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Client > Homeless Animal Rescue TeamDeliverable > Logo, Business Cards, Annual ReportAudience > Potential Adopters, Donors
Homeless Animal Rescue Team
Homeless Animal Rescue Team ANNUAL REPORT
PO BOX 7261 • Fairfax Station, VA 22039 • 703-691-4278 • www.hart90.org
THE Homeless Animal Rescue
Team (HART), a no-kill
animal rescue group incorporated in 1990,
was founded to give animal rescuers a re-
source, responsible pet owners an option,
and animals on death row a chance. We’ve
assisted the unwanted, the lost, the sick,
the abused, and the dying. HART works
with local veterinarians, foster homes, ken-
nels, and trainers in temporarily caring for
an animal pending its placement in a loving,
carefully screened new home.
In carrying out our work, HART routine-
ly renders assistance to people who, due
to failing health, financial distress, or other
personal circumstances, require assistance
relating to their pets. To the extent possible,
HART provides resources to help senior
and indigent owners keep their compan-
ion animals. HART also helps those whose
circumstances force them to give up a be-
loved pet by placing the animal in a foster
or permanent home where it will receive
loving care for the remainder of its life. Fi-
nally, HART helps people who themselves
rescue an animal in distress, but are unable
to provide long-term care for the animal,
by relieving the rescuer of the emotional
burden of placing the animal in a public
shelter where it may well be put to death.
We continue to play an ever vital role in
assisting shelters in and surrounding the DC
Metro area by taking dogs and cats from
the shelters for rehoming through HART.
These shelters face a steady stream of un-
wanted animals and, in the case of rural
shelters, see virtually no traffic in potential
adopters. They are forced to destroy an un-
acceptable number of healthy, adoptable
animals each day. Our deepening relation-
ship with shelters throughout Virginia has
led to many success stories. In addition to
the young, readily adoptable dogs and cats,
we also make room for animals destined
for euthanasia because of medical or other
issues, giving them the medical attention or
training they need to get them to their for-
ever homes.
Thanks to our strong volunteer base,
HART operates with extremely mod-
est overhead expenses -- a record low of
1.9% during the present reporting period.
We maintain a minimally-staffed local office,
which has proved to be the optimal way of
housing our organization, establishing a fo-
cal point for executing our programs, while
providing the community convenient ac-
cess to HART. Medical and boarding ex-
penses remain our primary expenditures,
with training costs also significant. While
these expenses are necessary in our op-
erations, we are constantly seeking – and
finding – new ways of helping more ani-
mals with the resources available through
an ever-widening network of partners and
relationships.
“Thanks to our strong volunteer base, HART operates with extremely modest overhead
expenses — a record low of 1.9%”
Clockwise from Upper Left: Amanda and Rocky,
Lynette and Sam, Charlie the Shepherd mix
Founded to give animal rescuers a resource, responsible pet owners an option, and animals on death row a chance.
Overview
HART is one of the few or-
ganizations that assists
sick, older, and injured animals. We help
both purebred and mixed breed pets. We
rescue litters of puppies and kittens AND
their mothers who are all too often left be-
hind by other organizations. They come to
us from wealthy homes where the own-
ers no longer have time for them and they
come from incredible poverty where they
often have not been fed for days on end.
Many times they come to us from no home
at all. We have assisted over 2,000 animals
this year thanks to our supporters and their
stories are as unique as the vast number of
people that comprise HART.
This year in particular has presented new
challenges. Due to the high home foreclo-
sure rate, coupled with increasing unem-
ployment statistics, a record number of
pets are being surrendered to local shel-
ters. Even more horrific are the stories of
those pets who are simply left to fend for
themselves in abandoned houses. Animals
like little Marley, left alone in a closet with
a tiny bowl of food and water. What were
his owners thinking? Apparently it was quite
some time before agents from the fore-
closing bank discovered the now pitifully
thin, absolutely terrified Marley. He would
have starved to death in a day, maybe two,
if not for the network that is HART.
HART is frequently contacted by area
shelters and wardens when animals are
confiscated from breeders and hoard-
ers. Nothing, however, could have pre-
pared us, or the animal rescue community,
for the call that went out in August. A no-
torious puppy mill had been raided and
over 1,000 animals were in need of homes
and a great deal of medical care. HART
volunteers frantically manned the phones,
lining up foster home after foster home, a
total of 36. We ended up leaving the facil-
ity with 46 dogs and pups (math is never a
rescuer’s strong point) and the hope and
resolve that somehow we would find the
additional fosters. We did, thanks to the
kind-hearted folks who make up our foster
network. All dogs now are enjoying a life
they never knew could be so happy.
Divorce is another issue that impacts the
work we do. Daisy, a lovely Persian was
limping badly when her owner finally called
us. A visit to one of HART’s veterinary
partners soon diagnosed a fractured pel-
vis, but Daisy’s mother was having difficulty
meeting her family’s basic needs, let alone
finding the money for expensive surgery
and the time to help Daisy recuperate. Our
supporters made certain that Daisy had
the second chance at happiness that she
deserves.
