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Do you want to take the road less traveled? Do you want to get the most out of your next visit? #Swipe to read the art museum guide you never knew you needed. ➡️

Do you want to take the road less traveled? Do you want to get the most out of your next visit? #Swipe to read the art museum guide you never knew you needed. ➡️

Do you want to take the road less traveled? Do you want to get the most out of your next visit? #Swipe to read the art museum guide you never knew you needed. ➡️

Do you want to take the road less traveled? Do you want to get the most out of your next visit? #Swipe to read the art museum guide you never knew you needed. ➡️

Do you want to take the road less traveled? Do you want to get the most out of your next visit? #Swipe to read the art museum guide you never knew you needed. ➡️

Do you want to take the road less traveled? Do you want to get the most out of your next visit? #Swipe to read the art museum guide you never knew you needed. ➡️

At one with Rothko 🙏🏽

Did you know that we have the world’s largest public collection of Mark Rothko paintings?  
 
And now, we’re taking it a step further. Today, we’re unveiling a new exhibition bringing 100 new Rothko paintings to our East Building. These never-before-seen paintings were made by the artist on paper, and they shed new light on his creative evolution. 
 
Don’t miss your chance to see “Mark Rothko: Paintings on Paper.” 
 
Tap the link in our bio to plan your visit 🔍
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🖼 Mark Rothko, “Untitled,” 1956, pigmented hide glue, oil, and acrylic on canvas, 95 x 81 in., Gift of The Mark Rothko Foundation, Inc.
📍 East Building, Tower, Gallery 615A

Find someone who loves you as much as Johannes Vermeer’s fans love his work.

Vermeer’s paintings are exceptional and so are their admirers.

Some fans of the 17th-century Dutch painter board 8-hour flights across continents to see his work up close. Others dedicate their careers to learning the artist’s technique, and they recreate his work to connect with new generations of art lovers.

And just who are these fierce fans? Tap the link in our bio to meet them and read about their remarkable journeys. 👈🏽🔍

🖼 Johannes Vermeer, “Woman Holding a Balance,” 1664, oil on canvas, 15 x 14 in., Widener Collection; 📷 by Caroline Sikkenk @caroline_sikkenk; Ft. @theabigailmartina

Find someone who loves you as much as Johannes Vermeer’s fans love his work.

Vermeer’s paintings are exceptional and so are their admirers.

Some fans of the 17th-century Dutch painter board 8-hour flights across continents to see his work up close. Others dedicate their careers to learning the artist’s technique, and they recreate his work to connect with new generations of art lovers.

And just who are these fierce fans? Tap the link in our bio to meet them and read about their remarkable journeys. 👈🏽🔍

🖼 Johannes Vermeer, “Woman Holding a Balance,” 1664, oil on canvas, 15 x 14 in., Widener Collection; 📷 by Caroline Sikkenk @caroline_sikkenk; Ft. @theabigailmartina

not me getting rewarded for having elite art history lore knowledge 😭 thank you to the @thewebbyawards and @roywoodjr for this award. genuinely means so much to aura farm art online and see the masses tap in. Much luv, Ali Luchs and the social media girlies. Ok Siri stop recording now thanks

#art #curator #rizzler #explorepage

People thought Niagara Falls was impossible to paint. Artists spent decades trying and flopping. Then Frederic Edwin Church showed up and completely ratioed the competition.

Swipe to uncover the story ➡️ #artuncovered
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🖼 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

#art #history #explorepage

People thought Niagara Falls was impossible to paint. Artists spent decades trying and flopping. Then Frederic Edwin Church showed up and completely ratioed the competition.

Swipe to uncover the story ➡️ #artuncovered
__

🖼 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

#art #history #explorepage

People thought Niagara Falls was impossible to paint. Artists spent decades trying and flopping. Then Frederic Edwin Church showed up and completely ratioed the competition.

Swipe to uncover the story ➡️ #artuncovered
__

🖼 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

#art #history #explorepage

People thought Niagara Falls was impossible to paint. Artists spent decades trying and flopping. Then Frederic Edwin Church showed up and completely ratioed the competition.

