Included in the exhibition are self portraits by Edward Hopper, Charles Sheeler, Louise Nevelson, Alexander Calder, Andy Warhol, Robert Rauschenberg, David Hockney, Chuck Close, Larry Rivers, Jacob Lawrence and Faith Ringgold. While the works by these artists reveal traditional themes, including impersonation, reinvention, self-consciousness, vanity and the complex game of seeing a mirrored image, the exhibition will also explore how issues of identity and self-portrayal were bent in new directions in the 20th century as if refracted through a prism.

An illustrated catalogue will accompany the exhibition. Wendy Wick Reaves, curator of prints and drawings, is the exhibition curator. The story begins in Philadelphia where Paine arrived in 1774, continues through his tumultuous years in England where his anti-monarchy diatribe, the "Rights of Man" brought charges of seditious libel and in revolutionary France where he barely escaped the guillotine. Paine, the author of "The Age of Reason"—a bold attack on organized religion—returned to America in 1802 to find himself scorned by his old associates and much of the public. He died in poverty, his bones were later stolen and dispersed, but his words have resounded down through the ages. Featured in the exhibition will be the museum's recently acquired portrait of Paine depicted by the French artist Laurant Dabos around 1792. Margaret Christman is the exhibition curator. It chronicles such events as the completion of the transcontinental railroad, on-going conflicts between Native Americans and non-natives, the emergence of the national parks movement and the admittance of 19 new states west of the Mississippi. Visitors will encounter those who explored, fought over, developed and represented this vast territory—individuals who contributed to the transformation of this region's nature and identity such as Albert Bierstadt, Kit Carson, Geronimo, John Fremont, Annie Oakley and Brigham Young. A fully illustrated publication will accompany the exhibition. Frank H. Goodyear III, associate curator of photographs, is the exhibition curator. With a grand prize of $25,000 and an opportunity to create a portrait for the Portrait Gallery's permanent collection the competition invited artists working in the figurative arts to submit portraits of people close to them. Submissions were entered in many types of visual arts media including paintings, photographs, film, video and digital animation. A fully illustrated publication will accompany the exhibition. Brandon Brame Fortune, curator of painting and sculpture, is the competition director and curator of the exhibition. The Wild Bunch Sitter: William Todd Carver, 1801 - 1901? Sitter: Harvey Logan, 1865 - 1903? Sitter: Harry Longbaugh, c. 1862 - 1909 Sitter: Ben Kilpatrick, 1812 - 1912? Sitter: Robert Le Roy Parker, c. 1865 - 1909 Artist: John Swartz, active c. 1900 1900 Gelatin silver print Sheet: 16.7 x 21.6cm (6 9/16 x 8 1/2") Mat: 35.6 x 45.7cm (14 x 18") Current owner: National Portrait Gallery, Smithsonian Institution National Portrait Gallery, Smithsonian Institution; gift of Pinkerton's, Inc. Edward Sheriff Curtis Self-Portrait Sitter: Edward Sheriff Curtis, 1868 - 1952 Artist: Edward Sheriff Curtis, 1868 - 1952 1899 Gelatin silver print Image/Sheet: 25.4 x 17.9cm (10 x 7 1/16") Mat: 55.9 x 40.6cm (22 x 16") Current owner: National Portrait Gallery, Smithsonian Institution Portraiture Now: Communities [November 6, 2009 through July 5, 2010] How do we define community today? Through new electronic networking, our connections with family, friends and acquaintances are increasingly widespread. And yet, we are still drawn to the idea of small communities and face-to-face interaction. Each of the three painters selected for “Portraiture Now: Communities” has explored this idea through a series of related portraits of friends, townspeople, or families. Rose Frantzen has portrayed 180 people from her hometown, Maquoteka, Iowa. The oil paintings are 12” x 12” and were created over a twelve-month period. Jim Torok creates meticulous small scale oil on panel portraits. On view will be his portraits of fellow artists from New York as well as a series of paintings documenting three generations of a single family. Rebecca Westcott, until her untimely death in 2004, created nuanced full-length images of her peers, often Philadelphians in their 20s, which merge expressive figuration with a gritty street art aesthetic. Seen together, the paintings by these three artists suggest the enduring power of personal communities.