μ˙ The Museum of Fine Arts, Houston annual report 2015–2016 MFAH BY THE NUMBERS July 1, 2015–June 30, 2016

• 900,595 visits to the Museum, the Lillie and Hugh Roy Tuition Attendance Revenue $3.2 Other Cullen Sculpture Garden, Bayou Bend Collection and $2.1 5% 3% $7.1 Gardens, Rienzi, and the Glassell School of Art 11% Membership Revenue $2.9 • 112,000 visitors and students reached through learning 5% and interpretation programs on-site and off-site FY 2016 • 37,521 youth visitors ages 18 and under received free Operating Operating Revenues Endowment or discounted access to the MFAH Fund-raising (million) Spending $14.2 $34.0 22% 54% • 42,865 schoolchildren and their chaperones received free tours of the MFAH

• 1,020 community engagement programs were presented Total Revenues: $63.5 million • 100 community partners citywide collaborated with the MFAH Exhibitions, Curatorial, and Collections $12.5 Auxiliary • 2,282,725 visits recorded at mfah.org 20% Activities $3.2 5% • 119,465 visits recorded at the new online collections Fund-raising $4.9 module 8%

• 197,985 people followed the MFAH on Facebook, FY 2016 Education, Instagram, and Twitter Operating Expenses Libraries, (million) and Visitor Engagment $12.7 • 266,580 unique visitors accessed the Documents 21% of 20th-Century Latin American and Latino Art Website, icaadocs.mfah.org Management Buildings and Grounds and General $13.1 and Security $15.6 21% • 69,373 visitors attended Sculpted in Steel: Art Deco 25% Automobiles and Motorcycles, 1929–1940 Total Expenses: $62 million

• 26,434 member households supported the MFAH

• 1,100 volunteers and docents served the MFAH

• 630 permanent and temporary staff were employed by the MFAH CONTENTS ANNUAL REPORT JULY 1, 2015–JUNE 30, 2016

The Museum of Fine Arts, Houston 4 Board of Trustees 5 Committee Chairmen 6 Report of the Director 16 Accessions Illustrated works on the cover and on pages 17–67 African Art, 68 Art of the Americas, 68 Art of the Islamic Worlds, 69 Asian Art, 69 The Bayou Bend Collection, 69 Decorative Arts, 70 European Art, 72 Latin American Art, 72 Modern and Contemporary Art, 73 Photography, 74 Prints and Drawings, 80 The Rienzi Collection, 83

84 Exhibitions Major Loan and Permanent-Collection Exhibitions, 84 Additional Displays from the Permanent Collection and Gallery Rotations, 96 104 Departmental Highlights 106 Learning and Interpretation 108 Membership and Guest Services 109 International Center for the Arts of the Americas 110 Sarah Campbell Blaffer Foundation 111 The Glassell School of Art 112 Bayou Bend Collection and Gardens 113 Rienzi 114 The Brown Foundation Fellows Program The Dora Maar House, Ménerbes, France 115 Development 127 Report of the Chief Financial Officer 132 Staff BOARD OF TRUSTEES

OFFICERS LIFE TRUSTEES Ms. Carroll R. Goodman HONORARY TRUSTEES Mr. Martyn E. Goossen Mr. Richard D. Kinder Mr. Isaac Arnold, Jr. Mr. Samuel F. Gorman Mr. Raphael Bernstein Chairman Mrs. Anne S. Duncan Mrs. Windi Grimes Ms. Tanya Brillembourg Mrs. Clare Attwell Glassell Mr. William J. Hill Mrs. Gisele Chulack Mrs. Anne S. Duncan Mr. Frank J. Hevrdejs Mr. Ronald E. Huebsch Mr. Adolpho Leirner Vice-Chairman and Secretary Dr. Marjorie G. Horning Mrs. Mary F. Johnston Mr. Thomas V. McMahan Mr. Frank J. Hevrdejs Mr. E. J. Hudson, Jr. Mr. Lenoir M. Josey II Mr. Robert C. McNair Treasurer Mr. Richard D. Kinder Mr. George B. Kelly Mrs. Nancy Peterkin Mrs. Cornelia C. Long Ms. Carla Knobloch Mrs. Isla Reckling Mrs. Cornelia C. Long Mrs. Sara S. Morgan Mr. Andrius Kontrimas Ms. Barbara Slifka Chairman Emeritus Mrs. Nancy Brown Negley Mrs. Colleen Kotts Mrs. Louisa Stude Sarofim Mr. Douglas L. Lawing EX-OFFICIO TRUSTEES Ms. Anne L. Schlumberger Mrs. Rolanette Lawrence Mr. Dwight A. Boykins Ms. Alice C. Simkins Mr. Michael C. Linn Houston City Council Mrs. Jeanie Kilroy Wilson Mr. James Edward Maloney Mr. Richard W. Wortham III Mrs. Judy E. Margolis Mrs. Chris Caudill Mrs. Lynn S. Wyatt Mr. William N. Mathis River Oaks Garden Club Mrs. Kirby Cohn McCool ELECTED TRUSTEES Mrs. Lisa M. Mears Ms. Ellen Cohen Houston City Council Mrs. Nidhika O. Mehta Mrs. Gail F. Adler Ms. Nancy Powell Moore Mrs. Leslie N. Grundy Mrs. Sushila Agrawal Ms. Joan Morgenstern The Garden Club of Houston Mrs. Karol Barnhart Mrs. Laurie Morian Mr. Jack S. Blanton, Jr. Mrs. Bobbie Nau Dr. Leah Ellen Harrison Mrs. Ann Bookout Ms. Franci Neely MFAH Volunteer Guild Mr. Brad Bucher Mrs. Pamela F. Ott Mr. Charles Butt Ms. Kate Kraycirik Mrs. Cynthia Petrello The Junior League of Houston Ms. Bettie Cartwright Ms. Mary Lawrence Porter Mrs. Jereann H. Chaney Mrs. Susanne Pritchard Mrs. Linda Martin Dr. Anne S. Chao Mrs. Tina Pyne Bayou Bend Docent Organization Mr. Michael G. Cousins Mr. H. John Riley, Jr. Ms. Debbie McNulty Mrs. Mary Cullen Ms. Beth Robertson City of Houston Mrs. Rosanette S. Cullen Mr. Manolo Sánchez Mrs. Rania Daniel Mrs. Courtney Lanier Sarofim Mrs. Linnet F. Deily Mrs. Eliza Stedman Mr. Holbrook F. Dorn Mrs. Aliyya Kombargi Stude Mr. Rodney J. Eichler Ms. Ann G. Trammell Mrs. Clayton Erikson Mr. Barron F. Wallace Mrs. Zeina N. Fares Mr. James D. Weaver Mrs. Cherie Flores Mrs. Barbara Webber Mrs. Lela Gibbs Mrs. Margaret Alkek Williams Mr. Tom Glanville Dr. Frazier Wilson Mr. Alfred C. Glassell, III Mrs. Cyvia G. Wolff Mrs. Sandra Godfrey Mrs. Nina O’Leary Zilkha

4 COMMITTEE CHAIRMEN

COMMITTEE CHAIRMEN MUSEUM BAYOU BEND COLLECTION AND GARDENS Mr. Richard D. Kinder Mr. Frank J. Hevrdejs Ms. Franci Neely and Executive Committee Collections Committee Mr. Michael S. Zilkha Mrs. Susanne M. Glasscock (Co-Chairs) Bayou Bend Committee Mr. Jack S. Blanton, Jr. Mr. Frank N. Carroll Mrs. Lynn Wyatt Audit Committee Africa, Oceania, and (Founding Chair) Mrs. Jeanie Kilroy Wilson the Americas Subcommittee Film Subcommittee Bayou Bend Collection Mr. Richard W. Wortham III Subcommittee Buildings and Grounds Mrs. Jeanie Kilroy Wilson Mr. Richard W. Wortham III Committee American Painting and Latin American Art THE GLASSELL SCHOOL Sculpture Subcommittee Subcommittee OF ART Mr. Richard D. Kinder Compensation Committee Mrs. Nancy O’Connor Mr. Jack S. Blanton, Jr. Mr. Brad Bucher Abendshein and Mr. Jesse H. Jones II Executive Committee Mrs. Courtney Lanier Sarofim Antiquities Subcommittee (Co-Chairs) Development Committee Modern and Contemporary Mrs. Jereann H. Chaney Mrs. Sima Ladjevardian Art Subcommittee Core Residency Program Mr. H. John Riley, Jr. and Ms. Franci Neely Subcommittee Endowment Committee (Co-Chairs) Mr. James Edward Maloney Art of the Islamic Worlds Photography Subcommittee RIENZI Ms. Carla Knobloch Subcommittee Finance Committee Mr. Jack S. Blanton, Jr. Mrs. Rosslyn F. Crawford Dr. Marjorie G. Horning Prints and Drawings Rienzi Committee Mr. Richard D. Kinder (Chair) Subcommittee Long-Range Planning Mrs. Nidhika O. Mehta Mrs. Cyvia G. Wolff Committee (Co-Chair) Mrs. Macey Hodges Reasoner Rienzi Collections Asian Art Subcommittee Learning and Interpretation Subcommittee Mr. Richard D. Kinder Committee Nominating Committee Mr. E. J. Hudson, Jr. Mrs. Ardon Armstrong and Ms. Alice C. Simkins Mrs. Anne S. Duncan Rienzi Garden Subcommittee Conservation Committee Exhibitions Committee