Swipe to uncover the story ➡️ #artuncovered
__

🖼 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

#art #history #explorepage

People thought Niagara Falls was impossible to paint. Artists spent decades trying and flopping. Then Frederic Edwin Church showed up and completely ratioed the competition.

Swipe to uncover the story ➡️ #artuncovered
__

🖼 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

#art #history #explorepage

People thought Niagara Falls was impossible to paint. Artists spent decades trying and flopping. Then Frederic Edwin Church showed up and completely ratioed the competition.

Swipe to uncover the story ➡️ #artuncovered
__

🖼 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

#art #history #explorepage

People thought Niagara Falls was impossible to paint. Artists spent decades trying and flopping. Then Frederic Edwin Church showed up and completely ratioed the competition.

Swipe to uncover the story ➡️ #artuncovered
__

🖼 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

#art #history #explorepage

People thought Niagara Falls was impossible to paint. Artists spent decades trying and flopping. Then Frederic Edwin Church showed up and completely ratioed the competition.

Swipe to uncover the story ➡️ #artuncovered
__

🖼 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

#art #history #explorepage

People thought Niagara Falls was impossible to paint. Artists spent decades trying and flopping. Then Frederic Edwin Church showed up and completely ratioed the competition.

Swipe to uncover the story ➡️ #artuncovered
__

🖼 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

#art #history #explorepage

People thought Niagara Falls was impossible to paint. Artists spent decades trying and flopping. Then Frederic Edwin Church showed up and completely ratioed the competition.

Swipe to uncover the story ➡️ #artuncovered
__

🖼 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

#art #history #explorepage

Dressed in black Saint Laurent with a towering top hat that looks like a pirate ship, @Madonna nods to Leonora Carrington’s "The Temptations of Saint Anthony Fragment II."

Carrington was born rich in England and was supposed to follow the rules, Catholic school, debutante balls...but she wasn’t interested.

She was into fairy tales, strange stories, and building her own reality. She got pulled into the Surrealist scene in the 1920s but never really played by their rules either, especially not the part where women were just muses.

In the early 1900s, André Breton, who led the Surrealist movement, was drawn to the Freudian idea that women were naturally emotional and erotic. So artists like Carrington often got boxed into the role of muse, there to inspire men instead of being taken seriously.

But Carrington wasn’t having that. She once said, “I didn’t have time to be anyone’s muse…I was too busy rebelling against my family and learning to be an artist.”

In 1942, she moved to Mexico City, where her creativity was valued among a growing community of expatriate artists, writers, and photographers, including Varo, Benjamin Péret, Kati and José Horna, and her new husband, Emerico “Chiki” Weisz.

She stayed there for the rest of her life, and went deeper into her own creative world filled with painting, writing, mythology, and cooking. When the Surrealist movement put her into a box, she decided to make her own world instead.

🖼️ Leonora Carrington, "The Temptation Of St. Anthony. Fragment II," 1945, 122×91 cm

#art #fashion #MetGala #explorepage

In this painting, René Magritte does what he does best: he takes our familiar world, breaks it into pieces, and then reassembles it…

As one of the leading figures of the surrealist movement in 1920s Paris, Magritte’s approach mirrors one of the group’s fundamental principles. The surrealist manifesto, a multi-page written declaration drawn up by André Breton in 1924, states their aim was to “liberate the mind by subverting rational thought and giving free reign to the unconscious.”

That’s why the figure and horse in this painting are somewhat familiar to us: Magritte ingeniously distorts what would be an ordinary scene by creating an optical illusion. He tricks your eye by combining separate elements into one complete image, transforming a horseback rider into a dreamlike vision. 😵‍💫💫

In doing this, Magritte not only takes us out of our world, but exposes how absurd our everyday world can be.
__

🖼 René Magritte, “The Blank Signature,” 1965, oil on canvas, 32 x 25 in., Collection of Mr. and Mrs. Paul Mellon

#magritte #art #painting #explorepage

In this painting, René Magritte does what he does best: he takes our familiar world, breaks it into pieces, and then reassembles it…

As one of the leading figures of the surrealist movement in 1920s Paris, Magritte’s approach mirrors one of the group’s fundamental principles. The surrealist manifesto, a multi-page written declaration drawn up by André Breton in 1924, states their aim was to “liberate the mind by subverting rational thought and giving free reign to the unconscious.”

