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November 2008, vol.1, issue 2 A publication of the R. W. Norton Art Gallery |
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To visit the R. W. Norton Art Gallery website, go to http://www.rwnaf.org/.
Just a reminder: Paws and Reflect: Art of Canines will be closing November 30th.
The next exhibition The New Reality: The Frontier of Realism in the 21st Century will open December 16, 2008.
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Featured Artwork at the Norton:
Presidential Portraiture |
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Did you know?
Miniatures |
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From the Vaults:
Sam Houston Daguerreotype |
HOLIDAY CLOSINGS:
The R. W. Norton Art Gallery will be closed for Thanksgiving Thursday, November 27th and Friday, November 28th. The Norton will also be closed for Christmas Wednesday, December 24th-Friday, December 26th and for New Years Thursday, January 1st-Friday, January 2nd. |
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“Listen, my children, and you shall hear / Of the midnight ride of Paul Revere” - Longfellow’s poem celebrated the deed for which Revere became most famous: his horseback dash from Boston to Concord on April 18, 1775 to warn American colonial leaders that the British were coming to seize the colonists’ cache of arms. Some people may also be aware of Revere’s expertise as a silversmith, examples of which may be seen in the Norton’s 18th century silver collection, including a teapot, a cann, and a set of spoons. Fewer, however, may know of his contributions to technological and metallurgical developments in the U.S. During the Revolutionary War, gunpowder was in short supply, so Revere learned how to make it and set up gunpowder mills in Massachusetts. He also cast cannons from iron and brass for the army.
Before the war, Revere had aided the cause of the patriots by printing a series of political cartoons from engraved copper plates, which introduced him to the uses of copper. Later, he produced the first rolled copper sheets in America and became a major supplier of copper for the U.S. Navy fleet, including nails, bolts, spikes and sheathing. He also produced copper roofs, including the sheathing for the State House in Boston which lasted 100 years. But one of the most glorious developments arising out of his discovery of the properties of copper were the Revere Bells.
Between 1792 and 1828, the Revere foundries cast 959 bells, of which somewhere between two and three hundred remain. The Revere Bell at the Norton, which weighs 920 pounds, was originally cast for a Baptist church in Plymouth, Massachusetts which unfortunately burned down. Like many of the bells, it is equipped with a clapper, should the owner elect to hang it, but it also possesses a hammer (which you can see atop its stand) with which to strike it. If you look
closely along the edge, you can see the strike points from
hammer use in the past. Like all Revere Bells, whether
silent or sounding, it reminds us the grandeur of our
American past and the resourcefulness and artistry of its
creator.
Everl Adair, Director of Research and Rare Collections
From the Editor
In honor of the presidential election, I have chosen to feature some of the many items in the Norton collection that relate to American history. Our country’s presidents, war heroes, early colonists and artists have all contributed to the molding of our country, the preservation of our heritage, and the endurance of our patriotism. Come to the Norton during election month and remember why we have so many privileges as citizens of the United States! Unless otherwise indicated, all articles are written by Kristi Kohl, Staff Researcher. |
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There was a time when painted or sculpted likenesses were
the only means by which most people knew their presidents.
Ever since the first portrait of George Washington was
created, presidential portraits have attracted considerable
popular interest. So it is no surprise that collecting
presidential portraiture and sculpture has been an interest for many galleries around the country, including the R. W.
Norton Art Gallery. Presidential portraiture and sculpture
evoke the history of the nation's highest office and offer a
glimpse of the individuals who have occupied it. Presidential
portraits range from what appear to be touched-up
photographs to poetic evocations of character and
symbolism linking the President to the nation’s ideals and
destiny.
A representation of our country’s first president, George Washington, believed to be by artist Mary Stuart is on display in the American History Gallery at the Norton. It is most likely a copy of the most famous presidential representation of George Washington known as The Athenaeum Portrait (1796) by Mary Stuart’s father, Gilbert Stuart (1755 – 1828). Gilbert Stuart’s image of Washington facing left became his most reproduced image and is currently displayed on the United States one-dollar bill. The Athenaeum Portrait now hangs in the Museum of Fine Arts in Boston. Although Gilbert Stuart never completed the original version of The Athenaeum Portrait, he and his daughters painted a total of 130 (75 of which were his own) reproductions, using the original to make copies.