Challenges “Due to the high home foreclosure rate a record number of pets are being
surrendered to local shelters”
Clockwise from Upper Left: Marley, Chance, Itsy BitsyOpposite:Daisy the Persian
Homeless Animal Rescue TeamHomeless Animal Rescue Team
Corinne SoveyRescue Coordinator
PO BOX 7261 Fairfax Station, VA [email protected]
United Way #8363, CFC #75875, CVC #8183
Client > Homeless Animal Rescue TeamDeliverable > Logo, Business Cards, Annual ReportAudience > Potential Adopters, Donors
Board Members and Staff
1. Maggie Colucci, Board Member 2. Charlie Dietz, Board Member 3. Tammy Burton, Office Manager 4. Joan Urban, Board Member 5. Charlene Bofinger, Board Member 6. Carol Klingler, Board Member 7. Pat Phelps, Board Member
HART is a United Way/Combined Federal Campaign (CFC) charitable organization
United Way #8363, CFC #75875, CVC #8183
1
45
2
6
3
7
PO BOX 7261 • Fairfax Station, VA 22039 • 703-691-4278 • www.hart90.org
Clockwise from Upper Left: David & Lucy, Tom & Jerry, Barbara & Lucky,
Priness, Natalie and Sugar
ProcessAS we reported in 2007, we were
challenged with once again lo-
cating a reputable boarding facility after
Pleasant Valley closed its doors. We are cur-
rently housing our animals in foster homes
and in three facilities, Country Club Kennels
in Catlett, Pet Tailor in Castleton and a pri-
vate boarding kennel in Nokesville. While all
are far from our usual adoption venues, our
tireless volunteers make the long trek out to
bring our dogs to adoption events. The fa-
cilities provide loving environments for our
pets, one even going to the extra step of
bathing dogs about to board the van to an
adoption day.
Every weekend, HART brings an average
of 60 dogs to area Petcos, sometimes show-
ing dogs at as many as three locations. Our
weekly adoption events, coupled with the
ongoing permanent cage space made avail-
able for our cats by PetsMart, allows HART
to adopt as many as 20-30 animals in one
weekend!
After a concentrated effort to recruit new
fosters, our Cat Program experienced its
greatest number ever of those participat-
ing in the cat foster program. Cat fosters are
particularly difficult to locate in that few cat
lovers have just one cat. They frequently have
two or three cats already, making it difficult to
find those with room to spare.
The HOAP program, HART Owner As-
sistance Program, introduced in 2006, keeps
pets being given up by their owners in their
own homes while we search for a new one.
These animals attend adoption days and are
available on our website and we follow the
same rigorous approval process -- we merely
eliminate the cost, fiscal to HART and emo-
tional to the pet, of boarding. We also have
a tight knit group of supporters at what is
truly the “grass roots” of rescue, local and ru-
ral shelter employees. HART is known as the
organization that will take pets without regard
to age or medical condition. Other organiza-
tions have long lists of who they feel are suit-
able. We have no list, only an endless capacity
to love, coupled with a not-soendless bud-
get. While we can’t save them all, we help as
many as we possibly can, often scrambling for
resources (money and space), and gravitate
toward those who need help the most, not
only the most readily adoptable. HART had
a nice boost in exposure this year thanks to
the participation of four of our pups in Ani-
mal Planet’s filming of the “Puppy Olympics.”
These dog-oriented games were filmed and
shown prior to the opening of the Olympic
games in China. Copies of the tape are avail-
able from the Animal Plant website.
“Each week an average of 60 dogs are brought to Petcos for adoption. Permanent cage space for cats at PetsMart allows HART to adopt as many as 20-30 animals in one weekend! ”
18th Annual Silent Auction . . . . . . . . . . .$35,000 3rd Annual Homecoming/Dog Walk . . . . . $21,000 Annual Holiday Party . . . . . . . . . . . . . .$17,000
Fundraising Success
$73,000totaling
2%
24%
35%
Overhead Training Medical Boarding
Expenses
Income
United Way/CFC
Fundraising
Donations
39%
United Way and CFC as always played a critical role
in our operations in that campaign income
is the only source of funding that comes in timed increments. The
summer months, when adoption rates tend to decrease, would be
lean indeed without United Way/CFC support. In recognition of
our reliance on these funds, we direct a mailing every fall specifical-
ly asking supporters to designate HART as their United Way/CFC
Campaign beneficiary. Along with targeted print media advertising,
the mailing has proven most effective in increasing participation in
these campaigns.
Our 18th Annual Art and Silent Auction this Spring broke all
previous records, netting over $35,000, thanks to our loyal sup-
porters and to a change in venue to the Westfields Marriott. The
Marriott’s generosity in donating so many event “extras” certainly
contributed to the evening’s success. Our other two major fund-
raising events were also tremendously successful. HART’s third an-
nual Homecoming/Dog Walk, held in October, added an additional
$21,000 in desperately needed funds to our coffers. As always,
it was wonderful to see so many of the dogs we’ve helped to
new homes over the years as we strengthened life-long ties to
our organization as well as generated fresh interest in volunteer-
ing to help the cause. Our annual Holiday Party, held this year
at the home of two long-time volunteers, brought in more than
$17,000 as attendees stepped forward even in this “down econ-
omy” to support our work. The event provides another example
of HART’s partnership with the community as McCormick and
Schmick’s Seaford Restaurants donated much of the food for the
party. HART’s Donate a Car Program and several other fundrais-
ers held in conjunction with area businesses throughout the year
continue to support our efforts.
HART is fortunate to be the recipient of annual grants from
constant friends such as the Elsie and Marvin Dekelboum Family
Foundation, the H. Alexander Henry Foundation, the Bob Wiser
Charitable Trust Foundation, the Northern Virginia Community
Foundation, the Petco Foundation, and the Ochsman Foundation.
Additionally, we reap the benefits from the matching gift programs
at companies such as ExxonMobil, Fannie Mae, Freddie Mac, Wa-
chovia, Gannett, and American Express.
