Audio Tour

Visita guiada del Edificio Este

Use su teléfono inteligente para explorar una amplia selección de obras por medio de las voces de curadores de la National Gallery of Art. Siga su propio ritmo escuchando cuantas paradas desee, en el orden de su preferencia.

Para escuchar la información sobre una obra de arte, ingrese el número de la parada en la casilla a continuación, seleccione ‘ir’ y luego ‘comenzar’ al visualizar la parada. Por favor, respete a los otros visitantes, use auriculares para escuchar la audioguía.

East Building: Featured Selections (English)

19 stops

  • A wood table is piled with stylized and abstracted objects, including a jug, lemons, a knife, guitar, newspaper, and a smoking pipe in this horizontal still life painting. The objects are made up of areas of mostly flat color and many are outlined in black, creating the impression that some shapes are two-dimensional and assembled almost like a collage. We look down onto the top of the table and at the front, where the grain of the wood is painted in tan against a lighter background. Concentric black and white circles make up the knob on the face of the table’s single drawer. There are two rows of objects on the table. Along the front, near the left corner of the table, the knife hangs with its blade slightly over the open drawer. A newspaper with the title “LE JOUR” rests next to the knife. Next to the newspaper are two yellow pieces of fruit, near the front right corner of the table. Behind the fruit, the right third of the pitcher is marine blue and the left two thirds is mostly straw yellow, with one round olive-green area near the handle. Next to the pitcher is a tobacco pipe, and, at the back left edge of the table, the guitar. The instrument rests on its side so the front of the soundboard faces the viewer, and the neck extends to our left. The instrument is bisected lengthwise into two halves that appear to be spliced together, and the edges and features of the halves are not symmetrical or aligned with each other. The bottom half of the guitar is painted a beige color, and is curved like a typical guitar body. The top half is painted black, and the contour of the instrument’s body rises into two pointed peaks instead of mirroring the rounded forms below. The sound hole is markedly smaller on the bottom half, and the two halves of the hole do not exactly line up. A rectangular form behind the table could be a screen. The left side is fern green, the right side black. Behind the screen is a wallpapered wall above wood paneling. The wallpaper is patterned with teardrop shapes, dots, and zigzagging lines in fawn brown against parchment white. The artist signed and dated the painting in the lower right corner, “G Braque 29.”

    Audio Tour Stop 4

    Still Life: Le Jour, Georges Braque

    NGA, East Building, EG-103-B, N

    Georges Braque es famoso por haber desarrollado con Pablo Picasso el nuevo estilo del cubismo en 1910. Esta pintura es típica de una etapa tardía en la carrera de Braque, cuando incorporó elementos del cubismo a las naturalezas muertas y otros temas. En esta obra, las vetas de la madera de la mesa, el diseño del papel de pared en el fondo y el texto del periódico ponen de relieve el juego entre dibujos y texturas.

    Still Life: Le Jour (Spanish)
  • The elongated head and neck of a person with stylized features is carved from beige-colored limestone for this freestanding sculpture. Though mostly carved smooth, the surface of the porous limestone is pocked and textured. In this photograph, the face is angled to our right. Short bangs line the narrow forehead of the tall, oval face. The hair flaring around the crown and behind the tidy, oval ear we see is roughly carved. The marquis-shaped eyes are set high on the face. Eyebrows immediately over the eyes join to make a long, blade-like nose that nearly reaches the bottom of the oval face. The arrow-shape of the nose ends just above a half-moon-shaped lip over a round chin. The long neck continues to a block of limestone that acts as the base. The sculpture is photographed in front of a background that lightens from charcoal gray across the top to nearly white across the bottom.

    Audio Tour Stop 5

    Head of a Woman, Amedeo Modigliani

    NGA, East Building, EG-103-A, E

    Esta escultura refleja la distintiva estilización de las figuras característica de Amedeo Modigliani, ya que presenta los rasgos elongados y ojos almendrados que se aprecian en muchas de sus pinturas. Modigliani se dedicó a la escultura aproximadamente desde 1909 a 1914, antes de fallecer de tuberculosis a los 35 años en 1920.

