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Arnold Palmer Portrait On View at the National Portrait Gallery

September 26, 2016

The Smithsonian’s National Portrait Gallery recognizes the life and accomplishments of professional golfer Arnold Palmer with an oil painting by Paul Burns installed in the museum’s “In Memoriam” space on the first floor. Media are invited for an open house to view and photograph the portrait today from 3 to 5 p.m.

Palmer propelled professional golf to unprecedented heights of popularity in the 1960s with his charisma and infectious attitude. Palmer’s ability to make impressive comebacks and win in the final rounds made him a favorite with the public. He managed to make golf an exciting spectator sport in a time when televised golf competition was in its infancy. He also attracted sizeable legions of fans, known as “Arnie’s Army,” who showed up to watch their hero in person.

Palmer won his first Masters trophy in 1950 and then went on to win three more Masters titles, a U.S. Open and two British Opens over the next six years.

The image is available for press at newsdesk.si.edu; it can also be photographed or filmed in the museum at a later date. For access, contact Bethany Bentley at bentleyb@si.edu.

National Portrait Gallery

The Smithsonian’s National Portrait Gallery tells the multifaceted story of America through the individuals who have shaped its culture. Through the visual arts, performing arts and new media, the Portrait Gallery portrays poets and presidents, visionaries and villains, actors and activists whose lives tell the American story.

The National Portrait Gallery is part of the Donald W. Reynolds Center for American Art and Portraiture at Eighth and F streets N.W., Washington, D.C. Smithsonian Information: (202) 633-1000. Website: npg.si.edu. Connect with the museum at @NPG, Facebook, YouTube, Instagram and Tumblr

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SI-491-2016

Media only 
Bethany Bentley
(202) 633-8293 
bentleyb@si.edu

Portrait of Arnold Palmer wearing Masters jacket
Related photos: 

Arnold Palmer

National Portrait Gallery

Arnold Palmer by Paul Burns



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