In fact, each of Gilbert Stuart’s own 100 portraits of Washington is based on one of only three life portraits. George Washington’s first sitting for Stuart was in 1794. According to one of Washington’s grandsons, Stuart finally managed to enliven his sitter and engage the reserved Washington in conversation by discussing one of the President’s favorite topics, horses. During Stuart’s second sitting with Washington in 1795, the President’s distorted jaw-line and bulge around his mouth, due to his newly acquired set of false teeth, posed a problem for the painter. Despite the difficult task of minimizing this facial attribute, Stuart’s 1795 portrayal of Washington has become his most reproduced image, The Athenaeum Portrait.
Another celebrated image of Washington by Gilbert Stuart is The Lansdowne Portrait. The portrait was commissioned as a gift for the Marquis of Lansdowne, hence the title, and portrays a full-length Washington set within the grand tradition of European portraiture. The composition shows Washington standing in a pictorially complex and symbolic setting with his outstretched right hand and sword of victory in his left hand. Stuart was commissioned to paint several replicas of The Lansdowne Portrait, one version of which hangs in the White House. During the burning of Washington by British troops in the War of 1812, this picture was saved by First Lady Dolley Madison who had a caretaker cut the painting out of the frame (the frame was screwed to the wall).
Although Washington’s wife Martha Custis was not portrayed in portraiture as frequently as her husband, she played an important part in the commission of some of her husband’s portraits. The Norton has one of the few portraits of “Lady Washington,” as Martha was called during her lifetime. The portrait of Martha Washington, on display next to her husband in the American History Gallery, was painted by Rembrandt Peale, son of one of the foremost portrait painters of the time, Charles Wilson Peale. (Rembrandt Peale also painted George Washington, but was so nervous about the sittings that his father Charles went along to soothe his son’s nerves.) Gilbert Stuart also painted Martha Washington in 1796. Similar to his Athenaeum Portrait of George Washington, Martha’s portrait was also left unfinished. Another painter of U. S. Presidents, Eliphalet Andrews, created a full-length portrayal of Mrs. Washington as the companion piece to Stuart’s Landsdowne Portrait of George Washington in 1878.
Other portrayals of United States Presidents on display in our American History Gallery include a bust of George Washington by sculptor Jean-Antoine Houdon, a miniature of John Adams (2nd U. S. President) by Charles Fraser, a painting of Thomas Jefferson (3rd U. S. President) by Eliphalet Andrews, a painting of Andrew Jackson (7th U. S. President) by Thomas Sully, and a bust of Abraham Lincoln (16th U. S. President) by A. A. Weinman. Regardless of how artists will choose to portray our new president over the next four years, the portraits will hopefully evoke an enduring sense of national tradition and liberty, just as the Presidential portraiture and sculpture at the Norton relect.
Kristi Kohl, Staff Researcher |
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TIPS FROM KIP
Kip Dehart, Landscape Coordinator for the R. W. Norton Art Gallery, came to us from Akins Nursery where she helped with landscape consulting and installation for 18 years. Kip’s extensive experience and landscape knowledge are evident in the many transformations taking place in the sculpture garden and around the remaining grounds at the Norton. “The gardens are constantly changing,” Kip says, so every time you visit the Norton you will see something different. Not only are new flower beds being created and seasonal plants being changed, but also many ornamental and exotic plants are being introduced. The Norton's Grounds Foreman, Jimmy Smith, and the entire Grounds Crew work together with Kip to make the gardens beautiful for everyone to enjoy.
Kip wants to remind gardeners that now is the time to consider planting cool weather annuals such as snapdragons, pansies, poppies, and ornamental cabbages. These fall blooms will give your garden color throughout the cooler months. Now is also a good time to start collecting bulbs for your spring gardens. Although planting your spring bulbs should be done in December, gardeners should be thinking about the colors and flower varieties they would like in spring. Some spring bulbs include daffodils, tulips and narcissus.
Kip visits local and nearby nurseries on a regular basis to get ideas and make new purchases for the gardens at the Norton. She recently visited the Mercer Arboretum and Botanic Gardens in Humble, Texas, a 300-acre horticultural oasis 25 miles north of Houston. The gardens feature the regions largest display of native and cultivated plants. For more information on the Mercer Arboretum and Botanic Gardens, you may visit their website at http://www.hcp4.net/mercer/.