    Head of a Woman (Spanish)
  • We look slightly down onto a crush of pedestrians, horse-drawn carriages, wagons, and streetcars enclosed by a row of densely spaced buildings and skyscrapers opposite us in this horizontal painting. The street in front of us is alive with action but the overall color palette is subdued with burgundy red, grays, and black, punctuated by bright spots of harvest yellow, shamrock green, apple red, and white. Most of the people wear long dark coats and black hats but a few in particular draw the eye. For instance, in a patch of sunlight in the lower right corner, three women wearing light blue, scarlet-red, or emerald-green dresses stand out from the crowd. The sunlight also highlights a white spot on the ground, probably snow, amid the crowd to our right. Beyond the band of people in the street close to us, more people fill in the space around carriages, wagons, and trolleys, and a large horse-drawn cart piled with large yellow blocks, perhaps hay, at the center of the composition. A little in the distance to our left, a few bare trees stand around a patch of white ground. Beyond that, in the top half of the painting, city buildings are blocked in with rectangles of muted red, gray, and tan. Shorter buildings, about six to ten stories high, cluster in front of the taller buildings that reach off the top edge of the painting. The band of skyscrapers is broken only by a gray patch of sky visible in a gap between the buildings to our right of center, along the top of the canvas. White smoke rises from a few chimneys and billboards and advertisements are painted onto the fronts of some of the buildings. The paint is loosely applied, so many of the people and objects are created with only a few swipes of the brush, which makes many of the details indistinct. The artist signed the work with pine-green paint near the lower left corner: “Geo Bellows.”

    Audio Tour Stop 6

    New York, George Bellows

    NGA, East Building, EG-106-B, W

    Nueva York, completada en febrero de 1911, es una pintura ambiciosa y de gran tamaño en la que George Bellows capturó la esencia de la vida moderna en la Ciudad de Nueva York. Bellows no quiso representar un lugar específico ni identificable de la ciudad. En cambio, se inspiró en varios de sus bulliciosos distritos comerciales para crear una amalgama, una imagen imposiblemente repleta de gente, que transmitiera de la mejor manera posible el ritmo frenético de Nueva York.

    New York (Spanish)
  • A buoy and a sailboat with three men and a woman tip at an angle on rolling aquamarine and azure-blue waves in this horizontal painting. The white wooden boat sails away from us toward the right side of the composition. Its unfurled sail is tinged with taupe and pale blue and attached to a pale wooden mast. The boat has a low cabin with round portholes on the side we can see. Two of the men are shirtless, tanned, and have their backs to us. One sits in the cockpit wearing a white hat with a short brim as he holds the tiller. The other man stands on the deck with his arms crossed. Beyond the standing man, the woman lies along the roof of the cabin, her head at about the height of the man’s chest. She is barefoot and lies on her stomach wearing long, blue pants and a watermelon-pink halter top and matching kerchief covering her hair. The third man stands to her right, his slender body angled toward us while holding onto the mast with one hand and rigging with the other. The woman and third man have noticeably pale skin. A buoy near the boat is battleship-gray with streaks of rust along its base and a copper-green bell inside. It floats just to the left of and tips toward the boat on a rising swell. The scene is lit by bright sunlight coming from the left side of the baby-blue sky with bands of feathery clouds, which takes up the top two-thirds of the composition. The artist signed the lower right, “EDWARD HOPPER.”

    Audio Tour Stop 7

    Ground Swell, Edward Hopper

    NGA, West Building, G-006, N

    El cielo azul, las figuras bañadas por el sol y la vasta extensión de agua ondulada de Mar de fondo otorgan un tono calmo a la imagen; sin embargo, algunos detalles de la pintura cuestionan esta sensación inicial de serenidad. La boya confronta al pequeño velero en medio de un paisaje marino vacío. Su propósito —hacer sonar una campana de alerta ante peligros inminentes o inadvertidos— hace que su presencia en la escena sea amenazante. Las nubes de tipo cirro en el cielo azul, que suelen presagiar la aproximación de una tormenta, refuerzan esta sensación perturbadora.

