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Every Picture Tells a Story

Grades 2 through 12

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

Requests for winter/spring field trips (January 6 – May 30, 2025) will be accepted from December 1, 2024 – April 5, 2025.

Uncover the many stories that works of art tell. During this field trip, students will learn to "read" works of art by considering multiple perspectives, characters, settings, and plots. They will engage in activities to imaginatively create narratives and dialogues inspired by the works of art.

Schedule a Field Trip

The head, shoulders, and chest of a young man with brown skin, dressed in Ojibbeway tribal attire, faces and looks at us in this vertical portrait painting. The right side of his face, on our left, is painted crimson red, and horizonal stripes of red and white line his other cheek. He looks at us with dark brown eyes under black eyebrows. A silvery white ring hangs from his nose between his nostrils. His upper lip is darker than his skin-colored lower lip, and his mouth is closed. His brown fur headdress has a cardinal-red patch at the front center. Pearl-white feathers with red tips hang along both sides of his face and down to his shoulders. The sleeves of his tan coat are streaked with sky blue, tomato red, and lemon-lime green, and fringe of the same colors hangs along the arms. Fur lining at the neck follows the curve of a string of curving, white claws and a glinting string of silvery-gray beads. He also wears a high, beaded collar with white and dark brown geometric pattern. A strap crosses his chest. The background behind him is mottled with sage green, tan, and cream white.

George Catlin, Boy Chief - Ojibbeway, 1843, oil on canvas, Paul Mellon Collection, 1965.16.349

Looking and Learning Skills

During four or five field trip stops in the galleries, students engage in activities—such as looking exercises, small-group work, creative writing, and sketching—that foster conversations about works of art. On this field trip, students will practice the following skills:

  • Making and articulating careful observations.
  • Formulating questions that demonstrate curiosity and engagement.
  • Examining paintings from the perspectives of peers, the artists, and the people in the paintings.
  • Comparing and connecting different paintings.
  • Reasoning with evidence from the works of art themselves—developing narratives based on what is seen in the work of art.
  • Taking new ideas learned from the field trip and connecting them to prior knowledge and experience.

In-Person Field Trip Information

Group Size: Up to 90 students
Length: 60 minutes for grade 3; 75 minutes for grades 4 through 12
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.

Bus Transportation

Bus transportation is available for DCPS (District of Columbia Public Schools) participating in our docent-led school field trips. Teachers should follow the guidelines here to apply for bus transportation.

Examples of Works Featured on this Field Trip

The head, shoulders, and chest of a young man with brown skin, dressed in Ojibbeway tribal attire, faces and looks at us in this vertical portrait painting. The right side of his face, on our left, is painted crimson red, and horizonal stripes of red and white line his other cheek. He looks at us with dark brown eyes under black eyebrows. A silvery white ring hangs from his nose between his nostrils. His upper lip is darker than his skin-colored lower lip, and his mouth is closed. His brown fur headdress has a cardinal-red patch at the front center. Pearl-white feathers with red tips hang along both sides of his face and down to his shoulders. The sleeves of his tan coat are streaked with sky blue, tomato red, and lemon-lime green, and fringe of the same colors hangs along the arms. Fur lining at the neck follows the curve of a string of curving, white claws and a glinting string of silvery-gray beads. He also wears a high, beaded collar with white and dark brown geometric pattern. A strap crosses his chest. The background behind him is mottled with sage green, tan, and cream white.
Examples of Works Featured on Tour