Funding
As our pool of volunteers continues to grow, thanks to our ever-
increasing visibility in the community (including on-air pres-
ence on Fox Channel 5 news), our website, and our presence on sites
such as www.volunteermatch.com, we look for a continued increase
in programs we offer our community. As always, we benefit from the
pro bono services of professional publication designers, event planners,
accounting services, attorneys, computer systems analysts, and so many
others. Our fabulous informative and user-friendly website continues to
draw well-deserved kudos from the community. HART’s webmasters
are true treasures who are constantly finding ways to make our website
an ever more invaluable tool in our work. This year they leveraged free
online services such as Google Maps and Wordpress blogs to effectively
support our search for the occasional animal who gets away from his/
her foster or new adoptive home. Our webmasters also brought on-
board this year some fresh new talent to handle photographs and re-
vamp our pages. The influence of these design-savvy and innovative
new volunteers may already be seen on our redesigned Alumni Stories
pages. In addition to our website, HART is increasingly making use of
other online media such as Facebook and blogging. This past year saw
HART win 4th place nationwide in Care2’s America’s Favorite Animal
Shelter Contest, bringing HART a $500 prize. In round two of the con-
test, ongoing now and ending on January 31, 2009, HART is hoping to
What’s Next...capture 1st place with its $10,000 award for our dogs and cats. HART
continues to sound the clarion call of the importance of spay/neuter. The
number of animals euthanized due to overpopulation, as we see daily in
our work with rural and local shelters, is such an avoidable tragedy, one that
can be entirely eradicated in one short generation. To that end, all print
and ad media clearly state a pro-spay/neuter message as does our ever
popular line of HART Hot Sauces, available for sale. With our solid core of
volunteers, our active presence in our community, our increasing awareness
of the power of online media and, especially, our fervent desire to prevent
or alleviate suffering wherever we find it, HART looks forward to continued
success in 2009.
Clockwise from Upper Left: Benji, Foxy, Patches, Moxie
Opposite: Frenchie
Client > The Flatts at Dupont CircleDeliverable > BrochureAudience > Potential Residents
THE
FLATSat dupont circle
THE FLATSat dupont circle
Situated perfectly in one of DC’s most prestigious neighborhoods, you’ll find The Flats at Dupont Circle, magnificent apartments in Washington, DC that offer savvy urbanites the ultimate refuge from a hectic world. Each residence has been meticulously renovated and generously appointed with hardwood flooring, built-in shelving and stunning chef-caliber stainless kitchens. Our five-star amenities are equally impressive, including a Zen-inspired fitness center and Click! Café Internet lounge. Great apartments in Washington, DC, great service and the amenities you deserve. All at a location that’s exactly right, exactly where you want to be.
Community Features
•Outdoor heated pool
•24-hour valet parking
•In the heart of Dupont
•Pilates/yoga studio
•Garage parking
•Just blocks to the Metro
•State-of-the-art fitness center
•Sundeck and Barbeque grills
Apartment Features
•Chef-caliber kitchens
•Stainless steel appliances
•Frost-free refrigerator
•Carpeting in bedrooms
•Painted accent walls
•Spacious linen closets
•Built-in bookshelves
•24-hour concierge
•APPLICATION FEE: $75 per adult applicant•MOVE-IN/AMENITIES FEE: $500 nonrefundable•LEASE TERM: 12 months•UTILITIES: Residents pay electricity•PARKING: $200 per month for assigned space•PET POLICY: Maximum of two pets allowed, with pet rent of $50 per month per pet. Dogs must not weigh more than 35 pounds, must be at least two years old and are permitted only on lower floors
PolicyInformation
Leasing Information
•187 EFFICIENCIES408 to 583 Square Feet$1720 to $2250 Monthly Rental•90 1 BR/1BA666 to 772 Square Feet$2540 to $2915 Monthly Rental•29 2BD/2BA987 to 1090 Square Feet$3280 to 3903 Monthly Rental
From Maryland: Take I-495 to the Connecticut Avenue South exit. Follow to Dupont Circle. Proceed around the traffic circle; bear right onto 19th Street. Turn right onto N Street. The Flats at Dupont Circle will be on your left past 20th Street,
From Metro: Red line: Take the Red line to the Dupont Circle stop. Exit the station at the Connecticut Avenue Dupont Circle South exit. Walk West to Dupont Cricle NW. Take Dupont Circle NW to New Hampshire Avenue NW; turn left. Walk approximately one block to 20th Street NW. Bear left onto 20th Street NW. Walk approximately one block to 19th Street. Turn right on N Street. The Flats at Dupont Circle will be on your left.Orange / Blue line: Take the Orange / Blue line to the Farragut West station. Exit the staion using the 18th Street NW and I (Eye) Street NW exit. Walk approximately four blocks North on 18th Street NW to Connecticut Avenue NW; bear left. Turn left at N Street. Walk approximately two blocks West to The Flats at Dupont Circle.
From Virginia: Take I-395 North to Route 1 (which becomes 14th Street) to K Street. Turn left on K Street. Turn right on Connecticut Avenue. Turn left on N Street. Crossover 19th Street. The Flats at Dupont Circle will be on your left. THE
FLATTS
2000 N St. NWWashington, DC 20036202-457-5801(888) 591-3244
Client > National Gallery of ArtDeliverable > NewsletterAudience > National Gallery of Art Members
The Idealist followed by My Father’s StudioJune 21 at 4:30PMNina Beveridge and Jennifer Alleyn in personJames Beveridge, documentary filmmaker extraordinaire and a cofounder of the National Film Board of Canada, was hardly known at all to his daughter Nina. The Idealist is Nina’s effort to claim her father’s legacy and to capture the true flavor of his remarkable life. (Nina Beveridge, 2004, digital beta, 76 minutes). In My Father’s Studio, Montreal filmmaker Jennifer Alleyn inherits her father Edmund Alleyn’s painting studio. Finding herself drawn more and more into the private space of his art, she makes this film to fathom her father’s psyche. (Jennifer Alleyn, 2008, digital beta, 70 minutes)
Stanley William Hayter: From Surrealism to AbstractionJuly 5 at 2:00PMThree archival films on the British painter and printmaker are featured in association with the exhibition Stanley William Hayter: From Surrealism to Abstraction. The first, A New Way of Gravure (Jess Paley, 1950, 12 minutes), shows the artist at work in Atelier 17; the second, The Other Side of the Mirror (Julian Hayter, 1976, 30 minutes), is a documentary by the artist’s son; and the third is Stanley William Hayter: The Artist as Teacher (Ohio State University, 1970, 12 minutes). (54 minutes total)
National Gallery of Art
Audio Tours West Building Main Floor, RotundaAudio tours are available for rental at the West Building Mall entrance for $10 per tour unless otherwise noted.
