Carpaccio the artist, not the appetizer, now getting his due

Vittore Carpaccio, ‘Virgin Reading,’ circa 1510. Oil on canvas transferred from panel. Overall, 78 by 51cm (30 11/16 by 20 1/16in); framed, 119.7 by 86.4 by 10cm (47 1/8 by 34 by 3 15/16in). National Gallery of Art, Washington, Samuel H. Kress Collection
Vittore Carpaccio, ‘Virgin Reading,’ circa 1510. Oil on canvas transferred from panel. Overall, 78 by 51cm (30 11/16 by 20 1/16in); framed, 119.7 by 86.4 by 10cm (47 1/8 by 34 by 3 15/16in). National Gallery of Art, Washington, Samuel H. Kress Collection

VENICE, Italy (AP) – When most people think of “carpaccio,” they think of the thinly sliced raw beef appetizer made famous by Venice’s iconic Harry’s Bar. Few people know that the dish is named for a lesser-known Venetian, the Renaissance painter Vittore Carpaccio, because of the intense red hues he favored. Carpaccio the painter has recently received more attention outside his native Venice. In November, the National Gallery in Washington inaugurated the first retrospective exhibit of his work outside Italy. The show, Vittore Carpaccio: Master Storyteller of Renaissance Venice, is set to close in Washington on Feb. 12 and move to Venice’s showcase Palazzo Ducale on March 18. The Washington exhibit includes two Carpaccio paintings that left Venice for the first time in more than 500 years.

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Sargent’s passion for Spain highlighted at DC museum

John Singer Sargent, ‘Spanish Roma Dancer,’ circa 1879-1880. Oil on canvas. Framed: 66.04 by 46.36cm (26 by 18 1/4in.), image: 46.36 by 28.58cm (18 1/4 by 11 1/4 in.) Private collection. © Quick Silver Photographers
John Singer Sargent, ‘Spanish Roma Dancer,’ circa 1879-1880. Oil on canvas. Framed: 66.04 by 46.36cm (26 by 18 1/4in.), image: 46.36 by 28.58cm (18 1/4 by 11 1/4 in.) Private collection. © Quick Silver Photographers

WASHINGTON — John Singer Sargent’s (American, 1856–1925) decades-long captivation with Spain yielded a remarkable body of work depicting the rich and diverse culture he encountered. Sargent and Spain is the first exhibition to reveal the depth of this engagement and the intentional approach the artist adopted there. Presenting some 140 oils, watercolors, drawings and never-before published photographs, several almost certainly taken by the artist himself, the exhibition is on view from October 2 through January 2, 2023, in the West Building of the National Gallery of Art.

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Woman in White featured in National Gallery’s Whistler exhibit

 

James McNeill Whistler, ‘Symphony in White, No. 2: The Little White Girl,’ 1864. Oil on canvas. Overall: 76.5 by 51.1cm (30 1/8 by 20 1/8in), framed: 108.5 by 83 by 11.8cm (42 11/16 by 32 11/16 by 4 5/8 in). Tate, London, bequeathed by Arthur Studd 1919. © Tate, London 2017
James McNeill Whistler, ‘Symphony in White, No. 2: The Little White Girl,’ 1864. Oil on canvas. Overall: 76.5 by 51.1cm (30 1/8 by 20 1/8in), framed: 108.5 by 83 by 11.8cm (42 11/16 by 32 11/16 by 4 5/8 in). Tate, London, bequeathed by Arthur Studd 1919. © Tate, London 2017

WASHINGTON, DC — When James McNeill Whistler (1834–1903) and Joanna Hiffernan (1839–1886) met in 1860, they began a close professional and personal relationship that lasted for more than two decades. Featuring some 60 works including paintings, drawing and prints, The Woman in White: Joanna Hiffernan and James McNeill Whistler explores their partnership and the iconic works of art arising from their collaboration. Bringing together nearly every known depiction of Hiffernan, as well as relevant documents and letters, this exhibition explores who Hiffernan was, her partnership with Whistler, and her role in the creative process. The Woman in White is on view at the National Gallery of Art in Washington, D.C., from July 3 through October 10 in its East Building.

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