George Catlin, Boy Chief - Ojibbeway, 1843, oil on canvas, Paul Mellon Collection, 1965.16.349
To our left, a young woman sits facing us on a low stone wall at the base of the vertical, black bars of an iron fence and a young girl stands facing away from us to our right in this horizontal painting. Both have pale skin. The woman looks directly at us with dark eyes as she holds an open book, a closed red fan, and a sleeping brown and white puppy in her lap. Her long auburn hair falls down over her shoulders. Her navy-blue dress is accented with white piping on the skirt, collar, and sleeves, and has three large, white buttons down the front and her black hat is adorned with two red poppies and a daisy. The girl wears a sleeveless white, knee-length dress belted with a marine-blue sash tied in a large bow at her back. The girl’s blond hair is pulled up and tied with a black ribbon. She raises her left hand to grasp the bar of the fence she faces. A bunch of green grapes lies on the low wall to our right. A plume of steam fills much of the space beyond the black fence, which spans the width of the painting and extends off the top edge. A few details can be made out beyond the fence, including a stone-gray building with two wooden doors to our left and a bridge along the right edge.
Examples of Works Featured on Tour

Edouard Manet, The Railway, 1873, oil on canvas, Gift of Horace Havemeyer in memory of his mother, Louisine W. Havemeyer, 1956.10.1
Two large dogs approach a man lying unconscious and mostly buried in the snow in this horizontal painting. The head of the man comes toward us, at the lower center of the composition, and the dogs are close to us. In the center of the painting, a large tan and white dog has short, glossy fur and floppy ears, and its jowly mouth hangs open with the pink tongue visible. It paws at the snow partially covering most of the body of the man, who wears an olive-green coat with a fur collar and white shirt. The dog looks up to our right, and its body and white-tipped tail recede diagonally into the picture to the left. There is a red blanket with black edging over the dog’s back, and the hound wears a wide, fur-lined silver collar ornamented with metalwork lions and bells. The second dog, a dark brown brindle color, sits to the immediate left of the first dog. It gazes down at the prone person and bends its head down to lick a bare pale, pink hand that protrudes from under the snow. The brindle dog wears a small barrel around its neck on a brown buckled leather collar. The man’s dark brown hair falls over the snow. His pale gray face is upward, and his shoulders are visible while his arms splay out, and the rest of his body, extending into the picture, is covered with snow. The man’s eyes are closed. His right hand, in a tan leather glove, reaches toward us from the snow, while a green velvet cap with a red ribbon lies under the hand. The scene is enclosed by large, angular, steel and blue-gray boulders and rock formations, with two craggy pine trees above. Beyond lies a mountain landscape with a V-shaped pass at the center top framed by the steep ascent of jagged, snowy hillsides and a sliver of blue sky. A blocky stone building is nestled in among the crags to our right. On a path leading from the building, three bearded men wearing black caps and robes hurry toward the dogs. The nearest of them holds up a staff with a cross on the top and waves or signals to the men farther back along the path.
Examples of Works Featured on Tour

Sir Edwin Landseer, Alpine Mastiffs Reanimating a Distressed Traveler, 1820, oil on canvas, Patrons' Permanent Fund, 2019.120.1
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.
Examples of Works Featured on Tour

Thomas Moran, Green River Cliffs, Wyoming, 1881, oil on canvas, Gift of the Milligan and Thomson Families, 2011.2.1
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.”
Examples of Works Featured on Tour

Archibald John Motley Jr., Portrait of My Grandmother, 1922, oil on canvas, Patrons' Permanent Fund, Avalon Fund, and Motley Fund, 2018.2.1

Additional National Gallery Resources

Classroom Poster

The Railway

Manet’s The Railway gives us a glimpse of Parisian life in the 19th century. The poster offers information and activities to encourage looking at, thinking about, and interpreting the work of art. It can be used flexibly and is suitable for small-group or whole-class work.

Download Poster (PDF 522KB)

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)

Classroom Poster

The Farm (La masía)

This bilingual poster of The Farm by Spanish artist Joan Miró is designed to be a primary source for you to display and use in your classroom. We hope this poster will generate rich conversations, probing questions, and great ideas among your students, which you can support and develop using the information and activities provided on the back of the poster. The poster also offers opportunities to develop content knowledge about a Spanish modern artist, his artistic process, and the idea of identity expressed through art.

Download Poster (PDF 882KB)

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