That’s why the figure and horse in this painting are somewhat familiar to us: Magritte ingeniously distorts what would be an ordinary scene by creating an optical illusion. He tricks your eye by combining separate elements into one complete image, transforming a horseback rider into a dreamlike vision. 😵‍💫💫

In doing this, Magritte not only takes us out of our world, but exposes how absurd our everyday world can be.
__

🖼 René Magritte, “The Blank Signature,” 1965, oil on canvas, 32 x 25 in., Collection of Mr. and Mrs. Paul Mellon

#magritte #art #painting #explorepage

“María Magdalena en éxtasis” nos enseña un momento intensamente íntimo, de devoción, deseo y entrega.

Es una obra de Artemisia Gentileschi, la artista más célebre del barroco italiano, y una de las mejores de la historia. Y ya está expuesta en el museo para que vengas a conocerla.

Nos dice Eve, nuestra curadora jefa de arte italiano y español, que ha visto un gran cambio en la energía de la sala cuando entró este cuadro. “Está rodeada por obras de su padre (Orazio Gentileschi), pero le puse an ella en el centro”.

📍Edificio oeste, planta principal, galería M29

—

“Mary Magdalene in Ecstasy” is not just a masterpiece, it’s an intensely intimate moment of raw devotion, desire, and surrender.

It was created by Artemisia Gentileschi, the most celebrated woman artist of the Italian Baroque and one of the greatest artists in history. And it’s now on display at the National Gallery of Art for you to see for yourself. Eve, our Head Curator of Italian and Spanish Paintings, knew the work would shift the energy of the gallery: “Her painting is surrounded by works by her father, but I’m giving her the center of the room.”

📍West Building, Main Floor, Gallery M29
🖼️ Artemisia Gentileschi, “María Magdalena en éxtasis” (“Mary Magdalene in Ecstasy”), 1625, óleo sobre lienzo (oil on canvas), 81 × 105 cm (31 x 41 in.), Fondos de Nina J. Cohen en honor a su padre Emanuel Cohen y del Patrons’ Permanent Fund (Funds from Nina J. Cohen in honor of her father Emanuel Cohen and Patrons’ Permanent Fund)

#arte #parati #art #explorepage

Chat, nobody had this collab on their 2026 bingo card fr. As the internet’s certified art rizzslayer, here’s a beauty lore drop for the timeline. 💅 Shoutout @fentybeauty for sponsoring this diva debrief. OK goodnight that’s enough for now it’s past my bedtime… much love, ur girl alison museum rizzler

⭐️ Alison Luchs, National Gallery of Art, Curator of Early European Sculpture and Deputy Head of Sculpture

#snatched #art #gloss #girlie

Since the 1970s, this logo has appeared all over the place. But who exactly is the mind behind it?
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🖼️ Robert Indiana, “LOVE,” 1966–1999, Polychrome aluminum, 18 × 18 × 9 in., Artwork: © The Robert Indiana Legacy Initiative/Artists Rights Society (ARS), NY

🖼️ Robert Clark, “Second Chapter of the Gospel of Saint Luke, King James Bible,” 1946, Watercolor on parchment, dimensions unknown, Latin Department, Arsenal Technical High School, Indianapolis

📷 Indiana at 25 Coenties Slip, New York, with, left, Two Golden Orbs (1959) and, right, Twenty Golden Orbs (1959), each in an early state, summer 1959. Photo: John Ardoin

🖼️ Robert Indiana, US Postal Stamp, January 26, 1973, National Postal Museum

🖼️ Robert Indiana, “AMOR,” 1998, polychrome aluminum, 96 × 96 × 48 in., Gift of Simon and Gillian Salama-Caro in memory of Ruth Klausner 📍 National Gallery Sculpture Garden

#art #love #history #explorepage

Since the 1970s, this logo has appeared all over the place. But who exactly is the mind behind it?
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.
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🖼️ Robert Indiana, “LOVE,” 1966–1999, Polychrome aluminum, 18 × 18 × 9 in., Artwork: © The Robert Indiana Legacy Initiative/Artists Rights Society (ARS), NY