The Director’s TourThe Director’s Tour: Masterpieces at the National Gallery of ArtDirector Earl A. Powell III and Gallery curators explore more than 130 beloved masterpieces by such artists as Leonardo da Vinci, Rembrandt van Rijn, Johannes Vermeer, Claude Monet, and others, along with information on acquisition, history, and conservation. Handheld digital audio players allow visitors to choose the order in which they look and the length of time they spend with each work.
The Film Novels of Karel VachekJune 6, 13, 20, 27The director of the documentary department at Prague’s legendary FAMU (film school of the Academy of Performing Arts), Karel Vachek, has created one of the most original bodies of work in the history of Czech cinema. His film novels—enormous in scope, ambition, and duration—are improvisational and intuitive but also highly structured and philosophical. Handheld cameras relentlessly prowl, eavesdropping on politicians at ribbon cuttings and plunging headlong into heated discussions. They record the absurdities at ceremonies even as the voluble director acts as agent provocateur in his own interviews with seers, pundits, crackpots, and passersby. Following 20 years of manual labor from 1968 on, Vachek returned to film in the wake of the Velvet Revolution and proceeded to produce this enormous four-part kaleidoscope of the Czech Republic, post-freedom. Produced by Radim Procházka Productions and Alice Lovejoy with the support of The Czech Republic State Fund for Support and Development of Cinematography. The series is organized by Irena Kovarova.
Film Series
Art Films & Events
Early Masterpieces in the National Gallery of Art, and the Ensembles from Which They Came • July 12 J Russell Sale, lecturer, National Gallery of Art
The Painter and the Photographer: Georgia O’Keeffe and Alfred StieglitzJuly 19 Wilford W. Scott, head of adult programs, National Gallery of Art
The Crucible of Viennese Modernism: Gustav Klimt, Egon Schiele, and Oskar Kokoschka • July 26Christopher With, coordinator of art information, National Gallery of Art
Expatriate Rivals: James McNeill Whistler and John Singer Sargent • August 30 Eric Denker, lecturer, National Gallery of Art
Eros and Creativity: The Amorous Sculptures of Auguste Rodin and Camille Claudel • August 9David Gariff, lecturer, National Gallery of Art
Genius in Tandem: Robert Rauschenberg and Jasper Johns • August 2 Diane Arkin, lecturer and adult program docent coordinator, National Gallery of Art
Fomenting Revolution: Braque, Picasso, and Cubism • August 23 Sally Shelburne, lecturer, National Gallery of Art
LecturesEast Building Concourse, Auditorium 2:00 PM Lecture-related events are free and open to the public. Seating is available on a first-come, first-seated basis. Registration is not required.
Summer Lecture SeriesClose Encounters—of an Artistic KindA series exploring intertwined works of art and their creators presented by the staff of the department of adult programs.
Film Programs Salute to Le Festival des 3 ContinentsJuly 4, 5, 12, 18, 19Le Festival des 3 Continents, held annually since 1979 in Nantes, France, presents a distinctive selection of new fiction, documentary, and classic art cinema from Africa, Asia, and South America to critics, filmmakers, and scholars from around the world. Devoted to raising awareness of important and interesting production outside the mainstream, F3C was the first festival to endorse, for example, China’s Hou Hsiao-hsien and Iran’s Abbas Kiarostami. The National Gallery is pleased to join the Freer Gallery of Art and the Embassy of France in saluting this vital forum on its 30th anniversary. Seven Latin American films from past festivals will be shown at the Gallery, African films at the Embassy of France, and Asian films at the Freer Gallery. Special thanks to Antoine Sebire, Tom Vick, and to Jean-Philippe Tessé, programmer for Le Festival des 3 Continents.
From Vault to Screen July 11, 17, 18, 25, 26August 15, 22, 23, 28–30The National Gallery’s annual showcase of recently preserved and restored films from international archives this year focuses on the work of La Cinémathèque de Toulouse, Anthology Film Archives, UCLA Film and Television Archive, George Eastman House, Library of Congress, Museum of Modern Art, British Film Institute, Cineteca Nazionale, L’Immagine Ritrovata, and La Cinémathèque française, with special thanks to Tim Lanza, Mike Mashon, Natacha Laurent, Antoine Sebire, Kim Tomadjoglou, Caroline Yeager, and Il Cinema Ritrovato, the annual festival in Bologna, Italy, devoted to history, restoration, and rediscovery.
Carl Theodor Dreyer: The Late WorksAugust 2, 9, 16, 22Four rarely shown sound features and one short film by Carl Theodor Dreyer (1889–1968) are presented in recently restored or preserved pr ints to mark the 120th anniversary of his birth. While the director’s dedication to the form and contributions to world cinema are now celebrated, his first sound film Vampyr was a commercial failure, and the war and other material matters interfered with the accomplishment of these later works. Ultimately, however, they became his most remarkable achievements. The Gallery wishes to thank the Danish Film Institute for its cooperation in loaning these films.