    Ground Swell (Spanish)
  • A winged person blowing a horn stands silhouetted in lilac purple against a field of alternating celery and muted lime-green bands in this abstracted vertical painting. The person’s body is angled toward us but they look over their shoulder, to our left in profile, as they hold a horn to their lips. The horn reaches into the top left corner of the composition, and the wings extend off the top edge of the canvas. A shallowly curving slit indicates the eye. The person stands with each foot on two rounded forms like stylized hills. The mound on our right is higher so the knee is bent, and the person holds a skeleton key in the hand propped on that knee. The hill to our right has wavy bands of muted pine and sage green, and the hill to our left has a zigzag line of the sage across the darker green. Farther from us, four people, smaller in scale, are outlined as amethyst-purple silhouettes. One person to our right of the angel kneels and raises their hands high overhead, face turned to the sky. Two more people standing on or behind the left mound are framed between the trumpeter’s legs. The fourth person stands with hands clasped, also looking up. Concentric arcs of lemon yellow and pale green suggest a sun in the upper left corner. The artist signed and dated the work with dark green paint in the lower right corner: “A. Douglas ’39.”

    Audio Tour Stop 9

    The Judgment Day, Aaron Douglas

    En 1927, James Weldon Johnson, una figura clave en el renacimiento de Harlem, publicó su obra maestra, Los trombones de Dios: Siete sermones negros en verso. Cada sermón-poema se encontraba acompañado por una ilustración de Aaron Douglas, un joven artista afroamericano recientemente asentado en Harlem. Varios años más tarde, Douglas comenzó a traducir sus ilustraciones en grandes pinturas al óleo. El día del Juicio Final es la última obra de una serie de ocho pinturas. En el centro, un poderoso ángel Gabriel se encuentra de pie a horcajadas entre la tierra y el mar. Con un sonido de trompeta, el arcángel convoca a los pueblos de la tierra a enfrentar su juicio.

    The Judgment Day (Spanish)
  • A group of three men, two children, and one woman gather in an empty, dusky rose-pink landscape under a blue, cloudy sky in this nearly square painting. Most of the people have muted, peachy skin, and the woman and the youngest boy have cream-white skin. The woman sits on the ground to our right, apart from the rest of the men and children. She wears a coral-red skirt, a beige shawl, and straw hat, and she looks into the distance to our right. The others stand in a loose semi-circle on the left half of the composition. A man wearing a multicolored, diamond-patterned costume stands with his back to us to the left. He looks to our right in profile and holds the hand of a little girl who also stands with her back to us. She wears a pink dress and white stockings, and her right hand rests on the tall handle of a white basket. A portly man wearing a scarlet-red jester’s costume and pointed hat stands opposite this pair, facing us to our right. Next to him to our right a young man wears a tan-colored leotard with a black bottom. He holds a barrel over his right shoulder and looks over to our right. The sixth person is the youngest boy, who wears a baggy blue and red outfit, and he looks toward the woman. The eyes of all the figures are deeply shadowed.

    Audio Tour Stop 11

    Family of Saltimbanques, Pablo Picasso

    NGA, East Building, EM-217-C, E

    Familia de saltimbanquis es la pintura más importante que Pablo Picasso creó en sus primeros años de carrera. Para él, estos saltimbanquis deambulantes (acróbatas, bailarines y bufones) representaban la melancolía de la abandonada clase de artistas marginales, una suerte de familia extendida con la que se identificaba. Como ellos, el español Picasso pasó penurias durante sus primeros años en París, mientras luchaba por ser reconocido. El arlequín melancólico —con el traje con rombos en el extremo izquierdo— lleva el rostro oscuro e intenso del propio joven artista.