🖼️ Robert Clark, “Second Chapter of the Gospel of Saint Luke, King James Bible,” 1946, Watercolor on parchment, dimensions unknown, Latin Department, Arsenal Technical High School, Indianapolis

📷 Indiana at 25 Coenties Slip, New York, with, left, Two Golden Orbs (1959) and, right, Twenty Golden Orbs (1959), each in an early state, summer 1959. Photo: John Ardoin

🖼️ Robert Indiana, US Postal Stamp, January 26, 1973, National Postal Museum

🖼️ Robert Indiana, “AMOR,” 1998, polychrome aluminum, 96 × 96 × 48 in., Gift of Simon and Gillian Salama-Caro in memory of Ruth Klausner 📍 National Gallery Sculpture Garden

#art #love #history #explorepage

Since the 1970s, this logo has appeared all over the place. But who exactly is the mind behind it?
.
.
.
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🖼️ Robert Indiana, “LOVE,” 1966–1999, Polychrome aluminum, 18 × 18 × 9 in., Artwork: © The Robert Indiana Legacy Initiative/Artists Rights Society (ARS), NY

🖼️ Robert Clark, “Second Chapter of the Gospel of Saint Luke, King James Bible,” 1946, Watercolor on parchment, dimensions unknown, Latin Department, Arsenal Technical High School, Indianapolis

📷 Indiana at 25 Coenties Slip, New York, with, left, Two Golden Orbs (1959) and, right, Twenty Golden Orbs (1959), each in an early state, summer 1959. Photo: John Ardoin

🖼️ Robert Indiana, US Postal Stamp, January 26, 1973, National Postal Museum

🖼️ Robert Indiana, “AMOR,” 1998, polychrome aluminum, 96 × 96 × 48 in., Gift of Simon and Gillian Salama-Caro in memory of Ruth Klausner 📍 National Gallery Sculpture Garden

#art #love #history #explorepage

Since the 1970s, this logo has appeared all over the place. But who exactly is the mind behind it?
.
.
.
.
🖼️ Robert Indiana, “LOVE,” 1966–1999, Polychrome aluminum, 18 × 18 × 9 in., Artwork: © The Robert Indiana Legacy Initiative/Artists Rights Society (ARS), NY

🖼️ Robert Clark, “Second Chapter of the Gospel of Saint Luke, King James Bible,” 1946, Watercolor on parchment, dimensions unknown, Latin Department, Arsenal Technical High School, Indianapolis

📷 Indiana at 25 Coenties Slip, New York, with, left, Two Golden Orbs (1959) and, right, Twenty Golden Orbs (1959), each in an early state, summer 1959. Photo: John Ardoin

🖼️ Robert Indiana, US Postal Stamp, January 26, 1973, National Postal Museum

🖼️ Robert Indiana, “AMOR,” 1998, polychrome aluminum, 96 × 96 × 48 in., Gift of Simon and Gillian Salama-Caro in memory of Ruth Klausner 📍 National Gallery Sculpture Garden

#art #love #history #explorepage

Since the 1970s, this logo has appeared all over the place. But who exactly is the mind behind it?
.
.
.
.
🖼️ Robert Indiana, “LOVE,” 1966–1999, Polychrome aluminum, 18 × 18 × 9 in., Artwork: © The Robert Indiana Legacy Initiative/Artists Rights Society (ARS), NY

🖼️ Robert Clark, “Second Chapter of the Gospel of Saint Luke, King James Bible,” 1946, Watercolor on parchment, dimensions unknown, Latin Department, Arsenal Technical High School, Indianapolis

📷 Indiana at 25 Coenties Slip, New York, with, left, Two Golden Orbs (1959) and, right, Twenty Golden Orbs (1959), each in an early state, summer 1959. Photo: John Ardoin

🖼️ Robert Indiana, US Postal Stamp, January 26, 1973, National Postal Museum

🖼️ Robert Indiana, “AMOR,” 1998, polychrome aluminum, 96 × 96 × 48 in., Gift of Simon and Gillian Salama-Caro in memory of Ruth Klausner 📍 National Gallery Sculpture Garden