From Novel to ScreenAugust 8, 15Two adaptations of Pierre Louÿs’ celebrated 1898 novel La Femme et le Pantin (it was later also filmed by Luis Buñuel and Julian Duvivier) are presented in honor of the National Gallery exhibition The Art of Power: Royal Armor and Portraits from Imperial Spain.
East Building Concourse, AuditoriumAn ongoing program of classic cinema, documentary, avant-garde, and area premieres occurs each weekend in the East Building Auditorium, 4th Street at Pennsylvania Avenue NW. Programs are free of charge but seating is on a first-come, first-seated basis. Doors open approximately 30 minutes before each show. Programs are subject to change.
Dan Zhu, violinistwith Jie Chen, pianist
June 7 at 6:30PMMusic by Schubert and other composers
Made possible in part by a gift from The Markow-Totevy Foundation
National Gallery Piano Triowith Vilmos Szabadi, violinist, and Sylvia
Kovács, violistJune 14 at 6:30PM
Music by Dohnányi, Shostakovich, and Weiner
Tara Kamangar, pianistJune 21 at 6:30PM
Music by Hossein and Khaleghi
The Washington Sängerbundwith the National Gallery Vocal Arts Ensemble
June 28 at 6:30PMDavid Montgomery, conductor
Music by Mendelssohn, Schubert, and other composers
June 2009
The Director’s Tour: Highlights in Foreign LanguagesVisitors can hear the director’s introduction and commentary at 26 stops on the tour in Spanish, French, Russian, Japanese, and Mandarin.
Adventures in ArtA Family Audio Tour of Seventeenth-Century Dutch and Flemish Paintings(Ages 7–12) Travel with Pieter and Tanya as they explore life and art nearly 400 years ago in Holland and today’s Belgium. $5 per tour, $2 for additional headphones.
Special ExhibitionsThe Art of Power: Royal Armor and Portraits from Imperial SpainJune 28, 2009–November 1, 2009Narrated by Gallery director Earl A. Powell III, this tour includes commentary by Álvaro Soler del Campo, curator, Royal Armory, Madrid, and David Alan Brown, curator, Italian paintings, National Gallery of Art, Washington.
Cell-Phone TourCall (202) 595-1857 East BuildingThis tour covers selected modern and contemporary works of art in the non-partitioned areas of the Gallery, where cell-phone use is permitted, and includes an introduction to the East Building itself.
Visible Silence: Marsden Hartley, Painter and PoetJuly 11 at 1:00PMIntroduction by Michael MaglarasA new film essay on the American modernist from Lewiston, Maine—whose peripatetic life, personal tragedy, and original style have made him a topic of endless fascination—is discussed by the filmmaker Michael Maglaras. (2008, digital beta, 65 minutes)
Man with a Movie CameraAugust 1 at 3:30PMAlloy Orchestra on stageThe Alloy Orchestra returns to the National Gallery to perform its stirring original score for Vertov’s legendary silent masterpiece, an avant-garde portrayal of urban life, work, and leisure in Soviet cities that ultimately advanced the arc of experimental filmmaking. (Dziga Vertov, 1929, 35 mm, silent with live music, 70 minutes)
A Short History of ColorJune 7, 14, 21, 28From its beginnings in the late 19th century, the cinema has relied on color to carry its message. Dozens of technical processes have, with varying degrees of success, enhanced the viewer’s experience. While black-and-white has its place in cinematic history, the conventions of color—yellow for outdoors, purple for early evening, blue for the sea, amber for fire, and so on—have been a constant. This series includes three illustrated talks on the attributes, technologies, and transformations of color during the first half of the 20th century as well as a selection of examples.
ConcertsWest Building Main Floor
West Garden Court
National Gallery of Art
exhibition that will include ten of Leyster’s finest works from
American and European collections. Leyster’s oeuvre consists
of a range of subjects, including genre scenes, portraits, and still
lifes, that display her awareness of contemporary artistic styles
and themes. The informality of her engaging paintings owes much
to Frans Hals (c. 1582/1583–1666), with whom she may have
studied, as well as to the Utrecht Caravaggisti. To complement
Leyster’s works, paintings by Hals and by Leyster’s husband,
Jan Miense Molenaer (1610–1668), will also be included.
Stanley William Hayter: From Surrealism to AbstractionMay 31–August 23, 2009West Building Ground Floor Stanley William Hayter (1901–1988) has been widely celebrated
for his influence on creative printmaking in America and Europe.
This exhibition of approximately 55 of Hayter’s most important
prints is drawn primarily from the Gallery’s holdings and the
collection of Ruth Cole Kainen (widow of artist Jacob Kainen).
The range of Hayter’s work in the exhibition includes his early
black-and-white surrealist engravings, outstanding examples of
his technical innovations, unique proofs and color variations, late
linear abstractions inspired by motion and mathematics, and fully
worked copperplates and plaster casts, which he deemed artistic
creations in their own right. The exhibition will also include a
select group of prints by some of the best-known artists to work
at his print workshop, Atelier 17, including Max Ernst, Joan Miró,
and Jackson Pollock.
The Art of Power: Royal Armor and Portraits from Imperial SpainJune 28–November 1, 2009West Building Main Floor The Royal Armory in Madrid, assembled at a time when the
Spanish Crown was at the height of its international power, is the
oldest and one of the finest and largest armories in the world,
imbued with great historical, artistic, and symbolic significance.