    Family of Saltimbanques (Spanish)
  • A French window with its sill lined with flowerpots opens into a view of boats floating in a body of water in this loosely painted, vibrantly colored, stylized, vertical painting. The doors open inward, and they are painted with coral orange and cranberry red. The wall behind the door to the left is peacock blue and the wall to our right is fuchsia pink, and those colors are reflected in the opposite windows of the doors. Three flowerpots in crimson red, marmalade orange, or royal blue sit on the windowsill in front of us. Foliage in the pots is painted with short strokes of cardinal red and turquoise blue. Over the window, a two-paned transom window pierces a forest-green wall. The view through the panes has a band of salmon pink across the top and dabs of celery green and banana yellow below. The dabs and dashes of pine and lime green continue down the sides of the window and across the sill, suggesting vines growing up around the opening. A band of ultramarine blue beyond the flowerpots could be a balcony. Several rust-orange masts of ships with hulls painted with swipes of indigo blue, flamingo pink, forest green, and marigold orange float in the water beyond. The water is painted with parallel strokes in pale pink and butter yellow. The sky above is painted with thick, wavy lines of steel blue, periwinkle purple, and seafoam green. The artist signed the work in red paint in the lower right, “Henri Matisse.”

    Audio Tour Stop 13

    Open Window, Collioure, Henri Matisse

    NGA, East Building, EM-217-B, E

    En la actualidad, la obra Ventana abierta, Collioure de Henri Matisse puede parecer agradable y lírica, pero originalmente sus pinceladas gruesas y colores intensos se juzgaron violentos. Esta obra pequeña pero explosiva, icono del modernismo temprano, se considera una de las pinturas más importantes de la escuela fauvista, un grupo de artistas que se centraron en liberar el color y la textura de las estrictas representaciones del aspecto natural. Ventana abierta, Collioure representa el inicio de este nuevo enfoque en el arte de Matisse.

    Open Window, Collioure (Spanish)
  • Two nude women, painted in vibrant coral peach and bubblegum pink, stand under a red umbrella in a landscape in this stylized, vertical painting. The scene is painted with areas of flat or streaked color with visible brushstrokes throughout. The women and umbrella take up most of the picture. The woman on our left stands facing our right almost in profile. Her skin is vivid peach. Slashes of red outline her breasts, groin, and legs. Her hair, eyes, and eyebrows are painted with black strokes. She stands on one leg and stretches the other in front of her to overlap the far foot of the other woman. The first woman hooks her arm through the elbow of the other, who stands facing us to our right. This second woman has vivid pink skin also outlined in red. Her face is a darker shade of pink, resembling a mask, and her eyes are parallel strokes of black and blue. Her left arm, on our right, hangs by her side, and she holds the umbrella with the other arm. She either wears a hat or her hair is painted with alternating bands of black, red, and brown, and there is a red flower or bow to one side. Black lines in the candy-red umbrella suggest a rib on the underside and the handle. Cobalt-blue branches of a tree above the women has blue and green leaves. The landscape beyond them is made up of bands of acid green, yellow, saturated blue, and cool green.

    Audio Tour Stop 14

    Two Girls under an Umbrella, Ernst Ludwig Kirchner

    NGA, East Building, EM-217-A, S

    Esta es una de las obras tempranas de la prolífica carrera de Ernst Ludwig Kirchner y pertenece a una época en que el artista fue miembro fundador de un grupo expresionista llamado Die Brücke (El Puente) en Dresde en 1905. En esta pintura, Kirchner ha representado a dos muchachas desnudas en un entorno natural, en lugar de ubicarlas en el espacio restringido de un estudio académico. Esta obra es también un ejemplo del uso que el artista hacía de formas atrevidas, y a menudo toscas, así como de colores vibrantes.

