- Albright, Ivan
- Avery, Milton
- Baer, George
- Bellows, George
- Benton, Thomas Hart
- Bluemner, Oscar F.
- Bruce, Patrick Henry
- Curry, John Steuart
- Davies, Arthur B.
- Davis, Stuart
- Dearth, Henry Golden
- Dodd, Lamar
- Douglas, Aaron
- Dove, Arthur
- Emmet, Lydia Field
- Glackens, William
- Hartley, Marsden
- Henri, Robert
- Hopper, Edward
- Jonson, Raymond
- Kent, Rockwell
- Kuhn, Walt
- Kuniyoshi, Yasuo
- Lebrun, Rico
- Luks, George
- Marin, John
- Marsh, Reginald
- Maurer, Alfred H.
- Myers, Jerome
- O'Keeffe, Georgia
- Pène du Bois, Guy
- Pippin, Horace
- Prendergast, Maurice
- Sheeler, Charles
- Sloan, John
- Soyer, Raphael
- Steichen, Edward
- Tucker, Allen
- Weber, Max
- Wood, Grant
- Zorach, Marguerite
- Show all works
- The Aero
- Anne with a Japanese Parasol
- Artist and Nude
- Bather Seated on Rocks
- Berlin Abstraction
- The Bersaglieri
- Bizarre
- Blond Figure
- Blue Morning
- Both Members of This Club
- Buildings with Snowbank, Cliffside, New Jersey
- Café du Dôme
- Cape Cod Evening
- Catharine
- Chester Dale
- Christmas Mail
- Circus Elephants
- Citadel
- The City from Greenwich Village
- Classic Landscape
- Club Night
- Corn and Winter Wheat
- Cows in Pasture
- Dryad
- Edith Reynolds
- Elizabeth Virginia Laning Bradner Smith (Mrs. George Cotton Smith)
- Family Group
- The Fire Boss
- Flecks of Foam
- Florence Sittenham Davey (Mrs. Randall Davey)
- Forty-two Kids
- George Cotton Smith
- Green Apples and Scoop
- Grey Sea
- Ground Swell
- Hallway, Italian Restaurant
- Hare and Hunting Boots
- Harriet Lancashire White (Mrs. Edward Laurence White) and Her Children, Sarah and Laurence
- Haying
- House with Dutch Roof
- Imagination
- Immanuel Church, New Castle, Delaware: Close View
- Immanuel Church, New Castle, Delaware: Distant View
- Indian Girl in White Blanket
- Interior of the Fourth Dimension
- Into Bondage
- Jack-in-Pulpit Abstraction - No. 5
- Jack-in-Pulpit - No. 2
- Jack-in-the-Pulpit No. 3
- Jack-in-the-Pulpit No. IV
- Jack-in-the-Pulpit No. VI
- The Judgment Day
- Landscape No. 5
- Landscape with Figures
- La Rue de la Santé
- Le Tournesol (The Sunflower)
- Life on the East Side
- Line and Curve
- Little Girl in White (Queenie Burnett)
- The Lone Tenement
- Luxembourg Gardens
- Madison Square, Snow
- Maine Woods
- Marie Jane Hughes Marin (Mrs. John Marin)
- Masouba
- Maud Murray Dale (Mrs. Chester Dale)
- Moon
- Moth Dance
- Mountain and Meadow
- Mount Katahdin, Maine
- Multiple Views
- My Family
- New Road
- New York
- Nude with Hexagonal Quilt
- Nude with Red Hair
- Olivia
- Peinture/Nature Morte
- Pierrot Tired
- The Politicians
- Pumpkins
- The Ragged One
- A Railroad Station Waiting Room
- Rush Hour, New York
- Salem Cove
- School Studies
- Shell No. I
- Sky with Flat White Cloud
- Smokehounds
- Snow in New York
- Space Divided by Line Motive
- Stars and Dews and Dreams of Night
- Study for "Swing Landscape"
- Sweet Tremulous Leaves
- Tennis Tournament
- There Were No Flowers Tonight
- Third Street, New Castle, Delaware
- Trail Riders
- Tunk Mountains, Maine
- Untitled: Circus
- Variations on a Rhythm--U
- View from the Green, New Castle, Delaware
- Volendam Street Scene
- The White Clown
- Winter Landscape
- Winter Road I
- Winter Valley
- Wisconsin
- The Written Sea
- Yeats at Petitpas'
- Young Woman in Kimono
- Young Woman in White
- Zinnias
American Modernism and the National Gallery of Art: "The Perfect Place"
Charles Brock
The story of how the collection of modern American paintings at the National Gallery of Art was formed is a rather curious and little known one within the Gallery’s larger institutional narrative.[1] When the Gallery opened in 1941, there were only a few American paintings and no contemporary or modern art of any kind on view. It was considered a conservative institution mainly devoted to the art of the European past. And yet, in stark contrast to the older, more established 19th-century institutions on the East Coast, like the Metropolitan Museum of Art, the Philadelphia Museum of Art, the Museum of Fine Arts, Boston, or the Corcoran Gallery of Art, the National Gallery of Art, founded in the midst of two of the 20th century’s most devastating maelstroms—the Great Depression and World War II—was markedly a child of the modern era.[2] From its inception, the Gallery’s institutional identity was both inherently modern and, as the nation’s gallery in the nation’s capital, inherently American.
