2021-08-03T14:34:07-05:00 2020-09-30 134008324 PricewaterhouseCoopers LLP 600 13th Street NW Suite 1000 Washington DC 200053333 990 2019-10-01 536001666 National Gallery of Art NATI 2027374215 6th and Constitution Avenue NW Washington DC 20565 William W McClure Treasurer 2023122760 2021-08-03 1 Travis Patton P00369623 2024141000 2019 2022-09-23 18:48:47Z National Gallery of Art Kaywin D Feldman 6th and Constitution Avenue NW Washington DC 20565 516111628 0 X www.nga.gov X Independent establishment of the US 1937 DC The Gallery's mission is to serve the nation by welcoming all people to explore and experience art, creativity, and our shared humanity. 9 9 1060 418 2224961 2210184 181716787 198485212 563333 204622 39602102 73747295 4284979 1749711 226167201 274186840 935014 958014 0 0 110496979 115394432 0 0 4899774 97526627 93822145 208958620 210174591 17208581 64012249 1452364541 1564479385 130685506 130511298 1321679035 1433968087 X The Gallery's mission is to serve the nation by welcoming all people to explore and experience art, creativity, and our shared humanity. 0 0 60585884 144962 COLLECTIONSThe National Gallery of Art's collection is at the heart of the Gallery's mission, following founder Andrew W. Mellon's gift and mandate to establish a national gallery with works of the highest quality. The collection of paintings, sculpture, and decorative arts traces the development of European achievements from the thirteenth century to the present and American art from colonial times to the present. It comprises a comprehensive study of Italian Renaissance art, including the only painting by Leonardo da Vinci outside Europe, as well as strong holdings of the French Impressionists, the Dutch and Flemish masters, one of the country's most distinguished American collections, and twentieth-century art. The collection also includes prints, drawings, rare books and photographs. Major post-World War II sculpture is installed in a dynamic and richly landscaped setting in the National Gallery Sculpture Garden. During the fiscal year, 1,014 important works of art were acquired by the Gallery, continuing the growth of the painting, sculpture, prints and drawing, and photography collections. Of these, fifteen paintings, five sculptures, 228 prints and drawings, and 766 photographs entered the collection. Of special significance was the group of forty works by twenty-one African American artists from the Souls Grown Deep Foundation. This richly diverse collection included paintings, quilts, sculptures, and drawings by such well-known artists as Mary Lee Bendolph, Irene Williams, Thornton Dial, James "Son Ford" Thomas, and Lonnie Holley. Jaune Quick-to-See Smith became the first Native American artist represented in the Gallery with the purchase of her major painting, "I See Red: Target" (1992). Important additions of Old Master paintings to the collection included three seventeenth-century Dutch masterworks - Jan Brueghel the Elder's "Wooded Landscape with Travelers" (1610), Dirck Hals' "Merry Company on a Terrace" (1625), and Adriaen Coorte's "Still Life with a Hanging Bunch of Grapes, Two Medlars, and a Butterfly" (1687). Flemish artist Frans Snyders' "Still Life with Flowers, Grapes, and Small Game Birds" (c. 1615) became the second painting by this important figure in the Gallery's collection. Representation of nineteenth-century French "plein air" (outdoor) sketching was enhanced by the addition of Achille-Etna Michallon's exquisite "The Forum at Pompeii" (1819). Notable prints and drawing acquisitions during the year included a group of nineteenth-century British drawings, and examples of prints and fine illustrated volumes acquisitions included Marcus Vigerius' "Decachordum Christianum" (1507), with nine full-page woodcuts, and George-Louis Le Rouge's, "Les Jardins Anglo-Chinois" (1776-1787), with 486 etched plates in four volumes. Other acquisitions included a group of eighteenth-century German etchings; Umberto Boccioni's rare color etching, "Lago con cigni" (1908); unique impressions of two untitled etchings by Eva Hesse (1957-1958); and five prints of various techniques by Emma Amos (1980/2002). Among the department of photographs acquisitions during the fiscal year were major pieces by such nineteenth-century photographers as Gioacchino Altobelli, Mathew Brady, Julia Margaret Cameron, and Eadweard Muybridge. Among the twentieth- and twenty-first-century additions are photographs by such celebrated practitioners as Thomas Demand, Paul Graham, Richard Mosse, Irving Penn, and Minor White. The collection was also greatly diversified with additions by such women photographers as Lillian Bassman, Ilse Bing, Louise Dahl-Wolfe, Susan Hiller, Lotte Jacobi, Barbara Morgan, and Sabine Weiss, and