    Two Girls under an Umbrella (Spanish)
  • Black lines and one small, black triangular shape stand out against patches of color, in indigo and sky blue, pumpkin orange, butter yellow, emerald green, and ruby red, against a white background in this vertical, abstract painting. The paint seems thinly applied, resembling watercolor. Near the lower right corner, the black shape is roughly triangular and has five curving, parallel lines emanating from the bottom. Given the title of this painting, Improvisation 31, Sea Battle, the black lines could represent tall masts and outlines of sails amid areas of vibrant color that make up a boat and water around it.

    Audio Tour Stop 15

    Improvisation 31 (Sea Battle), Wassily Kandinsky

    NGA, East Building, EU-415-A, S

    La pintura de Vasili Kandinsky guarda conexión con el mundo real, pero los detalles se han distorsionado y ajustado para representar un cierto estado de ánimo. Pese a que las formas amorfas y las coloridas aguadas de pintura podrían en principio parecer completamente abstractas, componen algunas imágenes reconocibles. El tema central de Improvisación 31 (Batalla naval) es un par de barcos a vela en pleno combate, con sus altos mástiles representados por delgadas líneas negras. Este tema, interpretado por Kandinsky en varias de las Improvisaciones, probablemente se inspirara en la imaginería apocalíptica del Libro de las Revelaciones.

    Improvisation 31 (Sea Battle) (Spanish)
  • Carved from a slab of white marble, the top surface of this sculpture is covered with shallow, cuplike and deep rectangular depressions of various sizes. We look slightly down onto the slab in this photograph. The surface is divided into three vertical sections, which are defined by incised lines. The cuplike depressions are in the sections to the left and right. Two tiny, carved, dark wooden objects, like game pieces, stand upright in a cup with one the left and one to the right. Each piece is flat with a symmetrical design and a point at the bottom that inserts into the cup. The left piece has a disk flanked by triangular protrusions with a clover shape at top. The second piece has four stacked, small circles, and a U-shaped form to suggest the outline of a person with raised arms. Three smaller but deep rectangular cavities are carved into the middle section, and each one has a lid. Two lids sit askew on the top surface of the board near their respective openings, and inside are additional wooden pieces. A blank, rectangular section outlined with lightly inscised lines in the lower right is carved with reversed script letters that read, “on ne joue plus.” The entire surface has beveled edges, so it sits on a stepped base.

    Audio Tour Stop 16

    No More Play, Alberto Giacometti

    NGA, East Building, EU-415-B, CENTER

    Alberto Giacometti, uno de los grandes escultores surrealistas, incorporó con frecuencia el tema del juego a sus obras tempranas, como ocurre en esta escultura. La forma que el artista utilizó aquí recuerda a un juego de mesa con piezas movibles; sin embargo, la naturaleza del juego no es evidente. El espacio ambiguo y las reglas del "juego" desconocidas en Ya no jugamos hacen de este un objeto que podría encontrarse en un sueño.

    No More Play (Spanish)
  • This free-standing sculpture is a French window with a teal-colored frame and black, leather-lined glass panes standing on a flat, shallow base. Each door is made up of four, vertically stacked, equally sized panes. The doors are hinged on a narrow frame and open with small, clear knobs placed next to the second pane down from the top. The doors are slightly ajar. Black writing in capital block letters on the top surface of the base is legible in this photograph. It reads, “FRESH WIDOW COPYRIGHT ROSE SELAVY 1920.”

    Audio Tour Stop 17

    Fresh Widow, Marcel Duchamp

    NGA, East Building, EU-415-B, CENTER

    Marcel Duchamp buscaba desafiar las suposiciones básicas que justificaban los enfoques tradicionales en pintura y escultura. Duchamp, fascinado por la idea estadounidense de reproducciones baratas y fáciles, comenzó a apropiarse de objetos encontrados para sus readymades (“ya hecho” en inglés), un término que tomó prestado de la industria de la moda cuando vivía en Nueva York. El artista sorprendió al mundo del arte al intentar mostrar en exposiciones estos objetos corrientes, que a menudo presentaba sin alteraciones excepto por su firma. El título de esta obra es un juego de palabras logrado al eliminar la letra n de las palabras French Window (“ventana francesa” en inglés) para obtener la expresión Fresh Widow (“viuda fresca”). La primera hace referencia a las ventanas dobles tan típicas de los apartamentos parisinos y, la segunda, a las mujeres que habían enviudado recientemente debido a la Primera Guerra Mundial. Duchamp no creó por sí mismo la ventana en miniatura, sino que se la encargó a un carpintero estadounidense.

