Audio Tour

Аудиоэкскурсия по восточному зданию

Ознакомьтесь с богатой коллекцией экспонатов, слушая при помощи своего смартфона их описания от кураторов музея National Gallery of Art. Вы можете выбирать количество и порядок остановок — пусть экскурсия будет в удобном для вас темпе.

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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

    Около 1910 года тесное сотрудничество Жоржа Брака и Пабло Пикассо привело к формированию нового стиля в изобразительном искусстве — кубизма. Эта картина характерна для позднего периода творчества Брака, когда художник использует элементы кубизма при изображении натюрмортов и других предметов. В этой работе волокна древесины стола, узор обоев на заднем плане и текст в газете подчеркивают игру рисунка и фактуры.

    Still Life: Le Jour (Russian)
  • 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

    Эта скульптура, как и многие картины Амедео Модильяни, отражает характерные для его работ приемы стилизации фигур: удлиненные черты и миндалевидные глаза. С 1909-го по 1914 год Модильяни в основном занимался скульптурами. Он умер от туберкулеза в 1920 году в возрасте 35 лет.

    Head of a Woman (Russian)
  • 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

    Завершенный в феврале 1911 года «Нью-Йорк» является большим, амбициозным произведением, в котором Джордж Беллоуз запечатлел суть современной жизни в Нью-Йорке. Художник не ставил своей задачей изобразить определенное знакомое место в городе. Он создает собирательный образ оживленного торгового района, наводненного толпой, создавая у зрителя ощущение неистового темпа городской жизни.

    New York (Russian)
  • 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

    Голубое небо, загорелые фигуры и волны до самого горизонта — художник в «Прибое» создает ощущение покоя, и лишь детали картины нарушают эту безмятежность. Мы видим, как буй надвигается на маленькую парусную лодку, затерявшуюся на бескрайних морских просторах. Буй предупреждает о невидимой или неминуемой опасности, что делает его присутствие на картине зловещим. Перистые облака в голубом небе — частые предвестники шторма — усиливают тревожное настроение.

    Ground Swell (Russian)
  • 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

    В 1927 году Джеймс Уэлдон Джонсон, ключевая фигура «Гарлемского ренессанса», опубликовал свой шедевр «Божьи тромбоны: семь негритянских проповедей в стихах». Каждая проповедь-поэма сопровождалась иллюстрацией Аарона Дугласа, молодого афроамериканского художника, недавно поселившегося в Гарлеме. Несколько лет спустя Дуглас начал переводить свои иллюстрации в полноразмерные картины маслом. «Судный день» завершает серию из восьми работ. В центре картины изображена величественная фигура архангела Гавриила, который одной ногой опирается на сушу, а другой — на море. Труба архангела призывает народы земли на суд.

    The Judgment Day (Russian)
  • 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

    «Семейство комедиантов» — самая важная работа раннего периода творчества Пабло Пикассо. Для него странствующие комедианты (акробаты, танцоры и шуты) олицетворяли меланхолию обездоленного низшего класса художников, своего рода большую семью, с которой он себя отождествлял. Как и они, испанец Пикассо свои первые годы в Париже провел в бедности, стремясь обрести признание. Слева — задумчивый Арлекин в костюме с ромбами, похожий на самого молодого темноволосого художника с суровым взглядом.

    Family of Saltimbanques (Russian)
  • 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

    Сегодня «Открытое окно в Коллиуре» Анри Матисса может показаться нежным и лиричным, но изначально его густые мазки и насыщенные цвета воспринимались как агрессивные. Небольшая, но резонансная работа, ставшая иконой раннего модернизма, считается одной из самых важных картин школы фовизма — группы художников, которые стремились освободить цвет и текстуру от строгих представлений о естественности. «Открытое окно в Коллиуре» знаменует собой начало этого нового подхода в творчестве Матисса.

    Open Window, Collioure (Russian)
  • 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

    Эта работа относится к началу плодотворной карьеры Эрнста Людвига Кирхнера, когда он стал одним из основателей группы экспрессионистов под названием Die Brücke («Мост») в Дрездене в 1905 году. На картине Кирхнер изобразил две обнаженные фигуры в естественной обстановке, а не в ограниченном пространстве академической студии. Эта работа также является примером использования художником смелых, часто грубых форм и ярких цветов.

    Two Girls under an Umbrella (Russian)
  • 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

    Образы на картине Василия Кандинского отдалено напоминают реальные предметы, но детали в ней искажены и создают сильный эмоциональный эффект. Хотя искаженные формы и полноцветные мазки на первый взгляд кажутся совершенно абстрактными, они складываются в узнаваемые образы. Центральным мотивом «Импровизации номер 31 (Морского боя)» является бой между двумя парусниками, чьи высокие мачты выглядят как тонкие черные линии. Выбранный Кандинским сюжет, повторяющийся в ряде его «Импровизаций», вероятно, навеян апокалиптическими образами «Книги Откровений».

    Improvisation 31 (Sea Battle) (Russian)
  • 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

    Один из великих скульпторов-сюрреалистов Альберто Джакометти часто включал тему игры в свои ранние работы. Так и в этой скульптуре. Форма, которую использовал художник, напоминает настольную игру с перемещаемыми фигурами, но при этом суть игры непонятна. Неоднозначное пространство скульптурной композиции «Игра окончена» и непостижимые правила этой «игры» создают ощущение потусторонней реальности, словно увиденной кем-то во сне.

