National Gallery of Art

With "Woman with a Parasol," Claude Monet captured love, loss, and a moment that says more than words ever could. Uncover the story ➡️ #ArtUncovered . . . . 🖼 Claude Monet, “Woman with a Parasol - Madame Monet and Her Son,” 1875, oil on canvas, 39 x 31 in., Collection of Mr. and Mrs. Paul Mellon 📍 National Gallery, DC, West Building, Main Floor, Gallery 85 🖼 Claude Monet, "Springtime," 1872, oil on canvas, Walters Art Museum (painting of Camille) 🖼 Claude Monet, "On the Bank of the Seine, Bennecourt," 1868, oil on canvas, Art Institute of Chicago (painting of Camille) 🖼 Claude Monet, "Camille Monet on her deathbed," 1879, oil on canvas, Musée d'Orsay

In case you need some flowers today 🫲 This painting, made in 1660 by Jan Davidsz de Heem, is no ordinary still life. Back in the 17th century, artists stuck to a pretty strict formula for floral paintings—symmetrical bouquets, short stems, and neatly separated petals. But De Heem broke the mold. He let the flowers spill, intertwine, and flow, giving the whole scene a sense of movement and life. By mixing flowers, fruits, and insects from different seasons, De Heem created a kind of fantasy garden—a vibrant world of beauty, frozen in time. __ 🖼 Jan Davidsz de Heem, “Vase of Flowers,” 1660, oil on canvas, 27 x 22 in., Andrew W. Mellon Fund 📍 On view in our #LittleBeasts exhibition: West Building, Ground Floor, Gallery G24 📹 Animation designed by Andrey Zakirzyanov

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We all have our limits—and for Claude Monet, one of the most renowned artists of all time, it was painting a church. __ 🖼️ Claude Monet, “Rouen Cathedral” series, 1894, oil on canvas, Chester Dale Collection 📍 West Building, Main Floor, Gallery 80

Before M.C. Escher created his iconic illusions, he learned from Samuel Jessurun de Mesquita—a bold, visionary printmaker. Then in 1944, Escher rushed to save his teacher’s work, determined the world would remember him. #ArtUncovered . . . . 🖼️ Samuel Jessurun de Mesquita, "Boy's Head," 1927, woodcut on tissue paper, Gift of Graham Nash, National Gallery of Art, DC 🖼️ Samuel Jessurun de Mesquita, "Evil-speaking Little Women," 1927, etching with gray, blue and brown wash, Cornelius Van S. Roosevelt Collection, National Gallery of Art, DC 🖼️ M. C. Escher, Poster advertising the first major exhibition of M. C. Escher's work in Britain. Dulwich Picture Gallery. 14 October 2015-17 January 2016, National Galleries of Scotland 🖼️ Samuel Jessurun de Mesquita, "Grotesque imagination: six figures, in the center of the image a frontal figure with half-length hair and beard," etching, 1917, Collection: Kunstmuseum Den Haag 🖼️ Samuel Jessurun de Mesquita, "Portrait of Jaap Jessurun de Mesquita," 1922, print, Gift of S. Jessurun de Mesquita, Rijksmuseum

No hay mejor descanso que pasar el día en un rincón escondido de un museo. Estas tres esculturas, “‘monumento’ para V. Tatlin” (“‘monument’ for V. Tatlin”) son del artista estadounidense, Dan Flavin. Forman parte de una serie de 39 “monumentos” al artista ruso, Vladimir Tatlin, que creó Flavin entre 1964 y 1990. __ Best reset: spending the day in a hidden spot in a museum. These three sculptures, “‘monument’ for V. Tatlin,” are by American artist Dan Flavin. They’re part of a series of 39 “monuments” to Russian artist Vladimir Tatlin that Flavin created between 1964 and 1990. 📍 National Gallery, East Building, Upper Level . . . . 🖼️ Dan Flavin, “‘monumento’ para V. Tatlin” (“‘monument’ for V. Tatlin”), 1966, luz fluorescente blanca fría (cool white fluorescent light), Regalo de Virginia Dwan (Gift of Virginia Dwan), altura: 365.76 cm, (height: 144 in.) 🖼️ Dan Flavin, “‘monumento’ para V. Tatlin” (“‘monument’ for V. Tatlin”), 1969-1970, luz fluorescente blanca fría (cool white fluorescent light), Regalo del Collectors Committee (Gift of the Collectors Committee), altura: 243.8 cm, (height: 96 in.) 🖼️ Dan Flavin, “‘monumento’ para V. Tatlin” (“‘monument’ for V. Tatlin”), 1968, luz fluorescente blanca fría (cool white fluorescent light), Regalo del Collectors Committee (Gift of the Collectors Committee), altura: 243.8 cm, (height: 96 in.)