    Fresh Widow (Spanish)
  • The top section of this abstract sculpture is made up of a vertical, elongated form cast in gleaming brass that swells gently at the center and tapers to a point at either end. Near the bottom point, the form flares out slightly to make a tall, conical foot. This sits atop a short, cylindrical, white limestone base on a wood pedestal. The pedestal is carved to look like a disc at the center flanked above and below by semicircles with the flat edges facing up and down. The sculpture is photographed against a pale gray background.

    Audio Tour Stop 18

    Bird in Space, Constantin Brâncuși

    NGA, East Building, EU-415-C, CENTER

    Si bien esta escultura puede parecer abstracta, Constantin Brancusi insistió en que sus obras revelaban la esencia interior de sus temas. Su obra se inspiraba en las tradiciones de la escultura africana y el tallado folklórico rumano, y el artista convirtió el pedestal en un componente integral de la obra. Brancusi trabajó en la serie Pájaro en el espacio durante varios años, y la concibió como un conjunto que coronaría sus logros. A diferencia de otros escultores, Brancusi no contaba con un gran taller; en cambio, trabajaba en solitario con sus materiales, en este caso tallando la piedra y puliendo el latón.

    Bird in Space (Spanish)
  • This abstract, geometric painting has been tipped on one corner to create a diamond form rather than a square. The surface of the canvas is crisscrossed by an irregular grid of black lines running vertically and horizontally like offset ladders. The black lines create squares and rectangles of different sizes, and the width of the lines vary slightly. One complete square sits at the center of the composition and is painted white. Other rectangles are incomplete, their corners sliced by the edge of the canvas, and each is a different shade of white with hints of pale blue and gray. The black grid creates triangular forms where it meets the angled edge of the canvas in some places, and some of these are filled with flat areas of color. A tomato-red triangle is placed to the left of the top center point, and a vibrant yellow triangle is to the left of the lower center point. A black triangle is next to it at the bottom center, and a cobalt-blue triangle is situated just below the right point. The painting is signed with the artist’s initials at the lower center: “PM.”

    Audio Tour Stop 19

    Tableau No. IV; Lozenge Composition with Red, Gray, Blue, Yellow, and Black, Piet Mondrian

    NGA, East Building, EU-415-C, W

    Piet Mondrian quería que sus pinturas abstractas expresaran la noción espiritual de que las armonías universales presiden en la naturaleza. Los elementos horizontales y verticales de sus composiciones, calibrados cuidadosamente para producir una asimetría equilibrada, representaban fuerzas opuestas que emparejan el equilibrio dinámico que se despliega en el mundo natural. Mondrian dijo que las composiciones en rombo tenían que ver con el acto de cortar y, de hecho, la sensación de recorte aquí es decisiva. Las formas están incompletas y cortadas por el borde del lienzo, lo que implica un continuo pictórico que se extiende más allá del límite físico de la pintura.