Armor drawn from the unsurpassed holdings of the Spanish
Royal Armory is shown in this exhibition alongside portraits of
rulers dressed in the same armor, painted by such masters
as Peter Paul Rubens, Anthony van Dyck, Diego
Velázquez, and Alonso Sánchez Coello. Several
large and magnificent tapestries from the royal
collection also depict the armor in use.
Together, some 75 works illustrate the use
of luxurious armor in projecting an image
of royal power in Imperial Spain. The
exhibition includes several full suits of
armor, helmets, shields, and equestrian
armor—worn in battle but more often
in Renaissance parades, pageants,
and jousting tournaments. The works of
art on view date from the reigns of the
Holy Roman Emperors Maximilian I of
Austria (1508–1519) and Emperor Charles
V (1519–1558), to those of his successors,
King Philip II (1556–1598), King Philip III (1598–
1621), and King Philip IV (1621–1665). This is the
first time that the armor has been exhibited together
with the portraits in which it is depicted.
The Budapest Horse: A Leonardo da Vinci PuzzleJuly 3 -September 7, 2009West Building Ground Floor, Gallerty G42 The Rearing Horse and Mounted Warrior, a bronze statuette from
the Museum of Fine Arts (Szépművészeti Múzeum), Budapest,
is the focus of recent technical examinations by National Gallery
of Art conservators and is also the centerpiece of the exhibition,
The Budapest Horse: A Leonardo da Vinci Puzzle. The intriguing
work is joined by two additional bronze horses and another
warrior associated with Leonardo, along with two Renaissance
bronze horses by known masters for comparison. Illustrative
panels present evidence related to the works’ origins, including
reproductions of drawings by Leonardo, x-radiographs, and
computer models. The similarities of the Budapest horse to
Leonardo’s drawings led to the first attribution to him in 1916.
New technical evidence gathered from both the Rearing Horse
and its accompanying Mounted Warrior suggests that the cast
could date from as early as the 16th century, although possibly
some years after Leonardo’s death in 1519. No scientific data
were discovered that rule out an early casting date, but the
origins of the clay or wax models from which the horse and its
rider were cast remain a mystery.
Judith LeysterJune 21–November 29, 2009
West Building Main Floor, Gallery 50a In celebration of Judith Leyster’s
(1609–1660) 400th birthday,
the Gallery will showcase
her expressive Self-
Portrait (c. 1630)
as the focal
point of a
small
Edouard Manet’s “Ragpicker” from the Norton Simon FoundationMay 22–September 7, 2009West Building Main Floor, Gallery 89 Norton Simon (1907–1993), one of the great collectors of his
age, established the Norton Simon Museum in Pasadena in
1975 to allow public access to his art treasures. European
painting of the 19th century is one of the major strengths of
the collection, with more than 130 works that span the entire
century. Among the most impressive of these is Ragpicker by
Edouard Manet, which was purchased by Simon in 1968.
The Norton Simon’s Ragpicker and the National Gallery’s Old
Musician and Tragic Actor (Rouvière as Hamlet), are from a
series of monumental figural compositions that Manet painted
in the 1860s, inspired by the old masters, particularly 17th-
century Spanish painter Diego Velázquez. Manet’s debt to
Velázquez is evident in the compositions of Ragpicker and
Tragic Actor, with nearly life-sized figures placed against an
ambiguous backdrop that give the works an austere, theatrical
appearance. The influence of Velázquez can also be recognized
in the relatively somber palette and vibrant brushwork of all
three paintings. Even the humble subject matter is rooted in the
traditions of 17th-century art, which Manet
adapted to create direct and
unsentimental images
of people on the
margins of
society.
Current Exhibits
National Gallery of
Art
JUNE 2009 NEWSLETTER
Postage Information
National Gallery of ArtSixth Street and Constitution Avenue NWWashington, D.C.
Mailing address2000B South Club DriveLandover, MD 20785(202) 737-4215www.nga.gov
Corinne Sovey2834 S Buchanan StreetArlington, VA 22206
National Gallery of Art
exhibition that will include ten of Leyster’s finest works from
American and European collections. Leyster’s oeuvre consists
of a range of subjects, including genre scenes, portraits, and still
lifes, that display her awareness of contemporary artistic styles
and themes. The informality of her engaging paintings owes much
to Frans Hals (c. 1582/1583–1666), with whom she may have
studied, as well as to the Utrecht Caravaggisti. To complement
Leyster’s works, paintings by Hals and by Leyster’s husband,
Jan Miense Molenaer (1610–1668), will also be included.
Stanley William Hayter: From Surrealism to AbstractionMay 31–August 23, 2009West Building Ground Floor Stanley William Hayter (1901–1988) has been widely celebrated
for his influence on creative printmaking in America and Europe.
This exhibition of approximately 55 of Hayter’s most important
prints is drawn primarily from the Gallery’s holdings and the
collection of Ruth Cole Kainen (widow of artist Jacob Kainen).
The range of Hayter’s work in the exhibition includes his early
black-and-white surrealist engravings, outstanding examples of
his technical innovations, unique proofs and color variations, late
linear abstractions inspired by motion and mathematics, and fully
worked copperplates and plaster casts, which he deemed artistic
creations in their own right. The exhibition will also include a
select group of prints by some of the best-known artists to work
at his print workshop, Atelier 17, including Max Ernst, Joan Miró,
and Jackson Pollock.
The Art of Power: Royal Armor and Portraits from Imperial SpainJune 28–November 1, 2009West Building Main Floor The Royal Armory in Madrid, assembled at a time when the
Spanish Crown was at the height of its international power, is the
oldest and one of the finest and largest armories in the world,
imbued with great historical, artistic, and symbolic significance.