Another important context for understanding the evolution of the American modernism collection is the debate regarding the museum’s organization that took place over the course of the 1920s and 1930s, before its official opening in 1941, and more specifically how that debate related to pressing issues regarding the role of contemporary art museums. The discussion of what a national gallery of art in the United States should collect and display took place in tandem with a consideration of what museums of American and modern art should collect and display. Then, as now, complex, dynamic problems surrounding the relationship of present to past and of modernism to nationalism and internationalism resisted easy answers, with theoretical ideals and strict divisions giving way to the evolving practical demands of running museums.
Given the Gallery’s conservative reputation, it is surprising to learn that the primary sources for the collection of American modernist paintings can be traced back to a coterie of its most influential early supporters. Almost every major development in the field of American modernism at the Gallery is indebted in some way to either its first chief curator, John Walker, or to one of three early trustees: Chester Dale, Duncan Phillips, and Paul Mellon. If American modernism was not a particularly high priority for the Gallery in its first years, these “conservative” modernists nonetheless helped to establish at a very early stage a commitment to the field that proved to be persistent and effective. One of the most significant examples of this falls outside the parameters of this catalog: the gift of over 1,600 photographs by
This essay provides an institutional history of American modernism at the National Gallery of Art and demonstrates how, gradually, unevenly, and at times idiosyncratically, the Gallery’s holdings of American modernist paintings have coalesced around the basic structural elements established by Walker, Dale, Phillips, and Mellon. These broader historical perspectives are intended to complement the primary content of this online publication: the detailed entries on individual paintings by the catalog’s lead author, Robert Torchia, and other scholars.
Notes
[1] I am first and foremost indebted to Robert Torchia for producing such a rich record of the Gallery’s American modernist holdings. I am especially grateful to Nancy Anderson, Judy Metro, Sally Bourrie, and Lisa Shea for steadfastly supporting this project and guiding it to completion. Many thanks also to Harry Cooper, curator of modern art, who has encouraged a creative and productive dialogue between the American and modern art departments at the Gallery without which this catalog could not have happened. This essay has benefitted enormously from the expertise of my curatorial colleagues Nancy Anderson, Judith Brodie, Sarah Cash, Harry Cooper, Sarah Greenough, and Franklin Kelly. A special thanks to Sarah Greenough, who has served as my mentor and guide to the field. Finally, I would like to thank Maygene Daniels, Karen Schneider, and Jean Henry for pointing me toward so many illuminating documents in their respective archives at the National Gallery of Art and the Phillips Collection.
[2] The National Gallery of Art began accessioning 20th-century American paintings from the Corcoran Collection in 2014. This latest chapter in the history of American modernism at the Gallery will be addressed in future versions of this online catalog.
[3] See Sarah Greenough, Alfred Stieglitz: The Key Set; The Alfred Stieglitz Collection of Photographs (Washington, DC, 2002).
[4] Sarah Greenough has been the head of the department since its founding in 1990. The Stieglitz photographs were originally overseen by Elizabeth Mongan, curator of graphic arts at the Gallery from 1943 to 1963.