Sidney Gross, The New City, 1945, oil on canvas, Smithsonian American Art Museum, Transfer from the Evander Childs High School, Bronx, New York through the General Services Administration

-Mary

Sidney Gross, The New City, 1945, oil on canvas, Smithsonian American Art Museum, Transfer from the Evander Childs High School, Bronx, New York through the General Services Administration


-Mary

William Henry Holmes, Autumn Tangle, 1920, watercolor, Smithsonian American Art Museum, Bequest of Florence Deakins Becker
-Gloria

William Henry Holmes, Autumn Tangle, 1920, watercolor, Smithsonian American Art Museum, Bequest of Florence Deakins Becker

-Gloria

William E. Norton, Sunrise over Fishing Waters—Maine, ca. 1880, oil on wood mounted on paperboard, Smithsonian American Art Museum, Gift of Alice H. Rossin
-Can, Intern 

William E. Norton, Sunrise over Fishing Waters—Maine, ca. 1880, oil on wood mounted on paperboard, Smithsonian American Art Museum, Gift of Alice H. Rossin

-Can, Intern 

Guy Pene du Bois, Shovel Hats, 1884, Smithsonian American Art Museum, Gift of the Sara Roby Foundation
-Michael, Intern

Guy Pene du Bois, Shovel Hats, 1884, Smithsonian American Art Museum, Gift of the Sara Roby Foundation

-Michael, Intern

"Yarrr, those ships sure do look like a good prize!" Happy Talk Like a Pirate day
Earl Cunningham, Blue Sail Fleet Returns, after 1949, oil on fiberboard, Smithsonian American Art Museum, Gift of Mr. and Mrs. Michael Mennello
-Mason, intern

"Yarrr, those ships sure do look like a good prize!" Happy Talk Like a Pirate day

Earl Cunningham, Blue Sail Fleet Returns, after 1949, oil on fiberboard, Smithsonian American Art Museum, Gift of Mr. and Mrs. Michael Mennello

-Mason, intern

Oscar Gieberich, Composition No. 2 Of New York City, ca. 1934, oil on canvas, Smithsonian American Art Museum, Transfer from the U.S. Department of Labor
-Mary

Oscar Gieberich, Composition No. 2 Of New York City, ca. 1934, oil on canvas, Smithsonian American Art Museum, Transfer from the U.S. Department of Labor

-Mary

americanartluce:

George Ault, Bright Light at Russell’s Corners, 1946, oil on canvas, Smithsonian American Art Museum, Gift of Mr. and Mrs. Sidney Lawrence.

americanartluce:

George Ault, Bright Light at Russell’s Corners, 1946, oil on canvas, Smithsonian American Art Museum, Gift of Mr. and Mrs. Sidney Lawrence.

Mary Vaux Walcott, Untitled (Autumn Leaves), 1877, watercolor on paper, Smithsonian American Art Museum, Gift of the artist  
-Amelia 

Mary Vaux Walcott, Untitled (Autumn Leaves), 1877, watercolor on paper, Smithsonian American Art Museum, Gift of the artist  

-Amelia 

Happy Birthday, Sol LeWitt!
Sol LeWitt, Maquette for One, Two, Three, 1979, assembled and painted balsa wood, Smithsonian American Art Museum, Transfer from the General Services Administration, Art-In-Architecture Program
-Gloria

Happy Birthday, Sol LeWitt!

Sol LeWitt, Maquette for One, Two, Three, 1979, assembled and painted balsa wood, Smithsonian American Art Museum, Transfer from the General Services Administration, Art-In-Architecture Program

-Gloria

americanartmuseum:

Meet the Artist: Interview with William Christenberry

As a young man, William Christenberry often traveled the back roads of the South with his father. He studied painting as a graduate student at the University of Alabama until he discovered James Agee’s book Let Us Now Praise Famous Men. Christenberry was moved when he realized that the tenant farmers in Walker Evans’ photographs were people he remembered from growing up near Hale County, Alabama.

Although Christenberry creates many different kinds of art, ranging from photographs to drawings to sculpture, his experiences growing up in the South serve as the subject for most of his artwork.

Learn more - William Christenberry artist biography from the Smithsonian American Art Museum

note: loading more posts will reset any filters applied
More