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American Connections

Grades 4 through 12

We are no longer accepting requests for winter/spring field trips.

We will offer a selection of in-person and virtual field trips (using Zoom) for Fall 2024.

Request for fall field trips (September 30 – December 6, 2024) will be accepted from August 1 – November 1, 2024.

Works of art are primary sources that can illuminate American history and culture. On this field trip, students will look carefully and explore landscapes, portraits, and scenes of everyday life. They will actively engage with works of art through discussion, creative writing, and sketching. This field trip can be tailored to connect with different periods in American history.

Schedule a Field Trip

Sheer, vertical, cliffs, brightly lit in cream white and rust orange by the low sun, tower over a band of people riding horses into the distance in this long, horizontal landscape painting. The glowing cliffs dominate the upper right quadrant of the painting. They lighten from burnt orange along the jagged tops to flame orange down the steep sides, and are and warm, parchment white near the earth. One tall, narrow promontory to our right looms over a range of lower, rounded cliffs. As the cliffs move into the distance, they are shrouded with a lavender-purple haze. The land closest to us dips into a shallow valley at the bottom center of the composition, leading away from us. The dirt-packed earth is dotted with pine-green, scrubby bushes and vegetation and a grove of low, gnarled trees a short distance to our right. One chestnut-brown horse walks along the path at the bottom center of the composition, lagging behind a cluster of at least two dozen horses and riders winding into the distance. The horses range from ivory white to tawny brown and charcoal gray. The riders are loosely painted so some details are indistinct, but they all seem to have brown skin and dark hair. They wear feathered headdresses and garments in teal blue, fawn brown, or golden yellow. They ride over a low hill toward a crystal-blue river, and then back along a flat expanse toward a row of miniscule, triangular tepees lining the horizon in the deep distance. The horizon comes halfway up the composition, and the tepees are backed by a row of rose-pink, flat-topped cliffs. A pale yellow disk hangs low in the sky, over the distant cliffs. The sky above deepens from soft, lilac purple along the horizon to ice and sapphire blue along the top. A few wispy clouds are burnished orange in the sunlight. The artist signed and dated the painting in the lower right corner, “TYMoran 1881,” with the T, Y, and M overlapping to make a monogram.

Thomas Moran, Green River Cliffs, Wyoming, 1881, oil on canvas, Gift of the Milligan and Thomson Families, 2011.2.1

Looking and Learning Skills

Students will practice these looking and learning skills:

  • Making and articulating careful observations.
  • Formulating questions that demonstrate curiosity and engagement.
  • Comparing and connecting different works of art.
  • Connecting new ideas learned on this field trip to prior knowledge about American history and culture.
  • Interpreting works of art as primary sources about American art and society.

In-Person Field Trip Information

Group Size: Up to 60 students
Length: 90 minutes
Meeting Location: West Building Rotunda

Virtual Field Trip Information

Length: 60 minutes

Important Scheduling Information

Field Trips must be scheduled at least four weeks in advance. Groups must contain at least 15 students.

Once your field trip has been scheduled, you will receive an email confirmation within ten business days.

Title I Bus Stipends

Funding for the cost of bus transportation is available for Title I schools that participate in our docent-led school field trips. For more information, please get in touch with Deirdre Palmer at [email protected] or (202) 842-6880, or use the application form.