Ms. Cecily E. Horton Ms. Terry Ann Brown Decorative Arts Subcommittee Library Committee

Mrs. Judy E. Margolis European Art Subcommittee

5 REPORT OF THE DIRECTOR

In a year of many opens in 2019. Planning for this new building—which programs, achievements, will increase our galleries at the main campus by and institutional mile- 50 percent—as well as for our new Glassell School of Art stones, the fiscal year that and the Sarah Campbell Blaffer Foundation Center for ended on June 30, 2016, Conservation was the primary occupation for the may be best remembered administration throughout the year. While construction as one that witnessed and infrastructure planning for these new facilities has extraordinary acquisitions been an intensive ongoing activity, the responsibility of of works of art. The Chief Operating Officer Willard Holmes, our curators Museum purchased 261 are identifying works of art that will amplify our ability objects and received 514 to create compelling displays of the art of our time. as gifts. Those numbers may have been surpassed in years past, but 2015–16 saw the arrival of a notable Against the backdrop of a local economy beset by low number of outstanding objects that rank as masterpieces oil prices, the Museum maintained its momentum in their respective fields—a brilliant collection of ancient thanks to the foresight and commitment of our Native American pottery, the gift of Cornelia and Meredith Trustees, led by Chairman Richard D. Kinder, as well Long; a collection of monumental English Huguenot sil- as to the essential ballast provided by our endowment. ver, the gift and bequest of the late George S. Heyer, Jr.; Once again, this financial strength, coupled with sound the first great medieval European tapestry to enter the fiscal practices, overseen by Chief Financial Officer Eric collection, Hercules Slaying King Laomedon; an exquisite Anyah, enabled our mission of community service to be Italian Mannerist Madonna and Child with the Young St. performed at the highest level of quality at the Museum, John, painted by Jacopo da Empoli; a haunting portrait Bayou Bend, Rienzi, and the Glassell School of Art— by Francisco de Goya, Don Vicente Isabel Osorio; our first all of which enjoyed high attendance by an increasingly painting by Paul Gauguin, Still Life with Mangoes and a diverse audience. Hibiscus Flower; the earliest firmly dated photograph in the collection, Henry Fox Talbot’s view of 1840, the gift Extensive programming by our Department of Learning of Hans Kraus, Jr., and Mariana Cook; Auguste Préault’s and Interpretation, directed by departmental chairman chilling sculpture, Le Silence, the gift of Fayez S. Sarofim; Caroline Goeser, and the efforts of Waverly Gooding, Aristide Maillol’s iconic bronze, La Rivière; and stunning manager of audience engagement, have resulted in a recent works by Mark Bradford, Thomas Demand, Ólafur documented and most welcome shift in the diversity Elíasson, Mona Hatoum, Yayoi Kusama, Glenn Ligon, of our audience, moving ever closer to resemble the Vera Lutter, Wangechi Mutu, and Doris Salcedo. nature of our community. These programs, and the free admission extended to more than a third of the 900,595 The cache of contemporary art will find a permanent visits, were supported by $14.2 million in donations for home in the Nancy and Rich Kinder Building when it operations, overseen by Chief Development Officer

6 Amy Purvis and her staff: an impressive number given featured the works of art recently acquired through the the additional demand of the continuing $450 million Caribbean Art Fund. Jointly financed by the Caroline Campaign for the Museum of Fine Arts, Houston. As Wiess Law Accessions Endowment and the Fundación always, the Trustees set the standard of philanthropy Gego, the Fund acquires works by young artists from that vaults our Museum and city to a preeminent Central and South American countries that border the position among its peers. Caribbean Sea; much of the work, therefore, reflects and comments upon the political and economic travails The calendar of exhibitions was varied and rewarding. of the region and its people. Similarly, Ms. Greene’s To mark the groundbreaking of the Susan and exhibition Statements, drawn from the Museum’s Fayez S. Sarofim Campus expansion, we hosted Ólafur extensive collection of twentieth-century art by African Elíasson’s collectivity project, which invited visitors to Americans, touched upon the enduring struggle of participate in the creation of a cityscape with one ton black Americans for recognition, equality, and social of Lego tiles. That participatory exhibition stood in justice. Recent acquisitions of signature works by sharp contrast to the contemplative nature of the career Fred Wilson, Glenn Ligon, and Mark Bradford brought retrospective of the American Modernist Mark Rothko. Statements to the present day. For the hometown of the world-famous Rothko Chapel, Alison de Lima Greene, the Isabel Brown Wilson We were pleased to mount handsome one-artist shows Curator of Modern and Contemporary Art, mounted a of the work of two prominent photographers: Roman sensational exhibition of the Rothkos that Houstonians Vishniac, who documented the vestiges of Germany’s did not know, showing how his evanescent and glowing Jewish community under attack by their fellow Germans color harmonies emerged from mythical Surrealist before and during World War II; and Vera Lutter, a con- imagery. An opposing sensibility was evident in the temporary German wunderkind who makes extraordinary, exquisite exhibition of the little-known (and unpro- and enormous, photographs of modern civilization with nounceable) Dutch Mannerist Joachim Wtewael, the earliest known technology—a pinhole camera. Pleasure and Piety, organized by James Clifton, director of the Sarah Campbell Blaffer Foundation. Wtewael Curator Helga Aurisch conceived and organized the delighted his sophisticated clientele with pictures illuminating High Society: The Portraits of Franz X. packed to the brim with figures and animals in an Winterhalter, the first exhibition devoted to the painter inexhaustible array of poses. of nineteenth-century European royalty. The exhibition also incorporated fashion by couturier Charles Frederick Two exhibitions drawn from the permanent collection Worth, who dressed the royals. To the delight of our enabled the public and Museum staff to evaluate our members, throughout spring 2016, there was literally holdings in anticipation of the Kinder Building’s a fête impériale in the Upper Brown Pavilion galleries, opening. Contingent Beauty, organized by Mari Carmen a gathering of monarchs from a world astonishingly Ramírez, the Wortham Curator of Latin American Art, different from our own.

7 REPORT OF THE DIRECTOR

In Sculpted in Steel, Cindi Strauss, the Sara and Bill tion. Christmas Village at Bayou Bend delighted more Morgan Curator of Decorative Arts, Craft, and Design, than fifteen thousand visitors in under three weeks brought together, with guest curator Ken Gross, four- with striking outdoor illuminations and projections, teen automobiles and two motorcycles made in the a beautiful mirrored Spiegeltent, and a spirited guided decade before World War II—the summit of Art Deco tour through the house. Conceived by actor Todd Waite, automotive design. Not only did the vehicles, many of and executed by Bonnie Campbell, Bayou Bend director, them unique, demonstrate themselves incontrovertibly and her team, the tour brought Bayou Bend founder as extraordinary examples of handcrafted design, but the Ima Hogg and her passions to life, with actors, music, exhibition itself, because of its unusual content for this and special effects. museum, demonstrated to a new audience that art perme- ates the world of industry, utility, and everyday life. After This year the Museum renovated both its shop and viewing this exhibition, which proved to be a tremendous the café. MFACafé reopened with a Venetian theme, draw, visitors saw their own cars in a new light. featuring vintage photographs, Murano glass, and fresh Italian cuisine and coffee, produced by Houston In a dedicated gallery in the Caroline Wiess Law restaurateur Paolo Fronza and overseen by James Building, visitors continued to enjoy the long-term Batt, assistant director for hospitality. The shop too loan of nearly three hundred objects by Her Excellency was reconfigured to return to the handsome layout Sheikha Hussah Sabah al-Salem al-Sabah from the originally conceived by Rafael Moneo, architect of Dar al-Athar al-Islamiyyah in Kuwait. A fine handbook the Audrey Jones Beck Building. The MFA Shop is of the collection, conceived by Salam Kaoukji and stocked with innovative merchandise arranged in Giovanni Curatola, with Aimée Froom, our Curator smart displays, praised by the New York Times as of the Art of the Islamic Worlds, was published this “one of the most cleverly curated museum shops in year in recognition of the importance of this project America.” The new look was conceived by consultants to the Museum’s mission to display the finest art Murray Moss and Franklin Getchell and overseen by from around the world. Christine Goins, general manager of retail.

All of these exhibitions were overseen with great During fiscal year 2015–2016, the staff of 630 profes- efficiency by Assistant Director Deborah Roldán, sionals was supplemented by more than 1,000 docents, coordinated by the Department of the Registrar, led by volunteers, and members of the Museum’s Guild, Julie Bakke, and installed by the team of preparators, who welcomed 900,595 visits to our various led by Dale Benson. facilities. Our operations required an expenditure of $62,000,000, of which $34,000,000 (54% of This year witnessed an exciting new program at Bayou the $63,500,000 revenue total) was provided by the Bend, one that we hope could become a Houston tradi- Museum’s endowment and $14,200,000 (22% of

8 revenue) by fund-raising and gifts, and $15,300,000 appointed Director of the Brown Foundation Fellows (24% of revenue) was earned income. The City of Program at the Dora Maar House. Bart Brechter was Houston allocated $797,409 (1.25% of revenue) in appointed to the new position of Head of Gardens Hotel Occupancy Tax funds to the Museum. and Landscape Operations.

