Landscape with the Holy Family (Rest on the Flight into Egypt) Alessandro Algardi, and Giovanni Francesco Grimaldiabout 1650

Landscape with the Holy Family (Rest on the Flight into Egypt)
Alessandro Algardi, and Giovanni Francesco Grimaldiabout 1650
From the collection of
The J. Paul Getty Museum
Two contemporary Bolognese draftsmen worked at different times on this unique drawing. Sculptor Alessandro Algardi added the figures after painter Francesco Grimaldi had created the landscape. By inserting the Holy Family, which fits so naturally into the composition, the elder Algardi may have meant to improve his junior colleague's composition. The figural group balances the central tree and gives the landscape a recognizable subject matter. To achieve greater luster, Algardi also may have added the brown wash throughout.

The artists' styles are distinctive. Algardi drew his playful family grouping with a more delicate, graceful, even fragile line than Grimaldi's bold squiggles and hatching, which are especially evident in the dynamic, dominant tree.

These two artists often worked together on architectural commissions, yet only one other similar sheet exists, an architectural drawing in which Algardi corrected and added to Grimaldi's work. This drawing could have been made in preparation for Grimaldi's etching of the same subject.
Details
Title: Landscape with the Holy Family (Rest on the Flight into Egypt)
Creator: Alessandro Algardi, and Giovanni Francesco Grimaldi
Date: about 1650
Physical Dimensions: 36.5 x 26.4 cm (14 3/8 x 10 3/8 in.)
External Link: Find out more about this object on the Museum website.
Medium: Pen and brown ink with brown wash
Source Credit Line: The J. Paul Getty Museum, Los Angeles
Object Type: Drawing
Object Status: Permanent Collection
Number: 94.GA.78
Markings: Markings: Marked at bottom edge, unidentified collector's mark "TC".
Display Location: Not currently on view
Department: Drawings
Culture: Italian
Classification: Drawings

The J. Paul Getty Museum
Los Angeles, United States

The J. Paul Getty Museum at the Getty Center features works of art dating from the eighth through the twenty-first century, showcased against a backdrop of dramatic architecture, tranquil gardens, and breathtaking views of Los Angeles. The collection includes European paintings, drawings, sculpture, illuminated manuscripts, decorative arts, and European, Asian, and American photographs.

The J. Paul Getty Museum at the Getty Villa in Malibu features Greek, Roman, and Etruscan antiquities presented in a setting modeled after a first-century Roman country house, the Villa dei Papiri in Herculaneum, Italy.

Get information about visiting the Getty Center and the Getty Villa at getty.edu/visit.

Alessandro Algardi
Jul 31, 1598 - Jun 10, 1654

Alessandro Algardi was an Italian high-Baroque sculptor active almost exclusively in Rome, where for the latter decades of his life, he was, along with Francesco Borromini and Pietro da Cortona, one of the major rivals of Gian Lorenzo Bernini.
http://hisour.com/art-medium/drawings/landscape-with-the-holy-family-rest-on-the-flight-into-egypt-alessandro-algardi-and-giovanni-francesco-grimaldiabout-1650/

William Alfred Delamotte

[gallery ids="4363,4366,4369,4372,4375" orderby="rand"]

William Alfred Delamotte
1775 - 1863

William Alfred Delamotte, was an English painter and engraver.
W. A. Delamotte was the son of a French refugee. His remarkable drawing skills were apparent from an early age, so that he enjoyed the royal patronage of King George III. After having exhibited at the Royal Academy in 1793, he enrolled at the Royal Academy Schools the following year, becoming a student of Benjamin West, another of the King's protégés and President of the Royal Academy. Even during these years of study, Delamotte chose to turn his attention to architectural and landscape work. From the Academy he moved to Oxford, depicting its buildings in numerous sketches. In 1803 he accepted the post of drawing-master at the newly established Royal Military College, Sandhurst, a position he held for forty years.
Besides producing watercolours and a few oils, he turned to printmaking by way of etching, lithography and soft-ground etching.
He was the brother of George Orleans Delamotte, landscape artist and teacher.
Philip Henry Delamotte, photographer and illustrator, was the son of Mary and William Alfred Delamotte. He was born on 21 April 1821 at Sandhurst, Berkshire.
http://hisour.com/artist/william-alfred-delamotte/

On the Isis, Waterperry, Oxfordshire William Alfred Delamotte 1806

On the Isis, Waterperry, Oxfordshire
William Alfred Delamotte 1806
From the collection of
Yale Center for British Art
Details
Title: On the Isis, Waterperry, Oxfordshire
Date Created: 1806
Location Created: Oxford
Subject: trees, landscape
Physical Dimensions: w44.1 x h36.2 cm
Location: Not on View
Inscription: Signed and Dated: Not signed, not dated
Inscription: No inscription
Artist: William Alfred Delamotte
Type: painting
Rights: Yale Center for British Art, Paul Mellon Collection
External Link: http://collections.britishart.yale.edu/vufind/Record/1669025
Medium: Oil on artist's board mounted to panel

Yale Center for British Art
New Haven, United States

The Yale Center for British Art houses the largest and most comprehensive collection of British art outside the United Kingdom. Presented to the University by Paul Mellon (Yale College Class of 1929), the collection of paintings, sculpture, drawings, prints, rare books, and manuscripts reflects the development of British art and culture from the Elizabethan period to present day. On view are masterpieces by Thomas Gainsborough, J.M.W. Turner, Joshua Reynolds, and John Constable, as well as artists from Europe and America who lived and worked in Britain.The Center offers a year-round schedule of exhibitions and programs, including films, concerts, lectures, tours, symposia, and family programs. It also provides numerous opportunities for scholarly research, such as residential fellowships. Academic resources of the Center include the reference library and photo archive, conservation laboratories, and a study room for examining works on paper from the collection. An affiliated institution in London, the Paul Mellon Centre for Studies in British Art, awards grants and fellowships, publishes academic titles, and sponsors Yale's first credit-granting undergraduate study abroad program, Yale in London.PublicationsThe Center is active in the publishing of research, and collaborates with Yale University Press on publications accompanying its major exhibitions. In conjunction with the Paul Mellon Center for Studies in British Art, the Center is also responsible for Studies in British Art, an ongoing series of essay volumes published by Yale University Press. Research ProgramsAs well as fostering public programs, the Center offers opportunities for scholars at all levels to study its collections and participate in its scholarly programs. The Center offers short-term residential Visiting Scholar Awards at pre-doctoral and postdoctoral levels; opportunities for students at Yale and elsewhere, including travel grants, research positions, an annual Graduate Student Symposium, and a biennial Graduate Student Summer Seminar. Schools and TeachersEducation Staff works closely with local teachers to supplement classroom teaching with access to works of art, and by helping teachers integrate visual learning into their curricula. In addition, the Center offers a range of opportunities customized to the needs of teachers looking to use visual resources in their classrooms. Yale-in-LondonYale-in-London was the University’s first credit-granting study-abroad program. It provides a unique opportunity for Yale College students to spend the spring or summer in London taking classes in the history of British Art, literature, history, and culture. The program is based at the Paul Mellon Centre for Studies in British Art. Yale Student Guide ProgramThe Center is home to an active undergraduate Student Guide Program. Admittance to the program is highly competitive and guides offer to the public specially devised tours of the collections every Saturday and Sunday during the academic year. Each year the guides curate an Art in Focus exhibition, presenting objects from the collections to the public and gaining experience in every aspect of exhibition practice. Reference Library and ArchivesThe Reference Library, open to researchers of all types, houses 30,000 titles and more than eighty periodicals devoted to British art, artists, and culture from the sixteenth century to the present day. It maintains a growing and vital collection of art conservation and technical analysis materials and offers a station for viewing many of the Center’s past lectures and programs. A Photograph Archive, located within the Reference Library, is a study collection of more than 200,000 photographic reproductions of works of British art from the sixteenth to the early twentieth century. Study RoomThe Study Room is the principal means of access to prints, drawings, watercolors, rare books, manuscripts, and maps in the Center’s collection. Conservation LaboratoriesThe Center houses two modern facilities dedicated to the conservation and restoration of works of art in its collection. They provide complete technical examinations of the museum’s collections. Treatments range from gentle surface cleaning to complex structural repairs. In addition to supporting its own conservation needs,

William Alfred Delamotte
1775 - 1863

William Alfred Delamotte, was an English painter and engraver.
W. A. Delamotte was the son of a French refugee. His remarkable drawing skills were apparent from an early age, so that he enjoyed the royal patronage of King George III. After having exhibited at the Royal Academy in 1793, he enrolled at the Royal Academy Schools the following year, becoming a student of Benjamin West, another of the King's protégés and President of the Royal Academy. Even during these years of study, Delamotte chose to turn his attention to architectural and landscape work. From the Academy he moved to Oxford, depicting its buildings in numerous sketches. In 1803 he accepted the post of drawing-master at the newly established Royal Military College, Sandhurst, a position he held for forty years.
Besides producing watercolours and a few oils, he turned to printmaking by way of etching, lithography and soft-ground etching.
He was the brother of George Orleans Delamotte, landscape artist and teacher.
Philip Henry Delamotte, photographer and illustrator, was the son of Mary and William Alfred Delamotte. He was born on 21 April 1821 at Sandhurst, Berkshire.
http://hisour.com/art-medium/paintings/on-the-isis-waterperry-oxfordshire-william-alfred-delamotte-1806/

On the Isis, Waterperry, Oxfordshire William Alfred Delamotte 1805

On the Isis, Waterperry, Oxfordshire
William Alfred Delamotte 1805
From the collection of
Yale Center for British Art
Details
Title: On the Isis, Waterperry, Oxfordshire
Date Created: 1805
Location Created: Weymouth
Subject: man, fishing, trees, landscape, fisherman
Physical Dimensions: w43.2 x h34.3 cm
Location: Not on View
Inscription: Signed and Dated: Not signed, not dated
Inscription: No inscription
Artist: William Alfred Delamotte
Type: painting
Rights: Yale Center for British Art, Paul Mellon Collection
External Link: http://collections.britishart.yale.edu/vufind/Record/1668988
Medium: Oil on artist's board mounted to panel