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OUT IN THE GARDEN
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Angel’s Trumpet (Brugmansia suaveloens) is a beautiful semi-wooded shrub, whose lemon-scented flowers open up after dark and remain open until the sunlight hits them the next morning. Its trumpet-shaped blooms are available in a variety of colors including white, peach, yellow, and orange. It grows from 6 to 8 feet tall and has oval shaped leaves. These beauties prefer damp conditions, daily waterings, and warm days with cool nights. Angel’s Trumpet prefers full sun (4-8 hours a day) with a bit of shade in the afternoon. Too much sun may cause slowed growth or sparse blooms and leaves. For maximum blooms, let your Angel’s Trumpet grow to the size of a tree, fertilize it every two to three weeks, and prune the older branches regularly to encourage new stem growth. To winterize your Brugmansia variety of Angel’s Trumpet in Louisiana, mulch heavily over the root zone with straw or bark to protect if from freezing. The seeds from these plants grow fairly quickly if given enough moisture, and the cuttings are easy to root in water.
The tomato hornworm and spider mites are common pests of Angel’s Trumpet. The voracious tomato hornworm can eat through a small plant quickly, while characteristic signs of spider mites include tiny yellow spots on leaves. Severe infestation of spider mites is represented by webbing between the leaves and on the underside of the leaves. Both may be treated with pesticides, although simply spraying the spider mites with a strong stream of water may dislodge a mild case of them.
Although in the same family (Solanaceae) as tomatoes, potatoes, and petunias, the Datura variety of Angel’s Trumpet is extremely toxic. The R. W. Norton Art Gallery does not have this variety of Angel’s Trumpet on its property. All parts of the Datura Angel’s Trumpet are narcotic and poisonous, and historically, it has been used as a hallucinogenic drug. Because the liquid inside the seedpod is extremely poisonous, it is recommended that gardeners use gloves when working with this plant. You can see the non-toxic variety of Angel’s Trumpet plants behind the Gallery near the employee parking lot and along the walkway at the back of the building. |
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VOICES FROM THE ARCHIVES:
WWII Veteran George S. Wylie
“There was an American boy. He was a prisoner like me. He was a medic. He had a red cross on his arm and he had a thermometer. He took my temperature and this Jap guard stood there waiting to let him take my temperature, and he took it and I remember it was a hundred and four. And he showed it to this guard, and said, ‘This man is very sick. We got to let him rest.’ No, that didn’t—that guard said, ‘No.’ Says he would pull the trigger if I didn’t keep moving. I told this friend I was so sick and tired, so disgusted with life I said, ‘Let him pull the trigger.’ He said, ‘No, no.’ I didn’t know this fellow, this stranger, but he was an American. He saved my life. He told me to leave everything I had, my blanket and all my extra clothing. ‘Take only your mess kit and your canteen and what clothing you got on. Come on, let’s go. We got to see this thing through.’” Click to hear audio.
George Wylie saw it through. He was captured after the Battle of Bataan and spent the war as prisoner of war of the Japanese. He is among more than 400 men and women from the Shreveport area who graciously gave their time to tell us their life stories of service and sacrifice. We’re preserving those stories as part of our Oral History Project, an ongoing effort to interview members of the World War II generation, along with veterans of future American conflicts. We also want to hear from eyewitnesses and participants in the civil rights struggle, as well as those who shaped the musical heritage of the city and the nation.
If you or someone you know would like to share stories with us, please call (318) 865-4201, or contact ohp@rwnaf.org. |
DID YOU KNOW?
Before the invention of cameras in the late 1800’s, people would have tiny portraits and images painted on small metal or ivory disks called miniatures. Back in colonial America, you might or might not live in an area with a notable portrait painter. So, if you wanted an image of your family member or loved one, you hired the itinerant miniature painter when he came through your town. The ivory or metal disk would be scored by the artist so that the paint would adhere, and then the image created. You could then wear the miniature on a chain around your neck or put it in a pocket. Some significant artists, such as Charles Wilson Peale and Thomas Sully, actually began their artistic careers as miniature painters. Miniature portrait painters typically retired early, as their eyesight often started to fail relatively early in life.
There are several examples of miniatures at the R. W. Norton Art Gallery. You can see miniature representations of many of the Signers of the Declaration of Independence (one signer from each of the original thirteen colonies is on display), including Benjamin Franklin and Thomas Jefferson, in the American History Gallery and of prominent 18th and 19th century Americans, including John James Audubon and Francis Scott Key, in the American Art History Gallery.