#art #love #history #explorepage

Since the 1970s, this logo has appeared all over the place. But who exactly is the mind behind it?
.
.
.
.
🖼️ Robert Indiana, “LOVE,” 1966–1999, Polychrome aluminum, 18 × 18 × 9 in., Artwork: © The Robert Indiana Legacy Initiative/Artists Rights Society (ARS), NY

🖼️ Robert Clark, “Second Chapter of the Gospel of Saint Luke, King James Bible,” 1946, Watercolor on parchment, dimensions unknown, Latin Department, Arsenal Technical High School, Indianapolis

📷 Indiana at 25 Coenties Slip, New York, with, left, Two Golden Orbs (1959) and, right, Twenty Golden Orbs (1959), each in an early state, summer 1959. Photo: John Ardoin

🖼️ Robert Indiana, US Postal Stamp, January 26, 1973, National Postal Museum

🖼️ Robert Indiana, “AMOR,” 1998, polychrome aluminum, 96 × 96 × 48 in., Gift of Simon and Gillian Salama-Caro in memory of Ruth Klausner 📍 National Gallery Sculpture Garden

#art #love #history #explorepage

Since the 1970s, this logo has appeared all over the place. But who exactly is the mind behind it?
.
.
.
.
🖼️ Robert Indiana, “LOVE,” 1966–1999, Polychrome aluminum, 18 × 18 × 9 in., Artwork: © The Robert Indiana Legacy Initiative/Artists Rights Society (ARS), NY

🖼️ Robert Clark, “Second Chapter of the Gospel of Saint Luke, King James Bible,” 1946, Watercolor on parchment, dimensions unknown, Latin Department, Arsenal Technical High School, Indianapolis

📷 Indiana at 25 Coenties Slip, New York, with, left, Two Golden Orbs (1959) and, right, Twenty Golden Orbs (1959), each in an early state, summer 1959. Photo: John Ardoin

🖼️ Robert Indiana, US Postal Stamp, January 26, 1973, National Postal Museum

🖼️ Robert Indiana, “AMOR,” 1998, polychrome aluminum, 96 × 96 × 48 in., Gift of Simon and Gillian Salama-Caro in memory of Ruth Klausner 📍 National Gallery Sculpture Garden

#art #love #history #explorepage

Since the 1970s, this logo has appeared all over the place. But who exactly is the mind behind it?
.
.
.
.
🖼️ Robert Indiana, “LOVE,” 1966–1999, Polychrome aluminum, 18 × 18 × 9 in., Artwork: © The Robert Indiana Legacy Initiative/Artists Rights Society (ARS), NY

🖼️ Robert Clark, “Second Chapter of the Gospel of Saint Luke, King James Bible,” 1946, Watercolor on parchment, dimensions unknown, Latin Department, Arsenal Technical High School, Indianapolis

📷 Indiana at 25 Coenties Slip, New York, with, left, Two Golden Orbs (1959) and, right, Twenty Golden Orbs (1959), each in an early state, summer 1959. Photo: John Ardoin

🖼️ Robert Indiana, US Postal Stamp, January 26, 1973, National Postal Museum

🖼️ Robert Indiana, “AMOR,” 1998, polychrome aluminum, 96 × 96 × 48 in., Gift of Simon and Gillian Salama-Caro in memory of Ruth Klausner 📍 National Gallery Sculpture Garden

#art #love #history #explorepage

Since the 1970s, this logo has appeared all over the place. But who exactly is the mind behind it?
.
.
.
.
🖼️ Robert Indiana, “LOVE,” 1966–1999, Polychrome aluminum, 18 × 18 × 9 in., Artwork: © The Robert Indiana Legacy Initiative/Artists Rights Society (ARS), NY

🖼️ Robert Clark, “Second Chapter of the Gospel of Saint Luke, King James Bible,” 1946, Watercolor on parchment, dimensions unknown, Latin Department, Arsenal Technical High School, Indianapolis

📷 Indiana at 25 Coenties Slip, New York, with, left, Two Golden Orbs (1959) and, right, Twenty Golden Orbs (1959), each in an early state, summer 1959. Photo: John Ardoin