While we endeavored to maintain an exuberant schedule Christine Starkman, curator of Asian art, left the staff of enlightening and educational programs, behind the after more than a decade of growing the presence of scenes our focus was squarely centered on the planning Asian art at the Museum. She leaves behind many for the expanded Susan and Fayez S. Sarofim Campus— notable acquisitions and displays in four new galleries featuring three new buildings, three new public plazas, devoted to Indian, Chinese, Korean, and Japanese art. an amphitheater, a roof garden, two tunnels, and two I am grateful to Amy Poster for stepping in to serve underground parking garages. Planning has been over- as Interim Curator of Asian art. seen by Mr. Holmes under the supervision of Mr. Kinder, chairman of the Long-Range Planning Committee. We mourn the loss of two Trustees, each deeply Board of Trustees Chairman Emeritus Cornelia C. Long committed to the Museum. George S. Heyer, Jr., worked hand in hand with Ms. Purvis to set the course theologian, connoisseur, and collector, was for decades for the capital campaign, which had received, as of June a valued member of our Collections Committee and 30, 2016, more than $375,000,000 in pledges and the most generous donor of the magnificent English individual gifts toward our goal of $450,000,000. silver collection he had patiently formed. Joe Jamail, legendary Texas lawyer and Life Trustee of the Museum, In our Museum family, as in life, not every event is had time and again defended the Museum’s interests welcome. Katharine Howe retired after more than in and out of court, while supporting the passion for forty years of service to the Museum, first as a curator art of his late wife, Lee Jamail, herself a generous at Bayou Bend, next as a curator of decorative arts, and donor to the Museum. finally as the founding director of Rienzi. Working with donor Harris Masterson III, she planned the transforma- As always, this publication provides only an introduction tion of an elegant River Oaks residence into a house to the many accomplishments of our exceptional staff museum of European decorative arts; toward the end of and volunteers, in addition to the contributions of her tenure she was tapped by Director Peter C. Marzio our nearly one hundred Trustees and more than fifty to oversee the Brown Foundation Fellows Program at thousand Museum members. On behalf of our entire the Dora Maar House in Ménerbes, France. To each organization, I thank everyone who participated in of her Museum positions she brought knowledge, this truly extraordinary community endeavor. grace, and consummate good taste. Christine Gervais was named Director of Rienzi, and Gwen Strauss was —Gary Tinterow

9 REPORT OF THE DIRECTOR

SARAH CAMPBELL SUSAN AND FAYEZ S. SAROFIM CAMPUS BLAFFER FOUNDATION CENTER FOR CONSERVATION

The expansion of the Susan and Fayez S. Sarofim campus represents more than ten years of strategic AUDREY JONES BECK planning by the Museum’s BUILDING Board of Trustees and NANCY AND RICH executive leadership to KINDER BUILDING identify and address the GARDEN PLAZA Museum’s crucial needs. ENTRANCE

GLASSELL SCHOOL OF ART CAROLINE WIESS LAW LILLIE AND HUGH BUILDING BROWN ROY CULLEN FOUNDATION, INC. SCULPTURE GARDEN PLAZA

THE CAMPAIGN FOR THE MUSEUM OF FINE ARTS, HOUSTON

During fiscal year 2015–2016, the Museum continued Funds are being used to unify and complete the Museum’s The Campaign for The Museum of Fine Arts, Houston, fourteen-acre campus, which will include a new Glassell to raise funds for the new Susan and Fayez S. Sarofim School of Art, the Brown Foundation, Inc. Plaza, the Sarah Campus. Under the leadership of the capital campaign’s Campbell Blaffer Foundation Center for Conservation, and Chair, Cornelia C. Long, and the Chairman of the Board the Nancy and Rich Kinder Building for modern and of Trustees, Richard D. Kinder, numerous significant contemporary art. Fiscal year 2015–2016 brought the gifts were made toward the $450 million needed to com- official groundbreaking for the new Glassell School of Art, plete the campus redevelopment project. As of June 30, which will open in January 2018. 2016, more than $375 million has been raised. For a list of all donors to the capital campaign since its inception, On behalf of the Board of Trustees, we are extremely please see pages 14–15. grateful to the Houston community at large for their extraordinary generosity in bringing this vision of the campus redevelopment to life.

10 The groundbreaking for the new Glassell School of Art, on the Susan and Fayez S. Sarofim Campus, was among the major highlights of the 2015–2016 fiscal year. Museum leadership and donors to the capital campaign attended the ceremony, held on October 15, 2015. On display was a computer render- ing, by Steven Holl Architects, of the Glassell School, the Brown Foundation, Inc. Plaza, and the BBVA Compass Roof Garden.

THE NEW GLASSELL SCHOOL OF ART Designed by Steven Holl Architects

Since 1927, the Museum has been a trailblazer in operating building, measuring 84,000 square feet and doubling an art school. A dedicated facility for teaching art opened the size of the previous Studio School building, will in 1979, and now, nearly forty years later, enrollment in front onto the Brown Foundation, Inc. Plaza and provide the school’s acclaimed programs for junior and studio ample space for public programs and performances, as students has tripled. Classes always run at peak capacity; well as for community gatherings. The BBVA Compass Roof each year, the school must turn away students because Garden will be a sloping, walkable green roof that rises from of inadequate space. an outdoor amphitheater to a rooftop trellis offering panoramic views of the Sarofim campus and its environs. When the new Glassell School opens, in January 2018, Inside the building, every studio will feature natural light. for the first time in the school’s history all of its audi- A street-level café will be among the many enhanced public ences will be served under one roof. The L-shaped amenities of the new Glassell School of Art.

11 REPORT OF THE DIRECTOR

Lake | Flato Architects, 2013. Computer rendering of the Sarah Campbell Blaffer Foundation Center for Conservation.

THE SARAH CAMPBELL BLAFFER FOUNDATION CENTER FOR CONSERVATION Designed by Lake | Flato Architects

The Museum’s conservation laboratories were previously will achieve its long-standing goal of consolidating housed in two locations: the Audrey Jones Beck Building its conservation team under one roof and on the and an off-site building located on Rosine Street (now Sarofim campus. closed). These facilities provided only temporary solu- tions to the problem of insufficient, geographically The Center for Conservation will anchor the eastern separated conservation studios. perimeter of the Sarofim campus and will be constructed on top of the existing Fannin Street garage. The With the opening of the Sarah Campbell Blaffer distinctive glass rooftop structure will house state-of-the Foundation Center for Conservation, the Museum art conservation laboratories and studios.

12 Steven Holl Architects, 2013. Computer rendering of a nighttime view of the Nancy and Rich Kinder Building.

THE NANCY AND RICH KINDER BUILDING Designed by Steven Holl Architects

During the past thirty years, the Museum’s permanent As the centerpiece of the Sarofim campus, the collection has grown at a rapid rate. More than one half Nancy and Rich Kinder Building, measuring 164,000 of the artworks represented in this collection were created square feet, will provide dedicated galleries for the since 1900. Considering that more than 60 percent of the modern and contemporary art collections across Museum’s accessions endowment funds are restricted multiple media and world cultures. This three-story to the purchase of art from 1900 up to the present day, structure will sit adjacent to the Lillie and Hugh Roy modern and contemporary art will continue to be the Cullen Sculpture Garden and connect underground fastest-growing area of the collection. There is currently to the Glassell School of Art and the Law Building. insufficient space within the Museum’s main gallery The Kinder Building will also house the 202-seat facilities, the Audrey Jones Beck Building and the Caroline Lynn and Oscar Wyatt Theater, a restaurant, a café, Wiess Law Building, to exhibit these extensive holdings. and meeting rooms. 13 REPORT OF THE DIRECTOR

DONORS TO THE CAMPAIGN FOR $1,000,000–$2,999,999 $250,000–$999,999 THE MUSEUM OF FINE ARTS, The Estate of Alfred C. Glassell, Jr. The Eleanor HOUSTON Louisa Stude Sarofim Foundation and Frank Freed Foundation As of June 30, 2016 Michelle and Frank Hevrdejs Gail, Louis and Marc Adler Lynne and Joe Hudson The Gordon A. Cain Foundation $50,000,000 or More Barbara and Michael Gamson The Estate of Jeaneane B. Duncan Mr. Fayez S. Sarofim Franci Neely Jereann and Holland Chaney Kinder Foundation Mary Lawrence Porter Mr. and Mrs. Nijad Fares The E. Rudge Allen, Jr. Family Carla Knobloch / $10,000,000–$49,999,999 Ann and John Bookout Knobloch Family Foundation Clare Attwell Glassell Leslie and Brad Bucher in memory of Peter C. Marzio Mr. and Mrs. Meredith J. Long Sue and Rusty Burnett The Levant Foundation Mr. and Mrs. Charles W. Duncan, Jr. Sara Paschall Dodd The J.E. and L.E. Mabee Foundation, Inc. The Brown Foundation, Inc. The Favrot Fund The Omena Fund The Sarah Campbell Blaffer Foundation Paige and Tilman Fertitta Tina and Joe Pyne The Cullen Foundation The Fondren Foundation Alice C. Simkins The Wortham Foundation, Inc. Mr. and Mrs. C. Berdon Lawrence, Sr. The Skiles Foundation Lynn and Oscar Wyatt Michael C. Linn Family Foundation Ann G. Trammell John P. McGovern Foundation Mr. and Mrs. T.R. Reckling III $3,000,000–$9,999,999 Laurie and Reed Morian Mr. William J. Hill BBVA Compass Foundation Bobbie and John Nau Dr. and Mrs. Durga Agrawal Ting Tsung Mrs. Minnette Robinson M.D. Anderson Foundation and Wei Fong Chao Foundation Anne-Marie Louise Schlumberger Mr. and Mrs. Isaac Arnold, Jr. John R. Eckel, Jr. Foundation Scurlock Foundation/ Lela and Robin Gibbs The Elkins Foundation The Estate of Jack Blanton, Sr. in memory of Peter C. Marzio The Glassell Family Foundation Sterling-Turner Foundation Mr. and Mrs. Melbern G. Glasscock The Hamill Foundation Phoebe and Bobby Tudor The Joan and Marvin Kaplan Foundation The Hildebrand Fund Cyvia G. and Melvyn L. Wolff Mr. James Edward Maloney Houston Endowment Inc. Nina and Michael Zilkha Gary Mercer Sara and Bill Morgan Pamela F. and David A. Ott Kitty King Powell in memory of Peter C. Marzio The Stanford H. John and Diane M. Riley and Joan Alexander Foundation Mr. and Mrs. Christopher B. Sarofim in honor of Anne Tucker Judy and Charles Tate Jeanie Kilroy Wilson in memory of Peter C. Marzio Vivian L. Smith Foundation

