Art

The National Museum of American History is not an art museum. But works of art fill its collections and testify to the vital place of art in everyday American life. The ceramics collections hold hundreds of examples of American and European art glass and pottery. Fashion sketches, illustrations, and prints are part of the costume collections. Donations from ethnic and cultural communities include many homemade religious ornaments, paintings, and figures. The Harry T Peters "America on Stone" collection alone comprises some 1,700 color prints of scenes from the 1800s. The National Quilt Collection is art on fabric. And the tools of artists and artisans are part of the Museum's collections, too, in the form of printing plates, woodblock tools, photographic equipment, and potters' stamps, kilns, and wheels.

Minna Citron (1896-1991) was an American printmaker, whose style dramatically transformed from representational to abstract art in the 1940s.
Description (Brief)
Minna Citron (1896-1991) was an American printmaker, whose style dramatically transformed from representational to abstract art in the 1940s. She became a member of Atelier 17, a renowned avant-garde print studio in New York, and was known for her experimental printmaking techniques.
"Slip Stream" is an etching and aquatint printed in 1956. The creation of "Slip Stream" and similar prints, collectively known as the series "The Uncharted Course," grew out of Citron's interest in the relationship between spontaneity and control. She embraced the inherent mishaps of printmaking and found inspiration in the accidental forms they produced. This is an example of the first state of the etching in blue.
Location
Currently not on view
date made
1956
maker
Citron, Minna
ID Number
GA.21149
catalog number
21149
accession number
240678
Minna Citron (1896-1991) was an American printmaker, whose style dramatically transformed from representational to abstract art in the 1940s.
Description (Brief)
Minna Citron (1896-1991) was an American printmaker, whose style dramatically transformed from representational to abstract art in the 1940s. She became a member of Atelier 17, a renowned avant-garde print studio in New York, and was known for her experimental printmaking techniques.
"Slip Stream" is an etching and aquatint printed in 1956. The creation of "Slip Stream" and similar prints, collectively known as the series "The Uncharted Course," grew out of Citron's interest in the relationship between spontaneity and control. She embraced the inherent mishaps of printmaking and found inspiration in the accidental forms they produced. This is an example of the second state of the etching in green.
Location
Currently not on view
Date made
1956
original artist
Citron, Minna
ID Number
GA.21150
catalog number
21150
accession number
240678
date made
1952
SS United States built and launched
1952
naval architect of SS United States
Gibbs, William Francis
painter
Wendell, Raymond John
ID Number
TR.336767.162
catalog number
336767.162
accession number
1978.2219
date made
1952
SS United States built and launched
1952
naval architect of SS United States
Gibbs, William Francis
painter
Wendell, Raymond John
ID Number
TR.336767.161
catalog number
336767.161
accession number
1978.2219
This painting was part of the Duck Suite, the first-class luxury accommodations that included three upper-deck cabins aboard the ocean liner SS United States. The mural, which was designed by Constance Smith, decorated a wall of the suite’s sitting room.
Description
This painting was part of the Duck Suite, the first-class luxury accommodations that included three upper-deck cabins aboard the ocean liner SS United States. The mural, which was designed by Constance Smith, decorated a wall of the suite’s sitting room. The scene of water birds is rendered in paint and gold leaf on aluminum panels and is the inspiration for the Duck Suite’s name. Renowned as the most luxurious of the 14 first-class suites on the ship, these rooms were typically chosen by the United States’ most well-to-do passengers, from movie stars to British royalty. The Duke and Duchess of Windsor, regular passengers on the rival ship Queen Mary, switched their loyalties to the United States during the mid-1950s and booked the Duck Suite, which was their favorite lodging at sea for a time.
Like everything on this flagship of the United States Line, the mural had to be crafted out of flame-resistant metal. The ship was filled with aluminum, selected by the ship’s architect, William Francis Gibbs, who designed the vessel to be as fireproof as possible. And though the massive amounts of aluminum did make the United States one of the safest ships ever launched, the metallic, modern décor also gave it a special feel unlike any other ocean liner. Most liners were decorated with opulent wood carvings and even had working fireplaces to make passengers feel as if they were sitting in their own living room or library. However, Gibbs put aside this notion of Victorian comfort with his new interior decorating style. The United States was the epitome of 1950s and 60s design: sleek, modern, and practical.
