, 2012), 219–42.
>———, “The Cult and Representation
of the Archangel Raphael in Sixteenth-
Century Venice,” St Andrews Journal
of Art History and Museum Studies 15
(2011): 79–88.
>John Oliver Hand, entry on The
Crucifixion by the Master of Saint
Veronica in Glanz und Grösse des
Mittelalters. Kölner Meisterwerke aus den
grossen Sammlungen der Welt (Cologne:
Museum Schnütgen, 2011), 440–443.