14 Up to $249,999 Ms. Melanie Gray and Mr. Mark Wawro Linnet F. Deily Tamara and Andrius Kontrimas Windgate Charitable Foundation Mr. and Mrs. Moez Mangalji Mr. and Mrs. Rodney H. Margolis Ms. Joan Morgenstern Mr. and Mrs. Herman L. Stude Stedman West Foundation Coneway Family Foundation Claire and Doug Ankenman Rosanette and Harry Cullen Mr. Frank N. Carroll The James W. Glanville Family Ms. Clara Vega and Mr. Mauricio Fabre Foundation / Nancy H. Glanville Mr. and Mrs. R. W. Wortham III Kathleen and Martyn Goossen Bettie Cartwright Mr. Samuel F. Gorman Stephen E. Hamilton Mr. and Mrs. Ronald E. Huebsch George and Mary Josephine Hamman Jesse H. Jones II Foundation Frances Marzio Kelly and Nicholas Silvers in memory of Peter C. Marzio Sallie Morian and Mike Clark J.B.D. Foundation Dr. Penelope Marks and Mr. Lester Marks Wendy and Mavis P. Kelsey, Jr. Mrs. Dorothy C. Sumner Lisa and Downing Mears Mr. Joseph D. Jamail Scott and Judy Nyquist The Orton Family Macey and Harry Reasoner Gary Tinterow and Christopher Gardner The Estate of Mary Anne Phillips Terry Ann Brown Mr. Michael W. Dale The Didi Garza and Peter McLaughlin Family Heidi and David Gerger Mr. and Mrs. Masoud Ladjevardian Anne Levy Fund Marilyn Graves Lummis Neiman Marcus Beverly and Howard Robinson Mr. and Mrs. Russ Robinson Pauline and Stephen Smith Mr. and Mrs. Victor Costa

15 ACCESSIONS

16 SIGUAS The Siguas culture lived from about Short Poncho, 100 BC–AD 300 500 BC to AD 750 on the southern Camelid wool yarns and natural dyes coast of Peru. In this desert region, 38 1/4 x 35 1/2 in. (97.2 x 90.2 cm) agriculture depended on rivers fed by snowmelt from the Andes Museum purchase funded by the Mountains. The Siguas made Alfred C. Glassell, Jr. Accessions extremely fine textiles that were Endowment Fund tie-dyed or woven with patterns, 2016.59 and edged with brightly colored woven strips. This small, vividly tie-dyed and embroidered poncho is a beautiful example of these tech- niques. It would have been worn on top of longer garments by an adult or by a child as part of everyday dress. CD

17 ACCESSIONS

COLIMA CLASSIC VERACRUZ Standing Warrior Figure, Flute with Woman and Shaman Dressed 300 BC–AD 300 as a Feathered Reptile, AD 600–900 Earthenware with slip Earthenware with traces of pigment 12 1/2 x 5 1/2 x 2 1/4 in. (31.8 x 14 x 5.7 cm) 5 x 7 7/8 x 11 1/2 in. (12.7 x 20.1 x 29.2 cm) Gift of the Harry K. Wright Collection Gift of Frank Carroll 2015.300 2015.291

The Colima culture of West Mexico, The Classic Veracruz culture developed dating from 300 BC to AD 300, during the first millennium along the possessed a complex stratified society coast of the present-day state of Veracruz that was led by chiefs and that included in Mexico. Though sharing similarities religious centers that emphasized the with their neighbors, the Maya, Veracruz veneration of family ancestors. peoples developed a distinctly different The Colima buried their esteemed ceramic tradition. They were masters of dead in deep shaft tombs under land the production of large ceramic figures, that belonged to families of high status. difficult to sculpt and fire. They also crafted Burnished red ceramics fashioned mold-made musical instruments, such as in the appealing forms of animals, this double flute. Music and dance were humans, and plants were placed in essential elements of their rituals, so this burials to accompany the dead in flute would have been played during sacred the afterlife. A rare form of Colima ceremonies. Shamans like the one on this human figure depicts painted dancers flute were believed to have the power and warriors with detachable head- to transform into other creatures and dresses and paint. Warriors were an communicate with the gods. important aspect of Colima society. CD CD

COLIMA Reclining Canine Effigy Vessel, 300 BC–AD 300 Earthenware with slip 5 1/4 x 12 x 5 in. (13.3 x 30.5 x 12.7 cm) Gift of the Harry K. Wright Collection 2015.296

Dog sculptures from the Colima area of West Mexico are the most popular animal representations known from the region. Many Colima burials contained these figures. In ancient Mesoamerican cultures, dogs such as the Aztec Xolotl were believed to be guides for the deceased in the underworld. Dogs lived closely with humans, acting as companions, guardians of the home, and hunting guides in life. Sacred dog vessels were placed in tombs to perform these duties for the deceased on their difficult and treacherous jour- ney through the underworld. This canine playfully lays on its back, a joy-filled companion for the afterlife. CD

18 MAYA Tripod Plate with Inscription, AD 600–900 Earthenware with slip 5 x 15 1/4 in. diameter (12.8 x 38.7 cm) Gift of Frank Carroll in memory of Clytie Allen 2015.287

This masterfully painted plate is decorated with elegant script and vegetal forms in the so-called codex style. This style of writ- ing and painting resembling calligraphy was executed in black or brown ink on a white background. The glyphs down the center are a dedication stating that this ceramic is a special vessel for tamales, a delicacy enjoyed by royalty. The title of its owner, b’akab’, is the final glyph. The elaborate forms to either side of the glyphs may represent ficus plants, used by the Maya for many purposes. CD

MAYA MAYA Pair of Tlaloc Eyepieces, 900–1200 Vase with Two Mythological Scenes, 600–900 Mother-of-pearl Earthenware with slip .1 5 1/2 x 4 1/2 x 1 in. (14 x 11.4 x 2.5 cm) 6 x 6 in. diameter (15.2 x 15.2 cm) .2 5 3/4 x 4 1/4 x 1/2 in. (14.6 x 10.8 x 1.3 cm) Museum purchase funded by the Alfred C. Gift of Frank Carroll Glassell, Jr. Accessions Endowment Fund 2016.31 2016.146

These eyepieces are in the form of two One of the most well-known Maya art rings, created by the bodies of rattlesnakes. forms is ceramics. Vessels were painted They represent the round “goggle” eyes with elaborate scenes of the elite and of of a thunderbolt god worshipped primarily mythological events. Such vases were by the Teotihuacan culture of central Mexico exchanged as part of the diplomatic rela- and called Tlaloc by the later Aztec culture. tionships between the Maya city-states. Tlaloc, typically seen as a rain god, also This vase is painted with two intriguing had special status as a god of war, meteors, scenes of young gods with black bodies and fire. Tlaloc masks with eyepieces and red shoulders speaking to two old constructed of obsidian and shell have been lords of the underworld, identified by discovered in burial sites. It is possible that their hooked noses, curled pupils, and these ornaments were once part of a mask spotted skins. The scenes are separated as well. by columns of four pseudoglyphs—sym- CD bols that resemble hieroglyphs but do not actually spell out words. CD

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ANCESTRAL PUEBLO (ANASAZI) ANCESTRAL PUEBLO (ANASAZI) Socorro-Style Jar, Olla, with Geometric Designs, Jeddito-Style Bowl with Sunburst Design, 1100–1250 1250–1350 Earthenware with slip Earthenware with slip 7 1/4 x 9 3/4 in. diameter (18.4 x 24.8 cm) 3 1/8 x 8 1/8 in. diameter (7.9 x 20.6 cm) Gift of Mr. and Mrs. Meredith Long Gift of Mr. and Mrs. Meredith Long 2015.419 2015.424

Clay, a naturally abundant material, has The Anasazi peoples were one of been used for thousands of years to the early cultures of the American fashion bricks, tiles, pottery, and ritual Southwest. Considered the ancestors objects. Ancient Native Americans of of today’s Pueblo Indians, they are best the Southwest were part of this time- known for the cities they built into the less, borderless tradition. These objects sides of cliffs. They buried their dead were decorated with painted geometric beneath the floors of their homes in designs that transcended their practical pits sealed with adobe bricks. Within use. Bowls such as this one inspired the grave, they placed items such as the modern artists of the Zuni and Zia. pottery, tools, stone, and jewelry. Their Many of the designs on Zuni pots pottery was prized and traded widely. resemble those illustrated here. This bowl is decorated with a design CD representing the sun with rays emanat- ing from the center. CD