Date made
1950s
designer
Smith, Constance
SS United States' ship architect
Gibbs, William Francis
passenger on SS United States
Simpson, Wallis
Edward Duke of Windsor
maker
Smith, Constance
ID Number
TR.336767.017
catalog number
336767.017
accession number
1978.2219
date made
1952
SS United States built and launched
1952
naval architect of SS United States
Gibbs, William Francis
painter
Wendell, Raymond John
ID Number
TR.336767.157
catalog number
336767.157
accession number
1978.2219
Currently not on view
Location
Currently not on view
date made
1930s-1950s
maker
Keppler, Victor
ID Number
PG.006261.II
catalog number
6261II
accession number
238737
date made
1952
SS United States built and launched
1952
naval architect of SS United States
Gibbs, William Francis
painter
Wendell, Raymond John
ID Number
TR.336767.155
catalog number
336767.155
accession number
1978.2219
Oil on illustration board. Portrait of four star General Chung IL-Kwon. Army Service Ribbons for Decorations and Medals include: Distinguished Service Cross. IL-Kwon wears two unknown Republic of Korea Merit Ribbons above his right breast pocket.
Description
Oil on illustration board. Portrait of four star General Chung IL-Kwon. Army Service Ribbons for Decorations and Medals include: Distinguished Service Cross. IL-Kwon wears two unknown Republic of Korea Merit Ribbons above his right breast pocket. He possibly wears a Korean medal of merit (in the shape of a sun) below his left breast pocket. IL-Kwon wears a blue and white shoulder tab that says "KOREA" above a blue and white triangle patch insignia (inside are three small white stars at the triangle's points and one large white star in the middle of the triangle). He also wears a black tie and glasses.
Location
Currently not on view
associated date
1951 - 1953
associated person
Chase, Joseph Cummings
Chase, Joseph Cummings
artist
Chase, Joseph Cummings
ID Number
AF.58381M
catalog number
58381M
accession number
211728
date made
1952
SS United States built and launched
1952
naval architect of SS United States
Gibbs, William Francis
painter
Wendell, Raymond John
ID Number
TR.336767.163
catalog number
336767.163
accession number
1978.2219
Oil on illustration board. Portrait of four star General James A. Van Fleet.
Description
Oil on illustration board. Portrait of four star General James A. Van Fleet. Army Service Ribbons for Decorations and Medals include: Distinguished Service Cross with two oak leaf clusters, Distinguished Service Medal with three oak leaf clusters, Silver Star with two oak leaf clusters, Legion of Merit with one oak leaf cluster, Bronze Star with two oak leaf clusters with "V" device, and Purple Heart with two oak leaf clusters. Van Fleet wears the Army Distinguished Unit Badge above his right breast pocket and a Combat Infantry Badge above his service ribbons and his left breast pocket. He wears fatigue clothing (possibly a men's durable press utility uniform, shade olive Green 507) with four silver stars (indicating rank of General) on each side of his collar and the eighth army insignia patch on the shoulder his left arm sleeve. Van Fleet holds a M1 helmet in his right hand (also possibly resting on his leg) that has the eighth army insignia and four silver stars (indicating rank of general) on the font and a unknown insignia on the side (vertical rectangle with red sides and possibly a red "1" on the front). He is in front of a green background. Van Fleet's signature is in the bottom right corner of the portrait.
Location
Currently not on view
associated date
1951 - 1955
associated person
Chase, Joseph Cummings
Chase, Joseph Cummings
artist
Chase, Joseph Cummings
ID Number
AF.58379M
catalog number
58379M
accession number
211728
date made
1952
SS United States built and launched
1952
naval architect of SS United States
Gibbs, William Francis
painter
Wendell, Raymond John
ID Number
TR.336767.156
catalog number
336767.156
accession number
1978.2219
date made
1952
SS United States built and launched
1952
naval architect of SS United States
Gibbs, William Francis
painter
Wendell, Raymond John
ID Number
TR.336767.160
catalog number
336767.160
accession number
1978.2219
Currently not on view
Location
Currently not on view
date made
1930-1950
ID Number
2006.0098.1514
catalog number
2006.0098.1514
accession number
2006.0098
date made
1952
SS United States built and launched
1952
naval architect of SS United States
Gibbs, William Francis
painter
Wendell, Raymond John
ID Number
TR.336767.158
catalog number
336767.158
accession number
1978.2219
date made
1952
SS United States built and launched
1952
naval architect of SS United States
Gibbs, William Francis
painter
Wendell, Raymond John
ID Number
TR.336767.159
catalog number
336767.159
accession number
1978.2219
Oil on illustration board. Portrait of Captain Jack A. Osborne. Osborne wears a olive drab uniform with a infantry pin on his collar and a helmet liner. He has a holster slung across his middle and tucked under his left arm.