such African American photographers as Louis Draper, John Edmunds, Lorna Simpson, Beuford Smith, Ming Smith, Mickalene Thomas, and James Van Der Zee. The department also received a major gift of more than 160 photographs which included work by Ansel Adams, Robert Adams, Eugne Atget, William Eggleston, Andre Kertsz, Charles Marville, and Edward Weston.Preserving the Gallery's outstanding collection for future generations is a vital responsibility and primary concern of its conservators and scientists. Even during the pandemic, conservators and scientists specializing in the care of paintings, objects, photographs, works on paper, textiles, and frames undertook and collaborated on treatments, examinations, and research to preserve the collection and improve our understanding of works of art. The Gallery's conservators performed twenty major treatments, 557 minor treatments, 162 major examinations, 1,988 minor examinations, and 1,430 condition examinations for exhibitions. Matting and framing staff prepared 1,398 works of art for display and storage, and the frame conservator treated forty-eight frames. The preventive conservation team placed three paintings in microclimate packages for loans to institutions. Conservation scientists completed fourteen analysis reports to support investigation and treatments of works. Six marble sculptures were treated in public view in the West Building's East Sculpture Hall during the fiscal year. Donald Judd's "Untitled, 1963", one of his earliest "box" sculptures, was treated before sending it to the "Judd" retrospective exhibition at the Museum of Modern Art. In collaboration with the Hirshhorn Museum and Sculpture Garden, Gallery conservators and scientists undertook research to characterize Judd's painting techniques and materials. Photograph conservators completed numerous treatments and examinations, many in preparation for the upcoming exhibition, "The New Woman Behind the Camera". Textile and object conservators collaborated on the treatment and preparation of a special storage housing for a time-based media work, "Ommah", by Nam June Paik. The painting conservation department completed multiple major treatments, including Rembrandt's "Philemon and Baucis", 1658. In addition to providing expert care for works of art, Gallery conservators and scientists support many Gallery-wide programs, participate in professional meetings and conferences, and publish technical papers that make available the results of research undertaken at the Gallery. This research supports and enhances conservation practices around the world. 45287671 958014 1409356 EDUCATION, GALLERY SHOPS AND PUBLIC PROGRAMSFiscal year 2020 began with the Gallery open to the public as usual, offering a variety of onsite and digital experiences to the public. The Gallery closed in March 2020 due to the global COVID-19 pandemic, and onsite programs were unavoidably canceled. Although the Gallery remained closed for most of the remainder of the fiscal year, the Gallery's outreach and educational programs continued through a significant expansion of its virtual programs providing some respite and sense of community for audiences in Washington, across the nation, and around the world. Until the Gallery closed due to the pandemic, approximately 90,000 visitors participated in several onsite offerings including programs for teachers and students, workshops for families, community weekends, public tours, the popular evening program "NGA Nights", and lectures, including programs for audiences with disabilities. Beginning in March 2020, the Gallery leveraged existing digital resources and, as the pandemic extended, began creating virtual programs and new resources to connect people of all ages with art and each other remotely. The Gallery reached approximately 25,000 people through virtual programs and nearly forty million through digital resources and films shown on public television. Recognizing the impact of the pandemic on schools, the Gallery reached out to teachers to understand their needs and how to best support them during this particularly challenging time. The annual "Summer Teacher Institute" was offered online and served double the number of teachers historically served onsite. A variety of digital resources for educators as well as online professional development opportunities were offered, including an online course which has surpassed 20,000 registrants since its launch in 2019. The Gallery's newest online learning resource for K-12 educators, "Uncovering America", featured works of art that reflect the richness and diversity of the people, places, and cultures of the United States. New virtual family workshops were developed that encourage interactivity and movement, along with art