    Tableau No. IV; Lozenge Composition with Red, Gray, Blue, Yellow, and Black (Spanish)
  • Tall, narrow, black building fronts fill this abstracted, horizontal painting. Partitions separating the buildings extend above the rooflines, and those, along with low domes atop some of the buildings, brush the top edge of the canvas. The narrow band of sky between the flat rooflines and the top of the composition is filled with cream-white paint, applied heavily in thick strokes. The buildings are painted with wide, horizontal strokes of black paint. The outlines of doors, windows, and the brick partitions between the buildings were incised into wet paint to delineate those features. Some of the outlines are also streaked with cobalt blue, butter yellow, brick red, and plum purple. Six people with oversized, round, peach-colored heads on spindly black bodies look out at us from windows across the composition. Cartoon-like eyes, noses, and smiling mouths are incised into wet paint. Along the bottom level, the buildings are numbered 78, 80, 82, and 84. Signs, also incised in wet, black paint to reveal white outlines, appear over the doors. The leftmost building reads “OPTICIEN” above “Leroy.” The next store is “PARFUMS,” then “MODES,” “Coiffeur,” “JOURNEAX,” “PRIMEURS,” and “BAR.” Under “PRIMEURS,” a sign on the store front reads “FRUITS ET LEGUMES.” Two people walk along the street, at the bottom of the canvas. One is to our left of center and stands facing us, smiling. The other is to our right, also smiling as he walks to our left in profile.

    Audio Tour Stop 20

    Façades d'immeubles (Building Façades), Jean Dubuffet

    NGA, East Building, EU-407-A, N

    Jean Dubuffet sentía que la pintura debía comenzar de cero tras la Segunda Guerra Mundial; buscó entonces inspiración en el arte de los no instruidos, en particular, niños y artistas autodidactas, cuya obra coleccionó y denominó art brut (arte en bruto). En Fachadas de edificios, Dubuffet mostró su propio art brut. Dubuffet adoptó la técnica escolar de raspar pintura negra aplicada sobre un fondo de color, y con ella elaboró una vista de una calle parisina como si fuera desde el punto de vista de un niño. Sin embargo, la grilla controlada con esmero y la pared de pintura imponente que lo cubre todo demuestran la conciencia que tenía el artista de las tácticas modernistas.

    Façades d'immeubles (Building Façades) (Spanish)
  • Densely spaced lines and splatters in black, white, pale salmon pink, teal, and steel gray crisscross a rectangular cream-colored canvas in this abstract horizontal painting. The lines move in every direction. Most are straight but some curve slightly. The density eases a bit near the edges. Two sets of ghostly white handprints are visible at the upper corners. The artist signed and dated the painting in black paint in the lower left corner: “Jackson Pollock ’50.”

    Audio Tour Stop 22

    Number 1, 1950 (Lavender Mist), Jackson Pollock

    NGA, East Building, EU-407-B, W

    Las pinturas chorreadas de tamaño mural de Jackson Pollock enfrentaron reacciones diversas cuando se expusieron por primera vez en 1948. Para esta pintura, el artista colocó un gran lienzo sobre el suelo de su estudio-granero, cubriendo el espacio prácticamente por completo. El artista utilizó pintura comercial, pintura al óleo, esmalte y aluminio; dejó gotear, vertió y lanzó los pigmentos utilizando pinceles y palos cargados de pintura mientras caminaba al rededor del lienzo. Pollock afirmó que esta era su manera de ser parte de su obra, actuando como un medio en el proceso creativo. “Firmó” la pintura en la esquina superior izquierda y en la sección superior del lienzo con la huella de sus manos.

    Number 1, 1950 (Lavender Mist) (Spanish)
  • The Disney cartoon characters, Donald Duck and Mickey Mouse, fish off a dock in this horizontal painting. The scene and characters are painted entirely flat areas of canary yellow, cobalt blue, tomato red, and white. To our left, Donald leans over the edge of the dock with his feet spread and duckbill hanging open. He has a white body outlined in blue, big eyes filled with a pattern of tiny blue dots, and yellow feet and duckbill. He wears a blue sailor’s hat and jacket with a red bow tie and yellow circles indicating buttons. He holds a fishing pole with an oval, red bobber near the fishhook high over his head. The pole has bent back with the fishhook snagged on the back hem of Donald’s jacket. A white speech bubble over Donald’s head is outlined in blue, and blue text inside reads, “LOOK MICKEY, I’VE HOOKED A BIG ONE!!” Mickey stands to our right, covering his smiling mouth with his left hand, on our right, and holding an upright fishing pole with the other hand. His round face is filled with a pattern of tiny red dots, and his curving hairline and ears are blue. He wears blue pants, a red shirt and shoes, and white gloves. The dock is mostly yellow with a white area on the right. Its planks and three white, round posts supporting it are outlined in blue. Rippling water surrounding the dock is defined by wavy lines and undulating bands of blue against a yellow background. The artist signed his initials in the lower left, “rfl.”