Description
Oil on illustration board. Portrait of Captain Jack A. Osborne. Osborne wears a olive drab uniform with a infantry pin on his collar and a helmet liner. He has a holster slung across his middle and tucked under his left arm. Osborne holds a trench knife in his right hand and rests his right elbow on a post. He is in front of a blue background. Osborne's signature is in the bottom left corner. Catalogue card reads: 41st Inf. Division.
Location
Currently not on view
associated date
1951 - 1953
associated person
Chase, Joseph Cummings
Chase, Joseph Cummings
artist
Chase, Joseph Cummings
ID Number
AF.58378M
catalog number
58378M
accession number
211728
These ten painted aluminum panels comprised a wall mural aboard the ocean liner SS United States. Called “The Currents,” the mural depicts the Atlantic Ocean with the direction of the ocean’s currents rendered in stylized, dimensional arrows.
Description
These ten painted aluminum panels comprised a wall mural aboard the ocean liner SS United States. Called “The Currents,” the mural depicts the Atlantic Ocean with the direction of the ocean’s currents rendered in stylized, dimensional arrows. The continents are applied to the panels in gold leaf, while the ocean is painted in various shades of blue and green. Aboard the ship this mural was located on the starboard side of the first class observation lounge. “The Currents” and a companion mural called “The Winds” were painted by artist Raymond John Wendell.
Designed by naval architect William Francis Gibbs, the SS United States was created out of an unusually close connection to the federal government. During the Second World War, the U.S. Navy recognized that converted ocean liners were effective transports for conveying troops to far-flung war zones. After the war ended, the government pursued the building of a technologically advanced passenger vessel that could be converted to carry troops in the event of another global conflict. With significant federal funding and support, the SS United States was built and launched in 1952. Although it was never converted for wartime use, many of its design details remained classified into the 1970s.
One of the most unusual features of the ship was the tremendous amount of aluminum and the lack of wood Gibbs specified for its construction. Determined to build a ship that was not only fast, but ultra-safe, Gibbs was especially concerned with fire prevention after several wartime catastrophes. One that haunted him was the story of the luxury liner RMS Empress of Britain that was attacked by a German bomber while transporting hundreds of soldiers on October 26, 1940. Sixty-four troops were killed in the resulting blaze, which was fueled by the ship’s lavish wood carvings, staircases, and paneled rooms.
Two thousand tons of aluminum were used in the construction and outfitting of the SS United States, making the ship lighter and more fire-resistant than any vessel afloat. The furniture and artwork, including these panels, were all made of aluminum. Publicists for the ship claimed that the only wood on board was to be found in the galley’s chopping blocks and in the piano. Gibbs even tried to reduce this miniscule amount of wood, but Steinway & Sons allegedly refused to build an aluminum piano. To this day, the SS United States is considered the fastest and one of the safest ships ever put to sea.
date made
1952
SS United States built and launched
1952
naval architect of SS United States
Gibbs, William Francis
painter
Wendell, Raymond John
ID Number
TR.336767.154
catalog number
336767.154
accession number
1978.2219
Berenice Abbott's photograph, Pendulum (Small Arc), is a stop-motion photograph.
Description (Brief)
Berenice Abbott's photograph, Pendulum (Small Arc), is a stop-motion photograph. Although the photographer is more well-known for her 1930s abstracted views of New York City's architecture, she wanted to improve the quality of photography for scientists.