making and "movie nights" with free access to streaming children's films. Since March, thousands of adults experienced art with others via virtual programs, such as virtual art making and discussion-based workshops, including an online version of the "Just Us" program for people with memory loss and their care partners. Virtual lectures and symposia were offered, including a tribute to David C. Driskell, one of the world's leading authorities on African American art, who passed away at age eighty-eight from complications of COVID-19 on April 1. The Gallery offered paid internships during the fiscal year, including the "Museum Assistants" program, in partnership with DC's Summer Youth Employment Program. This program continued in a virtual iteration to support aspiring museum professionals.The Gallery's Digital Experience division was essential in the Gallery's shift to an all-digital offering after the Gallery's closure, and launched a series of new initiatives including designing 360-degree virtual tours of exhibitions and launching a new Gallery blog. The division pivoted to producing live-streamed events with new virtual conference technologies, and deployed studio-quality capture kits to video-record remote artists and presenters for digital content and virtual programs. Virtual programming included lectures, artist conversations and presentations by Gallery curators, aimed at provided engaging content across the Gallery's digital channels, both internal and external. The fiscal year saw an increase of thirty-eight percent in users of the Gallery's website, reaching five million viewers for the first time. The Gallery's imaging and visual services department continued to document the Gallery's collection, creating master images for 1,228 collection objects and 176 non-collection objects, as well as documenting 110 object conservation treatments. Some 56,000 new digital assets were added to the enterprise digital asset management system, bringing the total number of managed assets to 663,000. The Gallery's music department organized and presented more than thirty concerts during the year through March 8, 2020, including the weekly Sunday afternoon concerts and several midweek concerts, taking places in various locations throughout the Gallery. More than 12,000 visitors attended these concerts. In the summer months of fiscal year 2020, five concert recordings from the music department's 2018-2019 season were featured on WETA's Monday evening program "Front Row Washington."During the first two months of the fiscal year, the Gallery's film department organized and presented twenty-eight discrete events, including two major retrospectives presented off-site - a contemporary African series held in the Embassy of France theater and an Armenian retrospective presented at the Freer Gallery of Art. Starting in May 2020, the film department created an all-virtual film series and, for the remainder of the fiscal year, presented 130 films organized into topics of contemporary interest such as a focus on the work of Black, female, and Indigenous artist filmmakers.The Gallery's library acquired sixty-three titles for the rare book collection during the fiscal year, including a copy of Thomas Ochsenbrunner's 1494 guide to Rome, and a book published for the funeral of Elizabeth Farnese published in Mexico in 1767. The library's image collections were augmented with 113 artists' portraits from the Paul Hertzmann and Susan Herzig Collection, and a large collection of photographs, manuscripts, and ephemera of Dr. George Martin Richter.The Gallery's library added 5,481 books, 553 auction catalogs, and 15,096 images to its holdings during the year. The reader services department answered 2,833 inquiries, welcomed 178 new readers among 561 visitors before the pandemic closure, created 46,825 scans from its collections, and recorded 61,512 unique visits to the library's web pages. The department loaned 1,318 titles to universities and public libraries in forty-six states and seventeen countries and offered virtual programs on conducting provenance research and using the library's digital resources.The Gallery's publishing office produced seven book-length publications during the fiscal year, including four exhibition catalogs, two CASVA volumes, and a volume of illustrations. The exhibition catalog "The Life of Animals in Japanese Art" won an award for excellence in design and production from the Association of University Presses. The Gallery's Center for Advanced Study in the Visual Arts, founded in 1979, continued its support and enhancement of scholarship in art and architecture through fellowships, research, scholarly meetings, and publications. Now in its fortieth academic year, the Center welcomed scholars from Canada, Germany, Hungary, Israel, Spain, Switzerland, the United Kingdom, and the United States. The topics of their research ranged from the response to industrially produced metals in mid-nineteenth-century France to the sensory perceptions among the Yoruba people. 