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    We look slightly down onto a woman dressed in golden yellows, sitting in a pale green chair, with a nude child sitting in her lap as they both gaze into a mirror in this vertical portrait painting. Both the people have pale, peachy skin. The chair is angled to our left so the woman’s knees and child cant down toward the lower left corner of the composition, and the woman leans onto the arm closer to us. The chair is painted mint green and the rose-pink upholstery is visible on the seat and a corner behind the woman’s shoulder. To our right, the woman’s vibrant, copper-colored hair is pulled loosely to the back of her head. She has a rounded nose, flushed cheeks, and her full, coral-pink lips are closed. Her long dress has a low, U-shaped neckline. The fabric shimmers from pale, cucumber green to light sunshine yellow. The sleeves of the dress split over the shoulder and a second long, goldenrod-yellow sleeve falls from her elbow off the bottom edge of the canvas. An oversized sunflower, larger than the woman’s face, is affixed to her dress near her left shoulder, closer to us. She looks with dark eyes down toward the small, gold-rimmed mirror she holds in her right hand, farther from us. The child also holds the handle of the mirror with both hands, and in the reflection, the child looks back at us with dark eyes, a button nose, and pink lips. The child’s hair in the reflection is the same copper color as the woman’s, but the child on her lap has blond, shoulder-length hair. The woman rests one hand on the child’s left shoulder, closer to us. The child has a rounded belly and smooth, rosy limbs. The woman and child are reflected in a second mirror hanging on the wall alongside them, opposite us. Their reflections are very loosely painted. The wall behind the pair is sage green across the top and it shifts to fawn brown across the bottom. Brushstrokes are visible throughout, especially in the woman’s dress and hair, and are more blended in the bodies and faces. The artist signed the painting in the lower right corner, “Mary Cassatt.”

    Featured exhibition:

    Mary Cassatt: An American in Paris

    Now on view

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Open today 10:00–5:00

National Gallery of Art

  • Visit

    • Plan Your Visit
    • Accessibility
    • Visiting with Kids
    • Food and Drink
    • Shops
    • Tours, Guides, and Maps

    Open today 10:00 a.m.–5:00 p.m.
    Admission is always free

    6th and Constitution Ave NW 
    Washington, DC 20565

    Celebrating American art and artists

    Join us as we explore 250 years of American creativity from across the nation.

    Learn more

  • Exhibitions & Events

    • Exhibitions
    • Calendar
    • Kid-Friendly Events
    We look slightly down onto a woman dressed in golden yellows, sitting in a pale green chair, with a nude child sitting in her lap as they both gaze into a mirror in this vertical portrait painting. Both the people have pale, peachy skin. The chair is angled to our left so the woman’s knees and child cant down toward the lower left corner of the composition, and the woman leans onto the arm closer to us. The chair is painted mint green and the rose-pink upholstery is visible on the seat and a corner behind the woman’s shoulder. To our right, the woman’s vibrant, copper-colored hair is pulled loosely to the back of her head. She has a rounded nose, flushed cheeks, and her full, coral-pink lips are closed. Her long dress has a low, U-shaped neckline. The fabric shimmers from pale, cucumber green to light sunshine yellow. The sleeves of the dress split over the shoulder and a second long, goldenrod-yellow sleeve falls from her elbow off the bottom edge of the canvas. An oversized sunflower, larger than the woman’s face, is affixed to her dress near her left shoulder, closer to us. She looks with dark eyes down toward the small, gold-rimmed mirror she holds in her right hand, farther from us. The child also holds the handle of the mirror with both hands, and in the reflection, the child looks back at us with dark eyes, a button nose, and pink lips. The child’s hair in the reflection is the same copper color as the woman’s, but the child on her lap has blond, shoulder-length hair. The woman rests one hand on the child’s left shoulder, closer to us. The child has a rounded belly and smooth, rosy limbs. The woman and child are reflected in a second mirror hanging on the wall alongside them, opposite us. Their reflections are very loosely painted. The wall behind the pair is sage green across the top and it shifts to fawn brown across the bottom. Brushstrokes are visible throughout, especially in the woman’s dress and hair, and are more blended in the bodies and faces. The artist signed the painting in the lower right corner, “Mary Cassatt.”

    Featured exhibition:

    Mary Cassatt: An American in Paris

    Now on view

  • Art & Artists

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    Play Artle

    Test your knowledge with a new puzzle every day.

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    • Plan Your Visit
    • Accessibility
    • Visiting with Kids
    • Food and Drink
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    • Tours, Guides, and Maps

    Open today 10:00 a.m.–5:00 p.m.
    Admission is always free

    6th and Constitution Ave NW 
    Washington, DC 20565

    Celebrating American art and artists

    Join us as we explore 250 years of American creativity from across the nation.