Yale Center for British Art
New Haven, United States

The Yale Center for British Art houses the largest and most comprehensive collection of British art outside the United Kingdom. Presented to the University by Paul Mellon (Yale College Class of 1929), the collection of paintings, sculpture, drawings, prints, rare books, and manuscripts reflects the development of British art and culture from the Elizabethan period to present day. On view are masterpieces by Thomas Gainsborough, J.M.W. Turner, Joshua Reynolds, and John Constable, as well as artists from Europe and America who lived and worked in Britain.The Center offers a year-round schedule of exhibitions and programs, including films, concerts, lectures, tours, symposia, and family programs. It also provides numerous opportunities for scholarly research, such as residential fellowships. Academic resources of the Center include the reference library and photo archive, conservation laboratories, and a study room for examining works on paper from the collection. An affiliated institution in London, the Paul Mellon Centre for Studies in British Art, awards grants and fellowships, publishes academic titles, and sponsors Yale's first credit-granting undergraduate study abroad program, Yale in London.PublicationsThe Center is active in the publishing of research, and collaborates with Yale University Press on publications accompanying its major exhibitions. In conjunction with the Paul Mellon Center for Studies in British Art, the Center is also responsible for Studies in British Art, an ongoing series of essay volumes published by Yale University Press. Research ProgramsAs well as fostering public programs, the Center offers opportunities for scholars at all levels to study its collections and participate in its scholarly programs. The Center offers short-term residential Visiting Scholar Awards at pre-doctoral and postdoctoral levels; opportunities for students at Yale and elsewhere, including travel grants, research positions, an annual Graduate Student Symposium, and a biennial Graduate Student Summer Seminar. Schools and TeachersEducation Staff works closely with local teachers to supplement classroom teaching with access to works of art, and by helping teachers integrate visual learning into their curricula. In addition, the Center offers a range of opportunities customized to the needs of teachers looking to use visual resources in their classrooms. Yale-in-LondonYale-in-London was the University’s first credit-granting study-abroad program. It provides a unique opportunity for Yale College students to spend the spring or summer in London taking classes in the history of British Art, literature, history, and culture. The program is based at the Paul Mellon Centre for Studies in British Art. Yale Student Guide ProgramThe Center is home to an active undergraduate Student Guide Program. Admittance to the program is highly competitive and guides offer to the public specially devised tours of the collections every Saturday and Sunday during the academic year. Each year the guides curate an Art in Focus exhibition, presenting objects from the collections to the public and gaining experience in every aspect of exhibition practice. Reference Library and ArchivesThe Reference Library, open to researchers of all types, houses 30,000 titles and more than eighty periodicals devoted to British art, artists, and culture from the sixteenth century to the present day. It maintains a growing and vital collection of art conservation and technical analysis materials and offers a station for viewing many of the Center’s past lectures and programs. A Photograph Archive, located within the Reference Library, is a study collection of more than 200,000 photographic reproductions of works of British art from the sixteenth to the early twentieth century. Study RoomThe Study Room is the principal means of access to prints, drawings, watercolors, rare books, manuscripts, and maps in the Center’s collection. Conservation LaboratoriesThe Center houses two modern facilities dedicated to the conservation and restoration of works of art in its collection. They provide complete technical examinations of the museum’s collections. Treatments range from gentle surface cleaning to complex structural repairs. In addition to supporting its own conservation needs,

William Alfred Delamotte
1775 - 1863

William Alfred Delamotte, was an English painter and engraver.
W. A. Delamotte was the son of a French refugee. His remarkable drawing skills were apparent from an early age, so that he enjoyed the royal patronage of King George III. After having exhibited at the Royal Academy in 1793, he enrolled at the Royal Academy Schools the following year, becoming a student of Benjamin West, another of the King's protégés and President of the Royal Academy. Even during these years of study, Delamotte chose to turn his attention to architectural and landscape work. From the Academy he moved to Oxford, depicting its buildings in numerous sketches. In 1803 he accepted the post of drawing-master at the newly established Royal Military College, Sandhurst, a position he held for forty years.
Besides producing watercolours and a few oils, he turned to printmaking by way of etching, lithography and soft-ground etching.
He was the brother of George Orleans Delamotte, landscape artist and teacher.
Philip Henry Delamotte, photographer and illustrator, was the son of Mary and William Alfred Delamotte. He was born on 21 April 1821 at Sandhurst, Berkshire.
http://hisour.com/art-medium/paintings/on-the-isis-waterperry-oxfordshire-william-alfred-delamotte-1805/

The Drawing Room at Middleton Park, Oxfordshire William Alfred Delamotte 1839

The Drawing Room at Middleton Park, Oxfordshire
William Alfred Delamotte 1839
From the collection of
Cooper Hewitt, Smithsonian Design Museum
This interior displays a combination of flamboyant chinoiserie motifs and mundane English Regency chairs and case furniture. Bamboo is used in additional furniture, as well as in door panels, shutter panels and the fretwork frame of the overmantel mirror. The ceiling frieze painted blue with gold Chinese characters and the hanging birdcage compliment the Chinese wallpaper and porcelains. Books and baskets are casually scattered on the floor; flowers and plants, in true Victorian style, decorate the room. The elaborate drapery treatment is very much of the period.
Details
Title: The Drawing Room at Middleton Park, Oxfordshire
Creator: William Alfred Delamotte
Date Created: 1839
Signed: Lower left: 1840/ W. A. D. Lower right: NA William Delamotte, 1839 Oxford, in graphite.
Provenance: Eugene V. Thaw Collection; Christopher Wood Gallery, London
Paper Support: White wove paper
Exhibitions: New York, NY, Cooper-Hewitt, National Design Museum, Smithsonian Institution. House Proud: Nineteenth-Century Watercolor Interiors from the Thaw Collection, August 12, 2008-January 25, 2009.London, Christopher Wood Gallery. Annual Summer Exhibition of Fine English Watercolors and Drawings, 1990, No. 4? [Illus.].
Dimensions: Frame H x W x D: 60 x 75.6 x 2.5 cm (23 5/8 x 29 3/4 x 1 in.)Sheet: 28.9 x 38 cm (11 3/8 x 14 15/16 in.)
Bibliography: Charlotte Gere and Floramae McCarron-Cates, " House Proud, From Amateur to Professional and from Grand to Comfortable, " in Gail S. Davidson et al., House Proud, Nineteenth-century Watercolor Interiors from the Thaw Collection (New York: Cooper-Hewitt, National Design Museum, Smithsonian Institution, 2008), 46-47, fig. 22; 97, fig. 26.Christopher Wood Gallery, Annual Summer Exhibition of Fine English Watercolors and Drawings, London, 1990, No. 4? [Illus.].
Type: Drawing
Rights: Thaw Collection
Medium: Brush and watercolor, gold paint and gouache, graphite on white wove paper

Cooper Hewitt, Smithsonian Design Museum
New York, United States

Cooper Hewitt, Smithsonian Design Museum is the only museum in the nation devoted exclusively to historic and contemporary design. The museum has re-opened after three years with 10 opening exhibitions featuring a rich mix of historic and contemporary design objects from our permanent collection, unique temporary installations, and dynamic interactive experiences. We also have an exciting calendar of events, including hands-on workshops, talks, and family programs.

The Museum was founded in 1897 by Sarah and Eleanor Hewitt—granddaughters of industrialist Peter Cooper—as part of The Cooper Union for the Advancement of Science and Art. A branch of the Smithsonian since 1967, Cooper-Hewitt is housed in the landmark Andrew Carnegie Mansion on Fifth Avenue in New York City.

The campus also includes two historic townhouses renovated with state-of-the-art conservation technology and a unique terrace and garden. Cooper Hewitt’s collections include more than 217,000 design objects and a world-class design library. Its exhibitions, in-depth educational programs, and on-site, degree-granting master’s program explore the process of design, both historic and contemporary. As part of its mission, Cooper Hewitt annually sponsors the National Design Awards, a prestigious program which honors innovation and excellence in American design. Together, these resources and programs reinforce Cooper Hewitt’s position as the preeminent museum and educational authority for the study of design in the United States.

William Alfred Delamotte
1775 - 1863

William Alfred Delamotte, was an English painter and engraver.
W. A. Delamotte was the son of a French refugee. His remarkable drawing skills were apparent from an early age, so that he enjoyed the royal patronage of King George III. After having exhibited at the Royal Academy in 1793, he enrolled at the Royal Academy Schools the following year, becoming a student of Benjamin West, another of the King's protégés and President of the Royal Academy. Even during these years of study, Delamotte chose to turn his attention to architectural and landscape work. From the Academy he moved to Oxford, depicting its buildings in numerous sketches. In 1803 he accepted the post of drawing-master at the newly established Royal Military College, Sandhurst, a position he held for forty years.
Besides producing watercolours and a few oils, he turned to printmaking by way of etching, lithography and soft-ground etching.
He was the brother of George Orleans Delamotte, landscape artist and teacher.
Philip Henry Delamotte, photographer and illustrator, was the son of Mary and William Alfred Delamotte. He was born on 21 April 1821 at Sandhurst, Berkshire.
http://hisour.com/art-medium/drawings/the-drawing-room-at-middleton-park-oxfordshire-william-alfred-delamotte-1839/

The Interior of the Chinese Room, Looking toward the Conservatory, Middleton Park, Oxfordshire William Alfred Delamotte 1840