    Audio Tour Stop 25

    Look Mickey, Roy Lichtenstein

    Mira Mickey es quizás la primera vez que Roy Lichtenstein traspuso una escena y un estilo de una fuente de cultura popular: el libro infantil de 1960 titulado El pato Donald: perdido y encontrado. Lichtenstein alteró sutilmente el original para convertirlo en una imagen más unificada al omitir las figuras del fondo, rotar el punto de vista 90 grados, organizar los colores en franjas de amarillo y azul, y simplificar los rasgos de los personajes. Estilísticamente, Lichtenstein imitaba a los medios impresos: los gruesos contornos negros, los colores primarios y, en los ojos de Donald y el rostro de Mickey, los puntos de tinta del proceso de impresión Benday, utilizado por entonces para producir tiras cómicas y revistas de bajo coste.

    Look Mickey (Spanish)
  • A long, rectangular strip of yellowed painted fabric is draped over a horizontal wooden rod that hangs from the ceiling in this sculptural piece. The dowel is perpendicular to the wall so juts into the gallery space. In this photograph, we are almost in front of the piece, near the wall to look onto one of the long sides. The cheesecloth hangs straight down either side of the dowel so it is longer in the back, and the ends do not touch. An uneven application of latex paint on most of the fabric gives the work a rubbery appearance, and causes some variation in the surface to create shiny areas. The loose weave of the cheesecloth is visible at the ends where the fabric was not painted. The cloth and dowel seem to float in midair because the filament from which the rod hangs is invisible in this photograph.

    Audio Tour Stop 27

    Test Piece for "Contingent", Eva Hesse

    Eva Hesse no quería producir lo que entendía como una escultura convencionalmente bella. Rechazaba los medios tradicionales utilizados en escultura, como el metal o la piedra, y prefería en su lugar materiales más flexibles, como la fibra, el yeso o el látex, el último de los cuales utiliza en esta pieza de prueba. Esta pieza fue uno de los varios estudios para la obra final titulada Contingente, formada por ocho estandartes similares que hoy cuelgan en la National Gallery de Australia. Hesse la describió como “ni pintura, ni escultura… Es realmente pintura colgada”.

    Test Piece for "Contingent" (Spanish)
  • Two black bands span the height of this vertical canvas against a field of white mottled with shades of ivory, bone, and parchment in this abstract painting. A narrow, solid black stripe lines the left edge of the canvas, like the spine of a book. About a quarter of the way in from the right edge, black paint swirls and wafts like smoke on either side of a narrow white stripe the same color as the background. The artist signed and dated the painting in black paint in the lower right corner of the canvas: “Barnett Newman 1958.”

    Audio Tour Stop 29

    First Station, Barnett Newman

    NGA, East Building, ET-615-B, W

    Barnett Newman, una de las grandes figuras del expresionismo abstracto, fue un intelectual que desarrolló sus ideas en su pintura, escultura y escritura. A mediados de la década de 1940, creó sus primeras obras utilizando sus característicos elementos verticales, llamados “zips” o cremalleras, para interrumpir los campos monocromáticos de sus lienzos. Esta obra es la primera en una serie de 14 pinturas que Newman llamó Las estaciones del viacrucis (junto a una coda en forma de una 15a pintura, Ser II). Las estaciones del viacrucis fue el intento más ambicioso de Newman por abordar lo que llamó una “crisis moral” a la que se enfrentaban los artistas tras la Segunda Guerra Mundial y el Holocausto: “¿Qué vamos a pintar?”

    First Station (Spanish)

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