The DIA also has a very extensive collection of paintings by American artists, like: George Bellows, George Caleb Bingham, Alexander Calder, Mary Cassatt, Dale Chihuly, Frederic Edwin Church, Thomas Cole, John Singleton Copley, Thomas Wilmer Dewing, Thomas Eakins, Childe Hassam, Winslow Homer, George Inness, Georgia O'Keeffe, Paul Revere, John Singer Sargent, Gilbert Stuart, Henry Ossawa Tanner, Louis Comfort Tiffany, Andy Warhol, Andrew Wyeth, and James McNeill Whistler.
Sackler Museum, which focuses on ancient, Islamic and Asian art (notably archaic Chinese jades and Japanese surimono, as well as drawings, paintings and calligraphy from Iran, India, and Turkey, along with Greek and Roman sculpture).
But those are moving pictures. Yes, as if it were coincidence, "Guernica" was designed to be displayed on the wall of an auditorium like movies are, but not moving, of course, and also spread across the wall behind the audience, not in front of them, for their examination when they arrive and exit. And indeed, it is 11 feet tall and 25 feet wide (= 3.5 x 7.8 meters) a comparable size to a movie screen. But on the other hand, "Intolerance" and "Western Front" and such are pictures full of every kind of human movement performed before our eyes by fine actors working under fine directors, and therefore seizing our attention inescapably. Our attention to a painting seems to be much more voluntary.
And yet, "Guernica" has continued to be thought among the greatest works of art while those movies have not. In what way is it more effective than great cinema? I want to know so I can have that power in my hands. And so this brings us to the other huge deficiency of Guernica: its preposterous cartoonish drawing style which does, to our astonishment, somehow seem to animate the people in the picture and compel our attention.
(As far as I have heard, Picasso did not definitely give this style a name. Some scholars have suggested lumping "Guernica" into a preceding category called "synthetic cubism" or else they have proposed the vague description "late cubism" or simply not addressed the question. I like to call the style of "Guernica" "surreal cubism" because it found great communicative power by successfully breaking free from very deep conventions of visual perception.)
Movements represented include Late Gothic, the Italian and Northern Renaissance, Baroque, Dutch Realist portraiture and genre painting, Neoclassicism, European Romanticism, plus a series of German Expressionism paintings by Max Beckmann.
Collection highlights include: Starry Night Over the Rhone, by Vincent Van Gogh; Bal au moulin de la Galette by Pierre-Auguste Renoir; Dejeuner sur L'Herbe by Edouard Manet, and other Impressionist painters.
Its 100,000-item permanent collection - founded on contributions from Buda Castle, the Esterhazy and Zichy collections - is organized around six sections: Egyptian, Greek and Roman Classical Antiquities, Old Sculpture Gallery, Old Master Paintings (13th to 18th centuries), the Modern Collection, and Graphic Art (printmaking and drawings).
Its fine arts collection features a vast range of sculpture, works on paper and painting, including items from the Gothic, Italian Renaissance, Northern Renaissance, Baroque, Rococo, Neoclassical, Romantic, and Realist styles and movements.
Its permanent collection encompasses: Medieval and renaissance stonework; Gothic wooden statues; Late Gothic altarpieces; Renaissance and Baroque artworks; Modern art, notably 19th and 20th century painting, sculpture and numismatics; Contemporary art, notably by Laszlo Paal and Mihaly Munkacsy.
Picasso’s Suite Vollard has long been understood as the artist’s interpretation of the main theme behind the ancient myth of Pygmalion. In the story, a sculptor who has forsworn the female sex creates an ideal woman out of ivory and falls in love with it. He showers the figure with gifts and occasional caresses. Later, he prays to Venus to bring her to life and his wish is granted; they are married and bear a son. The central story—the love of the artist for his art—has captured the imaginations of artists and writers for centuries and many versions exist in painting and literature. Picasso’s interpretation is carried out by a sculptor whose features recall classical sculpture and a beautiful young model who resembles his mistress at the time, Marie-Thérèse Walter. However, Picasso goes beyond the basic myth and populates his scenes with sculptures of differing subjects and styles, as well as the presence of a living model that competes for his attentions. In so doing, he goes beyond the simplicity of the original story to create a grand allegory of the connection between art, life, and love.
Includes Old Master paintings (14th century-present), as well as a wide collection of works by Irish artists James Barry, Augustus Nicholas Burke, Gerard Dillon, Paul Henry, Nathaniel Hone the Elder, Mainie Jellett, Sean Keating, Louis le Brocquy, William John Leech, Daniel Maclise, Roderic O'Conor, Sarah Purser and Jack B.
Encompassing Antiquities, Gothic, Renaissance, Baroque, Paintings from the 18th, 19th and 20th centuries, as well as sculpture, the collection features numerous artists from the Low Countries (Flanders, Belgium and the Netherlands) and Northern France including: Van Dyck, Jordaens, Rembrandt, Jean-Baptiste Chardin, Dirk Bouts, Barthel Bruyn, Joos van Cleve, Jacob Cornelisz van Amsterdam, Jean Bellegambe, Jan Sanders van Hemessen, Pieter Boel, Pieter van Avont, Jan Boeckorst, Thomas Willeboirts Bosschaert, Theodor Boeyermans, Philippe de Champaigne, Jan Cossiers, Gaspard de Crayer, Pieter Lastman, Johann Liss, Jeremias Mittendorff, Jacques Stella, Theodoor van Thulden, Simon de Vos, Arnould de Vuez, Emanuel de Witte, Gerbrand van den Eeckhout, Amaury Duval, Alfred Agache, Louis Leopold Boilly, and Alphonse Colas.