Abbott devised apparatus and techniques to capture various phenomena. Beginning in 1958, she created photographs for the Physical Science Study Committee, a program to reform high school physics teaching. This picture illustrating the swing of a pendulum appeared in 1969 in The Attractive Universe: Gravity and the Shape of Space.
Description
During the 1920s, Berenice Abbott was one of the premier portrait photographers of Paris, her only competitor was the equally well-known Dada Surrealist Man Ray who had served as her mentor and employer before she launched her own career. An American expatriate, Abbott enjoyed the company of some of the great twentieth century writers and artists, photographing individuals such as Jean Cocteau, Peggy Guggenheim and James Joyce. One of the critical elements of Abbott’s portraiture was a desire to neither enhance nor interfere with the sitter. She instead wished to allow the personality of her subject to dictate the form of the photograph, and would often sit with her clients for several hours before she even began to photograph them. This straight-forward approach to photography characterized Abbott’s work for the duration of her career.
Thematically and technically, Abbott’s work can be most closely linked to documentary photographer Eugène Atget (COLL.PHOTOS.000016), who photographed Paris during the early 1900s. Abbott bought a number of his prints the first time she saw them, and even asked him to set some aside that she planned to purchase when she had enough money. After his death in 1927, Abbott took it upon herself to publicize Atget’s work to garner the recognition it deserved. It was partly for this reason she returned to the United States in 1928, hoping to find an American publisher to produce an English-language survey of Atget’s work. Amazed upon her arrival to see the changes New York had undergone during her stay in Paris, and eager to photograph the emerging new metropolis, Abbott decided to pack up her lucrative Parisian portrait business and move back to New York.
The status and prestige she enjoyed in Paris, however, did not carry over to New York. Abbott did not fit in easily with her contemporaries. She was both a woman in a male-dominated field and a documentary photographer in the midst of an American photographic world firmly rooted in Pictorialism. Abbott recalls disliking the work of both photographer Alfred Stieglitz and his then protégé Paul Strand when she first visited their exhibitions in New York. Stieglitz, along with contemporaries such as Ansel Adams and Edward Steichen, tended to romanticize the American landscape and effectively dismissed Abbott’s straight photography as she saw it. Not only was Atget’s work rejected by the Pictorialists, but a series of critical comments she made towards Stieglitz and Pictorialism cost Abbott her professional career as a photographer. Afterwards, she was unable to secure space at galleries, have her work shown at museums or continue the working relationships she had forged with a number of magazine publications.
In 1935, the Federal Art Project outfitted Abbott with equipment and a staff to complete her project to photograph New York City. The benefit of a personal staff and the freedom to determine her own subject matter was unique among federally funded artists working at that time. The resulting series of photographs, which she titled Changing New York, represent some of Abbott’s best-known work. Her photographs of New York remain one of the most important twentieth century pictorial records of New York City. Abbott went on to produce a series of photographs for varied topics, including scientific textbooks and American suburbs. When the equipment was insufficient to meet her photographic needs, as in the case of her series of science photographs, she invented the tools she needed to achieve the desired effect. In the course of doing so, Abbott patented a number of useful photographic aids throughout her career including an 8x10 patent camera (patent #2869556) and a photographer’s jacket. Abbott also spent twenty years teaching photography classes at the New School for Social Research alongside such greats as composer Aaron Copland and writer W.E.B. DuBois.
Perhaps the most intriguing aspect of Abbott’s career was the printing of Eugène Atget’s photographs, one of the few instances in which one well-known photographer printed a large number of negatives made by another well-known photographer. The struggle to get Atget’s photographs the recognition they deserved was similar to Abbott’s efforts to chart her own path by bringing documentary photography to the fore in a Pictorialist dominated America. Though she experienced varying levels of rejection and trials in both efforts, her perseverance placed her in the position she now holds as one of the great photographers of the twentieth century.
The Bernice Abbott collection consists of sixteen silver prints. The photographs represent a range of work Abbott produced during her lifetime, including her early portraiture work in Paris, her Changing New York series, Physics and Route 1, U.S.A. series.
Location
Currently not on view
date made
1950s
photographer
Abbott, Berenice
ID Number
PG.69.216.15
catalog number
69.216.15
accession number
288852
For much of the 19th century, ladies’ fashion required very small waists. The most common way to achieve this was to wear a tightly laced corset, which could be adjusted according to the specific dress it accompanied.