The Interior of the Chinese Room, Looking toward the Conservatory, Middleton Park, Oxfordshire
William Alfred Delamotte 1840
From the collection of
Cooper Hewitt, Smithsonian Design Museum
The exotic motifs in this Chinese room show the popularity of chinoiserie decoration in the Regency period. The walls are hung with Chinese painted paper bordered in blue and decorated with Chinese characters. Bamboo furniture, the Chinese pane in the transom above the doorway to the conservatory, and the japanned door are also examples of Regency Chinese taste.
Details
Title: The Interior of the Chinese Room, Looking toward the Conservatory, Middleton Park, Oxfordshire
Creator: William Alfred Delamotte
Date Created: 1840
Signed: Lower left, in gold paint: 1840/ W. A. D.
Provenance: Eugene V. Thaw Collection; Christopher Wood Gallery, London
Paper Support: White wove paper
Exhibitions: New York, NY, Cooper-Hewitt, National Design Museum, Smithsonian Institution. House Proud: Nineteenth-Century Watercolor Interiors from the Thaw Collection, August 12, 2008-January 25, 2009.New York, NY, Frick Museum. An Album of Nineteenth-Century Interiors: Watercolors from Two Private Collections, 1992.London, Christopher Wood Gallery. Annual Summer Exhibition of Fine English Watercolors and Drawings, 1990, No. 45 [Illus.].
Dimensions: Old frame H x W x D: 42.5 x 48.3 x 3.8 cm (16 3/4 x 19 x 1 1/2 in.)Sheet: 24.5 x 31.3 cm (9 5/8 x 12 5/16 in.)
Bibliography: Charlotte Gere and Floramae McCarron-Cates, " House Proud, From Amateur to Professional and from Grand to Comfortable, " in Gail S. Davidson et al., House Proud, Nineteenth-century Watercolor Interiors from the Thaw Collection (New York: Cooper-Hewitt, National Design Museum, Smithsonian Institution, 2008), 46-47, fig. 23; 97, fig. 27.Charlotte Gere, An Album of Nineteenth-Century Interiors: Watercolors from Two Private Collections (New York: The Frick Collection, 1992), 58-59 [Illus.].Christopher Wood Gallery, Annual Summer Exhibition of Fine English Watercolors and Drawings (London: 1990), no. 45 [Illus.].Charlotte Gere, Nineteenth-Century Decoration: The Art of the Interior (New York: Harry N. Abrams, Inc., 1989), 234 [Illus.].
Type: Drawing
Rights: Thaw Collection
Medium: Brush and watercolor, gouache and gold paint, graphite on white wove paper

Cooper Hewitt, Smithsonian Design Museum
New York, United States

Cooper Hewitt, Smithsonian Design Museum is the only museum in the nation devoted exclusively to historic and contemporary design. The museum has re-opened after three years with 10 opening exhibitions featuring a rich mix of historic and contemporary design objects from our permanent collection, unique temporary installations, and dynamic interactive experiences. We also have an exciting calendar of events, including hands-on workshops, talks, and family programs.

The Museum was founded in 1897 by Sarah and Eleanor Hewitt—granddaughters of industrialist Peter Cooper—as part of The Cooper Union for the Advancement of Science and Art. A branch of the Smithsonian since 1967, Cooper-Hewitt is housed in the landmark Andrew Carnegie Mansion on Fifth Avenue in New York City.

The campus also includes two historic townhouses renovated with state-of-the-art conservation technology and a unique terrace and garden. Cooper Hewitt’s collections include more than 217,000 design objects and a world-class design library. Its exhibitions, in-depth educational programs, and on-site, degree-granting master’s program explore the process of design, both historic and contemporary. As part of its mission, Cooper Hewitt annually sponsors the National Design Awards, a prestigious program which honors innovation and excellence in American design. Together, these resources and programs reinforce Cooper Hewitt’s position as the preeminent museum and educational authority for the study of design in the United States.

William Alfred Delamotte
1775 - 1863

William Alfred Delamotte, was an English painter and engraver.
W. A. Delamotte was the son of a French refugee. His remarkable drawing skills were apparent from an early age, so that he enjoyed the royal patronage of King George III. After having exhibited at the Royal Academy in 1793, he enrolled at the Royal Academy Schools the following year, becoming a student of Benjamin West, another of the King's protégés and President of the Royal Academy. Even during these years of study, Delamotte chose to turn his attention to architectural and landscape work. From the Academy he moved to Oxford, depicting its buildings in numerous sketches. In 1803 he accepted the post of drawing-master at the newly established Royal Military College, Sandhurst, a position he held for forty years.
Besides producing watercolours and a few oils, he turned to printmaking by way of etching, lithography and soft-ground etching.
He was the brother of George Orleans Delamotte, landscape artist and teacher.
Philip Henry Delamotte, photographer and illustrator, was the son of Mary and William Alfred Delamotte. He was born on 21 April 1821 at Sandhurst, Berkshire.
http://hisour.com/art-medium/drawings/the-interior-of-the-chinese-room-looking-toward-the-conservatory-middleton-park-oxfordshire-william-alfred-delamotte-1840/

Resting, Men and Dogs under a Big Tree William Alfred Delamotte 1802

Resting, Men and Dogs under a Big Tree
William Alfred Delamotte 1802
From the collection of
National Gallery of Art, Washington DC
Details
Title: Resting, Men and Dogs under a Big Tree
Creator: William Alfred Delamotte
External Link: For more information about this and thousands of other works of art in the NGA collection, please visit http://www.nga.gov/content/ngaweb/global-site-search-page.html?searchterm=1947.7.145
Medium: pen-and-tusche lithograph
Object Credit: Rosenwald Collection
Classification: Print
Artist School: British
Artist Nationality: British
Artist Details: British, 1775 - 1863

National Gallery of Art, Washington DC
Washington, United States

The National Gallery of Art – the nation's museum – preserves, collects, exhibits, and fosters an understanding of works of art.

Visit us on the National Mall between Third and Seventh Streets at Constitution Avenue, NW, we are open Monday through Saturday from 10:00 a.m. to 5:00 p.m. and Sunday from 11:00 a.m. to 6:00 p.m., and closed on December 25 and January 1. Admission is always free.

William Alfred Delamotte
1775 - 1863

William Alfred Delamotte, was an English painter and engraver.
W. A. Delamotte was the son of a French refugee. His remarkable drawing skills were apparent from an early age, so that he enjoyed the royal patronage of King George III. After having exhibited at the Royal Academy in 1793, he enrolled at the Royal Academy Schools the following year, becoming a student of Benjamin West, another of the King's protégés and President of the Royal Academy. Even during these years of study, Delamotte chose to turn his attention to architectural and landscape work. From the Academy he moved to Oxford, depicting its buildings in numerous sketches. In 1803 he accepted the post of drawing-master at the newly established Royal Military College, Sandhurst, a position he held for forty years.
Besides producing watercolours and a few oils, he turned to printmaking by way of etching, lithography and soft-ground etching.
He was the brother of George Orleans Delamotte, landscape artist and teacher.
Philip Henry Delamotte, photographer and illustrator, was the son of Mary and William Alfred Delamotte. He was born on 21 April 1821 at Sandhurst, Berkshire.
http://hisour.com/art-medium/print/resting-men-and-dogs-under-a-big-tree-william-alfred-delamotte-1802/

David Alfaro Siqueiros

[gallery ids="4332,4335,4338,4341,4345,4349,4352,4355" orderby="rand"]

David Alfaro Siqueiros
Dec 29, 1896 - Jan 6, 1974

David Alfaro Siqueiros was a Mexican social realist painter, better known for his large murals in fresco. Along with Diego Rivera and José Clemente Orozco, he established "Mexican Muralism." He was a Stalinist and member of the Mexican Communist Party who participated in an unsuccessful attempt to assassinate Leon Trotsky in May 1940.
His surname would normally be Alfaro by Spanish naming customs; like Picasso and Lorca, Siqueiros used his mother's surname. It was long believed that he was born in Camargo in Chihuahua state, but in 2003 it was proven that he had actually been born in the city of Chihuahua, but grew up in Irapuato, Guanajuato, at least from the age of six. The discovery of his birth certificate in 2003 by a Mexican art curator was announced the following year by art critic Raquel Tibol, who was renowned as the leading authority on Mexican Muralism and who had been a close acquaintance of Siqueiros. Siqueiros changed his given name to "David" after his first wife called him by it in allusion to Michelangelo's David. Another factual confusion is the year of his birth: he was born in 1896, but many sources state 1898 or 1899.
http://hisour.com/artist/david-alfaro-siqueiros/

Mining Accident David Alfaro Siqueiros 1931

Mining Accident
David Alfaro Siqueiros 1931
From the collection of
Museo Nacional de Arte
Based on his extensive experience as a union organizer in Guadalajara, David Alfaro Siqueiros decided to produce a visual record of working- class conditions. Here, in the same monumental style that distinguishes his mural, The Laborer's Burial, executed in the Small Courtyard of the National Preparatory School in the early nineteen twenties, the artist depicts a fallen worker, motionless and with a deathly face, buried in rubble. In a gesture of solidarity, the mans companions are removing fallen blocks of stone in what may be a reference to the mining accidents that were common in Mexico's Taxco region. This large-scale work has a mournfulness about it that puts one in mind of a funeral cortege. The foreshortened heads and shoulders and elongated arms of the miners stand out and confer a sinuous harmony on the composition, while the strip of red cloth in the bottom left-hand corner may well be suggestive of the red flag of socialism. This painting is closely linked to the 1933 watercolor of the same name, which is also part of the MUNALs collection. This work entered the MUNAL as part of its founding endowment in 1982.
Details
Title: Mining Accident
Date Created: 1931
painter: David Alfaro Siqueiros
Provenance: Constituve Collection
Physical Dimensions: w2200 x h1350 mm (complete)
Original Spanish object note: Después de una amplia experiencia con la organización sindical en Guadalajara, David Alfaro Siqueiros decidió dejar una constancia visual de las condiciones de la clase trabajadora. Con el carácter monumental que identificó su trabajo mural El entierro del obrero, en el Patio Chico de la Escuela Nacional Preparatoria de los tempranos años veinte, el artista representa aquí al trabajador caído y sepultado entre los escombros, el cual yace inmóvil y tiene el rostro exangüe. Sus compañeros, en forma solidaria, apartan los enormes bloques de piedra, hecho que puede tener resonancia con los percances mineros en la región de Taxco. Esta obra de gran formato detenta un significado luctuoso y tal parece apelar al ritual de un cortejo fúnebre. Los escorzos de las extremidades superiores de los mineros así como sus largos brazos sobresalen y confieren un juego de formas sinuosas a la composición. El pedazo de tela roja localizado en el extremo izquierdo inferior del lienzo deja entrever una metáfora política, ya que quizá remita a una bandera, elemento simbólico de identidad, unión, lucha y soberanía. Esta pintura se relaciona estrechamente con la acuarela del mismo nombre fechada en 1933, que también pertenece al acervo del Museo Nacional de Arte. La obra ingresó al MUNAL como parte de su acervo constitutivo en 1982.
Original title: Accidente en la mina
Type: Painting
Rights: Museo Nacional de Arte, INBA, http://www.munal.com.mx/rights.html
Medium: Oil on jute-ixtle fiber