22391106 16832 SPECIAL EXHIBITIONSAn integral aspect of the Gallery's programming is organizing and presenting special exhibitions of major works of art lent from public and private collections around the world, highlighting the breadth of artistic achievement in all forms. Through collaborative relationships with other nations and museums, special exhibitions bring together great works of art and contribute to scholarship in the field. The Gallery presented nine exhibitions during the fiscal year. Four exhibitions continued from the previous fiscal year: "By the Light of the Silvery Moon: A Century of Lunar Photographs", "The Eye of the Sun: Nineteenth-Century Photographs from the National Gallery of Art", "Verrocchio: Sculptor and Painter of Renaissance Florence", and "The Touch of Color: Pastels at the National Gallery of Art". The following exhibitions opened during the Gallery's fiscal year 2020."Alonso Berruguete: First Sculptor of Renaissance Spain" was the first exhibition devoted to the artist outside his hometown of Valladolid, Spain. Organized by the National Gallery of Art and the Meadows Museum in Dallas, with the special cooperation of the Museo Nacional de Escultura in Valladolid, the exhibition presented approximately forty-five paintings, sculptures, and works on paper. Paintings and sculptures from his most ambitious retablo, which decorated the high altar of the church of San Benito el Real in Valladolid, formed the centerpiece. A short film and fully illustrated catalog accompanied the exhibition."Richard Mosse: Incoming" presented viewers with an immersive three-channel video of the sights and sounds of a pressing issue of our time: mass migration. Seeking a new way to shed light on the refugee crisis and "the urgent narratives of human displacement", Mosse and cinematographer Trevor Tweeten captured fragments of events along two major pathways leading into Europe - one from Africa, the other from the Middle East - using a highly specialized surveillance camera. The video vacillates between scenes of the profoundly beautiful and meditative to the terrifying and horrific. The video was projected on three large screens at least nine and one-quarter feet high by sixteen and one-half feet long and was accompanied by a score composed by Ben Frost. For the past several decades, scholars of European landscape painting have turned their attention to the large extant body of oil sketches made outdoors by artists in the late eighteenth and early nineteenth centuries. The tradition of painting "en plein air" as a tenet of art education was centered in Rome, where artists from around Europe gathered to study ancient sculpture and architecture, as well as masterpieces from the Renaissance and baroque. "Painting from Nature: European Landscape Sketches, 1770-1870" presented more than one hundred of these sketches from four major collections - the National Gallery of Art, Washington; the Fondation Custodia, Paris; the Fitzwilliam Museum, Cambridge; and a preeminent private collection. The accompanying catalog addressed issues of attribution, chronology, national school, and the site circuit that informally structured the practice.To mark the 500th anniversary of Raphael's death, the Gallery presented "Raphael and His Circle", comprised of two dozen prints and drawings from the Gallery's collection, in an intimate installation. These works illustrated how Raphael's art shaped the standard of aesthetic excellence for later artists, connoisseurs, and scholars. The exhibition included four drawings by Raphael and nine drawings by Raphael's closest collaborators and most brilliant followers - Giulio Romano, Polidoro da Caravaggio, and Perino del Vaga. The exhibition also presented ten of the most celebrated engravings, as well as a chiaroscuro woodcut, by the earliest and finest interpreters of Raphael's designs.Edgar Degas is best known today as the painter of dancers, a subject that dominated his art for nearly four decades. His interest, however, was not limited to the dancers themselves but rather encompassed the entirety of the Paris Opera. "Degas at the Opera" celebrated the 350th anniversary of the founding of the Paris Opera. The exhibition brought together approximately one hundred of the artist's most extraordinary works from private and public collections across the United States, Europe, and Japan, representing Degas's remarkable range of media that encompasses paintings, pastels, drawings, prints, and sculpture.During the fiscal year, 233 lenders from thirteen countries and twenty-seven states loaned 547 works of art to ten exhibitions (four special loan exhibitions and six in-house exhibitions). The Gallery also worked on twenty-four additional projects scheduled to open in the next five years and administered the tours of three exhibitions. 