20 SALADO CASAS GRANDES (possibly) Gila Polychrome Bowl with Jagged Lines Jar, Olla, with Geometric Designs, and Triangles, 1300–1400 1350–1450 Earthenware with slip Earthenware with slip 3 3/4 x 8 in. diameter (9.5 x 20.3 cm) 9 1/2 x 9 1/2 in. diameter (24.1 x 24.1 cm) Gift of Mr. and Mrs. Meredith Long Gift of Mr. and Mrs. Meredith Long 2015.425 2015.430

This bowl was made by a culture Casas Grandes in the Southwest was a called Salado, a mixture of Anasazi, center for trade between early cultures Hohokam, and Mogollon peoples to the north in the present-day United who lived in the Salado River region States and south in present-day Mexico of Arizona. It is believed the first and Central America. Large jars deco- pots were formed by molding clay rated with geometric designs were used over baskets. When potters progressed to carry and store water. Breakage and to painting and firing pottery, they loss occurring from daily use make jars remained inspired by the geometric like this one rare. Its complex designs designs of basketry. The chevron include steps, spirals, zigzags, and patterns on this bowl resemble triangles. The zigzags are thought to those on the baskets of modern-day represent lightning. Other elements Pueblo peoples. may depict feathered wings. CD CD

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22 Opposite: FLEMISH, PROBABLY TOURNAI Hercules Slaying King Laomedon, 1480–1500 Tapestry: wool and silk 143 3/4 x 129 7/8 in. (365 x 330 cm) Museum purchase funded by the Agnes Cullen Arnold Endowment Fund 2015.547

This tapestry was most likely part of a larger series of the “Labors of Hercules,” a favorite subject of the Dukes of Burgundy, who claimed this mythical Greek hero as their legendary ancestor. At the center of a highly dramatic battle scene, Hercules and Laomedon, King of Troy, are locked in hand-to-hand combat, while two dead warriors have fallen on top of each other on a millefleurs ground, characteristic of Flemish tapestries. Only fifteen more-or-less complete pieces still exist of the numerous Hercules tapestries commissioned during this period. The Museum’s tapestry is in remarkably fine condition. HKA

JACOPO DA EMPOLI, Italian, c. 1554–1640 Madonna and Child with the Young St. John the Baptist, late 16th–mid-17th century Oil on panel 28 5/8 x 22 1/2 in. (72.7 x 57.2 cm) Museum purchase 2016.147

The first significant work of sixteenth- century Italian Mannerism to enter the Museum’s collection, this beautiful panel by Jacopo da Empoli, in immacu- late condition, is very close in style and composition to paintings by his great contemporary Pontormo. The Italian Mannerist style, of which this painting is such an elegant example, is charac- terized by elongations of facial features and bodily form, flattening of perspec- tive, and color contrasts such as the subtle reds and greens of the cangiante fabric of the Virgin’s dress, depicting the colors of shot silk. DB

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JAPANESE Pair of Squared Wine Bottles with Design of Prunus and Flowering Plants, 1670–90 Porcelain (Kakiemon ware, Imari ware) Each: 8 x 3 in. (20.3 x 7.6 cm) Museum purchase funded by the Friends of Asian Art, Julia Anderson Frankel and Russell M. Frankel, Dr. Ellen R. Gritz and Mr. Milton D. Rosenau, Jr., Elizabeth S. and Marjorie G. Horning Asian Art Accessions Endowment Fund, Miwa S. Sakashita and Dr. John Stroehlein, Nanako and Dale Tingleaf, various donors in honor of Nidhika Mehta, and Drs. Ellin and Robert Grossman, and Elizabeth and David Copeland 2016.169

These elegant long-necked bottles with clean, squared silhouettes were handcrafted from the highest quality nigoshide (milky white) porcelain. Two of the sides are decorated with a flowering prunus (plum) tree, which, along with the pine tree and bamboo, is one of the shochikubai (three friends of winter) embraced by scholars as symbols of perseverance and overcoming adversity. Japanese porcelain of this caliber was in high demand in Europe, and, once exported, the bottles served primarily as ornamental decoration. BC

INDIA, DECCAN OR NORTHERN INDIA Pilgrim Flask, 17th century Brass; cast and incised 11 x 10 in. diameter (27.9 x 25.4 cm) Museum purchase funded by the Friends of Art of the Islamic Worlds 2015.577

Indian metalwork of the sixteenth through nineteenth centuries is remarkable for its variety of artistic forms and techniques, as demonstrated by the elegant and fluid design of this brass pilgrim flask. This flask would have been used as a portable vessel to transport water or other liquids on a journey or spiritual quest. The four metal rings allow for suspension and portability. Indian court paintings depict nearly identi- cal brass vessels and similarly shaped flasks made from animal hide. AF

24 UZBEK Shakhrisyabz suzani, c. 1800 Silk embroidery on cotton 111 x 80 3/8 in. (282 x 204 cm) Museum purchase funded by the Friends of Art of the Islamic Worlds, Franci Neely, Rania and Jamal Daniel, Olive and Bruce Baganz, Françoise and Edward Djerejian, Jennifer and Matt Esfahani, Nijad and Zeina Fares, Sima and Masoud Ladjevardian, Eileen and Kase Lawal, Jaleh and Bruce Sallee, and Aziz Shaibani 2016.83

This monumental suzani is an outstanding example of the rich textile heritage of Central Asia. A review in the summer 2016 issue of the leading textile publication, HALI, remarked, “This fine embroidery has all the hallmarks of the best Shakhrisyabz suzanis.” Its intricate pattern, kaleidoscopic range of colors, and fine workmanship set an exemplary standard in Uzbek embroidery. Although suzanis were part of wedding dowries and were made by female members of a bride’s family, the exceptional design and execution of the present suzani suggest that it might have been the product of a textile workshop. AF

25 ACCESSIONS

PIERRE PLATEL, French, c. 1664–1719, This two-handled covered cup was made of grand aristocratic families. The coats active London, 1697–1717 in London of Britannia silver (.950 parts of arms on the cup and lid have been Covered Cup, 1708–9 pure silver) by the highly regarded tentatively identified as those of William Britannia silver French Huguenot silversmith Pierre Moreton (1641–1715), the Bishop of Cup: 8 5/8 x 13 1/4 in. diameter Platel. Covered cups in the seventeenth Meath, and his second wife, Mary (21.9 x 33.7 cm) and early eighteenth centuries were valued Harman. The work is an outstanding Cover: 6 x 8 1/2 in. diameter as presentation pieces and were often part example of the elegant simplicity of (15.2 x 21.6 cm) of elaborate displays on the sideboards London-made early Huguenot silver. CG Gift of George S. Heyer, Jr., in loving memory of his son Jamie Dewar Ferguson 2015.303

26 PAUL DE LAMERIE, French, born Netherlands, c. 1688–1751, active London, 1703–1751 Ewer, c. 1735 Sterling silver 15 x 13 in. (38.1 x 33 cm) Gift of George S. Heyer, Jr., in memory of his parents, George S. Heyer and Jane Gregory Maréchal 2015.533

This impressive ewer is a sterling-silver masterpiece made by the renowned English silversmith Paul de Lamerie, one of the first smiths to incorporate French Rococo design into English silver. Beneath the ewer’s exaggerated spout is the coat of arms of Henry Loftus, the first Earl of Ely, an Irish peerage.

The Ely ewer is a rare “duty dodger,” or valuable silver object on which the silver- smith wanted to avoid paying duties or taxes. By soldering a small piece of silver bearing salvaged duty hallmarks on the object, the duty dodger made it appear as if the smith had paid the taxes when, in fact, he had dodged them. CG

27 ACCESSIONS

JOSEPH BLACKBURN, American, born England, c. 1730–1774/78, active 1754–1772 Portrait of Abigail Erving Scott (1733–1768), 1760 Oil on canvas 50 x 39 3/4 in. (127 x 101 cm) The Bayou Bend Collection, museum purchase funded by the Theta Charity Antiques Show B.2016.4

Joseph Blackburn’s 1760 portrait of Abigail Erving Scott encapsulates the sophisticated style of painting he brought to the American colonies from Great Britain. This work was commis- sioned the year after her marriage to George Scott, a colonel in the British army. Blackburn places his subject, the daughter of a prominent Boston shipping family, in a sunset-lit parkland. Wearing an elegant white silk gown adorned with pearls and white lace, she holds a straw hat in her right hand and carries a basket of delicate roses in the left. Her serene expression and manner communicate a sense of calm refinement. KHW

28 UNKNOWN MAKER Dressing Table, c. 1780–1800 Lancaster, Pennsylvania Cherrywood 29 1/2 x 37 1/2 x 23 in. (74.9 x 95.3 x 58.4 cm) The Bayou Bend Collection, museum purchase funded by the Theta Charity Antiques Show B.2015.17

This dressing table exemplifies the work of Lancaster, Pennsylvania, cabinetmakers near the end of the 1700s. Although closely related in its overall form and outlines to objects produced in Philadelphia, this table has a more massive appearance and fea- tures several important characteristics of the Lancaster school. Among these are the vigorously undulating skirt, areas densely carved from the solid with tightly curled foliage, and a stipple-punched back- ground. Guilloche-carved quarter columns add another refinement. BB

DUNCAN PHYFE, American, born Scotland, 1770–1854 Worktable, 1813 New York, New York Mahogany; mahogany veneer, ebony, and gilded brass 30 3/4 x 23 3/4 x 15 1/2 in. (78.1 x 60.3 x 39.4 cm) The Bayou Bend Collection, museum purchase funded by the W. H. Keenan Family Endowment Fund B.2015.12