🖼️ Robert Indiana, US Postal Stamp, January 26, 1973, National Postal Museum

🖼️ Robert Indiana, “AMOR,” 1998, polychrome aluminum, 96 × 96 × 48 in., Gift of Simon and Gillian Salama-Caro in memory of Ruth Klausner 📍 National Gallery Sculpture Garden

#art #love #history #explorepage

Since the 1970s, this logo has appeared all over the place. But who exactly is the mind behind it?
.
.
.
.
🖼️ Robert Indiana, “LOVE,” 1966–1999, Polychrome aluminum, 18 × 18 × 9 in., Artwork: © The Robert Indiana Legacy Initiative/Artists Rights Society (ARS), NY

🖼️ Robert Clark, “Second Chapter of the Gospel of Saint Luke, King James Bible,” 1946, Watercolor on parchment, dimensions unknown, Latin Department, Arsenal Technical High School, Indianapolis

📷 Indiana at 25 Coenties Slip, New York, with, left, Two Golden Orbs (1959) and, right, Twenty Golden Orbs (1959), each in an early state, summer 1959. Photo: John Ardoin

🖼️ Robert Indiana, US Postal Stamp, January 26, 1973, National Postal Museum

🖼️ Robert Indiana, “AMOR,” 1998, polychrome aluminum, 96 × 96 × 48 in., Gift of Simon and Gillian Salama-Caro in memory of Ruth Klausner 📍 National Gallery Sculpture Garden

#art #love #history #explorepage

After 45+ years in the museum game, at 77 years young, our curator Alison is getting these Webbys one way or another 😭 Hit the link in bio to help her secure that award bag.

Update: And just a week after filming this...we cleared every Webby category we were nominated in and even casually grabbed two People’s Voice Awards 🏆🏆🏆🏆🏆

⭐️ Alison Luchs, Curator of Early European Sculpture and Deputy Head of Sculpture
📍 National Gallery of Art
@thewebbyawards

#art #rizz #goblin #explorepage

Have you ever given up on a dream because you thought it was too late to chase it? Alma Thomas’s life is a reminder that it’s never too late to make your dreams a reality.

Swipe to uncover her story ➡️ #ArtUncovered
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🖼 Laura Wheeler Waring, “Portrait of a Lady (Alma Thomas),” 1947, 30 x 25 in., Smithsonian American Art Museum

📷 Family photograph album, 192-. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

📷 Portrait of Alma Thomas © Michael Fischer, 1976. Courtesy of the Smithsonian American Art Museum

🖼 Alma Thomas, “Pansies in Washington,” 1969, acrylic on canvas, 50 × 48 in., Corcoran Collection (Gift of Vincent Melzac)

📷 Jack Whitten. Photograph of Alma Thomas at the opening of her exhibition at the Whitney Museum of American Art, 1972. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

🖼 Alma Thomas, “Red Rose Cantata,” 1973, acrylic on canvas, 69 x 50 in., Gift of Vincent Melzac

#goals #art #dreams #explorepage

Have you ever given up on a dream because you thought it was too late to chase it? Alma Thomas’s life is a reminder that it’s never too late to make your dreams a reality.

Swipe to uncover her story ➡️ #ArtUncovered
.
.
.
.
🖼 Laura Wheeler Waring, “Portrait of a Lady (Alma Thomas),” 1947, 30 x 25 in., Smithsonian American Art Museum

📷 Family photograph album, 192-. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

📷 Portrait of Alma Thomas © Michael Fischer, 1976. Courtesy of the Smithsonian American Art Museum

🖼 Alma Thomas, “Pansies in Washington,” 1969, acrylic on canvas, 50 × 48 in., Corcoran Collection (Gift of Vincent Melzac)

📷 Jack Whitten. Photograph of Alma Thomas at the opening of her exhibition at the Whitney Museum of American Art, 1972. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

🖼 Alma Thomas, “Red Rose Cantata,” 1973, acrylic on canvas, 69 x 50 in., Gift of Vincent Melzac

#goals #art #dreams #explorepage

Have you ever given up on a dream because you thought it was too late to chase it? Alma Thomas’s life is a reminder that it’s never too late to make your dreams a reality.

