And really we just feel privileged to be involved in sort of the discovery that goes on behind finding out why these portraits are made. Visit the National Gallery of Art's conservation lab as they conserve a selection of portraits by Gilbert Stuart.
In the conservation lab, a team is at work protecting 16 portraits by American artist, Gilbert Stuart. The year old paintings include the likenesses of Presidents Washington and Adams and Adam's wife, Abigail.
Joanna Dunn: Our goal is to bring the painting back to how it looked when the artist finished it and how the artist wanted it to be seen. Narrator: Stuart was the premier American portrait painter just after the Revolution. Not only did he do portraits of Presidents and their wives, but also businessmen, lawyers and diplomats.
Narrator: Once the portrait was finished, it was varnished for protection. But after a few years the varnish begins to yellow, compromising the intensity of the color and changing the visual impression. Joanna Dunn: I've removed the varnish from this square here and this square here.
And you can see that this cravat was a much brighter white and his coat was actually blue, not this grayish green that we see here. Narrator: This early Stuart portrait of the first President presents a different impression of Washington when clean. Nancy Anderson: You get to see the virtuoso technique because nothing is obscuring it anymore. And you can see here just on Washington, how many painters can do shadow that looks like that?
Narrator: Each portrait is a singular likeness combined with Stuart's impression of the sitter's personality. Nancy Anderson: He did not particularly enjoy sitting for perhaps any artist. Stuart, he had other things to do. Narrator: On another Stuart painting, a large rip in the canvas is being repaired by a process known as in-painting. Narrator: When finished, only a trained eye will be able to detect the difference between the original paint and the repaired rip.
Thanks to a grant from Bank of America, work on the Stuart portraits is nearly complete with a new exhibition plan for the fall.
Tom Richey, Associated Press. Woman in Blue Mujer en azul , c. Over recent decades, following an earlier restoration procedure involving the liberal application of varnish, Woman in Blue became greener than her intended blue.
The contrast between lighter and darker areas consequently seemed more muddied, and the painting lost much of its original drama. The team carried out close analysis of the painting using the most sophisticated technology, including visible light macro photography, infrared reflectography, UV light and radiography. Cain Slaying Abel , —; Oil on panel Its condition — with warped panels, splitting joins, scratches and an uneven surface with areas of paint loss and yellowed and opaque varnish — had been a long-standing concern.
At some point during the nineteenth century, a lattice of wood, known as a cradle, was applied to the reverse of the panel. This was intended to prevent the planks from moving but had caused stress to the panel support and had also attracted woodworm. Alice Chin Wan Tam, Mrs.
Brown's Grace. Photo by Paul Kolnik. Caroline Weiss Law Building Exterior. Michigan Avenue Entrance. Photo courtesy of the Museum of Fine Arts, Boston. We strive to provide you with information about products and services you might find interesting and useful. Relationship-based ads and online behavioral advertising help us do that.
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Before acting on any information in this material, you should consider whether it is suitable for your particular circumstances and, if necessary, seek professional advice. Any opinions expressed herein are given in good faith, are subject to change without notice, and are only correct as of the stated date of their issue. The Bank of America Art Conservation Project provides grants to nonprofit museums throughout the world to conserve historically or culturally significant works of art that are in danger of deterioration, including objects that have been designated as national treasures.
Due to challenges brought on by the coronavirus, Bank of America postponed the Art Conservation Project, directing planned funding to support the general operating needs of partner institutions. The Art Conservation Project will mark the 10 th year that Bank of America will provide grants to cultural institutions worldwide. Since , the program has funded more than projects in 33 countries on six continents.
In total, nonprofits have benefitted and more than 3, pieces — including paintings, sculptures, works on paper, textiles, documents and archaeological pieces — have been preserved. These works, which span our collective history from the ninth century B. Guggenheim Museum. Our program is designed to have a positive impact on economies and societies throughout the world, and shine a light on diverse cultural traditions.
To learn more about our arts and culture support and programs, please visit bankofamerica. ESG is embedded across our eight lines of business and reflects how we help fuel the global economy, build trust and credibility, and represent a company that people want to work for, invest in and do business with.
Rockefeller 3rd — and his wife Blanchette Hooker Rockefeller — over thirty years of collecting. It also highlights their belief in the capacity of art to facilitate cross-cultural dialogue and improve understanding between citizens of the United States and Asia. Rockefeller 3rd Collection, Sam Francis and Japan: Emptiness Overflowing presents works by American artist Sam Francis — alongside those of Japanese artists from the eighteenth, nineteenth and twentieth centuries.
Regarded as one of the leading interpreters of color and light, Francis produced paintings and lithographs that reveal a dialogue in aesthetics between Western and Eastern art. Influences from the West include references to New York abstract expressionism, color field painting and French Impressionism. Also on display are works by contemporary Japanese artists, many associated with Gutai, a radical, Japanese post-war artistic group founded in by the Osaka-based painter Jiro Yoshihara.
Other works represent Mono-Ha, a pioneering art movement that emerged in Tokyo in the mids, whose artists explored materials and their properties in reaction to rapid industrialization. Spanning 32, square feet of gallery space, the third floor presents five thematic exhibitions that address themes in contemporary art since the s.
These cross-departmental galleries present works across chronologies, national borders and artistic media that reflect topics ranging from perspectives on the essential qualities and use of color and light to the influence of collectivity in art. The works facilitate thoughtful and provocative dialogues with one another, and they explore how artists have addressed important social, historical and cultural issues.
The exhibition convenes more than fifteen paintings, drawings and prints by Vincent van Gogh, works from 69 artists and nearly 24 first-edition novels by authors admired by Van Gogh. At each destination, thousands of people enjoy masterful performances and share cultural experiences with fellow audiences across the globe. Recognized by the U. The exhibition opened in September and is now scheduled to close in , after being extended several times. The NMAI website offers a look at the treaties featured in the exhibition, including transcripts.
The museum will host a series of related interpretive and educational programs, both online and in person. Identifying and addressing structural weakness was critical to ensuring safety during the relocation of this colossal work. Treatment went beyond previous conservation efforts and covered an examination and evaluation of the hidden layers within and behind the fresco. The radical, innovative art of Jasper Johns American, b. Viewers are invited to look closely to discover the themes, methods, and coded visual language that echo across the two venues.
September 24, , marked a signature moment in the history of the United States, when the only national museum devoted to African American history, life and culture opened on the Washington Mall after more than twelve years of planning and development.
The nearly ,square-foot museum documents and showcases the African American experience with more than 36, artifacts and interactive exhibits. The museum features interactive exhibits that bring to life the optimism, struggle, spirituality and resiliency in a culture that has played such an integral role in the shaping of America.
In , a museum Advisory Council was formed. We would go on to become a founding donor in and to sponsor the historic opening events that took place throughout the fall of and first anniversary events in Bank of America was an early supporter of the development of the museum. In , we sponsored Save our African American Treasures , a national program dedicated to supporting historians, cultural anthropologists and experts from the art world to identify and preserve items of historical and cultural significance tucked away in the attics, closets and basements of Americans across the country.
Recognizing the significance of these artifacts, some owners chose to donate them to the museum, while others benefited from receiving an invaluable education on the meaning, value and proper safekeeping of their treasured possessions.
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