National Gallery of Art

On Sunday, movement is optional. __ 🖼️ Thomas Gainsborough, "Mrs. Richard Brinsley Sheridan," 1785-1787, oil on canvas, 86 x 60 in., Andrew W. Mellon Collection 📍 West Building, Main Floor, Gallery 59

Imagine not being able to take your family to a public pool just because of your skin color. In the 1960s, Black activists all over the country were confronting this kind of legalized racial segregation, standing up, demanding their rights, and pushing for equality. And photographers like Danny Lyon were instrumental in capturing images that made the fight for civil rights starkly visible to white America. Uncover the story ⬇ #ArtUncovered . . . . 📷 Danny Lyon, Magnum Photos, "John Lewis and Colleagues, Prayer Demonstration at a Segregated Swimming Pool, Cairo, Illinois," 1962, printed 1969, gelatin silver print, Corcoran Collection (Museum Purchase)

Con casi 5 metros de altura, esta escultura de Simone Leigh parece vigilar el mundo a su alrededor. La artista estadounidense abarca conceptos de género, raza, belleza y comunidad en sus obras. En esta, llamada “Sentinel”, Leigh crea una representación abstracta del cuerpo femenino, con influencia de las formas del arte moderno africano. La falta de una cara detallada nos habla de anonimidad de la mujer negra en la historia y de cómo muchas veces se ha silenciado como forma de autoprotección. 📍 ¿Quieres verla en persona? Está expuesta en el atrio de nuestro edificio este. __ 🖼️ Simone Leigh, “Sentinel”, 2022, bronze, 493 x 99 x 59 cm, Gift of the Glenstone Foundation

Find a friend who makes sitting in silence feel like the most comfortable place in the world. . . . . 🖼 Titian and Workshop, “Saint John the Evangelist on Patmos,” 1553/1555, oil on canvas, 93 x 103 in., Samuel H. Kress Collection 📍 West Building, Ground Floor, Gallery G14

Do you know what it is? Uncover the story ⬇ #ArtUncovered . . . . 🖼 Edward Hopper, “Ground Swell,” 1939, oil on canvas, 36 × 50 in., Corcoran Collection 📍 West Building, Ground Floor, Gallery G6

John Singer Sargent’s landscapes are underrated. 👀 Sargent, who was a superstar of Gilded Age portraiture on both sides of the Atlantic, found himself increasingly weary of the demands of that high-profile life in the early 1900s. He even went so far as to announce he was "shutting up shop in the portrait line," to focus more on landscapes. And here's the thing: his landscapes are imbued with the same dazzling variety of brushwork that made his portraits so vibrant. Take a look at his “En route pour la pêche” painting, for example. The way he captures sunlight and deep shadows in that seaside scene—it’s nothing short of brilliant. His landscapes are a testament to his incredible range and skill, revealing an entirely different facet of his artistry. __ 🖼 John Singer Sargent, “En route pour la pêche (Setting Out to Fish),” 1878, oil on canvas, 31 × 48 in., Corcoran Collection (Museum Purchase, Gallery Fund)

Should graffiti art be preserved? This month, stenciled artworks by #Banksy have been defaced or removed just hours after appearing in London. Part of his animal-themed series, some suspect that these murals raise questions about our treatment of wildlife and challenge the ethics of zoos. But the swift removal of these works highlights a larger debate: should street art like Banksy’s be preserved, or is impermanence an inherent aspect of graffiti?

One dancer inspires another. A young dancer from Paris, France meets the "Little Dancer" for the first time. ❤️ __ 🩰 Edgar Degas, “Little Dancer Aged Fourteen,” 1878-1881, pigmented beeswax, clay, metal armature, rope, paintbrushes, human hair, silk and linen ribbon, cotton faille bodice, cotton and silk tutu, linen slippers, on wooden base, Collection of Mr. and Mrs. Paul Mellon 📍 West Building, Ground Floor, Gallery 3

Imagine trying to break into a field you’re deeply passionate about, but the odds are stacked against you every step of the way. That’s exactly what American artist Mary Cassatt faced throughout her lifetime. Uncover her story ⬇  #ArtUncovered . . . . 🖼 Mary Cassatt, "Girl Arranging Her Hair," 1886, oil on canvas, 29 x 24 in., Chester Dale Collection 🖼 Mary Cassatt, "Portrait of an Elderly Lady," 1887, oil on canvas, 28 x 23 in., Chester Dale Collection 🖼 Mary Cassatt, "The Banjo Lesson," 1893, color drypoint and aquatint with monoprint, 11 × 9 in., Gift of Mrs. Jane C. Carey 🖼 Mary Cassatt, “The Lamp,” 1890-1891, color drypoint, softground etching, and aquatint on laid paper, 12 × 9 in., Rosenwald Collection 🖼 Mary Cassatt, “The Boating Party,” 1893/1894, oil on canvas, 35 x 46 in., Chester Dale Collection

Una lección en la convivencia Entrar en esta galería, llena de esculturas de Alexander Calder, es convivir con ellas, como si bailaras con las creaciones coloridas del artista estadounidense. Calder se hizo famoso por sus móviles. De hecho, creó uno específicamente para el atrio de nuestro edificio este, que mide unos 23 metros y pesa más de 400 kilogramos. Sin embargo, sus esculturas más pequeñas nos impresionan igualmente, con sus formas tridimensionales, su ligereza, sus colores y su belleza. 📍 Our East Building, Calder Tower; Calder Foundation, New York © 2016 Calder Foundation, New York/Artist Rights Society (ARS), New York