David Alfaro Siqueiros
Dec 29, 1896 - Jan 6, 1974

David Alfaro Siqueiros was a Mexican social realist painter, better known for his large murals in fresco. Along with Diego Rivera and José Clemente Orozco, he established "Mexican Muralism." He was a Stalinist and member of the Mexican Communist Party who participated in an unsuccessful attempt to assassinate Leon Trotsky in May 1940.
His surname would normally be Alfaro by Spanish naming customs; like Picasso and Lorca, Siqueiros used his mother's surname. It was long believed that he was born in Camargo in Chihuahua state, but in 2003 it was proven that he had actually been born in the city of Chihuahua, but grew up in Irapuato, Guanajuato, at least from the age of six. The discovery of his birth certificate in 2003 by a Mexican art curator was announced the following year by art critic Raquel Tibol, who was renowned as the leading authority on Mexican Muralism and who had been a close acquaintance of Siqueiros. Siqueiros changed his given name to "David" after his first wife called him by it in allusion to Michelangelo's David. Another factual confusion is the year of his birth: he was born in 1896, but many sources state 1898 or 1899
http://hisour.com/art-medium/paintings/mining-accident-david-alfaro-siqueiros-1931/

Proletarian Mother David Alfaro Siqueiros 1931

Proletarian Mother
David Alfaro Siqueiros 1931
From the collection of
Museo Nacional de Arte
David Alfaro Siqueiros was an outstanding social activist who played an ongoing role in Mexican political life, participating in union movements and, indeed, organizing various strikes and labor confrontations, which led to his arrest in 1930. In Proletarian Mother - which is considered to be one of Mexican arts key works, due to the painters powerful depiction of the abject poverty and misery of the country’s poor and disadvantaged classes during the nineteen thirties- a woman with a green shawl over her head is seated in a small, brick-walled room. Her swarthy, hard-featured face reflecting profound anxiety at the poverty in which she lives, she is surrounded by three small children, two of whom are clinging desperately to her, while the third, at her feet, is reaching out his arms towards her. This work was listed in the catalogue of Siqueiros first one-man show at the Spanish Casino in México City in 1932, which was well received by the critics thanks to its subject matter -namely the artist s depiction of the Mexican people oppressed by a small but growing moneyed class. Moreover, his technique -which consisted in using old jute sacks as a basis for the application of a thick plaster-like layer through which the texture and weave of the fabric could still be seen- was praised. Since Siqueiros wanted this painting to form part of a Mexican museum, in 1951 he sold it to the National Fine Arts Institute for a nominal sum. It entered the MUNAL in 1982 as part of its founding endowment.
Details
Title: Proletarian Mother
Date Created: 1931
painter: David Alfaro Siqueiros
Provenance: Constituve Collection
Physical Dimensions: w1317 x h1920 mm (complete)
Original Spanish object note: David Alfaro Siqueiros fue un destacado activista social que participó constantemente en la vida política del país tomando parte en movimientos sindicales; de hecho, fue el organizador de varias huelgas y enfrentamientos obreros, actos por los cuales fue arrestado en el año 1930. Madre proletaria está considerada una de las piezas claves dentro de la historia del arte mexicano, por la fuerza representativa con la que el artista transmitió la extrema pobreza y miseria en la que se encontraban las clases humildes y desfavorecidas en México durante los años treinta. Esta obra representa una mujer sentada que cubre su cabeza con un rebozo verde; ella se encuentra en una pequeña habitación de ladrillos, su rostro de tez morena y facciones duras trasmite una enorme angustia provocada por la pobreza en la que vive. Tres pequeños niños la rodean, dos de ellos la abrazan con desesperación mientras que el tercero, ubicado a sus pies, la busca con los brazos. Este lienzo se registró en el catálogo de la primera exhibición individual de Siqueiros que se llevó a cabo en el Casino Español de la ciudad de México en 1932, la muestra tuvo buena acogida por la crítica gracias a la temática representada, donde el artista proyectó su percepción del pueblo mexicano oprimido por una clase económica latente y minoritaria. A la vez, fue alabada la técnica que empleó utilizando viejos costales de yute como el soporte de la pieza; sobre este material, el artista aplicó una gruesa capa a manera de preparación similar al yeso que, a pesar de su espesura, deja entrever la textura y el tejido del material. Siqueiros deseaba que esta pintura formara parte de un museo mexicano, por lo que en el año 1951 la vendió en un precio simbólico al Instituto Nacional de Bellas Artes; ingresó al MUNAL en 1982 como parte de su acervo constitutivo.
Original title: Madre proletaria
Type: Painting
Rights: Museo Nacional de Arte, INBA, http://www.munal.com.mx/rights.html
Medium: Oil on jute-ixtle fiber

David Alfaro Siqueiros
Dec 29, 1896 - Jan 6, 1974

David Alfaro Siqueiros was a Mexican social realist painter, better known for his large murals in fresco. Along with Diego Rivera and José Clemente Orozco, he established "Mexican Muralism." He was a Stalinist and member of the Mexican Communist Party who participated in an unsuccessful attempt to assassinate Leon Trotsky in May 1940.
His surname would normally be Alfaro by Spanish naming customs; like Picasso and Lorca, Siqueiros used his mother's surname. It was long believed that he was born in Camargo in Chihuahua state, but in 2003 it was proven that he had actually been born in the city of Chihuahua, but grew up in Irapuato, Guanajuato, at least from the age of six. The discovery of his birth certificate in 2003 by a Mexican art curator was announced the following year by art critic Raquel Tibol, who was renowned as the leading authority on Mexican Muralism and who had been a close acquaintance of Siqueiros. Siqueiros changed his given name to "David" after his first wife called him by it in allusion to Michelangelo's David. Another factual confusion is the year of his birth: he was born in 1896, but many sources state 1898 or 1899
http://hisour.com/art-medium/paintings/proletarian-mother-david-alfaro-siqueiros-1931/

Portrait of María Asúnsolo Descending a Staircase
David Alfaro Siqueiros 1935
From the collection of
Museo Nacional de Arte
This painting, which depicts an older woman with an imposing, studied bearing who has shed every vestige of childhood or adolescence, may be the most celebrated of all the works of art inspired by María Asúnsolo. Framed by heavy red curtains, the subject is carefully descending a staircase, delicately bunching up her skirts with her right hand, as she holds a handkerchief in the right one. The composition has a theatrical, perhaps even cinematographic, touch. María, treading firmly and wearing a long gold-and-white dress that clings to her curvaceous body, is making a grand entrance, trying to attract everyones gaze with an insouciant look on her face that makes her seem remote and hushes those around her. In this large-scale work, Siqueiros experiments with color contrasts and variations in tone in order to make the light-dappled figure of María -who occupies the base of a triangular format that dominates the whole composition- stand out more dramatically. Her sinuous body and gait constitute a clear reference to the early- XXth century painting entitled Nude Descending the Staircase by the French artist, Marcel Duchamp, from whom Siqueiros borrowed the idea of devoting a whole painting to the subject of simultaneous movement. A dedicatory note in the bottom right-hand corner of this portrait reads "To my beloved, unforgettable María Asúnsolo", along with a coded message (C.T.M.E.Y.M.C.) that almost certainly stands for "Con toda mi estimación y mi cariño' (With all my appreciation and affection), words that bear witness to the enormous fondness that Siqueiros felt, throughout his life, for his subject. This painting was acquired by the National Fine Arts Institute and remitted to the MUNAL in 1988.
Details
Title: Portrait of María Asúnsolo Descending a Staircase
Date Created: 1935
painter: David Alfaro Siqueiros
Provenance: National Fine Arts Institute, 1988
Physical Dimensions: w1220 x h2150 mm (complete)
Original Spanish object note: Dentro de todo el imaginario plástico que inspiró María Asúnsolo quizá ésta sea la obra más célebre y conocida. En el retrato aparece una dama madura de porte imponente y estilizado que se ha desprendido de todos aquellos elementos que podrían identificarla con una niña o una adolescente. María Asúnsolo baja cuidadosamente la escalera, con delicadeza toma con su mano derecha la falda del vestido, mientras que con la izquierda sostiene un pañuelo. Al fondo se observan los pesados cortinajes rojos que enmarcan su protagonismo. La composición contiene un carácter teatral e incluso se percibe un enfoque cinematográfico. María con paso firme porta un traje largo en tonos dorados y blancos que entallan su cuerpo curvilíneo, hace una entrada majestuosa y con un gesto indiferente intenta atraer todas las miradas. Esta actitud impone una inevitable distancia en medio de una atmósfera silenciosa. En este cuadro de gran formato, Siqueiros hizo un juego con los contrastes de color y sus tonalidades para resaltar de forma más puntual los toques de luz a partir del cuerpo de María, quien encabeza una forma triangular que rige toda la composición. La ondulación de su cuerpo y su paso tienen una clara referencia visual con la pintura de Marcel Duchamp Desnudo bajando una escalera, realizada en la primera década del siglo XX. Siqueiros tomó del artista francés la idea de simultaneidad de movimientos y su glorificación dentro de una sola obra. El retrato está dedicado en el margen inferior derecho "A mi adorada e inolvidable María Asúnsolo" y tiene un mensaje criptado (C.T.M.E.Y.M.C), que con seguridad significa "Con toda mi estimación y mi cariño", palabras que atestiguan el enorme afecto que Siqueiros sintió por ella a lo largo de su vida. La pintura fue adquirida por el Instituto Nacional de Bellas Artes en 1988.
Original title: Retrato de María Asúnsolo bajando la escalera
Type: Painting
Rights: Museo Nacional de Arte, INBA, http://www.munal.com.mx/rights.html
Medium: Duco on plywood