16627469 ART ACQUISITIONS AND EDITORIAL AND PHOTOGRAPHY 16627469 144892130 1 1 0 0 0 0 0 1 0 1 1 1 0 0 1 1 1 0 0 0 1 0 0 0 0 0 0 0 1 1 0 0 0 0 0 0 0 0 1 1 0 0 0 1 1 0 0 0 1 412 0 1 1060 1 1 1 0 0 0 0 1 1 0 0 0 0 1 0 X 9 9 0 0 1 0 0 0 0 1 1 0 0 1 1 1 1 1 1 1 1 0 X The Organization 2027374215 6th and Constitution Avenue NW Washington DC 20565 Earl A Powell III Director Emeritus 40.00 X 1041561 0 196156 Kaywin D Feldman Director 40.00 X 721644 0 286588 Franklin W Kelly Chief Curator 40.00 X 553255 0 138022 Darrell R Willson Administrator (through 7/3/20) 40.00 X 553716 0 130970 M Elizabeth Cropper Dean, CASVA (through 7/2/20) 40.00 X 513344 0 114382 William W McClure Treasurer 40.00 X 486309 0 132821 Nancy Breuer Secretary/General Counsel 40.00 X 489285 0 128643 Christine Kelleher Chief of Investments 40.00 X 256154 0 43111 Susan B Wertheim-Deputy Admin Capital Projects/Chief Architect 40.00 X 228429 0 60073 Christine M Myers Chief of Development 40.00 X 227413 0 59379 Linda K Stone CIO 40.00 X 238130 0 44050 Christienne Johnson Chief of Internal Audit 40.00 X 212692 0 54892 Mark A Leithauser Chief of Design 40.00 X 225428 0 40434 Mark Wallace Chief of Protection Services 40.00 X 199678 0 45115 John Robbins Acting Chief of Facilities 40.00 X 191163 0 43843 Chief Justice of the US Ex-Officio Trustee 0.00 X 0 0 0 Secretary of State Ex-Officio Trustee 0.00 X 0 0 0 Sec'y of the US Treasury Ex-Officio Trustee 0.00 X 0 0 0 Sec'y of the Smithsonian Ex-Officio Trustee 0.00 X 0 0 0 Sharon P Rockefeller Chairman of the Board 1.00 X 0 0 0 Mitchell P Rales President of the Board 1.00 X 0 0 0 David M Rubenstein Trustee 1.00 X 0 0 0 Darren Walker Trustee 1.00 X 0 0 0 Laura Arrillaga-Andreessen Trustee (effective 3/23/20) 1.00 X 0 0 0 Elisa Glazer-External Affairs Audience Engagement (eff. 1/5/20) 40.00 X 0 0 0 Kate Haw-Collections Exhibi- tions and Programs (eff. 1/5/20) 40.00 X 0 0 0 Steven Nelson Dean, CASVA (eff. 7/5/20) 40.00 X 0 0 0 Sheila McDaniel Administrator (eff. 9/13/20) 40.00 X 0 0 0 6138201 0 1518479 257 0 1 0 Grunley Construction Co 15020 Shady Grove Rd Ste 500 Rockville MD 20850 Construction 3490038 Associated Builders Inc 4903 Baltimore Avenue Hyattsville MD 20781 Carpentry services 2286151 Saul Subsidiary II Ltd PS 7501 Wisconsin Ave Ste 1500 Bethesda MD 20814 Office rent 2165217 Allied Universal 161 Washington St Ste 600 Conshohocken PA 19428 Security services 1541267 Telesis Corporation 8300 Greensboro Dr Ste 600 McLean VA 22102 IT services 1445312 73 176245822 22239390 2273869 198485212 Art insurance reimb 900099 144962 144962 Educational services 611710 42828 42828 Exhib loan fees/reimbs 900099 16832 16832 204622 3749760 40354 3709406 264681 264681 309547602 239550067 69997535 69997535 2187153 67810382 3738703 2374721 1363982 1366528 -2546 Postage collected 453998 109847 109847 Vending machine income 900099 5228 5228 Cellular site rental 900099 4000 4000 1973 1973 121048 274186840 1571150 2224961 71905517 958014 958014 6259129 3798156 1857101 603872 82594770 62903816 17473346 2217608 14059525 10615700 3061208 382617 6771212 5457773 1148152 165287 5709796 4395454 1159354 154988 353802 353802 323896 323896 15486916 15486916 13632025 9880356 3235594 516075 113901 113901 5133142 4288750 686191 158201 13120156 7216086 5641667 262403 13546543 7881730 5528947 135866 483977 407601 59461 16915 169835 162649 5620 1566 2430 1954 452 24 17260438 14115991 2944860 199587 1532169 1287466 218539 26164 Art acquisitions 8570149 8570149 Equipment purchases 2463329 1751668 679543 32118 Library books/photos 855976 855976 Income tax provision 201080 201080 572381 228940 316958 26483 210174591 144892130 60382687 4899774 121588669 118002219 14424105 18289465 702310 303786 2327361 2092780 805709 1102096 663350980 322318332 318116034 341032648 311798068 332034274 668751297 737594555 13850988 14027562 1452364541 1564479385 37636168 38906125 93049338 91605173 130685506 130511298 X 570729147 596673799 750949888 837294288 1321679035 1433968087 1452364541 1564479385 X 64012249 49432668 -1155865 X 0 1 X 1 0 X 193537590 184827073 189469971 181716787 198485212 948036633 193537590 184827073 189469971 181716787 198485212 948036633 5024288 943012345 9379607 13858639 19329921 12726686 3974087 59268940 308544 42083 827787 813001 2181661 4173076 208304 181166 128845 97585 121048 736948 1012215597 36721692 0.93160 0.91950 X Schedule A, Part II, Line 10, Explanation