Duncan Phyfe’s reputation for cabinet- making artistry is on full display in this handsomely detailed worktable made in 1813 for New York merchant James Kelso and his wife, Leah Helen Henry Kelso. Highly figured mahogany enlivens its top and sides, which are further set off by an encircling brass molding. Notable for the visual clarity of its design and its balance of a variety of contrasting elements, the table is as beautifully constructed inter- nally as it is realized externally. BB

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JOHANN ZOFFANY, German, 1733–1810, active England Portrait of the Archduchess Maria Amalia of Austria, Duchess of Parma, c. 1778 Oil on canvas 28 5/8 x 16 3/4 in. (72.7 x 42.5 cm) The Rienzi Collection, museum purchase funded by the Rienzi Society 2015.663

This exquisite portrait depicts the Archduchess Maria Amalia of Austria (1746–1804), wife of Ferdinand I, Duke of Parma (1751–1802). Described in her lifetime as “one of the most beautiful princesses in Europe,” Maria Amalia was the daughter of the Habsburg Empress Maria Theresa and the sister of the French queen, Marie-Antoinette. Smart, strong-minded, imperious, and haughty, Maria Amalia controlled the small duchy of Parma in place of her ineffectual husband. The present painting, depicting her emphatically turned away from the portrait of her husband, is a remarkable commentary on the personal and political life of the court of Parma, as seen by the painter Johann Zoffany when he arrived there in 1778. A brilliant eighteenth-century artist, Zoffany was regarded in his own time as one of the three greatest painters in England, along with Sir Joshua Reynolds and Thomas Gainsborough. CG

30 SÈVRES PORCELAIN MANUFACTORY, French, established 1756 Probably after models by Louis-Simon Boizot, French, 1743–1809 Bust of Louis XVI, c. 1785 Bust of Marie-Antoinette, c. 1785 Each: 19 3/8 in. high (49 cm) Hard-paste porcelain; giltwood The Rienzi Collection, museum purchases funded by the Rienzi Society, Jas Gundry, Mr. and Mrs. Thomas R. Reckling III in honor of Dr. Marjorie Horning and Mrs. Rosanette Cullen, and Lucy J. Currie in memory of Mary Ellen Carey 2015.661, 2015.662

This pair of graceful portrait busts depicts Louis XVI of France (1754–1793) and his queen, Marie-Antoinette (1755–1793). The reign of the royal couple was famously met with hostility and riddled with scandal. These flattering portraits were conceived as a show of political power and likely intended as diplomatic gifts. Sèvres portrait busts are exceedingly rare, and pairs of the notorious Louis XVI and Marie-Antoinette are particularly scarce. Including this pair in the Museum’s collection, only six pairs are extant today in collections such as the Musée du Chateau de Versailles, the Royal Collection, and the Victoria and Albert Museum in London. CG

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BARON FRANÇOIS GÉRARD, French, 1770–1837 Portrait of François-Gédéon Reverdin (1772–1828), 1796 Oil on panel 21 5/8 x 17 1/8 in. (55 x 43.5 cm) Museum purchase 2016.155

The Swiss painter, draftsman, and engraver François-Gédéon Reverdin (1772–1828) joined Jacques-Louis David’s famous Paris workshop in 1794, two years before his fellow student François Gérard (1770–1837) portrayed him. This astonish- ingly direct bust-length portrait is generally agreed to be the equal of David’s work, with the same dazzling, translucent brushwork. Gérard’s sensitive depiction of a young man lost in thought places the painting among the finest portraits of the period and beautifully illustrates the tradition of making and exchanging self-portraits and portraits of fellow artists in and around the David atelier. HKA

32 FORD MADOX BROWN, British, born France, 1812–1893 The Dream of Sardanapalus, 1869 Black chalk, black and brown ink, iron gall ink, gray and brown wash with watercolor on wove paper 7 3/8 x 11 in. (18.6 x 27.9 cm) Museum purchase funded by Meredith J. Long in honor of Cornelia Long at “One Great Night in November, 2015” 2015.282

The preeminent British artist Ford Madox Brown is known for his glowing color palette, light effects, and a decorative sensibility. He is closely associated with the Pre-Raphaelite Brotherhood, a group of artists interested in extraordinary real- ism and in exploring literary, historical, and religious subjects. This drawing reveals an Orientalist subject illustrating Lord Byron’s tragic drama Sardanapalus (1821). It recounts the story of the Assyrian monarch who was unsuccessful in maintaining peace in his kingdom. As if set on a stage, the wounded king restlessly sleeps in front of richly carved reliefs within his castle. His faithful slave Myrrha attends to him as a battle rages outside. DMW

FRANÇOIS BOUCHER, French, 1703–1770 La tendresse maternelle (Maternal Tenderness), c. 1765 Black chalk with stumping heightened with white chalk on blue laid paper 14 5/8 x 9 1/4 in. (37 x 23.3 cm) Museum purchase funded by Art + Paper 2016 and the Alvin S. Romansky Prints and Drawings Accessions Endowment Fund 2016.139

François Boucher is acclaimed as one of the greatest draftsmen of the eighteenth century, considered the Golden Age of drawing in France. His work is regarded as the impeccable expression of French taste in the Rococo period. During the 1740s and 1750s, Boucher’s elegant, refined, and playful style became the hallmark of Louis XV’s court. Boucher created drawings as finished works of art for the growing mar- ket of drawings collectors at the time. This independent, finished drawing depicts a charming subject—a mother embracing her young son as he trusts the steadiness of her arm. The woman’s attention is dis- tracted by the eager dog to her side, and the composition is set within a modest domestic interior. DMW

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PAUL GAUGUIN, French, 1848–1903 Dating from 1887, when Paul Gauguin Still Life with Mangoes and spent several months on the Caribbean a Hibiscus Flower, 1887 island of Martinique, this painting incor- Oil on canvas porates all the qualities that distinguish 12 3/4 x 18 1/2 in. (32.4 x 47 cm) his still lifes. Mangoes and cashew nuts are arranged on a simple white enameled Museum purchase funded by the Audrey plate and spill onto the table, balanced at Jones Beck Accessions Endowment Fund the right by a vividly red hibiscus flower 2016.39 in a stemmed glass. The rich colors of the exotic fruits are played off against the creamy white of the table cover, traversed by a dark swath that anchors the composition. Gauguin’s still lifes are highly valued for their radical compo- sitions, their symbolic content, and their sheer painterly beauty. HKA

34 ATTRIBUTED TO THE SECONDARY SCHOOL ATTRIBUTED TO ALFRED DORN, Czech OF GLASSMAKING at Novy´ Bor Manufactured by National Technical Czech, established 1763 Glassmaking School at Kamenicky´ Senov˘ Vase, c. 1912 Czech, established 1856 Vase, c. 1935 Glass, enamel, and gilt 8 x 4 3/4 in. (20.3 x 11.9 cm) Glass 7 7/8 x 5 3/4 in. (19.8 x 14.6 cm) Gift of Mary Cullen in honor of Alison de Lima Greene Gift of Mary Cullen in honor of 2015.312 Alison de Lima Greene 2015.307 In the early twentieth century, the designs that were produced in the Czech glass The famous National Technical ˘ decorating school and workshops at Glassmaking School at Kamenicky´ Senov Novy´ Bor demonstrated the influence was influential in contributing to the of modern design trends with an array of emergence of a distinctive and celebrated motifs related to stylized foliate and Czech culture in art glass, particularly geometric ornament. Here, the colorful through its Art Deco–influenced designs. millefiori ornament, consisting of tiny The Art Deco style brought about a raised drops and spots in green, orange, revolution in motifs and designs, including and white that form flower petals, leaves, and combinations of cold-working techniques, decorative borders, finds its precedents in such as engraving, applied stains, and cut Venetian glass. designs. The stylized leaf ornament seen CS here is characteristic of the kind of plant motifs that were predominantly used at the school in the 1930s. CS

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AUGUSTE PRÉAULT, French, 1809–1879 Le Silence (Silence), 1842–43 Plaster 16 x 16 x 7 3/4 in. (40.5 x 40.5 x 19.7 cm) Museum purchase funded by Fayez Sarofim in memory of Maxwell Alexander Sarofim at “One Great Night in November, 2015” 2015.281

Auguste Préault is today considered the French Romantic sculptor par excellence, and this remarkable roundel, conceived for the funerary monument of Jacob Roblès (1792–1842), is his masterpiece. Completely innovative in form, this awe-inspiring head of a shrouded man who holds his finger against his closed lips is the embodiment of “The horror of the fatal enigma, the seal closing the mouth at the moment we learn the word” (Jules Michelet, 1846). First exhibited at the Paris Salon in 1849 under the title Masque funéraire, it was and continues to be Préault’s most popular work. HKA

36 NADAR (GASPARD FÉLIX TOURNACHON), French, 1820–1910 ADRIEN TOURNACHON, French, 1825–1903 [Pierrot in Pain], 1854 Salted paper print from glass negative 11 1/2 x 8 9/16 in. (29.2 x 21.7 cm) Museum purchase funded by the Buddy Taub Foundation, Dennis A. Roach and Jill Roach, Directors 2016.42

Before he became the most famous of Second Empire portrait photographers, Nadar arranged for his ne’er-do-well brother, Adrien, to receive photography lessons, set up and equipped a studio for him, and enlisted his friend Charles Deburau in a brilliant scheme to promote the studio: a comic pantomime of Pierrot’s misadventures, captured in photography. In this image, the sickness that Pierrot’s overindulgence has wrought is etched on Deburau’s face, enacted in the hand clawing at his belly, and suggested by the dark shadow that seems to emanate from his mouth. Envisioned as advertising for display in the studio’s street-level vitrines, the Tournachon brothers’ photographs won a gold medal at the 1855 Universal Exposition in Paris. MD