David Alfaro Siqueiros
Dec 29, 1896 - Jan 6, 1974

David Alfaro Siqueiros was a Mexican social realist painter, better known for his large murals in fresco. Along with Diego Rivera and José Clemente Orozco, he established "Mexican Muralism." He was a Stalinist and member of the Mexican Communist Party who participated in an unsuccessful attempt to assassinate Leon Trotsky in May 1940.
His surname would normally be Alfaro by Spanish naming customs; like Picasso and Lorca, Siqueiros used his mother's surname. It was long believed that he was born in Camargo in Chihuahua state, but in 2003 it was proven that he had actually been born in the city of Chihuahua, but grew up in Irapuato, Guanajuato, at least from the age of six. The discovery of his birth certificate in 2003 by a Mexican art curator was announced the following year by art critic Raquel Tibol, who was renowned as the leading authority on Mexican Muralism and who had been a close acquaintance of Siqueiros. Siqueiros changed his given name to "David" after his first wife called him by it in allusion to Michelangelo's David. Another factual confusion is the year of his birth: he was born in 1896, but many sources state 1898 or 1899.
http://hisour.com/art-medium/paintings/4347/

Peasants David Alfaro Siqueiros 1913

Peasants
David Alfaro Siqueiros 1913
From the collection of
Museo Nacional de Arte
Peasants is one of the early works of David Alfaro Siqueiros and shows the influence of the Open Air Painting Schools that were founded in 1913 by Alfredo Ramos Martínez in protest against the rigid régime and antiquated teaching methods of the National Fine Arts School. The foreground is occupied by a peasant couple who appear to be descending a mountain. The woman, who stares provocatively at the viewer, is carrying a sheaf of hay under her arm, while the man is carrying a bowl full of fruit. This work constituted a watershed in the artistic output of the National Fine Arts School, due to its freer brushwork, its distinctive use of color, and its reflection of the painter's interest in the minutiae of Impressionism. The artist has signed himself "Alfaro" in the upper-right-hand corner, as was his wont in his early works. His palette, with its use of yellows and blues, imbues the painting with an extraordinary luminosity. Having, for a long period, formed part of the collection of the Mexican art collector, Inés Amor, this piece entered the museum in 1993, thanks to the support of the MUNAL Trust.
Details
Title: Peasants
Date Created: ca. 1913
painter: David Alfaro Siqueiros
Provenance: Private collection, 1993
Physical Dimensions: w1870 x h1000 mm (complete)
Original Spanish object note: Campesinos es una de las primeras piezas realizadas por David Alfaro Siqueiros y muestra la influencia de las Escuelas de Pintura al Aire Libre fundadas por el maestro Alfredo Ramos Martínez en 1913, como protesta contra el sistema rígido y los anticuados métodos de enseñanza de la Escuela Nacional de Bellas Artes. En el primer plano se observa una pareja de campesinos que parecen bajar de una montaña. La mujer mira de forma provocativa al espectador y lleva bajo su brazo un manojo de paja; mientras que el hombre carga con sus manos una bandeja llena de frutas. Esta obra representó un parteaguas en la producción artística de la institución académica, ya que las características de la pintura se transforman gracias a la pincelada más libre, la utilización del color y el interés del autor por conocer los elementos del impresionismo. En el extremo superior derecho se observa la firma del artista: "Alfaro", tal como acostumbraba hacerlo en sus primeras obras. Su paleta cromática aporta una luminosidad extraordinaria gracias al uso de los tonos amarillos y azules. Este lienzo perteneció por mucho tiempo a la colección de la galerista del arte mexicano Inés Amor, hasta que en el año de 1993, gracias al apoyo del Patronato del Museo Nacional de Arte, A.C., forma parte del acervo del MUNAL.
Original title: Campesinos
Type: drawing
Rights: Museo Nacional de Arte, INBA, http://www.munal.com.mx/rights.html
Medium: Pastel on paper

David Alfaro Siqueiros
Dec 29, 1896 - Jan 6, 1974

David Alfaro Siqueiros was a Mexican social realist painter, better known for his large murals in fresco. Along with Diego Rivera and José Clemente Orozco, he established "Mexican Muralism." He was a Stalinist and member of the Mexican Communist Party who participated in an unsuccessful attempt to assassinate Leon Trotsky in May 1940.
His surname would normally be Alfaro by Spanish naming customs; like Picasso and Lorca, Siqueiros used his mother's surname. It was long believed that he was born in Camargo in Chihuahua state, but in 2003 it was proven that he had actually been born in the city of Chihuahua, but grew up in Irapuato, Guanajuato, at least from the age of six. The discovery of his birth certificate in 2003 by a Mexican art curator was announced the following year by art critic Raquel Tibol, who was renowned as the leading authority on Mexican Muralism and who had been a close acquaintance of Siqueiros. Siqueiros changed his given name to "David" after his first wife called him by it in allusion to Michelangelo's David. Another factual confusion is the year of his birth: he was born in 1896, but many sources state 1898 or 1899.
http://hisour.com/art-medium/paintings/peasants-david-alfaro-siqueiros-1913/

Self-portrait [The Great Colonel]
David Alfaro Siqueiros 1945
From the collection of
Museo Nacional de Arte
It is common knowledge that, throughout his career, Siqueiros never ceased to search for new techniques and modes of expression, whether in the form of mural painting or of easel works, which latter he never completely abandoned, despite his expressions of disdain for them. As part of this endeavor, he executed numerous self-portraits, clearly undertaken not out of- self-obsession, but rather as part of his overall artistic practice. Siqueiros based the present work on a photograph of himself, in a similar pose, taken, at a time when he was using any and all resources, including movies and photographs, in order to capture movement, on the terrace of the Fine Arts Palace, where he was painting the murals entitled New Democracy, The Victory of Fascism and War Victims, executed between 1944 and 1945, after returning from a trip to Cuba and Chile, where he had spent a period painting murals. The Great Colonel-whose title is taken from that adopted by the artist while fighting as a colonel in the Spanish Civil War- is, without a doubt, one of the works most characteristic not only of its creator, but also of XXth-century Mexican art. In the foreground, we see the clenched fist of the subject's right hand, defying the spectator and culminating in a vanishing point near his coarsely depicted face. Pyroxylin and modern synthetic adhesives provided the artist with new means of expression, not only in murals, but also in easel works, and, here, he uses these developments to impart a three-dimensional quality to his work, juxtaposing thick impasto-laden brushstrokes, made possible by the ductile quality of his materials, to achieve sculpture-like volume. This work passed to the MUNAL from the collection of the Museum of Modern Art in 1982, to form part of the former's founding endowment.
Details
Title: Self-portrait [The Great Colonel]
Date Created: 1945
painter: David Alfaro Siqueiros
Provenance: Museum of Modern Art in 1982
Physical Dimensions: w1216 x h915 mm (complete)
Original Spanish object note: Es de todos conocido el afán de las búsquedas técnicas y expresivas por parte de Alfaro Siqueiros durante toda su carrera, ya fuese en la pintura mural como en la de caballete, la cual, aunque desdeñó, no dejó de utilizar. Son numerosos los autorretratos que llevó a cabo, con la intención aparente de un ejercicio plástico más y no como un reflejo de su propio ego. Para la realización de la presente obra, Alfaro Siqueiros partió de una fotografía tomada en la terraza del Palacio de Bellas Artes, en la misma pose, en un momento en el que utilizó cuanto recurso le parecía relevante del cine y la fotografía con el fin de captar el movimiento. Cabe mencionar que en aquel tiempo se encontraba en dicho recinto pintando los paneles Nueva democracia, Victoria del fascismo y Víctimas de la guerra, entre 1944 y 1945, tras dejar Cuba y Chile, donde pasó una temporada elaborando una serie de obras murales, y volver a México. El coronelazo es, sin duda, una de las obras más representativas del autor y de la iconografía del arte mexicano del siglo XX. El título proviene del sobrenombre que adoptó a raíz de su participación en la guerra civil española (1936-1939), donde ostentó el grado de coronel. En él vemos en primer plano el puño cerrado de la mano derecha en alto, desafiando al espectador y produciendo un punto de fuga hacia su tosco rostro. Se trata de una representación pictórica de cualidades tridimensionales. La piroxilina y los aglutinantes sintéticos modernos le ofrecieron nuevas posibilidades de expresión, tanto en los murales como en la obra de caballete. La ductilidad de los materiales le permitió marcar brochazos empastados yuxtapuestos para lograr los volúmenes escultóricos. La obra procedente del fondo del Museo de Arte Moderno, ingresó al MUNAL como parte de su acervo constitutivo en 1982.
Original title: Autorretrato [El coronelazo]
Type: Painting
Rights: Museo Nacional de Arte, INBA, http://www.munal.com.mx/rights.html
Medium: Pyroxylin on celotex

David Alfaro Siqueiros
Dec 29, 1896 - Jan 6, 1974

David Alfaro Siqueiros was a Mexican social realist painter, better known for his large murals in fresco. Along with Diego Rivera and José Clemente Orozco, he established "Mexican Muralism." He was a Stalinist and member of the Mexican Communist Party who participated in an unsuccessful attempt to assassinate Leon Trotsky in May 1940.
His surname would normally be Alfaro by Spanish naming customs; like Picasso and Lorca, Siqueiros used his mother's surname. It was long believed that he was born in Camargo in Chihuahua state, but in 2003 it was proven that he had actually been born in the city of Chihuahua, but grew up in Irapuato, Guanajuato, at least from the age of six. The discovery of his birth certificate in 2003 by a Mexican art curator was announced the following year by art critic Raquel Tibol, who was renowned as the leading authority on Mexican Muralism and who had been a close acquaintance of Siqueiros. Siqueiros changed his given name to "David" after his first wife called him by it in allusion to Michelangelo's David. Another factual confusion is the year of his birth: he was born in 1896, but many sources state 1898 or 1899.
http://hisour.com/art-medium/paintings/4340/