for Other income: Sources of other income include the following: Postage collected, cellular site rental income, vending machine income, and workers compensation rebates. RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED X X X X 0 631381383 9485840 70842958 649953 17528433 2572635 690959160 632876581 11521867 8719896 690903 18679047 2367011 631381383 549493581 60498480 44204933 640511 18244867 2435035 632876581 480988062 19076656 64265397 628628 11734016 2473890 549493581 444089395 15395018 38331469 542537 13900334 2384949 480988062 0.09650 0.90350 1 0 507193924 233101437 274092487 110378572 89216895 21161677 45778484 45778484 341032648 Loan to the US Treasury 5000000 F Public equity and income 437338452 F Hedge funds 262106068 F Multi-asset class 13266397 F Private equity 12405547 F Venture capital 7478091 F 737594555 Environmental liability 28660017 Unexpended federal multi-year appropriations 36014685 Annuities payable 5376199 Rent abatement liability 966205 Amounts due to exhibitions partners 1052849 Matching gift commitment 19535218 91605173 X 309351448 49432668 -1155865 48276803 261074645 15486916 -2374721 13112195 274186840 197062396 2374721 2374721 194687675 15486916 15486916 210174591 Part III, Line 1a: The Gallery's art collections focus upon European and American paintings, sculpture, decorative arts, works on paper, and photographs. In conformity with accounting policies generally followed by art museums, the value of art has been excluded from the statement of financial position. The Gallery's collections are maintained for public exhibition, education, and research in furtherance of public service, rather than for financial gain. The Gallery acquires its art collections through purchase or by donation-in-kind. Only current year purchases made from specifically designated funds, not donations-in-kind, are reflected in the statement of activities. The Gallery does not deaccession any of its permanent collections. Part III, Line 4: The National Gallery of Art's collection of over 157,000 works of art includes paintings, sculpture, and decorative arts tracing the development of European achievements from the 13th century through the present, and American art from colonial times to the present. The collection also includes prints, drawings, rare books, and photographs. Major post-World War II sculpture is installed in a dynamic and richly landscaped setting in the National Gallery Sculpture Garden. The collection furthers the National Gallery of Art's tax-exempt purpose as the nation's premier art museum, as stated in the 1937 Joint Resolution of Congress which established the Gallery, "...so that the National Gallery of Art shall be at all times properly maintained, and the works of art contained therein shall be exhibited regularly to the general public free of charge." The works of art are normally on view 363 days a year to the general public; curators, conservators, and scholars study and publish articles, catalogues, and books on the works of art in the collection to further scholarship in the field; conservators examine, clean, and conduct scientific research on the works of art to preserve them for future generations; and works of art in the collection are lent to other art museums throughout the world. Part V, Line 4: The Gallery's endowment consists of 122 individual funds, including both donor-restricted endowment funds and funds designated by the Board of Trustees to function as endowments. The endowment funds were established for a variety of purposes including the following: acquisitions of works of art, curatorial, conservation, special exhibitions, educational, editorial, and general operating purposes. Part X, Line 2: ASC Topic 740-10-25: The Gallery is a nonprofit organization exempt from federal income taxes under the provisions of Section 501(c)(3) of the Internal Revenue Code. As a 501(c)(3) organization, the Gallery is taxed only on unrelated business income. Investment earnings are the primary source of the Gallery's unrelated business income. Tax positions are recognized or derecognized based on a more likely than not threshold. This applies to positions taken or expected to be taken in a tax return. The Gallery is not aware of any uncertain tax positions. Part XI, Line 2d - Other Adjustments: Change in value of split-interest agreements 311,407. Environmental liability change in value -1,467,272. Part XI, Line 4b - Other Adjustments: Gallery shops cost of goods sold -2,374,721. Part XII, Line 2d - Other Adjustments: Gallery shops cost of goods sold 2,374,721. Central America and the Caribbean - 0 0 Investments - market value in column (f) 300004032 0 0 0 0 0 0 300004032 0 300004032 1 0 1 1 1 0 Part III Accounting Method: 1 Research fellowships awarded each fiscal year by the Gallery's Center for Advanced Study in the Visual Arts. The fellowships are designed to promote scholarship in art and architecture. 