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"To found a portrait gallery in the 1960s," Smithsonian Secretary S. Dillon Ripley said, was difficult because "American portraiture has already reached the zenith in price and the nadir in supply." [1] Ripley, whose leadership of the Smithsonian began in 1964, was a strong supporter of the new museum, however. He encouraged the museum's ...
The National Museum of American Art (now the Smithsonian American Art Museum) and the National Portrait Gallery opened in January 1968. The north wing housed the art museum and the south wing housed the portrait gallery. Office space and a café occupied the east wing. The center courtyard had outdoor eating space for the cafe and several large ...
The Smithsonian Institution Building (also known as "The Castle") was completed in 1855 to house an art gallery, a library, a chemical laboratory, lecture halls, museum galleries, and offices. [3] During this time the Smithsonian was a learning institution concerned mainly with enhancing science and less interested in being a museum.
The National Archives/National Gallery of Art Sculpture Garden across the Mall, and the National Portrait Gallery/Smithsonian American Art building several blocks to the north, also mark this pivotal axis, a key element of both the 1791 city plan by Pierre L'Enfant and the 1901 MacMillan Plan. [3]
After his return to the East, he organized his large gallery of Indian portraits and paintings to be mounted in several cities, including New York. [1] In 1852, he gained a major exhibit in Washington, DC, at the Smithsonian Institution of his Native American Gallery, which attracted much attention in the city. As he noted in the preface to the ...
National Museum of American Art; National Portrait Gallery (Smithsonian Institution) (1993). Revisiting the white city: American art at the 1893 World's Fair. Washington, D.C. : Hanover: National Museum of American Art and National Portrait Gallery, Smithsonian Institution ; Distributed by the University Press of New England. pp.
Before that, a portrait was commissioned by the National Portrait Gallery at the Smithsonian Institution. Years following its initial unveiling, the artist of the portrait, Nelson Shanks , revealed he added a subtle shadow on the left-hand side of the painting to reference the Monica Lewinsky scandal and how it was, "a metaphor in that it ...
Joel Chandler Harris, c. 1914, watercolor on ivory, National Portrait Gallery, Smithsonian Institution. In Atlanta, she lived across the street from Wren's Nest, [2] the home of author and journalist Joel Chandler Harris, who wrote the Uncle Remus stories and shared his stories with her and her sister, [3] [5] Willie Marion Stanton. [6]