Armor drawn from the unsurpassed holdings of the Spanish
Royal Armory is shown in this exhibition alongside portraits of
rulers dressed in the same armor, painted by such masters
as Peter Paul Rubens, Anthony van Dyck, Diego
Velázquez, and Alonso Sánchez Coello. Several
large and magnificent tapestries from the royal
collection also depict the armor in use.
Together, some 75 works illustrate the use
of luxurious armor in projecting an image
of royal power in Imperial Spain. The
exhibition includes several full suits of
armor, helmets, shields, and equestrian
armor—worn in battle but more often
in Renaissance parades, pageants,
and jousting tournaments. The works of
art on view date from the reigns of the
Holy Roman Emperors Maximilian I of
Austria (1508–1519) and Emperor Charles
V (1519–1558), to those of his successors,
King Philip II (1556–1598), King Philip III (1598–
1621), and King Philip IV (1621–1665). This is the
first time that the armor has been exhibited together
with the portraits in which it is depicted.
The Budapest Horse: A Leonardo da Vinci PuzzleJuly 3 -September 7, 2009West Building Ground Floor, Gallerty G42 The Rearing Horse and Mounted Warrior, a bronze statuette from
the Museum of Fine Arts (Szépművészeti Múzeum), Budapest,
is the focus of recent technical examinations by National Gallery
of Art conservators and is also the centerpiece of the exhibition,
The Budapest Horse: A Leonardo da Vinci Puzzle. The intriguing
work is joined by two additional bronze horses and another
warrior associated with Leonardo, along with two Renaissance
bronze horses by known masters for comparison. Illustrative
panels present evidence related to the works’ origins, including
reproductions of drawings by Leonardo, x-radiographs, and
computer models. The similarities of the Budapest horse to
Leonardo’s drawings led to the first attribution to him in 1916.
New technical evidence gathered from both the Rearing Horse
and its accompanying Mounted Warrior suggests that the cast
could date from as early as the 16th century, although possibly
some years after Leonardo’s death in 1519. No scientific data
were discovered that rule out an early casting date, but the
origins of the clay or wax models from which the horse and its
rider were cast remain a mystery.
Judith LeysterJune 21–November 29, 2009
West Building Main Floor, Gallery 50a In celebration of Judith Leyster’s
(1609–1660) 400th birthday,
the Gallery will showcase
her expressive Self-
Portrait (c. 1630)
as the focal
point of a
small
Edouard Manet’s “Ragpicker” from the Norton Simon FoundationMay 22–September 7, 2009West Building Main Floor, Gallery 89 Norton Simon (1907–1993), one of the great collectors of his
age, established the Norton Simon Museum in Pasadena in
1975 to allow public access to his art treasures. European
painting of the 19th century is one of the major strengths of
the collection, with more than 130 works that span the entire
century. Among the most impressive of these is Ragpicker by
Edouard Manet, which was purchased by Simon in 1968.
The Norton Simon’s Ragpicker and the National Gallery’s Old
Musician and Tragic Actor (Rouvière as Hamlet), are from a
series of monumental figural compositions that Manet painted
in the 1860s, inspired by the old masters, particularly 17th-
century Spanish painter Diego Velázquez. Manet’s debt to
Velázquez is evident in the compositions of Ragpicker and
Tragic Actor, with nearly life-sized figures placed against an
ambiguous backdrop that give the works an austere, theatrical
appearance. The influence of Velázquez can also be recognized
in the relatively somber palette and vibrant brushwork of all
three paintings. Even the humble subject matter is rooted in the
traditions of 17th-century art, which Manet
adapted to create direct and
unsentimental images
of people on the
margins of
society.
Current Exhibits
National Gallery of
Art
JUNE 2009 NEWSLETTER
Luis Meléndez (1715–1780) is now recognized as the premier still-life painter in 18th-century Spain, indeed one of the greatest in all of Europe, though his reputation had long been eclipsed by the achievements of his Spanish contemporary, Francisco Goya. After a precarious beginning to his career, Meléndez received a royal commission in 1771 from the Prince of Asturias (later King Charles IV) to paint a series of still lifes depicting “the four Seasons of the Year, or more properly, the four Elements, with the aim of composing an amusing cabinet with every species of food produced by the Spanish climate.” He became an inventive and consummate painter of still-life arrangements, and in 2000 the National Gallery of Art proudly acquired Still Life with Figs and Bread (c. 1770). This exquisite painting will be featured in an exhibition of some 30 canvases that showcase the master’s virtuoso talent for rendering everyday objects with exacting detail, marvelous effects of color and light, and subtle variations of texture. Paintings from the royal commission, including eight from the Museo del Prado in Spain, as well as works from other European collections, will be on view with related works from American collections. Several loans have never before been exhibited in public. Also on display will be period objects—including an 18th-century cork wine cooler, Alcorcón pottery, a luster-ware honey pot, and a copper chocolate pot—like those represented in Meléndez’s mesmerizing still lifes.
East Building MezzanineMay 17-August 23, 2009 Luis Meléndez
MASTER OF THE SPANISH STILL LIFE
National Gallery of ArtSixth Street and Constitution Avenue NWWashington, D.C.
Mailing address2000B South Club DriveLandover, MD 20785(202) 737-4215www.nga.gov
Corinne Sovey2834 S Buchanan StreetArlington, VA 22206
Non-Profit OrganizationUS Postage
PAID
National Gallery of Art
exhibition that will include ten of Leyster’s finest works from
American and European collections. Leyster’s oeuvre consists
of a range of subjects, including genre scenes, portraits, and still
lifes, that display her awareness of contemporary artistic styles
and themes. The informality of her engaging paintings owes much
to Frans Hals (c. 1582/1583–1666), with whom she may have
studied, as well as to the Utrecht Caravaggisti. To complement
Leyster’s works, paintings by Hals and by Leyster’s husband,
Jan Miense Molenaer (1610–1668), will also be included.