56 958014 188960 Fair market value Housing Part I, Line 2: The Gallery's Center for Advanced Study in the Visual Arts grants full-time research fellowships to applicants based upon submittal of proposals for the fellowship positions. The proposals are reviewed by a rotating selection committee of the Center's Board of Advisors which is comprised of seven historians of art or related disciplines. The committee's appointment recommendations are forwarded to the Board of Trustees of the National Gallery of Art for final nomination. The fellowship recipients agree to inform the Dean of the Center of any significant changes in the focus or subject of the research project, in which case the recipient may be required to submit a revised research proposal for approval. The fellows in residence convene weekly to discuss their research as a group under the direction of the Dean and the two Associate Deans of the Center. These fellows also present their research during their term before a scholarly audience including other fellows and staff of the Center, members of the Gallery's curatorial and conservation staff, and faculty members and fellows of local research institutions and museums, all of whom provide comment and criticism on the presentation. Fellows not in residence are required to submit periodic written reports to the Center on the status of their research. These interim reports are presented at the annual meetings of the Center's Board of Advisors and are kept in the fellows' permanent files. Upon conclusion of the fellowship, each fellow is required to submit a written summary of the independent research accomplished while at the Gallery. This written summary is published in the Center's annual report and is publicly available via the Gallery's website. Reconciliation of Grants to Part IX Line 2: The Gallery provided housing to certain fellows during the fiscal year. As the housing is provided at no cost to the fellows, there is no rental income or related expense recorded on the Gallery's books of record. Therefore, only the cash grants reported on Schedule I are reflected on Part IX line 2, Grants and other assitance to individuals in the US. X 1 1 X X X X 0 1 0 0 0 0 0 0 0 Earl A Powell III Director Emeritus 1032856 0 0 0 8705 0 178163 0 17993 0 1237717 0 0 0 Kaywin D Feldman Director 631023 0 0 0 90621 0 272344 0 14244 0 1008232 0 0 0 Franklin W Kelly Chief Curator 533002 0 0 0 20253 0 119000 0 19022 0 691277 0 0 0 Darrell R Willson Administrator (through 7/3/20) 527546 0 0 0 26170 0 117315 0 13655 0 684686 0 0 0 M Elizabeth Cropper Dean, CASVA (through 7/2/20) 481356 0 0 0 31988 0 108398 0 5984 0 627726 0 0 0 William W McClure Treasurer 473507 0 0 0 12802 0 108398 0 24423 0 619130 0 0 0 Nancy Breuer Secretary/General Counsel 475117 0 0 0 14168 0 108011 0 20632 0 617928 0 0 0 Christine Kelleher Chief of Investments 245788 0 10366 0 0 0 42626 0 485 0 299265 0 0 0 Susan B Wertheim-Deputy Admin Capital Projects/Chief Architect 214998 0 13431 0 0 0 36173 0 23900 0 288502 0 0 0 Christine M Myers Chief of Development 203794 0 8500 0 15119 0 39919 0 19460 0 286792 0 0 0 Linda K Stone CIO 227764 0 10366 0 0 0 43600 0 450 0 282180 0 0 0 Christienne Johnson Chief of Internal Audit 204192 0 8500 0 0 0 36212 0 18680 0 267584 0 0 0 Mark A Leithauser Chief of Design 216928 0 8500 0 0 0 15944 0 24490 0 265862 0 0 0 Mark Wallace Chief of Protection Services 183281 0 16397 0 0 0 35675 0 9440 0 244793 0 0 0 John Robbins Acting Chief of Facilities 179597 0 11566 0 0 0 21300 0 22543 0 235006 0 0 0 Part I, Line 1a Gross-up amounts were applied to the reimbursement of relocation expenses incurred by the Gallery's new Director. The reimbursement was included in the Director's CY 2019 W-2 compensation. Gross-up amounts were also applied to travel expenses reimbursed to the Director Emeritus for meetings with the Gallery's Board of Trustees. The reimbursement was included in the Director Emeritus's CY 2019 W-2 compensation. Part I, Line 4b The Gallery has in place a supplemental executive retirement plan benefit for the Director, Kaywin D. Feldman. The plan vests as of April 1, 2024 in the form of a lump sum benefit, provided that all of the terms and conditions of the agreement are met, including that the Director is employed by the Gallery as of the vesting date, or in the event that the Gallery terminates her employment prior to such vesting, under certain circumstances, a pro-rated benefit will be paid. $150,000 was accrued under the benefit plan this year. Part II - Director Emeritus During calendar year 2019, Earl A. Powell III retired