To wind up a stellar premiere season, the Tartt Gallery is showing work by six artists who have or soon will solo there -- Terry Braunstein, Lee E. Haner, Robyn Johnson-Ross, Arnold Kramer, Reginald Pollack and Genna Watson. Tartt also has invited five others to join in: Darrell Dean, Dennison Griffith, Joel Odum, Lynn Schmidt and Sage Sohier of Boston.

There's not a clinker in the bunch, and the show reminds us of how rich and varied the pool of Washington talent has become, from the sophisticated imagery of Braunstein's photo-collages to the funny, bittersweet autobiographical installation by painter Odum, which features a real door and bits of printed memorabilia from the Jimmy Carter administration. Genna Watson's installation "Woman of the Sun" has an uncanny power to silence the room around it, while Schmidt's small sculptures and drawings and Johnson-Ross' paintings animate the surrounding space.

The show will continue at 2017 Q St. NW through Aug. 2, after which Tartt (and many other galleries) will be open only by appointment until fall. Hours are Tuesday through Saturday, 11 to 5. Neuhaus' Inness Collection

Fans of 19th-century American painting in general -- and George Inness (1824-94) in particular -- will be happy to know that Lacey Neuhaus, a private dealer from Houston, has opened a gallery in a Georgetown house with 11 landscapes by Inness. The show coincides with the Inness retrospective at the National Gallery (through Sept. 7), and spans this influential artist's career, from detailed, early views of upstate New York and Europe to the frothy, often undecipherable Barbizon-inspired "mood" paintings of autumnal evenings that made him one of the most influential painters of his time.

Though Inness remains more interesting as an art history puzzle than as an artist, he had his moments, as can be seen in the small, Corot-like "Gate at Albano" on view here. All but two of the paintings have been authenticated, and are listed in the catalogue raisonne of Inness' work.

The Neuhaus specializes in Hudson River and American Impressionist painters, but also deals in work by Jamie Wyeth. The gallery is at 1649 35th St. NW and hours are noon to 6 p.m., Tuesdays through Saturdays, until Aug. 8. Kathleen Ewing's 'Dog Days'

It will not come as news to the people who run the Dog Museum in New York City (there really is one) that artists have used their favorite canines as models since long before the days of Landseer and William Wegman. And the practice is still alive and flourishing -- at least in Washington. Dozens of top-notch area photographers (Frank Herrera, Frank di Perna, Mark Power, Frank Lavelle), along with a few good painters (Suzanne Codi, Judy Bass, Michael Clark), not only entered doggie pictures in Kathleen Ewing's juried summer offering, "Dog Days Dog Show," but gave a $5 donation to the Washington Animal Rescue League for the privilege. (Ten percent of all sales will also be donated.)

Nepotism runs rampant, with silly, nonpaying prizes awarded, for example, to Steve Szabo for his photograph of Ewing's white terrier in the "Best Dog of Gallery Owner" category, and to Lucy Clark for her painting of juror Henry Allen's dog in the "Best Dog Owned by Judge" category. Because so many people put sunglasses on their dogs, a prize was awarded in that category, to Connie Reider, as well as in the "Best Dog by Child" category, won by Heather Eastwood.

On the more serious side are surreal and erotic images, and a photograph of a blindfolded basset hound wearing cement shoes. The latter took the "Most Clearly Doomed Dog" award.

The prize categories are silly, but the artists aren't. This refreshing show will continue through Aug. 9 at 1609 Connecticut Ave. NW.