    Learn more

  • Exhibitions & Events

    • Exhibitions
    • Calendar
    • Kid-Friendly Events
    We look slightly down onto a woman dressed in golden yellows, sitting in a pale green chair, with a nude child sitting in her lap as they both gaze into a mirror in this vertical portrait painting. Both the people have pale, peachy skin. The chair is angled to our left so the woman’s knees and child cant down toward the lower left corner of the composition, and the woman leans onto the arm closer to us. The chair is painted mint green and the rose-pink upholstery is visible on the seat and a corner behind the woman’s shoulder. To our right, the woman’s vibrant, copper-colored hair is pulled loosely to the back of her head. She has a rounded nose, flushed cheeks, and her full, coral-pink lips are closed. Her long dress has a low, U-shaped neckline. The fabric shimmers from pale, cucumber green to light sunshine yellow. The sleeves of the dress split over the shoulder and a second long, goldenrod-yellow sleeve falls from her elbow off the bottom edge of the canvas. An oversized sunflower, larger than the woman’s face, is affixed to her dress near her left shoulder, closer to us. She looks with dark eyes down toward the small, gold-rimmed mirror she holds in her right hand, farther from us. The child also holds the handle of the mirror with both hands, and in the reflection, the child looks back at us with dark eyes, a button nose, and pink lips. The child’s hair in the reflection is the same copper color as the woman’s, but the child on her lap has blond, shoulder-length hair. The woman rests one hand on the child’s left shoulder, closer to us. The child has a rounded belly and smooth, rosy limbs. The woman and child are reflected in a second mirror hanging on the wall alongside them, opposite us. Their reflections are very loosely painted. The wall behind the pair is sage green across the top and it shifts to fawn brown across the bottom. Brushstrokes are visible throughout, especially in the woman’s dress and hair, and are more blended in the bodies and faces. The artist signed the painting in the lower right corner, “Mary Cassatt.”

    Featured exhibition:

    Mary Cassatt: An American in Paris

    Now on view

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    Play Artle

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    At the base of a steep, grassy hill, five shepherds kneel, sit, and recline around and among two cows, several sheep, a goat, and a dog in the lower half of this painting, while a winged angel appears in a golden shaft of light in the upper half of this vertical painting. All the people have pale skin. One brown cow spans most of the composition along the bottom, its head facing our left. In the lower left corner, closest to us, a man smoking a long pipe reclines against a tangerine-orange cloth. He wears a round, brimmed cap, a loose white shirt, tattered gray, knee-length pants, and gray cloth wrapped around his shins above bare feet. He leans on his right elbow and crosses his ankles, as he looks to our right in profile. Next to him, to our right, a woman kneels with her body angled away from us to our right. She bends over, perhaps to milk the cow in front of her with the pail sitting next to her, and she looks back to our left. Her chestnut-brown hair is pulled up and braided or coiled. Her rose-pink dress and the white blouse under it fall off her right shoulder. A slate-gray cloak or scarf wraps around her waist and we see the bottom of one bare foot. On the opposite side of the cow, near its head, a young boy angled to our right, with straight brown hair falling down to his eyebrows, looks down at the animal. Most of his face is in shadow but light catches the tip of his nose and the front of one cheek. To our right, along the edge of the painting, behind the rump of the cow and among the shadows, another young boy is seen from the chest up. He wears with a wide-brimmed, brown hat and reaches his right arm across his body as he looks to our left, toward the streak of light. The head of a second cow stands behind him, only the head visible. The steep, grassy hill rises sharply behind this group and cows.The fifth person leans into the scene from our left, above the reclining man on the orange cloth. He has short brown hair and beard, and a slightly hooked nose. Wearing a rose-pink garment, he looks up at the angel with his right hand shielding his face. A tree trunk rises along the left edge of the painting beyond that man. A dog, sheep, and a goat are tucked in and around the cows. Golden light pours down onto the man in pink from past the angel in the bank of clouds above. Against a night sky with navy-blue clouds, gold and white rays emanate from the parted clouds beyond the angel. Kneeling on a dark, fern-green cloud, the angel leans forward and down, and points down at the shepherd wearing pink with one hand and up with the other. The angel has silvery-gray wings and wears a gray robe. Blond curls lift as if in a breeze. In the landscape below, topaz and aquamarine-blue forms could be mountains or surging waves.
    Jacopo Bassano, The Annunciation to the Shepherds, probably 1555/1560, oil on canvas, Samuel H. Kress Collection, 1939.1.126

    The Annunciation to the Shepherds

    The Annunciation to the Shepherds

    Jacopo Bassano · probably 1555/1560 · oil on canvas ·  Accession ID  1939.1.126

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