You might not be familiar with these early works by Edward Hopper. 👀 Most people know him for his famous oil paintings—those poetic images of loneliness and isolation. But his early etchings give us a unique look at where his journey began. In these foundational prints, you can already see the themes that defined his later work: solitary souls, lost in their own worlds, marked by sharp light and deep shadow. ✍️ . . . . 🖼 Edward Hopper, “Evening Wind,” 1921, etching in black, 7 x 8 1/4 in., Rosenwald Collection 🖼 Edward Hopper, “Night in the Park,” 1921, etching in black, 6 x 8 in., Rosenwald Collection 🖼 Edward Hopper, “East Side Interior,” 1922, etching in black, 7 × 8 in., Rosenwald Collection 🖼 Edward Hopper, “The Cat Boat,” 1922, etching in black, 7 x 9 in., Rosenwald Collection #hopper

Niagara Falls was virtually impossible to paint—at least, that was the common consensus in the mid-19th century. By then, European and American artists had spent decades trying to capture the glory of this natural wonder, with little success. Then Frederic Edwin Church came along and blew them out of the water. __ 🖼 Frederic Edwin Church, “Niagara,” 1857, oil on canvas, 40 × 90 in., Corcoran Collection,📍 West Building, Main Floor, Gallery 71 🖼 Frederic Edwin Church, “The Falls of Tequendama, Near Bogotá, New Granada,” 1854, oil on canvas, 60 × 48 in., The Edwin and Virginia Irwin Memorial, The Cincinnati Art Museum 🖼️ Frederic Edwin Church, "Niagara Falls, from the American Side,” 1867, oil on canvas, 101 x 89 in., Presented by John S Kennedy 1887, National Galleries of Scotland 🖼️ Frederic Edwin Church, "Study for 'Under Niagara'," 1858, oil on paper mounted on canvas, 11 x 17 in., Olana State Historic Site, New York 🖼️ Frederic Edwin Church, “Heart of the Andes,” 1859, oil on canvas, 66 x 120 in., Bequest of Margaret E. Dows, 1909, The Metropolitan Museum of Art

This breathtaking view of Paris was painted by Auguste Renoir in 1872. And it represents a pivotal moment in art history.   In the 19th century, a daring group of artists decided they were finished with the traditional rules of the art world. They took their paints outside to capture life as it truly happened. They called themselves “Artists, Painters, Sculptors, Engravers, Inc.,” but history remembers them as the “impressionists.” One of these bold innovators was Auguste Renoir. When he set out to paint the Pont Neuf, Paris’s oldest bridge, he defied the status quo. He secured the upper floor of a café overlooking the Seine, where he could witness a dynamic view of the city. To capture the ever-changing scene, Renoir asked his brother, Edmond, to head over to the bridge, chat with people, and slow them down just enough for Renoir to paint them. This inventive technique—freezing fleeting moments—defied the rigid conventions of the past and made Renoir a standout in the art world. __   🖼 Auguste Renoir, French, 1841 - 1919, “Pont Neuf, Paris,” oil on canvas, Ailsa Mellon Bruce Collection 🎥 Animation designed by Andrey Zakirzyanov

How did one of the world’s rare Leonardo paintings come to the US? On a secret mission straight out of a James Bond movie. Now you can see it in person in our West Building 🫱 __ 🖼 Leonardo da Vinci, “Ginevra de’ Benci [obverse],” 1474/1478, oil on panel, 15 x 14 in., Ailsa Mellon Bruce Fund 📍 National Gallery, DC, West Building, Main Floor, Gallery 06