Swipe to uncover her story ➡️ #ArtUncovered
.
.
.
.
🖼 Laura Wheeler Waring, “Portrait of a Lady (Alma Thomas),” 1947, 30 x 25 in., Smithsonian American Art Museum

📷 Family photograph album, 192-. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

📷 Portrait of Alma Thomas © Michael Fischer, 1976. Courtesy of the Smithsonian American Art Museum

🖼 Alma Thomas, “Pansies in Washington,” 1969, acrylic on canvas, 50 × 48 in., Corcoran Collection (Gift of Vincent Melzac)

📷 Jack Whitten. Photograph of Alma Thomas at the opening of her exhibition at the Whitney Museum of American Art, 1972. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

🖼 Alma Thomas, “Red Rose Cantata,” 1973, acrylic on canvas, 69 x 50 in., Gift of Vincent Melzac

#goals #art #dreams #explorepage

Have you ever given up on a dream because you thought it was too late to chase it? Alma Thomas’s life is a reminder that it’s never too late to make your dreams a reality.

Swipe to uncover her story ➡️ #ArtUncovered
.
.
.
.
🖼 Laura Wheeler Waring, “Portrait of a Lady (Alma Thomas),” 1947, 30 x 25 in., Smithsonian American Art Museum

📷 Family photograph album, 192-. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

📷 Portrait of Alma Thomas © Michael Fischer, 1976. Courtesy of the Smithsonian American Art Museum

🖼 Alma Thomas, “Pansies in Washington,” 1969, acrylic on canvas, 50 × 48 in., Corcoran Collection (Gift of Vincent Melzac)

📷 Jack Whitten. Photograph of Alma Thomas at the opening of her exhibition at the Whitney Museum of American Art, 1972. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

🖼 Alma Thomas, “Red Rose Cantata,” 1973, acrylic on canvas, 69 x 50 in., Gift of Vincent Melzac

#goals #art #dreams #explorepage

Have you ever given up on a dream because you thought it was too late to chase it? Alma Thomas’s life is a reminder that it’s never too late to make your dreams a reality.

Swipe to uncover her story ➡️ #ArtUncovered
.
.
.
.
🖼 Laura Wheeler Waring, “Portrait of a Lady (Alma Thomas),” 1947, 30 x 25 in., Smithsonian American Art Museum

📷 Family photograph album, 192-. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

📷 Portrait of Alma Thomas © Michael Fischer, 1976. Courtesy of the Smithsonian American Art Museum

🖼 Alma Thomas, “Pansies in Washington,” 1969, acrylic on canvas, 50 × 48 in., Corcoran Collection (Gift of Vincent Melzac)

📷 Jack Whitten. Photograph of Alma Thomas at the opening of her exhibition at the Whitney Museum of American Art, 1972. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

🖼 Alma Thomas, “Red Rose Cantata,” 1973, acrylic on canvas, 69 x 50 in., Gift of Vincent Melzac

#goals #art #dreams #explorepage

Have you ever given up on a dream because you thought it was too late to chase it? Alma Thomas’s life is a reminder that it’s never too late to make your dreams a reality.

Swipe to uncover her story ➡️ #ArtUncovered
.
.
.
.
🖼 Laura Wheeler Waring, “Portrait of a Lady (Alma Thomas),” 1947, 30 x 25 in., Smithsonian American Art Museum

📷 Family photograph album, 192-. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

📷 Portrait of Alma Thomas © Michael Fischer, 1976. Courtesy of the Smithsonian American Art Museum

🖼 Alma Thomas, “Pansies in Washington,” 1969, acrylic on canvas, 50 × 48 in., Corcoran Collection (Gift of Vincent Melzac)

📷 Jack Whitten. Photograph of Alma Thomas at the opening of her exhibition at the Whitney Museum of American Art, 1972. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

🖼 Alma Thomas, “Red Rose Cantata,” 1973, acrylic on canvas, 69 x 50 in., Gift of Vincent Melzac

#goals #art #dreams #explorepage

Have you ever given up on a dream because you thought it was too late to chase it? Alma Thomas’s life is a reminder that it’s never too late to make your dreams a reality.