William Birch, Thomas Jefferson, circa 1800
Adolf D. Rinck, John J. Audubon, 1820
Anna Claypoole Peale, Rembrandt Peale, 1823 |
FOR THE KIDS
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The Norton offers many opportunities for children of all ages to learn about art in fun ways! One way to make your visit to the Gallery educational, more interactive, and fun is to offer your children the opportunity to engage in the artwork through the printed brochures in the Fairy Tale Gallery. If you would like to view and print the brochures before coming to the Gallery, you may do so on the Kids Page at the Gallery’s website (http://www.rwnaf.org/artists/). Whether you decide to print the brochures yourself or get them at the Gallery when you arrive, you will notice there are many brochures to choose from. Budding Artists (Beginners) can choose from Look What I Learned at the R. W. Norton Art Gallery and Eye of the Artist. Student of the Ecole des Beaux Arts (Intermediate) can print either the Wordy World of Art or the Scavenger Hunt. The Master of Your Medium (Advanced) can Meet the European Artists or Meet a Few of the American Artists. We know your children will develop a deeper understanding and appreciation for art while having fun learning about artwork on your next visit to the Norton! |
QUERIES FOR KRISTI
What does it mean if a painting is done in grisaille?
Inquisitive in South Highlands
Grisaille is a style of monochromatic painting done in shades of gray, frequently used by Renaissance artists to depict a relief sculpture. Also used to reflect an artist’s mastery of the medium, grisaille reflects the dramatic effects of light and shade with pronounced three-dimensionality. You can see examples of grisaille paintings in the Frederic Remington Gallery at the Norton. Remington’s grisaille paintings were intended to be reproduced in books and magazines before color printing was available. For example, The Death of Minnehaha (also known as The Famine)(1890) by Remington was done for a special edition of Longfellow’s book entitled The Song of Hiawatha.
To submit a question, please click here. |
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CAN YOU GUESS THE
TITLE AND ARTIST?
If you can be the first to guess the title and artist for the piece of artwork at the Norton featured to the right, you will receive a $25.00 check from the Gallery! To submit your answer, please click here. The correct answer and winner will be featured in next month’s newsletter. |
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FROM THE VAULTS:
Daguerreotype of Sam Houston,
Artist Unknown, circa 1860
Sam Houston (1793-1863) was a 19th century politician and soldier who was a key figure in the history of Texas. His life included military service in the War of 1812 and leading the Texas Revolution after which he served as President of the Republic of Texas for two terms (1836-1838 and 1841-1844). The city of Houston was named for him after he supported the annexation of Texas by the United States in 1845. Sam Houston served as Texas senator from 1846-1859 and as governor from 1859 until Texas seceded from the Union in 1861. Also having served as Tennessee governor for a brief period (from 1827-1828) earlier in his life, he is the only person in U. S. history to have been the governor of two different states.
Supposedly, Sam Houston was fond of the spotlight, and he willingly took advantage of the first practical photographic method, the daguerreotype, which was invented by Louis Jacques Daguerre in France in 1836. The R. W. Norton Art Gallery has a daguerreotype of Sam Houston taken by an unknown artist circa 1860. The daguerreotype created a highly detailed image on a silver-coated copper plate. First, the copper plate had to be cleaned and polished until the surface looked like a mirror. In order to make the plate sensitive to light, the plate was then enclosed in a box over iodine until it took on a yellowish tint. While being held in a light-proof holder, the copper plate was then transferred to a camera where the plate was exposed to light. After this exposure, which typically lasted between three to fifteen minutes, the plate was developed over hot mercury until the image appeared and was fixed with a strong solution of ordinary salt. The quality of the photographs was stunning. However, the pictures could not be reproduced, the chemicals used were highly toxic, and the images were difficult to view from certain angles. These factors, along with the availability of a faster and less expensive photographic process, the ambrotype, led to the decline of the daguerreotype in the late 1800s.