Stanley William Hayter: From Surrealism to AbstractionMay 31–August 23, 2009West Building Ground Floor Stanley William Hayter (1901–1988) has been widely celebrated
for his influence on creative printmaking in America and Europe.
This exhibition of approximately 55 of Hayter’s most important
prints is drawn primarily from the Gallery’s holdings and the
collection of Ruth Cole Kainen (widow of artist Jacob Kainen).
The range of Hayter’s work in the exhibition includes his early
black-and-white surrealist engravings, outstanding examples of
his technical innovations, unique proofs and color variations, late
linear abstractions inspired by motion and mathematics, and fully
worked copperplates and plaster casts, which he deemed artistic
creations in their own right. The exhibition will also include a
select group of prints by some of the best-known artists to work
at his print workshop, Atelier 17, including Max Ernst, Joan Miró,
and Jackson Pollock.
The Art of Power: Royal Armor and Portraits from Imperial SpainJune 28–November 1, 2009West Building Main Floor The Royal Armory in Madrid, assembled at a time when the
Spanish Crown was at the height of its international power, is the
oldest and one of the finest and largest armories in the world,
imbued with great historical, artistic, and symbolic significance.
Armor drawn from the unsurpassed holdings of the Spanish
Royal Armory is shown in this exhibition alongside portraits of
rulers dressed in the same armor, painted by such masters
as Peter Paul Rubens, Anthony van Dyck, Diego
Velázquez, and Alonso Sánchez Coello. Several
large and magnificent tapestries from the royal
collection also depict the armor in use.
Together, some 75 works illustrate the use
of luxurious armor in projecting an image
of royal power in Imperial Spain. The
exhibition includes several full suits of
armor, helmets, shields, and equestrian
armor—worn in battle but more often
in Renaissance parades, pageants,
and jousting tournaments. The works of
art on view date from the reigns of the
Holy Roman Emperors Maximilian I of
Austria (1508–1519) and Emperor Charles
V (1519–1558), to those of his successors,
King Philip II (1556–1598), King Philip III (1598–
1621), and King Philip IV (1621–1665). This is the
first time that the armor has been exhibited together
with the portraits in which it is depicted.
The Budapest Horse: A Leonardo da Vinci PuzzleJuly 3 -September 7, 2009West Building Ground Floor, Gallerty G42 The Rearing Horse and Mounted Warrior, a bronze statuette from
the Museum of Fine Arts (Szépművészeti Múzeum), Budapest,
is the focus of recent technical examinations by National Gallery
of Art conservators and is also the centerpiece of the exhibition,
The Budapest Horse: A Leonardo da Vinci Puzzle. The intriguing
work is joined by two additional bronze horses and another
warrior associated with Leonardo, along with two Renaissance
bronze horses by known masters for comparison. Illustrative
panels present evidence related to the works’ origins, including
reproductions of drawings by Leonardo, x-radiographs, and
computer models. The similarities of the Budapest horse to
Leonardo’s drawings led to the first attribution to him in 1916.
New technical evidence gathered from both the Rearing Horse
and its accompanying Mounted Warrior suggests that the cast
could date from as early as the 16th century, although possibly
some years after Leonardo’s death in 1519. No scientific data
were discovered that rule out an early casting date, but the
origins of the clay or wax models from which the horse and its
rider were cast remain a mystery.
Judith LeysterJune 21–November 29, 2009
West Building Main Floor, Gallery 50a In celebration of Judith Leyster’s
(1609–1660) 400th birthday,
the Gallery will showcase
her expressive Self-
Portrait (c. 1630)
as the focal
point of a
small
Edouard Manet’s “Ragpicker” from the Norton Simon FoundationMay 22–September 7, 2009West Building Main Floor, Gallery 89 Norton Simon (1907–1993), one of the great collectors of his
age, established the Norton Simon Museum in Pasadena in
1975 to allow public access to his art treasures. European
painting of the 19th century is one of the major strengths of
the collection, with more than 130 works that span the entire
century. Among the most impressive of these is Ragpicker by
Edouard Manet, which was purchased by Simon in 1968.
The Norton Simon’s Ragpicker and the National Gallery’s Old
Musician and Tragic Actor (Rouvière as Hamlet), are from a
series of monumental figural compositions that Manet painted
in the 1860s, inspired by the old masters, particularly 17th-
century Spanish painter Diego Velázquez. Manet’s debt to
Velázquez is evident in the compositions of Ragpicker and
Tragic Actor, with nearly life-sized figures placed against an
ambiguous backdrop that give the works an austere, theatrical
appearance. The influence of Velázquez can also be recognized
in the relatively somber palette and vibrant brushwork of all
three paintings. Even the humble subject matter is rooted in the
traditions of 17th-century art, which Manet
adapted to create direct and
unsentimental images
of people on the
margins of
society.
Current Exhibits
National Gallery of
Art
JUNE 2009 NEWSLETTER
Postage Information
National Gallery of ArtSixth Street and Constitution Avenue NWWashington, D.C.
Mailing address2000B South Club DriveLandover, MD 20785(202) 737-4215www.nga.gov
Corinne Sovey2834 S Buchanan StreetArlington, VA 22206
Client > National Gallery of ArtDeliverable > NewsletterAudience > National Gallery of Art Members
Client > National Gallery of ArtDeliverable > NewsletterAudience > National Gallery of Art Members
Client > National Gallery of ArtDeliverable > NewsletterAudience > National Gallery of Art Members