Portrait of María Asúnsolo as a Child David Alfaro Siqueiros 1935

Portrait of María Asúnsolo as a Child
David Alfaro Siqueiros 1935
From the collection of
Museo Nacional de Arte
In this work, Siqueiros portrays a little girl in a white, pleated dress who is resting her chin on one hand while holding onto the table with the other. This piece, in which the subjects enormous eyes, well-defined nose, small mouth and slightly wavy hair adorned with white ribbons are clearly depicted, transforms María Asúnsolo, muse and patroness of the arts, back into a child, endowing her with a face that is the epitome of childish restlessness. Inspired by a period photograph, this portrait is a variation on the works executed by the artist in the nineteen thirties, which feature faces in close-up, broad brushstrokes, grainy photograph- like surfaces, the use of volume, meticulous drawing, and chiaroscuro. In this painting -which expresses Siqueiros' devotion to, and admiration for, this woman who played such a key role in the development of Mexican art in the first half of the XXth century- the Chihuahua-born artist is both formulating a paradigm of perfection and paying homage to his subject, whose beauty he wishes to preserve for posterity. The National Fine Arts Institute acquired this piece in 1988, in order that it might be included in the MUNAL's collection of works devoted to María Asúnsolo.
Details
Title: Portrait of María Asúnsolo as a Child
Date Created: 1935
painter: David Alfaro Siqueiros
Provenance: National Fine Arts Institute, 1988
Physical Dimensions: w750 x h1000 mm (complete)
Original Spanish object note: David Alfaro Siqueiros representó en este retrato a una niña con vestido blanco de alforzas, quien pone una mano sobre su barbilla mientras con la otra se apoya sobre una mesa. Se pueden advertir claramente los enormes ojos, la nariz, una boca pequeña y un cabello ligeramente ondulado y decorado con moños blancos. Esta obra traslada la personalidad de la musa y promotora de las artes María Asúnsolo a la infancia, ya que su rostro sintetiza la inquietud propia de la niñez. Inspirada en una fotografía de época, esta pintura es una variación de los retratos que el artista elaboraba en la década de los años treinta: los rostros en acercamiento, la utilización de una pincelada gruesa, la textura de la superficie pictórica, el tratamiento de los volúmenes, el dibujo preciso y los claroscuros. Siqueiros plasma un ideal de perfección al mismo tiempo que realiza un homenaje personal buscando eternizar a María. De igual forma, resume la inspiración, el amor y la devoción del artista chihuahuense por esta mujer clave en el desarrollo del arte mexicano de la primera mitad del siglo XX. La obra fue adquirida por el Instituto Nacional de Bellas Artes en 1988 para integrarse al MUNAL en la colección de obras dedicadas a María Asúnsolo.
Original title: Retrato de María Asúnsolo niña
Type: Painting
Rights: Museo Nacional de Arte, INBA, http://www.munal.com.mx/rights.html
Medium: Pyroxylin on masonite

Museo Nacional de Arte
Ciudad de México, Mexico

National Museum of Art

The National Museum of Art (MUNAL), founded in 1982 and located in the historical center of Mexico City, hosts the most important collection of Mexican art in the country. The collection was created by merging the national stock the National Fine Arts Institute (INBA) had held since 1946, which, in turn, came from a variety of institutions, the Modern Art Museum, the San Carlos Museum, and the San Diego Viceregal Painting Gallery.

At present the MUNAL’s collection consists of more than 3,551 works, including among them magnificent exemplars of painting, sculpture, engraving and drawing, as well as folk art and photography, some of which are veritable masterpieces. Moreover, the museum hosts works from María Izquierdo, José María Velasco, Saturnino Herrán, Gerardo Murillo, Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros, seven of those nine artists whose works are considered to constitute an “Artistic Monument”.

The outstanding collection of Viceregal art that is now in the National Museum of Art was assembled in two phases, the first lasting from 1982 to 1988, when the museum was founded, and the second as on 1999, when the collection of the San Diego Viceregal Painting Gallery became part of our museum’s stock. Thanks to that the MUNAL has become the depositary of the most important collection of colonial art in Mexico.

This collection dates back to 1783, when the Academy San Carlos was founded. In 1820, the collection of the aforesaid teaching institution was enriched by works originating from the recently closed establishments of the Hospitaller congregations. The collection continued to be extended by other works, from various convents, that ended up in the museum during the War of Independence, and also by those bought in 1843, when the Academy profited from the income it received from the National Lotery. The paintings that came from the convents that were closed down under the Reform promulgated by Benito Juarez in 1859 were also added to the Academy’s stock.

David Alfaro Siqueiros
Dec 29, 1896 - Jan 6, 1974

David Alfaro Siqueiros was a Mexican social realist painter, better known for his large murals in fresco. Along with Diego Rivera and José Clemente Orozco, he established "Mexican Muralism." He was a Stalinist and member of the Mexican Communist Party who participated in an unsuccessful attempt to assassinate Leon Trotsky in May 1940.
His surname would normally be Alfaro by Spanish naming customs; like Picasso and Lorca, Siqueiros used his mother's surname. It was long believed that he was born in Camargo in Chihuahua state, but in 2003 it was proven that he had actually been born in the city of Chihuahua, but grew up in Irapuato, Guanajuato, at least from the age of six. The discovery of his birth certificate in 2003 by a Mexican art curator was announced the following year by art critic Raquel Tibol, who was renowned as the leading authority on Mexican Muralism and who had been a close acquaintance of Siqueiros. Siqueiros changed his given name to "David" after his first wife called him by it in allusion to Michelangelo's David. Another factual confusion is the year of his birth: he was born in 1896, but many sources state 1898 or 1899.
http://hisour.com/art-medium/paintings/portrait-of-maria-asunsolo-as-a-child-david-alfaro-siqueiros-1935/

Vista Aerea David Alfaro Siqueiros 1969

Vista Aerea
David Alfaro Siqueiros 1969
From the collection of
Museum of Latin American Art
10 Lithographs included in the Mountain Suite portfolio
ed. 209/250
Details
Title: Vista Aerea
Creator: David Alfaro Siqueiros
Date Created: 1969
Title translation: Aerial View
Physical Dimensions: w16 x h22.25 in
Type: Print
Rights: Gift of the Mongan Family
External Link: Museum of Latin American Art
Medium: Lithograph on paper

Museum of Latin American Art
Long Beach, United States

The Museum of Latin American Art (MOLAA) was founded in 1996 in Long
Beach, California and serves the greater Los Angeles area. MOLAA is the
only museum in the United States dedicated to modern and
contemporary Latin American art. Since its inception, MOLAA has doubled
its size, added a 15,000 sq. ft. sculpture garden and expanded its
permanent collection, ranging from works by Tamayo and Matta to
Cruz-Diez, Los Carpinteros and Tunga.

David Alfaro Siqueiros
Dec 29, 1896 - Jan 6, 1974

David Alfaro Siqueiros was a Mexican social realist painter, better known for his large murals in fresco. Along with Diego Rivera and José Clemente Orozco, he established "Mexican Muralism." He was a Stalinist and member of the Mexican Communist Party who participated in an unsuccessful attempt to assassinate Leon Trotsky in May 1940.
His surname would normally be Alfaro by Spanish naming customs; like Picasso and Lorca, Siqueiros used his mother's surname. It was long believed that he was born in Camargo in Chihuahua state, but in 2003 it was proven that he had actually been born in the city of Chihuahua, but grew up in Irapuato, Guanajuato, at least from the age of six. The discovery of his birth certificate in 2003 by a Mexican art curator was announced the following year by art critic Raquel Tibol, who was renowned as the leading authority on Mexican Muralism and who had been a close acquaintance of Siqueiros. Siqueiros changed his given name to "David" after his first wife called him by it in allusion to Michelangelo's David. Another factual confusion is the year of his birth: he was born in 1896, but many sources state 1898 or 1899.
http://hisour.com/art-medium/print/vista-aerea-david-alfaro-siqueiros-1969/

Zapata David Alfaro Siqueiros 1930

Zapata
David Alfaro Siqueiros 1930
From the collection of
Inter-American Development Bank
David Alfaro Siqueiros was very active in the organizing of Mexico’s labor forces, and his political activism resulted in many deportations and years in jail. It was in jail where he created most of his easel works. He incorporated many new materials and techniques, and was the first artist to use acrylics as a painting media. The distinctive “Siqueiros three-dimensional” perspective is unmistakable. This well known lithograph pays homage to one of the quintessential symbols of the Mexican Revolution, Emiliano Zapata, who came to personify the ideals of social inclusion and economic equity among the less privileged.
Details
Title: Zapata
Creator: David Alfaro Siqueiros
Date Created: 1930
Location: Mexico
Physical Dimensions: w22.88 x h28.75 in
Class: 2-dimensional
Type: lithograph
Rights: All rights reserved
Medium: lithograph, 7/35

Inter-American Development Bank
Washington, United States

Here at the Inter-American Development Bank (IDB), we work to improve lives in Latin America and the Caribbean. Through financial and technical support for countries working to reduce poverty and inequality, we help improve health and education, and advance infrastructure. Our aim is to achieve development in a sustainable, climate-friendly way. With a history dating back to 1959, we are today the leading source of development financing for Latin America and the Caribbean.

The IDB Art Collection was established in 1992 and houses close to 2,000 objects, predominately from Latin American and the Caribbean. As the stewards of this collection, the IDB Cultural Center seeks to enhance society’s understanding of the role of creativity in development work by promoting the virtues of the creative industries – those endeavors that lie at the crossroads of art, design, culture, business, and technology.

For more information about the cultural and creative industries, please visit www.iadb.org/creativity.

For more information regarding the IDB Cultural Center’s art collection and exhibitions program, please visit www.iadb.org/exhibitions

David Alfaro Siqueiros
Dec 29, 1896 - Jan 6, 1974

David Alfaro Siqueiros was a Mexican social realist painter, better known for his large murals in fresco. Along with Diego Rivera and José Clemente Orozco, he established "Mexican Muralism." He was a Stalinist and member of the Mexican Communist Party who participated in an unsuccessful attempt to assassinate Leon Trotsky in May 1940.
His surname would normally be Alfaro by Spanish naming customs; like Picasso and Lorca, Siqueiros used his mother's surname. It was long believed that he was born in Camargo in Chihuahua state, but in 2003 it was proven that he had actually been born in the city of Chihuahua, but grew up in Irapuato, Guanajuato, at least from the age of six. The discovery of his birth certificate in 2003 by a Mexican art curator was announced the following year by art critic Raquel Tibol, who was renowned as the leading authority on Mexican Muralism and who had been a close acquaintance of Siqueiros. Siqueiros changed his given name to "David" after his first wife called him by it in allusion to Michelangelo's David. Another factual confusion is the year of his birth: he was born in 1896, but many sources state 1898 or 1899.
http://hisour.com/art-medium/print/zapata-david-alfaro-siqueiros-1930/

Janko Alexy

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Janko Alexy
Jan 25, 1894 - Sep 22, 1970

Janko Alexy was a famous painter, writer, and publicist of Slovak origin. He is generally recognized as one of key personalities in the beginning of Modern Slovak Art.
http://hisour.com/artist/janko-alexy/

Into field Janko Alexy 1933/1936

Into field
Janko Alexy 1933/1936
From the collection of
Tatranská galéria
Details
Title: Into field
Creator: Janko Alexy
Date: 1933/1936
Physical Dimensions: w62 x h46 cm
Type: painting
Medium: oil | cardboard

Tatranská galéria
Poprad, Slovakia

Tatra Gallery in Poprad as a collection institution was established in 1960. It seats and realizes its activities at unique areas of former steam power plant, cultural sight. It processes and depicts for public creation of artists of wider east slovak region as well as arts of slovak research, expositional and education activity. By its activities is tries systematically to enrich entire information on traditional and modern tendencies at the arts. Tatra Gallery attracted attention of cultural public by large expositional multimedia projects and events at Elektráreň TG, which are held in compliance with latest art tendencies in the world. It cooperates with many foreign galleries and institutions even at the area of modern dance, music, film and theatre.