Examples of Works Featured on this Field Trip

Sheer, vertical, cliffs, brightly lit in cream white and rust orange by the low sun, tower over a band of people riding horses into the distance in this long, horizontal landscape painting. The glowing cliffs dominate the upper right quadrant of the painting. They lighten from burnt orange along the jagged tops to flame orange down the steep sides, and are and warm, parchment white near the earth. One tall, narrow promontory to our right looms over a range of lower, rounded cliffs. As the cliffs move into the distance, they are shrouded with a lavender-purple haze. The land closest to us dips into a shallow valley at the bottom center of the composition, leading away from us. The dirt-packed earth is dotted with pine-green, scrubby bushes and vegetation and a grove of low, gnarled trees a short distance to our right. One chestnut-brown horse walks along the path at the bottom center of the composition, lagging behind a cluster of at least two dozen horses and riders winding into the distance. The horses range from ivory white to tawny brown and charcoal gray. The riders are loosely painted so some details are indistinct, but they all seem to have brown skin and dark hair. They wear feathered headdresses and garments in teal blue, fawn brown, or golden yellow. They ride over a low hill toward a crystal-blue river, and then back along a flat expanse toward a row of miniscule, triangular tepees lining the horizon in the deep distance. The horizon comes halfway up the composition, and the tepees are backed by a row of rose-pink, flat-topped cliffs. A pale yellow disk hangs low in the sky, over the distant cliffs. The sky above deepens from soft, lilac purple along the horizon to ice and sapphire blue along the top. A few wispy clouds are burnished orange in the sunlight. The artist signed and dated the painting in the lower right corner, “TYMoran 1881,” with the T, Y, and M overlapping to make a monogram.

Thomas Moran, Green River Cliffs, Wyoming, 1881, oil on canvas, Gift of the Milligan and Thomson Families, 2011.2.1

Elizabeth Catlett, Taller de Gráfica Popular, Untitled (Harriet Tubman), 1953, linocut, Reba and Dave Williams Collection, Florian Carr Fund and Gift of the Print Research Foundation, 2008.115.37
Shown from the knees up, a woman with brown, wrinkled skin, wearing a white blouse, apron, and black skirt is shown in front of a pale gray background in this vertical portrait painting. Straight-backed, she faces and looks at us with her hands resting in her lap. Her wavy, iron-gray hair is parted in the center and pulled back from her face. Her eyebrows are slightly raised, and her face is deeply lined down her cheeks and around her mouth. She wears a heart-shaped brooch with a red stone at its center at her neck and a gold band on her left ring finger. The light coming from our left casts a shadow against the wall to our right. The artist signed and dated the painting in the lower right corner: “A.J. MOTLEY. JR. 1922.”

Archibald John Motley Jr., Portrait of My Grandmother, 1922, oil on canvas, Patrons' Permanent Fund, Avalon Fund, and Motley Fund, 2018.2.1
In a camp, two soldiers wearing blue uniforms are lost in thought as they listen to a military band playing music in the background in this vertical painting. Their uniforms consist of midnight-blue jackets, stone-blue pants, and flat-topped, brimmed hats. Brass buttons line the open fronts of their jackets, and a gold-colored emblem is affixed to the tops of their caps. One soldier, at the center of the painting, stands facing our left in profile with one hand on his hip. Another, to our right, sits in front of a tent, also looking to our left. The seated soldier’s knees are spread wide. One hand rests on at least two pieces of paper on his thigh, and he rests his chin in the other hand, also propped on his thigh. A low, triangular tent, about waist-high, is pitched to the left of the standing solider. The inside is dark but closer inspection reveals the bottom of one boot, presumably belonging to a solider lying down inside. At the lower left of the painting, gray smoke drifts up from a pot on a campfire. A knapsack and a pewter plate holding waffle-like hardtack are laid near the tent. A few branches cover the dirt ground to our right. A tan cloth draped over an arbor-like structure of sticks forms a partition between the two soldiers and the rest of the camp, dividing the composition. Rows of tents extend into the distance. A band of soldiers plays music in the distance, light glinting off their gold horn instruments. A row of tents is visible in the deep distance, perhaps across a body of water. The horizon line comes about two-thirds of the way up the composition, and puffy white clouds drift across the pale blue sky above.

Winslow Homer, Home, Sweet Home, c. 1863, oil on canvas, Patrons' Permanent Fund, 1997.72.1

Additional National Gallery Resources

Classroom Poster

The Shaw 54th Regiment Memorial

The poster offers information and activities to encourage students to consider the perspectives of a famous regiment of African American Civil War soldiers by carefully looking at art images and using creative-writing prompts. It explores the artistic challenges of creating a meaningful memorial and tasks students with conceptualizing their memorials.

Download Poster (PDF 685KB)

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