from his position as the Director of the National Gallery of Art after 26 years of service. To aid in the transition to new leadership, he continued to serve the Gallery in the role of Director Emeritus, providing advice and counsel as requested to the new Director, Kaywin D. Feldman, and members of the Gallery's Board of Trustees. X 341 See part II X 39 2273869 See part II 22 0 1 0 Part I, Column (b): Line 1: The number of works of art consists of the number of objects gifted and accessioned in FY 2020. (See line 33) Line 9: Gifts of publicly traded securities are valued by averaging the high and low value as reflected on the appropriate exchange on the day of the donation. The number of gifts of securities consists of the number of gifts of individual stocks rather than the number of donors or number of shares of stock. Part I, Line 33: In accordance with practices generally followed by art museums, art objects donated to the Gallery are not valued and therefore not included in revenue. Form 990, Part VI, Section A, line 4 In 2020, the National Gallery made revisions to its bylaws to change the President's role to chief policy officer and to condense the process to amend the bylaws. Form 990, Part VI, Section B, line 11b Copies of the Gallery's 990 are presented to the members of the Audit Committee of the Gallery's Board of Trustees for discussion and review. The Audit Committee consists of the five General Trustees. The Audit Committee submits a copy of the 990 to the Board of Trustees which approves the 990 before the Gallery files the return with the Internal Revenue Service. Form 990, Part VI, Section B, line 12c The National Gallery of Art regularly and consistently monitors and enforces compliance with its conflict of interest policy by requiring its executive officers, senior level employees, and other employees whose positions have been designated as including significant control or influence over the award of contracts, purchases of goods or services, investments or any other expenditures or commitments made by the Gallery to review, complete, and sign an annual Ethics Declaration. The Ethics Declaration states that the officer or employee submitting the Declaration understands and has complied with the Gallery's conflict of interest policy, will continue to comply with that policy, and will consult with the Gallery's Ethics Officer if compliance questions arise. The Declaration further requires all declarants to disclose any economic interest or employment relationship that the declarant and his or her family members might have in any business or with any individual that is doing or negotiating to do business with the Gallery. Executive officers and senior level employees further are required to disclose service on the boards of other organizations. Violation of a rule or restriction contained within the Gallery's conflict of interest policy may constitute a crime under Federal laws and may also result in disciplinary action in addition to or in lieu of any penalty prescribed by law. Trustees, similarly, are required annually to review, complete, and sign the Gallery's Ethical Guidelines for General Trustees, which addresses conflicts of interest of Trustees and/or members of their family. Form 990, Part VI, Section B, line 15 The goal of the Gallery's executive compensation process is to attract and retain talented executive leadership through competitive compensation that is comparable to other museum organizations that are similar in scope and activities. The performance of the officers is reviewed annually and compensation is set by the Board of Trustees and documented contemporaneously. The Gallery's Board of Trustees retains an outside consultant every three years to survey the compensation of officers of other art museums and similar sized non-profits to evaluate the reasonableness of the officer's compensation. Form 990, Part VI, Section C, line 19 The Gallery's financial statements are made available to the public on the Gallery's internet website at www.nga.gov. The Gallery's governing documents and conflict of interest policy are provided to the public upon request. Form 990, Part XI, line 9: Change in value of split-interest agreements 311,407. Environmental liability change in value -1,467,272. The Robert and Jane Meyerhoff Modern Art Foundation Inc 1025 Cranbrook Road Cockeysville MD 20130 522178882 Use of artwork to promote the public's appreciation of modern art MD 501(c)(3) Line 12c, III-FI National Gallery of Art 1 The Foundation for the Epstein Family Munch Collection 21 Dupont Circle NW Room 410 Washington DC 20036 311625097 Support of the National Gallery of Art DC 501(c)(3) Line 12c, III-FI N/A 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0