Janko Alexy
Jan 25, 1894 - Sep 22, 1970

Janko Alexy was a famous painter, writer, and publicist of Slovak origin. He is generally recognized as one of key personalities in the beginning of Modern Slovak Art.
http://hisour.com/art-medium/paintings/into-field-janko-alexy-19331936/

Autumn in the Tatras Janko Alexy 1942/1945

Autumn in the Tatras
Janko Alexy 1942/1945
From the collection of
Tatranská galéria
Details
Title: Autumn in the Tatras
Creator: Janko Alexy
Date: 1942/1945
Physical Dimensions: w120 x h100 cm
Type: painting
Medium: oil | Fibreboard

Tatranská galéria
Poprad, Slovakia

Tatra Gallery in Poprad as a collection institution was established in 1960. It seats and realizes its activities at unique areas of former steam power plant, cultural sight. It processes and depicts for public creation of artists of wider east slovak region as well as arts of slovak research, expositional and education activity. By its activities is tries systematically to enrich entire information on traditional and modern tendencies at the arts. Tatra Gallery attracted attention of cultural public by large expositional multimedia projects and events at Elektráreň TG, which are held in compliance with latest art tendencies in the world. It cooperates with many foreign galleries and institutions even at the area of modern dance, music, film and theatre.

Janko Alexy
Jan 25, 1894 - Sep 22, 1970

Janko Alexy was a famous painter, writer, and publicist of Slovak origin. He is generally recognized as one of key personalities in the beginning of Modern Slovak Art.
http://hisour.com/art-medium/paintings/autumn-in-the-tatras-janko-alexy-19421945/

Orava castle Janko Alexy 1950

Orava castle
Janko Alexy 1950
From the collection of
Liptovská galéria Petra Michala Bohúňa
Details
Title: Orava castle
Creator: Janko Alexy
Date: 1950/1950
Location: slovakia
Title in Slovak: Oravský hrad
Type: painting

Liptovská galéria Petra Michala Bohúňa
Liptovský Mikuláš, Slovakia

Liptovská galéria Petra Michala Bohúňa v Liptovskom Mikuláši
The gallery came into being in 1955 and is the third oldest one in Slovakia (after Bratislava – 1949 and Košice – 1954). It is placed in a historical and cultural centre of the city, in
a pleasant park environment.

The original building of the gallery dates back to the end of 18th century. Peter Michal Bohú, the artist of national revival and the classic of the Slovak fine arts of the 19th century, worked directly in its spaces through the years 1854 – 1865, like a teacher in a girl’s protestant school. The gallery obtained its present appearance after reconstruction and complementary building in the seventies of the 20th century.
The collection fund of the gallery represents approximately about 5,000 pieces of fine art – paintings, drawings, graphics, photographs, plastic works, from which a part is presented in four permanent exhibitions.

Slovak Fine Art of the 19th Century
LGPMB- main building, Tranovského 3

The exhibition is a representative selection of the Slovak painting development in the 19th century. Mostly the portrait painting is represented as a reflection of the progress of the middle-class status, but also of making visible the domestic intelligence (Czauczik, Klemens). Emphasis is laid on the creation of P. M. Bohú (32 pieces of artwork).

The second half of the 19th century brings genre themes and landscape thematic (E. Ballo, Klimkovi, Skutecký, Katona, Medanský and others).. The collection comprises also the works from the beginning of the 20th century, which - by their essence and way of artistic expression - have roots in the previous century (J. T. Mousson., A. Ballo, Štetka, ordák, Kubínyi, Halász-Hradil, Kyselý, P. J. Kern, early works of G. Mallý, M. Benka and others).

Slovak Fine Art of the First Half of the 20th Century
LGPMB - main building, Tranovského 3

The foundation generation of modern art is representatively included in the first part. These authors have thematically utilized an idealized milieu of Slovak country, others were influenced by secession, symbolism, expressionism, others overlapped to topical European modernism, there are also members of so-called Generation 1909, and artists coming at the beginning of the forties, and others.

Slovak Art of the Second Half of the 20th Century - Personality
Works by: Ester Martinčeková Šimerová, Martin Martinček, Miroslav Ksandr, Michal Kern
LGPMB - main building, Tranovského 3

The exhibition displays important artists with relations to the region Liptov and the town Liptovský Mikuláš.
The importance of their artwork oversteps borders of Liptov and Slovakia. Every artist´s work means contribution for the history of the Slovak art: Ester Martinčeková Šimerová, Martin Martinček, Miroslav Ksandr and Michal Kern.

Koloman Sokol (1902 – 2003)
Centrum Kolomana Sokola, Námestie Osloboditeľov 28

There is a permanent exhibition of the works of important Slovak graphic and painting artist Koloman Sokol (1902 – 2003) in Centre of koloman Sokol. Koloman Sokol was born in Liptovský Mikuláš, worked in Prague, Paris, Mexico and from the end of the forties lived in USA. Exhibition consists of graphic works and a collection of drawings which the artist donated to Slovakia. The exhibition is supplemented by documentary materials, facts and photographs.

HOURS
From Tuesday to Sunday: 10.00 a. m. - 5.00 p. m.

ADMISSION:
One exhibition:
Adults: 1 eur
Children: 0,50 eur

Whole gallery:
Adults: 3,50 eur
Children: 1,75 eur
Family admission (2 adults + 2 children): 7 eur

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Janko Alexy
Jan 25, 1894 - Sep 22, 1970

Janko Alexy was a famous painter, writer, and publicist of Slovak origin. He is generally recognized as one of key personalities in the beginning of Modern Slovak Art.
http://hisour.com/art-medium/paintings/orava-castle-janko-alexy-1950/

Woman With Flowers Janko Alexy 1935 - 1940

Woman With Flowers
Janko Alexy 1935 - 1940
From the collection of
Turiec Gallery
Details
Title: Woman With Flowers
Creator: Janko Alexy
Date: 1935 - 1940
Physical Dimensions: w69 cm x h99
Type: drawing
Medium: cardboard, pastel

Turiec Gallery
Martin, Slovakia

Turiec Gallery in Martin was established in 1983. Its seat is in the historic building of the former District house in the centre of the city Martin. The gallery presents work of artists connected with the Turiec region through chamber author's exhibitions, extensive retrospectives and group presentations. It also offers the permanent exposition called Slovak Art Modernism in Turiec until the 1960s. Its concept is derived from the knowledge of art-historical facts and milestones which formed and defined the development of Slovak modern art with emphasis on the unique location of the city of Martin. It presents a selection of authors who lived and worked in Martin in the first half of the 20th century. (M. Th. Mitrovský, Ž. Duchajová-Švehlová, V. Hložník, V. Chmel, V. Stašík, L. Mrázová, E. Makovický, Group Trojštít - F. Štefunko, M. Benka, K. Ondreička, L. Záborský). At the end of the exposition there is the early work of so called Galandovci (Galanda group).

Janko Alexy
Jan 25, 1894 - Sep 22, 1970

Janko Alexy was a famous painter, writer, and publicist of Slovak origin. He is generally recognized as one of key personalities in the beginning of Modern Slovak Art.
http://hisour.com/art-medium/drawings/woman-with-flowers-janko-alexy-1935-1940/

Woman Dressed in a Folk Costume Janko Alexy 1940 - 1945

Woman Dressed in a Folk Costume
Janko Alexy 1940 - 1945
From the collection of
Turiec Gallery
Details
Title: Woman Dressed in a Folk Costume
Creator: Janko Alexy
Date: 1940 - 1945
Physical Dimensions: w42 x h46 cm
Type: drawing
Medium: cardboard, pastel

Turiec Gallery
Martin, Slovakia

Turiec Gallery in Martin was established in 1983. Its seat is in the historic building of the former District house in the centre of the city Martin. The gallery presents work of artists connected with the Turiec region through chamber author's exhibitions, extensive retrospectives and group presentations. It also offers the permanent exposition called Slovak Art Modernism in Turiec until the 1960s. Its concept is derived from the knowledge of art-historical facts and milestones which formed and defined the development of Slovak modern art with emphasis on the unique location of the city of Martin. It presents a selection of authors who lived and worked in Martin in the first half of the 20th century. (M. Th. Mitrovský, Ž. Duchajová-Švehlová, V. Hložník, V. Chmel, V. Stašík, L. Mrázová, E. Makovický, Group Trojštít - F. Štefunko, M. Benka, K. Ondreička, L. Záborský). At the end of the exposition there is the early work of so called Galandovci (Galanda group).