Description
For much of the 19th century, ladies’ fashion required very small waists. The most common way to achieve this was to wear a tightly laced corset, which could be adjusted according to the specific dress it accompanied. Like this example, many corsets were handmade to fit an individual, although they were also available in shops.
One of the most intimate pieces of scrimshaw a whaleman could produce was a bone or baleen busk, or corset stiffener. These were carved and given to a crewman’s loved one, who then inserted it into a matching sleeve on her corset as a unique memento of her beloved’s feelings.
Each of these busks has a cityscape etched into one side. The other side of one has eight pictures, topped by a portrait of a beautiful young woman. The other has a plaintive love poem on the back.
date made
mid-1800s
collected
1951-06-29
fashion
19th century
ID Number
TR.388604
catalog number
TR*388604
accession number
182022
Currently not on view
Location
Currently not on view
date made
1955
depicted (sitter)
Picasso, Pablo Ruiz
maker
Lartigue, Jacques Henri
ID Number
1986.1028.02
accession number
1986.1028
catalog number
1986.1028.02
Minna Citron (1896-1991) was an American printmaker, whose style dramatically transformed from representational to abstract art in the 1940s. She became a member of Atelier 17, a renowned avant-garde studio in New York, and was known for her experimental printmaking techniques.
Description (Brief)
Minna Citron (1896-1991) was an American printmaker, whose style dramatically transformed from representational to abstract art in the 1940s. She became a member of Atelier 17, a renowned avant-garde studio in New York, and was known for her experimental printmaking techniques. "Descendo," printed in 1950, was a part of Citron’s series called "The Uncharted Course," where she explored the relationship between spontaneity and control in printmaking. "Descendo," created only with black ink, was made with the same printing plate as Citron's two other prints "Arrival" and "Jet."
Location
Currently not on view
date made
1950
maker
Citron, Minna
ID Number
GA.21154
catalog number
21154
The Graphic Arts Collection of the National Museum of American History houses an extensive series of prints by archeologist and artist Jean Charlot (1898–1979), and prominent Los Angeles printer Lynton Kistler (1897–1993).
Description
The Graphic Arts Collection of the National Museum of American History houses an extensive series of prints by archeologist and artist Jean Charlot (1898–1979), and prominent Los Angeles printer Lynton Kistler (1897–1993). Charlot, the French-born artist of this print, spent his early career during the 1920s in Mexico City. As an assistant to the socialist painter Diego Rivera, he studied muralism, a Mexican artistic movement that was revived throughout Latino communities in the United States in the 1960s and 1970s. This lithograph, titled Work and Rest contrasts the labor of an indigenous woman, grinding corn on a metate, with the slumber of her baby. Printed by Lynton Kistler in Los Angeles in 1956, it presents an image of a Mexican woman living outside the industrial age. This notion of "Old Mexico" unblemished by modernity appealed to many artists concerned in the early 20th century with the mechanization and materialism of American culture. It was also a vision that was packaged as an exotic getaway for many American tourists. It is worth contrasting the quaint appeal of an indigenous woman laboring over her tortillas with the actual industrialization of the tortilla industry. By 1956, this woman would likely have bought her tortillas in small stacks from the local tortillería, saving about six hours of processing, grinding, and cooking tortilla flour.
Description (Spanish)
La Colección de Artes Gráficas del Museo Nacional de Historia Americana alberga una extensa serie de grabados del arqueólogo y artista Jean Charlot (1898-1979), y del prominente grabador de Los Ángeles Lynton Kistler (1897-1993). Nacido en Francia, Chralot, autor original de esta ilustración, pasó los comienzos de su carrera durante la década de 1920, en la ciudad de México. Como asistente del pintor socialista Diego Rivera, estudió muralismo, un movimiento artístico mexicano que resurgió en las comunidades latinas de los Estados Unidos en las décadas de los '60 y '70. Esta litografía, titulada Trabajo y Descanso contrasta la labor de una mujer indígena moliendo maíz con un metate, con el letargo de su bebé. Impreso por Lynton Kistler en Los Ángeles en 1956, simboliza la imagen de una mujer mexicana con una vida al margen de la era industrial. Esta noción del "Viejo México" impoluto por la modernidad resultaba atractiva para los artistas de principios del siglo XX, preocupados por la mecanización y el materialismo de la cultura americana. También constituía una visión que se envasaba como un escape exótico para muchos turistas americanos. Vale la pena contrastar el pintoresco atractivo de una mujer indígena trabajando para hacer tortillas con la industrialización actual de la fabricación de tortillas. Ya hacia el año 1956 esta mujer probablemente hubiera comprado sus tortillas en pequeñas cantidades en la tortillería del barrio, ahorrándose las 6 horas de trabajo aproximadas que le hubiera llevado procesar, moler y cocinar la harina de maíz ella misma.