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WILLIAM HENRY FOX TALBOT, British, 1800–1877 Summit of the Tower of Lacock Abbey, Taken from the Roof of the Building, October 14, 1840 Salted paper print from paper negative 5 7/8 x 7 1/4 in. (14.8 x 18.2 cm) Gift of Hans P. Kraus, Jr. and Mariana Cook in honor of Anne Wilkes Tucker 2015.91

Henry Fox Talbot’s earliest camera negatives required exposures of an hour or more, but on September 23, 1840, he made a startling discovery that dramatically increased the medium’s potential: an exposure of mere seconds, leaving no visible trace on the chemically treated paper, nonetheless left a latent image that would appear with the application of an “exciting liquid”—“devel- oped” we would now say. In the weeks that followed this new discovery, the inventor of paper photography trained his camera on various features of his home, Lacock Abbey, and its grounds. In this positive print, rendered in evanescent tones of lilac and lavender, Talbot recorded the forms and textures of masonry and glass and the myriad architectural details of the abbey’s sixteenth-century corner tower. This is the earliest firmly dated photograph in the Museum’s collection. MD

CARLETON WATKINS, American, 1829–1916 Printed by Isaiah West Taber, American, 1830–1912 The Bridal Veil Falls, 900 feet, Yosemite, California, 1865–66, printed 1880s Albumen silver print from glass negative 16 x 21 5/8 in. (40.6 x 54.9 cm) Gift of Mike and Mickey Marvins 2015.645 Carleton Watkins’s breathtaking views of natural wonders in the western United States—lands still largely unexplored when he photographed them in the 1860s—pictured the region as a new Eden. This image, taken from the valley floor, captures Yosemite’s many splen- dors, from a wild grove of pine trees to the towering crags of Cathedral Rock and the delicate cascade of Bridal Veil Falls caught in a hazy mist. At the time, such images were not only aesthetically pleasing, but they also helped convince the government back east that areas such as Yosemite needed federal protection. KF

38 ROMAN VISHNIAC, American, born Russia, 1897–1990 [Radensdorf Train Station in the Spreewald, near Berlin], 1933–34 Gelatin silver print 10 5/8 x 13 3/4 in. (26.9 x 34.9 cm) Gift of Mara Vishniac Kohn 2015.269

Roman Vishniac, one of the best-known photographers of Jewish life in Eastern Europe in the years before the Holocaust changed it irrevocably, was a remarkably versatile photographer with a career that lasted more than five decades. The Russian-born photographer taught himself the medium in the 1920s and 1930s, captur- ing the bustle of the dynamic, cosmopolitan, diverse city life of Berlin, then his adopted city. Taken about the time of Hitler’s appoint- ment as chancellor, this photograph hints at ominous changes on the horizon as the modern metropolis began to militarize. It is one of ten photographs donated to the Museum by the artist’s daughter. AP

39 ACCESSIONS

MAN RAY (EMMANUEL RADNITZKY), American, IRVING PENN, American, 1917–2009 Irving Penn earned his place in the 1890–1976 Many-Skirted Indian Woman (B), 1948 photography canon as one of the best [Photomontage Portrait of a Young Man], Gelatin silver print portrait and fashion photographers of c. 1926 10 3/4 x 9 1/4 in. (27.3 x 23.5 cm) the twentieth century. Throughout his Gelatin silver print life, however, he made work separate Gift of The Irving Penn Foundation, 8 x 6 3/8 in. (20.2 x 16.2 cm) from his commercial career, including donated in gratitude for Anne Wilkes still-life studies of trash and debris Gift of Manfred Heiting in honor of Tucker’s many years of support and and images of female nudes with Anne Wilkes Tucker on the occasion friendship body types outside the norms of of her retirement 2015.216 fashion. After working on assignment 2015.90 for Vogue in Lima, Penn rented an antiquated photography studio in As an American living in Paris, beginning Cuzco to make portraits of indigenous in 1921, Man Ray moved in the Surrealists’ Peruvian subjects with the same circle and produced paintings, sculptures, elegant dignity that characterized his drawings, films, and photographs, always fashion photographs, rather than the stretching the limits of his materials. more distanced style typical of ethno- Although he supported himself as a graphic photographs. portrait photographer, in other work he AP pushed the medium beyond its traditional role of recording reality by making camera- less photograms (“Rayographs,” he called them), solarizing his prints to reverse their most extreme tones, and exploiting a variety of other novel techniques. For this picture, Man Ray printed two negatives sandwiched together to create a dreamlike image worthy of his Surrealist colleagues. MD

40 DIANE ARBUS, American, 1923–1971 Throughout the 1950s and 1960s, Diane Albino sword swallower at a carnival, Md., Arbus made portraits of people living in 1970, printed later by Neil Selkirk, and around New York City, developing American, born England, 1947 a recognizably blunt style in which she closely scrutinized her subjects while Gelatin silver print maintaining a personal distance. Among 15 1/4 x 14 7/8 in. (38.7 x 37.8 cm) her best-known photographs are portraits The Gay Block Collection, gift of Gay Block of circus sideshow performers, such in honor of Anne Wilkes Tucker on the as this sword swallower, with arms out- occasion of her retirement stretched in a heroic—even Christ-like— 2015.213 pose that reveals her eccentric beauty, despite her life on the fringes of society. AP

41 ACCESSIONS

ROBERT MAPPLETHORPE, American, 1946–1989 Susan Sontag, 1984 Gelatin silver print 15 x 15 in. (38.1 x 38.1 cm) Gift of the Robert Mapplethorpe Foundation in honor of Anne Wilkes Tucker on the occasion of her retirement 2015.214

The profoundly influential essayist and activist Susan Sontag wrote about “camp” and war, illness and AIDS, art and—above all—photography. She was a special friend of Robert Mapplethorpe’s and wrote an essay for his book Certain People: A Book of Portraits (1985), which included his image of her. This vintage print, donated in honor of the Museum’s retiring photog- raphy curator Anne Wilkes Tucker, was included in Robert Mapplethorpe: Eros and Order, an exhibition that Tucker organized for the Museo de Arte Latinoamericano de Buenos Aires in 2010, drawn from the Mapplethorpe Foundation’s collection. MD

42 DAWOUD BEY, American, born 1953 Mavis, 1995 Dye diffusion transfer prints 62 1/2 x 46 1/2 x 2 1/4 in. (158.8 x 118.1 x 5.7 cm) Gift of Stephen Daiter in honor of Anne Wilkes Tucker on the occasion of her retirement 2015.368

Photographs from the Harlem Renaissance by James Van Der Zee at the Metropolitan Museum of Art’s 1969 exhibition Harlem on My Mind inspired the teenaged Dawoud Bey to spend nearly two decades portraying African Americans on the streets of modern-day Harlem and elsewhere. In 1991 he struck out in a new direction, working with one of Polaroid’s five 20 x 24-inch cameras. “I wanted to bring in some aspect of Rembrandt and Caravaggio, whose work I always loved,” he explained, “but outside of a controlled environment like the studio it was impos- sible.” In his monumental, multipanel Polaroids, Bey was able to achieve the “heightened, singular, dramatized sense [of] an individual person” that he found in the Old Masters but that was uncommon in representations of young men and women of color. MD

43 ACCESSIONS

THOMAS DEMAND, German, born 1964 For this photograph, Thomas Demand Control Room, 2011 constructed a life-size cardboard-and- paper model of the control room of the Chromogenic print 78 3/4 x 118 1/4 in. (200 x 300.4 cm) Fukushima Daiichi nuclear power plant in Japan that was damaged by the earth- Museum purchase funded by quake and tsunami of March 11, 2011. “One Great Night in November, 2015” His source image—a politically charged 2015.528 snapshot taken surreptitiously by a power company insider and widely circulated in the media—belied the company’s assurances that everything was under control. A photograph of a model of a photograph of reality, Control Room is a metaphor for the elusive nature of truth and trust—whether in corporate ethics or in documentary images. YN

44 VERA LUTTER, German, born 1960 Vera Lutter’s one-of-a-kind negative prints, San Marco, Venice XX: December 3, made inside a room-sized pinhole camera 2005, 2005 with exposures that range from hours to Gelatin silver prints days, present a parallel universe of pitch- 91 x 112 in. (231.1 x 284.5 cm) black sunshine and glowing shadows where left is right and right is left. Devoid Museum purchase funded by the Caroline Wiess Law Accessions of people, her finely detailed images of Endowment Fund postindustrial ruins, modern cities, and 2015.285 historical sites such as the heart of Venice all share a slightly eerie quality that seems to remove them from the present time. At the very moment when analog negatives are disappearing from photographic practice and process, Lutter finds new magic in the bedrock phenomenon and traditional materials of her medium. MD

45 ACCESSIONS

46 ARISTIDE MAILLOL, French, 1861–1944 La Rivière (The River), 1938–43 Bronze, edition 4/6 43 3/8 x 94 1/2 x 57 in. (110 x 240 x 145 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2016.153