*From the Vaults features items in the Norton collection that are currently not on display. |
BEHIND THE SCENES
“Museum security is a kind of art form unto itself: A way to all at once create safety and accessibility” (Museum Security, by Scott Berinato, September 2004). The art of museum security is a paradox: Museums want to allow a connection between the masterpiece and the viewer while at the same time protecting the artwork; to bring people as close as possible to inspiration while preventing damage or theft. Mike Merritt, Security Supervisor and employee at the R. W. Norton Art Gallery for 17 years, knows all too well the balance of allowing visitors accessibility to art while maintaining a sense of security at the same time. You will surely recognize Mr. Merritt as the gentleman who greets you with a smile at the door as you enter the Norton. He, or one of his assistants, will proceed to review the Gallery rules (printed in the Do’s and Don’ts for the Facilities and Grounds brochure) for you and then hope you enjoy your visit perusing the Gallery’s artwork. You may also scan through and take some of the many informative brochures to enhance your viewing experience.
While you make your way around the Gallery, you will notice that each area is patrolled by a guard. Of course, the guards are present to make sure that the Norton’s rules are being followed; but most importantly, the guards are available to answer any questions that you may have. The security guards at the Norton anticipate visitor needs and want to try to answer your questions. The guards are knowledgeable about the artwork as well as the rules. If they do not know the answer to your question, they can find someone who does. So do not hesitate to ask any questions you may have!
Visitor satisfaction is a priority, and the Norton realizes that you are more likely to come back if you have had a pleasant experience with people, as well as a great experience with art. The Norton welcomes you, and we will assist you in any way necessary. Visitor feedback allows the Gallery to better serve the community, so please be sure to let the guards know of any suggestions you may have or complete a brief survey before you leave the Norton.
WORTH QUOTING:
“What moves men of genius, or rather what inspires their work, is not new ideas, but their obsession with the idea that what has already been said is still not enough.”
Eugene Delacroix |
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AROUND SHREVEPORT: The Masur Museum and the Karpeles Manuscript Library Museum
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“German Expressionism:
The Gus Kopriva Collection”
at The Masur Museum in Monroe, Louisiana through November 9, 2008
The key to building a museum-worthy collection is the possession of a discerning eye by the purchaser, as we at the Norton are well aware. Such vision is an obvious attribute of Gus Kopriva, who is not only the owner of the excellent visiting exhibition currently on display at the Masur Museum in Monroe, but also the proprietor of the Rosebud Gallery in Houston. Museum visitors were fortunate enough to have the opportunity to speak with Mr. Kopriva and his charming wife, Sharon, a gifted artist in her own right, at the opening of the exhibition. Mr. Kopriva’s discernment has resulted in a world-class collection of prints by German Expressionists and some of their contemporaries who were strongly influenced by the style, including Norwegian Edvard Munch, Russian Wassily Kandinsky, and Austrian Oskar Kokoschka. Among the major German-born Expressionists featured are Kathe Kollwitz, George Grosz, Max Beckmann, Willy Jaeckel, Lionel Feininger, Otto Dix, and Ernst Kirshner. These artists are represented in the collection by etchings, lithographs, and some rare woodcuts, plus one or two original paintings.
Expressionism as a whole was a vast movement that spanned many media in addition to painting and sculpture, including architecture, music, theatre, and film. The last medium gave the movement its widest exposure; German Expressionist filmmakers produced such seminal movies as Fritz Lang’s Metropolis, Robert Wiene’s The Cabinet of Dr. Caligari, and F.W. Murnau’s Nosferatu. When many of those filmmakers fled Germany during the rise of Nazism, they brought their influence to American movies, particularly the style known as film noir.
Expressionism in painting was a slightly harder sell. These artists painted what they saw as the key issues in the world around them following World War I, depicting problems of famine, poverty, sexuality, oppression, corruption, and war. Oskar Kokoschka declared, “Expressionism does not live in an ivory tower; it calls upon a fellow being whom it awakens.” Their styles were individualistic and personal perceptions of their subjects, suggesting form with loose lines and shadings, flattening perspective, and overlapping and stylizing their imagery. Alexej van Jawlensky, a member of an expressionist movement known as Der Blaue Reiter (The Blue Rider) said, “The artist expresses only what he has within himself, not what he sees with his eyes.” These works were often called Die neue Sachlichkeit, which roughly translates as “the new matter-of-factness,” or sometimes, “the new resignation.” But they were far more famously called “degenerate.” Hitler hated their art, declaring, “Anybody who paints and sees a sky green and pastures blue ought to be sterilized.” Many of the artists were imprisoned or exiled as he set out to rid Germany of their works and their influence. Still others died in concentration camps during the war.