Location
Currently not on view
Date made
1956
graphic artist
Charlot, Jean
printer
Kistler, Lynton R.
ID Number
GA.23355.05
catalog number
23355.05
accession number
299563
Though anchored in local Roman Catholic traditions, many of the religious beliefs and symbols of Mexican Americans have roots in indigenous notions about the soul and our universe.
Description
Though anchored in local Roman Catholic traditions, many of the religious beliefs and symbols of Mexican Americans have roots in indigenous notions about the soul and our universe. Between October 31st and November 2nd, Día de los Muertos, or Day of the Dead, is celebrated with family, decorating home altars and visiting the graves of loved ones. A holiday with much regional and individual variation, it is traditionally an occasion to commemorate parents and grandparents with altars of marigolds, candles, alcohol, skeleton-shaped sweets, and other foods and personal objects favored by the dearly departed. Day of the Dead celebrations were reinvented across many Mexican American communities beginning in the 1970s, as the Chicano movement promoted and readapted Mexican cultural practices. Many artists since then have seized on the visual power of the altar as a conduit for personal and public memory. In the United States, Day of the Dead altars can be found interrogating life and critiquing politics in public places. Contemporary Day of the Dead celebrations have memorialized those who have died from AIDS, gang violence, the civil wars in Central America, and crossing the border. This lithograph, titled Night of the Dead, was originally drawn in ink by Alan Crane in 1958. Alan Horton Crane (1901–1969) was a Brooklyn-born illustrator best known for his landscapes and genre scenes of life in Mexico and New England. This image is part of a series of prints by Alan Crane housed in the Graphic Arts Collection of the National Museum of American History.
Description (Spanish)
Se puede decir que muchas de las creencias religiosas y símbolos de los mexicoamericanos, si bien se afirman en las tradiciones de la iglesia católica romana, tienen sus raíces en nociones indígenas sobre el alma y el universo. Entre el 31 de octubre y el 2 de noviembre, se celebra el Día de los Muertos en familia, decorando el hogar y visitando las tumbas de los seres queridos difuntos. Se trata de una festividad con variaciones regionales e individuales, en ocasión de conmemorar a los padres y abuelos ausentes con altares de caléndulas, velas, alcohol, dulces con formas de esqueletos y otras comidas y objetos personales de preferencia de los seres queridos ya difuntos. Las celebraciones del Día de los Muertos se reinventaron en todas las comunidades mexicoamericanas a comienzos de la década de 1970, cuando el movimiento chicano propició y readaptó las prácticas culturales mexicanas. Desde entonces muchos artistas se han servido del poder visual del altar como conducto de la memoria personal y pública. En Estados Unidos, pueden hallarse altares del Día de los Muertos erigidos en lugares públicos para expresar interrogantes de la vida o críticas a políticos. Las celebraciones contemporáneas del Día de los Muertos han conmemorado a los muertos por SIDA, por la violencia de las pandillas, por las guerras en Centroamérica y por los cruces de frontera. Esta litografía, titulada Noche de los Muertos, fue originalmente dibujada en tinta por Alan Crane en 1958. Alan Horton Crane (1901-1969) fue un ilustrador nacido en Brooklyn, más conocido por sus paisajes y pinturas de género sobre la vida en México y Nueva Inglaterra. Esta imagen forma parte de la serie de grabados de Alan Crane albergados en la Colección de Artes Gráficas del Museo Nacional de Historia Americano.
Location
Currently not on view
Date made
1958
maker
Crane, Alan
ID Number
GA.23836
catalog number
23836
accession number
306563

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