Janko Alexy
Jan 25, 1894 - Sep 22, 1970

Janko Alexy was a famous painter, writer, and publicist of Slovak origin. He is generally recognized as one of key personalities in the beginning of Modern Slovak Art.
http://hisour.com/art-medium/drawings/woman-dressed-in-a-folk-costume-janko-alexy-1940-1945/

By the Lake Janko Alexy 1934

By the Lake
Janko Alexy 1934
From the collection of
Turiec Gallery
Details
Title: By the Lake
Creator: Janko Alexy
Date: 1934 - 1934
Physical Dimensions: w67 x h53 cm
Type: painting
Medium: cardboard, oil

Turiec Gallery
Martin, Slovakia

Turiec Gallery in Martin was established in 1983. Its seat is in the historic building of the former District house in the centre of the city Martin. The gallery presents work of artists connected with the Turiec region through chamber author's exhibitions, extensive retrospectives and group presentations. It also offers the permanent exposition called Slovak Art Modernism in Turiec until the 1960s. Its concept is derived from the knowledge of art-historical facts and milestones which formed and defined the development of Slovak modern art with emphasis on the unique location of the city of Martin. It presents a selection of authors who lived and worked in Martin in the first half of the 20th century. (M. Th. Mitrovský, Ž. Duchajová-Švehlová, V. Hložník, V. Chmel, V. Stašík, L. Mrázová, E. Makovický, Group Trojštít - F. Štefunko, M. Benka, K. Ondreička, L. Záborský). At the end of the exposition there is the early work of so called Galandovci (Galanda group).

Janko Alexy
Jan 25, 1894 - Sep 22, 1970

Janko Alexy was a famous painter, writer, and publicist of Slovak origin. He is generally recognized as one of key personalities in the beginning of Modern Slovak Art.
http://hisour.com/art-medium/paintings/by-the-lake-janko-alexy-1934-2/

By the Lake Janko Alexy 1934

By the Lake
Janko Alexy 1934
From the collection of
Turiec Gallery
Details
Title: By the Lake
Creator: Janko Alexy
Date: 1934 - 1934
Physical Dimensions: w67 x h53 cm
Type: painting
Medium: cardboard, oil

Turiec Gallery
Martin, Slovakia

Turiec Gallery in Martin was established in 1983. Its seat is in the historic building of the former District house in the centre of the city Martin. The gallery presents work of artists connected with the Turiec region through chamber author's exhibitions, extensive retrospectives and group presentations. It also offers the permanent exposition called Slovak Art Modernism in Turiec until the 1960s. Its concept is derived from the knowledge of art-historical facts and milestones which formed and defined the development of Slovak modern art with emphasis on the unique location of the city of Martin. It presents a selection of authors who lived and worked in Martin in the first half of the 20th century. (M. Th. Mitrovský, Ž. Duchajová-Švehlová, V. Hložník, V. Chmel, V. Stašík, L. Mrázová, E. Makovický, Group Trojštít - F. Štefunko, M. Benka, K. Ondreička, L. Záborský). At the end of the exposition there is the early work of so called Galandovci (Galanda group).

Janko Alexy
Jan 25, 1894 - Sep 22, 1970

Janko Alexy was a famous painter, writer, and publicist of Slovak origin. He is generally recognized as one of key personalities in the beginning of Modern Slovak Art.
http://hisour.com/art-medium/paintings/by-the-lake-janko-alexy-1934/

Fujara (Shepherd's pipe) Players in Detva Janko Alexy 1931

Fujara (Shepherd's pipe) Players in Detva
Janko Alexy 1931
From the collection of
Slovak National Gallery
Janko Alexy was a socially active artist and culture essayist. His creative peak was in the 1930s, when he travelled with colleagues Bazovský and Palugyay through the uphill regions of Slovakia in search for subject matter and organised touring exhibitions promoting modern art. He created multiple pastel drawings with asymmetric composition and symbolic function of environments. To emphasise his ideas, he reduced the colour palette, used colder hues, simpler shapes and a soothing, fluent gesture.

One of his masterpieces is the image of fujara players in Detva, where he merged all token symbols of the iconic Slovak town - the local male skirt garments, shepherd's pipes and the characteristic funeral crosses.

More information and other artworks by the artist:
http://www.webumenia.sk/dielo/SVK:SNG.K_18689
Details
Title: Fujara (Shepherd's pipe) Players in Detva
Creator: Janko Alexy
Date: 1931/1931
Location: Detva
Physical Dimensions: w43 x h58 centimeters
Type: drawing

Slovak National Gallery
Bratislava, Slovakia

In its foundation deed, the Slovak National Gallery (SNG) is defined as the supreme and central gallery institution of Slovakia.

Its activities and the extent of its collections contribute to the fulfilment of this requirement in the spirit of the conceptions for the building and management of the SNG. The SNG can be comprehended as a gallery institution creating collections which fulfil the expectations of the expert and general public; its role is to develop as the national art historical institution and, at the same time, to collect, preserve and interpret works of art at home and abroad.

We would like to present the Slovak National Gallery as an open institution built and operating on fundamental museum standards, which are not only maintained, but also renewed and advanced. A gallery should not only be the source of significant impulses of quality curator projects and their presentations, but also the site of discussions and interpretation platforms and eventually even the guarantor of artistic and creative values. In practice, this means an ambitious and legible dramaturgy of individual research, acquisition, exhibition and publication projects, without narrowing their conceptual, thematic and stylistic offers, modifying the mission of the SNG or devaluing or inflating new, old, domestic and international art.

Slovak National Gallery, besides its premises in Bratislava, consists of a network of four detached gallery facilities: Castle in Zvolen, Mansion of Strážky in Spišská Belá, Ľudovít Fulla Gallery in Ružomberok and Gallery of Naïve Art in Pezinok-Cajla.

Mansion of Strážky in Spišská Belá

The SNG acquired this building into its administration by transfer after the death of baroness Margita Czóbel in 1972. The SNG accomplished its reconstruction and the revitalization of the English park from the 19th century, where it is installed an exposition of sculptures now. There are permanent expositions presented in the castle exhibition rooms and concerts or theater performances take place there as well as educational programmes. Permanent expositions are focused mainly on the art works of Ladislav Mednyánsky, on the portrait art works os Spiš Region and on both the historic furniture and collections of the historical library.
Opening Hours

Tuesday – Sunday: 10 a.m. – 6 p.m.
(last entry at 5:00 p.m.)

Winter Season (16 September to 14 June)
Monday and Tuesday: Closed
Wednesday – Sunday: 10:00 a.m. – 5:00 p.m.
(Last entry at 4.00 p.m.)

Administrator: Mária Šelepová
Tel.: 00-421-52-45 81 312
E-mail: strazky@sng.sk

Janko Alexy
Jan 25, 1894 - Sep 22, 1970

Janko Alexy was a famous painter, writer, and publicist of Slovak origin. He is generally recognized as one of key personalities in the beginning of Modern Slovak Art.
http://hisour.com/art-medium/drawings/fujara-shepherds-pipe-players-in-detva-janko-alexy-1931/

Shepherd’s fife Janko Alexy 1928/1932

Shepherd’s fife
Janko Alexy 1928/1932
From the collection of
Oravská galéria v Dolnom Kubíne
Details
Title: Shepherd’s fife
Creator: Janko Alexy
Date: 1928/1932
Location: Slovakia
Object Title - SK: Fujarista
Type: painting
Rights: Oravská galéria v Dolnom Kubíne

Oravská galéria v Dolnom Kubíne
Dolný Kubín, Slovakia

Regionálna galéria s krajskou pôsobnosťou pre Žilinský samosprávny založená v roku 1965 sídli v Dolnom Kubíne v Župnom dome zo 17. storočia – v administratívnom a výstavnom centre galérie. Zbierkovým fondom v ôsmich výtvarných disciplínach v počte viac než 8 300 ks výtvarných diel patrí medzi najvýznamnejšie verejné galerijné inštitúcie na Slovensku.
Jedna časť akvizičnej činnosti je orientovaná na slovenské ľudové a insitné umenie a druhá časť na celú šírku výtvarného umenia 15. - 19. storočia /stredoveká tabuľová maľba a plastika, barokové umenie, ikony/ a profesionálne umenie 20. storočia /hlavne tvorbu tzv. zakladateľskej generácie, generácie 1909, medzivojnového umenia a “galandovcov“/.
Popri stálych expozíciách v Župnom dome v Dolnom Kubíne /Staré umenie 15. až 19. storočia, Ikony, Slovenské výtvarné umenie 20. storočia, Tradičné ľudové umenie – výber, Štefan Siváň – rezbár z Oravy/ inštitúcia organizuje aktuálne krátkodobé výstavy v štyroch výstavných priestoroch.
Okrem Dolného Kubína prevádzkuje Oravská galéria ďalšie vysunuté stále expozície: Tradičné ľudové výtvarné umenie na Slanickom ostrove umenia na Oravskej priehrade a Galériu Márie Medveckej v Tvrdošíne.
Otvorené celoročne: utorok – nedeľa 10:00 – 17:00 hod.
Vstupné:
deti 0,50 €
krátkodobé výstavy 1,00 €
trvalé expozície 2,00 €

A regional gallery with a scope of action for the Žilina Municipality was established in 1965 and is based at the 17th century County House in Dolný Kubín, which is also an administrative and exhibition centre of the Gallery. With its collection more than 8 300 pieces of art works of eight art disciplines the Gallery belongs to the most significant public galleries in Slovakia.
One part of acquisition activities is focused on Slovak folk and naive art while the other part includes the Art of the 15th thru 19th centuries (Middle Age table paintings, Plastic art, Baroque art, Icons) and 20th century professional art (mainly works by the Founders Generation, Generation 1909, Interwar art, and the Galanda Group).
Besides permanent exhibitions in Dolný Kubín County Building (15th - 19th Century Art, Icons, 20th Century Slovak Art, Traditional Folk Art – Selection, Štefan Siváň - Folk Woodcarver), the institution also organizes current short-term exhibitions in four exhibiting halls.
Besides Dolný Kubín, the Orava Gallery operates two more permanent exhibitions: Traditional Folk Art on Slanica Island of Art at the Orava Dam and Mária Medvecká Gallery in Tvrdošín.
Open all year round: Tuesday – Sunday 10.00 am – 5.00 pm
Entrance fee:
children € 0,50
short-time exhibitions – adults € 1,00
permanent expositions – adults € 2,00

Janko Alexy
Jan 25, 1894 - Sep 22, 1970

Janko Alexy was a famous painter, writer, and publicist of Slovak origin. He is generally recognized as one of key personalities in the beginning of Modern Slovak Art.
http://hisour.com/art-medium/paintings/shepherds-fife-janko-alexy-19281932/