The Washington Post Sunday - - SUMMER ARTS PREVIEW - Philip Kennicott 2016, at the Na­tional Por­trait Gallery, Eighth and F streets NW. 2026331000. philip.kennicott@wash­

Sum­mer isn’t for catch­ing up, merely a time for fall­ing be­hind at a slightly slower rate. And the art world obliges, with a shift in pace from over­whelm­ing to merely fre­netic.

The Na­tional Gallery of Art, which sol­diers on with most of its East Build­ing still closed for ren­o­va­tions, opens two sig­nif­i­cant ex­hi­bi­tions — both likely to be popular draws — just a week past the sum­mer sol­stice. And on July 1, the Smith­so­nian’s Na­tional Mu­seum of Amer­i­can His­tory reopens the main floor of its east wing, af­ter a floor-to-rafters ren­o­va­tion of some of its prime ex­hi­bi­tion space. Far­ther afield, in Philadel­phia, there’s an im­por­tant ex­hi­bi­tion de­voted to the ma­jor Parisian art dealer Paul Du­rand-Ruel open­ing later this month, which makes a nice way sta­tion on the way to New York (where art never stops).


Gus­tave Caille­botte’s “Paris Street, Rainy Day” is such a show-stop­per, and so es­sen­tial to any visit to the Art In­sti­tute of Chicago, where it lives, that it leaves an out­size im­pres­sion of Caille­botte’s tal­ent, oeu­vre and rep­re­sen­ta­tion in Amer­i­can gal­leries. As the cu­ra­tors of a ma­jor Caille­botte ex­hi­bi­tion at the Na­tional Gallery of Art note, most of the painter’s work is in pri­vate hands, with only a few of his paint­ings held by the ma­jor East Coast mu­se­ums, and many of his about 500 works are not par­tic­u­larly in­ter­est­ing. But the ones that are in­ter­est­ing are of­ten spec­tac­u­lar.

The new NGA ex­hi­bi­tion brings to­gether al­most 60 of the painter’s best works, in­clud­ing the re­cently re­stored “Paris Street, Rainy Day” and “On the Pont de l’Europe,” an­other master­piece, along with in­te­rior views, por­traits, nudes and works made in the lush Parisian ex­urbs.

The Caille­botte show opens the same day as an­other Na­tional Gallery ex­hi­bi­tion, “Plea­sure and Piety: The Art of Joachim Wte­wael.” Billed as the first ma­jor show de­voted to the Utrecht painter, the ex­hi­bi­tion sur­veys the de­li­ciously dis­ori­ent­ing work of the man­ner­ist, who was given to paint­ing won­der­fully over­stuffed images, of­ten with su­per-heated mytho­log­i­cal themes. Gus­tave Caille­botte: The Painter’s Eye and Plea­sure and Piety: The Art of Joachim Wte­wael June 28Oct. 4 at the Na­tional Gallery of Art, Fourth Street and Con­sti­tu­tion Av­enue NW. 2027374215.

The Na­tional Por­trait Gallery shines a spot­light on Dolores Huerta, one of the coun­try’s most im­por­tant and ef­fec­tive la­bor ac­tivists. The ex­hi­bi­tion “One Life: Dolores Huerta” fo­cuses on the pe­riod 1962-75, when Huerta joined forces with Ce­sar Chavez to ag­i­tate for greater la­bor pro­tec­tions and union rep­re­sen­ta­tion for Cal­i­for­nia agri­cul­tural work­ers. Given the re­cent, heated dis­cus­sion over a sweep­ing new trade pact— the Trans-Pa­cific Part­ner­ship — and on­go­ing de­bate over the im­pact of pre­vi­ous trade deals on im­mi­gra­tion, wages and en­vi­ron­men­tal degra­da­tion, this ex­hi­bi­tion is a timely use of vis­ual cul­ture to ex­plore is­sues cen­tral to sur­vival of the work­ers who put food on our ta­bles.

One Life: Dolores Huerta July 3May 15,

Artist Lara Bal­adi is of Egyptian and Le­banese de­scent. This sum­mer, the Sack­ler Gallery in­stalls one of her most dra­matic works — “Oum el Dou­nia (The Mother of the World)” — a large-scale pho­to­graphic ta­pes­try that uses a dizzy­ing range of color and im­agery to cap­ture a sur­real, frac­tured land­scape of sand, sky, Egyptian iconog­ra­phy and a wild phan­tas­mago­ria of mod­ern myth and im­agery. From her base in Cairo, Bal­adi has been wit­ness to the dra­matic and of­ten un­set­tling changes in Egypt since the down­fall of Hosni Mubarak in 2011. The ex­hi­bi­tion will in­clude ex­am­ples of her ef­forts to doc­u­ment and ar­chive those events in Tahrir Square, the site of so much hope, and so much fu­til­ity and de­spair.

Per­spec­tives: Lara Bal­adi Aug. 29June 5, 2016, at the Arthur M. Sack­ler Gallery, 1050 In­de­pen­dence Ave. SW. 2026331000.


An­other large-scale pho­to­graphic project, by pho­tog­ra­pher Zoe Leonard, is among the high­lights of the New York sum­mer scene. Leonard’s “Ana­logue,” at the Mu­seum of Mod­ern Art, is a mon­u­men­tal sur­vey of the large and small of com­mer­cial life in the mod­ern city. Com­piled over more than a decade, us­ing an al­most an­te­dilu­vian Roloflex cam­era, the pho­to­graphic in­stal­la­tion con­sists of 412 images. The mu­seum, which ac­quired the work in 2013, is show­ing it for the first time this sum­mer.

Zoe Leonard: Ana­logue June 27Aug. 30 at the Mu­seum of Mod­ern Art, 11 W. 53 St., New York. 2127089400.

It’s hard to imag­ine to­day, but the im­pres­sion­ist move­ment was, in the be­gin­ning, mostly shut out of of­fi­cial Parisian art cir­cles. The artists didn’t linger long in the wilder­ness, how­ever, and many as­so­ci­ated with the la­bel quickly went their own way. Help­ing the pi­o­neers to re­spectabil­ity were fig­ures such as Parisian art dealer Paul Du­rand-Ruel (1831-1922), who cham­pi­oned Renoir, Manet, Monet, Pis­sarro and De­gas, and pro­vided them with much-needed eco­nomic sup­port. An ex­hi­bi­tion at the Philadel­phia Mu­seum of Art fo­cuses on Du­rand-Ruel, his pa­tron­age, busi­ness acu­men, artis­tic taste and last­ing in­flu­ence.

Paul Du­rand-Ruel and the New Paint­ing June 24Sept. 13 at the Philadel­phia Mu­seum of Art, 2600 Benjamin Franklin Pkwy., Philadel­phia. 2157638100. www.phil­a­mu­


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