I found this exhibition powerful and intriguing, both in terms of style and as an evocation of a particular philosophy and political period. And I was struck by how timely it remains, not only because it depicts issues that continue to exist in the world today, but also because of the controversies that surrounded the art itself, since today we still see museums coming under attack for displaying certain works. The pieces in this exhibition are not only evocative and stirring works of art, they are also reminders of the famous Faulkner quote, “The past is not dead. It’s not even past.” If you’re already heading to Monroe, you should definitely stop in to see the show. And if you’re not already heading to Monroe, it’s worth planning a trip.
Everl Adair, Director of Research and Rare Collections
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| Erich Heckel, The Journey, 1916, Lithograph |
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Ernst Kirchner, Man’s Head I, 1918, Woodcut |
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Käthe Kollwitz, Hunger, 1921, Woodcut |
First Ladies of the United States at the Karpeles Manuscript Library Museum
The Shreveport Karpeles Manuscript Library Museum is housed in what was originally the First Church of Christ Scientist. The museum was opened in August of 2005, making this museum the ninth manuscript library museum owned by Dr. David Karpeles. David Karpeles is a former math professor, scientist, real estate investor, and philanthropist from Santa Barbara, California. The Karpeles Manuscript Library Museum is “the world’s largest private holding of important original documents and manuscripts.” The Karpeles shows four exhibits throughout the year, with each exhibit staying for three months. The exhibits rotate between the other Karpeles museums around the country and present topics from the fields of History, Music, Science, Literature and Art. The Karpeles Manuscript Libraries are “dedicated to the preservation of the original writings of the great authors, scientists, philosophers, statesmen, sovereigns and leaders from all the periods of world history.” Currently showing through December 29th is First Ladies of the United States.
Each month the Karpeles Museum also hosts an exhibition of the works of a local artist with the opening reception on the second Saturday of the month from 1-3 p.m. The Karpeles also provides a School Outreach Program for which exhibits are taken to local school libraries and presentations are offered to school groups visiting the museum. The museum is open Tuesday through Saturday from 10 a.m. to 4 p.m. and is free to the public. The Karpeles Manuscript Library Museum is located at 3201 Centenary Blvd. For more information on exhibitions and other Karpeles Museum locations, you may visit the website at http://www.rain.org/~karpeles/ or call 318-861-7615. For more information on Dr. David Karpeles go to http://www.autographcollector.com/karpeles.html. |
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EDUCATIONAL TOURS, PROGRAMS AND PROJECTS |
FIRST SATURDAY TOURS
The R. W. Norton Art Gallery offers a regularly scheduled tour on the first Saturday of every month at 2:00 p.m. No reservation is required for these First Saturday Tours. Groups of 10 or more are asked to call ahead so preparations may be made to accommodate the group on these particular tours. All tours, like admission to the Gallery, are free to the public. The next First Saturday tour will be Eloquence in Motion on November 1st. Long before planes, trains and automobiles, the American family still had to trek over the river and through the woods to Grandmother's house. Eloquence in Motion explores depictions of travel throughout the centuries of holiday journeys.
GROUP TOURS
The R. W. Norton Art Gallery offers 18 Group Tours ranging from the 19th Century French Art History Tour to the Cowboy Artists Tour. Group tours are available by appointment year-round for groups of 10-30 and last approximately 45 minutes.
OUTREACH PROGRAM
The purpose of the community Outreach Program is to take art and art education to people through interactive presentations. Community Presentations consist of power point presentations to civic groups and schools.
For more information on the programs offered or to schedule a tour or presentation, click here. |
ORAL HISTORY PROJECT
The R.W. Norton Art Foundation is pursuing interviews with those who were involved in America's effort to win World War II, whether in the military or on the home front. Each interview will be digitally recorded by the Gallery to be stored and used for historical purposes, and each interview subject will also be given a copy of this recording to share and preserve his or her memories for family and friends.
If you are interested in participating in or would like more information about the Oral History Project, please click here.
SUGGESTIONS AND IDEAS?
To offer us feedback or to suggest what you’d like to see in upcoming issues, please click here.
GALLERY LOCATION AND HOURS:
4747 Creswell Avenue
Shreveport, LA 71106
318-865-4201
www.rwnaf.org
Tuesday through Friday 10 a.m. to 5 p.m.
Saturday and Sunday 1 - 5 p.m.
Closed Mondays and National Holidays
Copyright © 2008 by R. W. Norton Art Gallery |
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