Swipe to uncover her story ➡️ #ArtUncovered
.
.
.
.
🖼 Laura Wheeler Waring, “Portrait of a Lady (Alma Thomas),” 1947, 30 x 25 in., Smithsonian American Art Museum

📷 Family photograph album, 192-. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

📷 Portrait of Alma Thomas © Michael Fischer, 1976. Courtesy of the Smithsonian American Art Museum

🖼 Alma Thomas, “Pansies in Washington,” 1969, acrylic on canvas, 50 × 48 in., Corcoran Collection (Gift of Vincent Melzac)

📷 Jack Whitten. Photograph of Alma Thomas at the opening of her exhibition at the Whitney Museum of American Art, 1972. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

🖼 Alma Thomas, “Red Rose Cantata,” 1973, acrylic on canvas, 69 x 50 in., Gift of Vincent Melzac

#goals #art #dreams #explorepage

Have you ever given up on a dream because you thought it was too late to chase it? Alma Thomas’s life is a reminder that it’s never too late to make your dreams a reality.

Swipe to uncover her story ➡️ #ArtUncovered
.
.
.
.
🖼 Laura Wheeler Waring, “Portrait of a Lady (Alma Thomas),” 1947, 30 x 25 in., Smithsonian American Art Museum

📷 Family photograph album, 192-. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

📷 Portrait of Alma Thomas © Michael Fischer, 1976. Courtesy of the Smithsonian American Art Museum

🖼 Alma Thomas, “Pansies in Washington,” 1969, acrylic on canvas, 50 × 48 in., Corcoran Collection (Gift of Vincent Melzac)

📷 Jack Whitten. Photograph of Alma Thomas at the opening of her exhibition at the Whitney Museum of American Art, 1972. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

🖼 Alma Thomas, “Red Rose Cantata,” 1973, acrylic on canvas, 69 x 50 in., Gift of Vincent Melzac

#goals #art #dreams #explorepage

Have you ever given up on a dream because you thought it was too late to chase it? Alma Thomas’s life is a reminder that it’s never too late to make your dreams a reality.

Swipe to uncover her story ➡️ #ArtUncovered
.
.
.
.
🖼 Laura Wheeler Waring, “Portrait of a Lady (Alma Thomas),” 1947, 30 x 25 in., Smithsonian American Art Museum

📷 Family photograph album, 192-. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

📷 Portrait of Alma Thomas © Michael Fischer, 1976. Courtesy of the Smithsonian American Art Museum

🖼 Alma Thomas, “Pansies in Washington,” 1969, acrylic on canvas, 50 × 48 in., Corcoran Collection (Gift of Vincent Melzac)

📷 Jack Whitten. Photograph of Alma Thomas at the opening of her exhibition at the Whitney Museum of American Art, 1972. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

🖼 Alma Thomas, “Red Rose Cantata,” 1973, acrylic on canvas, 69 x 50 in., Gift of Vincent Melzac

#goals #art #dreams #explorepage

Have you ever given up on a dream because you thought it was too late to chase it? Alma Thomas’s life is a reminder that it’s never too late to make your dreams a reality.

Swipe to uncover her story ➡️ #ArtUncovered
.
.
.
.
🖼 Laura Wheeler Waring, “Portrait of a Lady (Alma Thomas),” 1947, 30 x 25 in., Smithsonian American Art Museum

📷 Family photograph album, 192-. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

📷 Portrait of Alma Thomas © Michael Fischer, 1976. Courtesy of the Smithsonian American Art Museum

🖼 Alma Thomas, “Pansies in Washington,” 1969, acrylic on canvas, 50 × 48 in., Corcoran Collection (Gift of Vincent Melzac)

📷 Jack Whitten. Photograph of Alma Thomas at the opening of her exhibition at the Whitney Museum of American Art, 1972. Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

🖼 Alma Thomas, “Red Rose Cantata,” 1973, acrylic on canvas, 69 x 50 in., Gift of Vincent Melzac

#goals #art #dreams #explorepage