    No More Play (Russian)
  • 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

    Своим творчеством Марсель Дюшан подорвал традиционные представления о живописи и скульптуре. Очарованный американской идеей дешевых и простых реплик, Дюшан начал собирать найденные предметы для своих «редимейдов» — термин, который он позаимствовал из швейной промышленности, когда жил в Нью-Йорке. Он шокировал мир искусства, пытаясь представить эти банальные предметы на выставках, часто даже не меняя их, а просто поставив свою подпись. Название этой работы представляет собой каламбур, образованный отбрасыванием буквы n из слов French Window (французское окно), чтобы получилось Fresh Widow (овдовевшая женщина). Так называли двустворчатые окна, распространенные в парижских квартирах, и женщин, овдовевших во время Первой мировой войны. Дюшан не сам сделал это миниатюрное окно, а заказал его американскому плотнику.

    Fresh Widow (Russian)
  • 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

    Скульптура может показаться абстрактной, однако Константин Брынкуши настаивал, что его работы раскрывают внутреннюю сущность предметов. В своем творчестве скульптор опирался на традиции африканской скульптуры и румынской народной резьбы, а постамент он превратил в неотъемлемую составляющую работы. Брынкуши много лет работал над серией «Птица в пространстве», представляя ее как ансамбль, который станет его самым выдающимся произведением. В отличие от других скульпторов, у Брынкуши не было большой мастерской, он работал со своими материалами самостоятельно, высекая из камня и шлифуя латунь.

    Bird in Space (Russian)
  • 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

    Через абстракции Пит Мондриан хотел донести свои духовные представления о том, что в природе преобладает универсальная гармония. Горизонтальные и вертикальные элементы его композиций, тщательно выверенные для получения сбалансированной асимметрии, олицетворяют силы противодействия, символизирующие динамическое равновесие природы. Мондриан утверждал, что в композиции с ромбами главное — срезы, и действительно, края воспринимаются как обрезанные. Формы не завершены и обрезаны краем холста, подразумевая, что картина продолжается за пределами физической границы полотна.

    Tableau No. IV; Lozenge Composition with Red, Gray, Blue, Yellow, and Black (Russian)
  • 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

    Жан Дюбюффе считал, что после Второй мировой войны живопись необходимо начинать с нуля. Так, он обратился за вдохновением к работам непрофессионалов, особенно детей и художников-самоучек, которые он собрал и назвал art brut (грубое, необработанное искусство). В работе Façades d’immeubles («Фасады зданий») Дюбюффе показал свой неповторимый стиль art brut. Используя школьную технику процарапывания черной краски до нанесенного ранее цветного грунта, Дюбюффе создал вид парижской улицы, какой ее может увидеть ребенок. Тем не менее, тщательно продуманная решетчатая структура и техника декоративного покрытия стены свидетельствуют о том, что Дюбюффе был знаком с приемами модернистов.

    Façades d'immeubles (Building Façades) (Russian)
  • 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

    Впервые представленные публике в 1948 году большие, размером с фреску, картины Джексона Поллока, написанные в уникальной «капельной» технике, вызвали неоднозначную реакцию. Для создания этой картины он положил на пол амбара, служившего ему студией, холст, который занял собой почти все пространство. Используя фасадную краску, масляную краску, эмаль и алюминий, он разбрызгивал, наливал и набрасывал пигмент кистями и мастихинами, обходя полотно вокруг. По словам художника, это был его способ остаться в своей работе, выступать в качестве посредника в творческом процессе. В левом верхнем углу и вверху холста он оставил «автограф» в виде отпечатков своих рук.

    Number 1, 1950 (Lavender Mist) (Russian)
  • 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

    В работе «Смотри, Микки» Рой Лихтенштейн, возможно, впервые использовал сцену и стиль из массовой культуры: детского комикса 1960 года «Дональд Дак: потеря и находка». Лихтенштейн едва заметно изменил оригинал, сделав его более единообразным, опустив фоновые фигуры, развернув угол зрения на 90 градусов, организовав цвета в полосы желтого и синего и упростив черты персонажей. Стилистически Лихтенштейн имитировал печатные издания — толстые черные контуры, основные цвета, а в глазах Дональда и Микки — чернильные точки тангирной печати, которая в то время использовалась для производства дешевых комиксов и журналов.

    Look Mickey (Russian)
  • 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

    Ева Гессе не хотела создавать то, что в ее понимании было обычной красивой скульптурой. Она отвергла материалы, традиционно используемые для скульптуры, в частности металл и камень, предпочитая им более гибкие материалы: волокно, гипс и латекс. Последний и был использован для создания этого эскиза. Работа появилась в рамках серии «Contingent», состоящей из восьми подобных панелей, которые сейчас находятся в Национальной галерее Австралии. Гессе описала эту работу следующими словами: «Не живопись, не скульптура... А подвешенная картина».

    Test Piece for "Contingent" (Russian)
  • 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

    Барнетт Ньюман, один из великих деятелей абстрактного экспрессионистского движения, был интеллектуалом, который развивал свои идеи через живопись, скульптуру и литературу. В середине 40-х годов XX века он создает свои первые работы с использованием характерных вертикальных элементов, или «молний», пронизывающих однотонные поверхности холстов. Эта картина является первой в серии из 14 работ, которую Ньюман позже назвал «Остановки на Крестном пути» (вместе с кодой в виде 15-й картины, Be II). «Остановки на Крестном пути» были самой амбициозной попыткой Ньюмана разрешить «моральный кризис», с которым столкнулись художники после Второй мировой войны и Холокоста: «Что нам изображать?»

    First Station (Russian)

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