In 1938 Aristide Maillol embarked on an ambitious commission that ultimately became La Rivière (The River), his final masterpiece. The unusual pose of the figure arose from the original terms of the commission, which was intended to honor Henri Barbusse (1873–1935), a noted author and pacifist. In keeping with Barbusse’s antiwar sentiment, Maillol initially conceived the figure as a woman who had been stabbed in the back, falling at the viewer’s feet, arrested in agony. However, when funds proved to be insuffi- cient to complete the memorial, Maillol reconceived the figure as a more timeless theme, the personification of a river. The model for La Rivière was the artist’s muse, Dina Vierny. Her son Bertrand Lorquin described the work: “Monumentality does not require to be looked up to, but simply to be looked at. This was a radically new concept of the function of monumental sculpture, for it introduced a new relation- ship between the statue and the viewer.” ALG

47 ACCESSIONS

ALEXANDER COZENS, British, 1717–1786 A Small Pool with Willow Trees, c. 1770 Brown wash on laid paper 8 1/4 x 11 3/8 in. (20.8 x 28.9 cm) The Stuart Collection, museum purchase funded by Francita Stuart Koelsch Ulmer in honor of Frances Hubbard Koelsch 2016.30

Alexander Cozens was a key English artist who worked exclusively as a landscapist. He contributed to elevating the status of landscape art by emphasizing its poetic and imaginative traits instead of its topographi- cal function. Cozens developed imaginary landscapes, often in monochrome, by placing accidental marks, which he called “blots,” on paper that would suggest land- scape elements leading to a complete work. In this ink drawing of willow trees, a small pool of water, and foliage, the artist master- fully created light and dark effects to sug- gest nature’s power and enigma. Cozens’s influence is especially evident in the land- scape drawings of Thomas Gainsborough. Cozens’s work later inspired the Surrealists and the Abstract Expressionists. DMW

GRANT WOOD, American, 1891–1942 Printed by George C. Miller, New York Published by Associated American Artists, New York Fertility, 1939 Lithograph on wove paper Sheet: 11 3/8 x 13 3/4 in. (28.9 x 35 cm) Museum purchase funded by Lynne Werner in memory of her parents, Robert and Carolyn Werner 2015.439

The American Regionalist Grant Wood rejected modern European art movements and looked nostalgically to America’s past and to rural life for inspiration. Fertility is one of Wood’s signature lithographs featuring a midwestern farm in a stylized landscape. It is a testament to the agricul- tural productivity of Iowa and suggests that Regionalism was a fertile philosophy for artistic growth, as evidenced by the references to Gothic architecture— the Carpenter Gothic farmhouse, the rocket-shaped silo serving as a bell tower, the barn as an agrarian cathedral with a Gothic vault, and the corn crop whose leaves form a series of arched tiers. DMW

48 TERRY WINTERS, American, born 1949 Terry Winters is one of the most dedicated Printed by David Lasry at Two Palms, contemporary printmakers whose works New York are rooted in abstraction, yet also Published by Two Palms, New York informed by biological, architectural, Graphic Primitives, 1998 and technological systems. Graphic Portfolio of nine woodcuts printed in Primitives, a portfolio of nine prints, white ink with black ink wash on integrates the woodcut—the earliest Japanese Kochi paper, edition 10/35 and most traditional of all printmaking Sheet (each): 20 1/2 x 26 3/16 in. techniques—with digital manipulation (52.1 x 66.5 cm) and laser cutting. The images in this series appear like loosely structured Gift of Renée and Stanford Wallace 2016.90 grids inspired by microchips, circuitry, and transit maps. DMW

49 ACCESSIONS

ENNIO IOMMI, Argentinean, 1926–2013 Curvas y líneas en el espacio [Curves and Lines in Space], 1947 Steel wire on marble base 32 5/16 x 29 1/2 x 25 9/16 in. (82 x 75 x 65 cm) Museum purchase funded by the Latin Maecenas 2015.665

In the mid-1940s, Ennio Iommi, a founding member of the Arte Concreto- Invención, emerged as Argentina’s preeminent sculptor. He sustained this reputation for the next several decades. Iommi’s works were critical to a transnational movement that spanned Latin America and Europe, in which artists broke from pictorial traditions to create a nonrepresentational art that they commonly referred to as “arte concreto” [Concrete art]. The sculpture Curvas y líneas en el espacio [Curves and Lines in Space] (1947) is a hallmark of the period, which lasted from 1945 to 1950. During this time, Iommi’s work was characterized by his studied explo- ration of line in space and by his interest in adapting industrial materials, particularly aluminum and stainless steel, to create Constructivist sculp- tures. Curvas y líneas en el espacio embodies Iommi’s position, in that the sculpture carries an underlying rationale—the interactions of a curved line with a rectilinear line—but with a certain freedom of composition that favors lyrical curves and rhythmic bends over strict geometric formulas. MCR

50 DORIS SALCEDO, Colombian, born 1958 Disremembered IV, 2015 Silk thread and nickel-plated steel 70 x 53 x 7 7/8 in. (177.8 x 134.6 x 20 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund and the Latin American Experience 2015.664

Indisputably one of the most respected and influential artists today, Doris Salcedo has earned an international reputation for her site-specific interven- tions and sculptural works that use clothing and household items, often chairs, doors, tables, and cabinets, to subtly address local and global histories of violence, political persecution, and mourning. Disremembered IV is one of five hand-sewn tunics made from thou- sands of needles. The folds of needles express both a fragile state and layers of pain—one that the artist describes as symbolizing the process of mourning a loved one as well as societal indiffer- ence to such personal emotional pain. The form of Salcedo’s work is based on a sambenito, a penitential garment worn as punishment during the Spanish Inquisition by those labeled heretics who sought penance for their sins. By referencing the sambenito, the work draws a comparison between contempo- rary mourning—endured entirely in private—and an experience similar to religious penitence. The shirt of needles transmits the physical embodiment of suffering, making visible an emotional turmoil that society in the twentieth and twenty-first centuries typically has hidden from public view. MCR

51 ACCESSIONS

GIÒ PONTI, Italian, 1891–1979 The Italian architect and designer Giò M. Singer & Sons, American Ponti is considered one of the key figures Display Cabinet, Model 2140, 1951 responsible for delineating the Italian mid- Italian walnut, lacquered wood, and brass century furniture and living style that was 81 x 78 3/4 x 18 1/4 in. (205.7 x 200 x 46.4 cm) influential worldwide from the 1940s through the 1960s. Designed to function Museum purchase funded by flexibly in the modern home, this Display the John R. Eckel, Jr. Foundation Cabinet could be used in spaces ranging 2016.145 from the dining room to living areas. Its modular form demonstrates Ponti’s interest in line and volume, distinctive shapes, and rhythms, as well as his belief that form should harmonize with function. CS

52 CHRISTIAN BURCHARD, American, born Germany, 1955 Untitled, 1997 Manzanita Various dimensions Gift of John and Robyn Horn 2015.501

Christian Burchard is celebrated as one of the most important second-generation American wood artists. Known for his work on the lathe, he is largely self-taught. Untitled is from his basket series, for which he creates multiples in varying sizes to represent families and relation- ships. Burchard is known for his ability to manipulate wood to allow its characte- ristics of warping and cracking to become integral to the form. In addition, each vessel in Untitled still has striations from the use of the lathe and the edges are left raw, a characteristic of many of his pieces. CS

PAUL COCKSEDGE, British, born 1978 Prototype for Poised (Right), 2013 Steel 28 1/2 x 80 x 43 3/8 in. (72.4 x 203.2 x 110 cm) Museum purchase funded by the John R. Eckel, Jr. Foundation 2016.71

Prototype for Poised (Right) takes its inspiration from the way in which paper folds over itself when stood on edge. For its design, the British designer Paul Cocksedge aimed to replicate the ele- gance and weightlessness of this paper shape out of steel, a material not usually known for these qualities. Ultimately, more than one thousand pounds of rolled steel were employed to create a precise balance of weight and measurements so that the table is both functional and sculptural. CS

53 ACCESSIONS

MONA HATOUM, Palestinian, born Lebanon, 1952 A Bigger Splash, 2009 Murano glass, edition of 6, artist’s proof 2/2 Various dimensions Museum purchase funded by contemporary@mfah, the Caroline Wiess Law Accessions Endowment Fund, and Rosanette and Harry H. Cullen 2015.418

Working with Murano artisans in Venice, Mona Hatoum used traditional blown- glass methods to create these haunting blood-red sculptures, seemingly caught in the moment of spattering across the floor. While inevitably raising the specter of slaughter, whether in a field of battle or through random terrorism, A Bigger Splash can also be read as an appeal to end violence, and as an act of sacrifice and redemption. There are several thematic and formal sources for this work, ranging from Renaissance painting to stop-motion photography. The title is taken from David Hockney’s A Bigger Splash (1967), which depicts a Los Angeles swimming pool at the moment when a swimmer has just dived in. Hockney has commented, “When you photograph a splash, you’re freezing a moment and it becomes something else. I realize that a splash could never be seen this way in real life, it happens too quickly.” Whether Hatoum’s appropriation of Hockney’s title is intended to be ironic is left to the viewer; however, “freezing a moment” in which something “becomes something else” is central to Hatoum’s nuanced treatment of image and meaning throughout her work. ALG

54 55 ACCESSIONS

56 FRANCIS ALŸS, Belgian, born 1959 Francis Alÿs devoted four years to Don’t Don’t Cross the Bridge before You Get Cross the Bridge before You Get to the River, to the River, 2005–9 a project that took place both in the A multipart installation comprising 1 sphere of world politics and in gallery painting, 3 altered postcards, 3 working environments as a multimedia installa- sketches, 1 sculpture made up of 31 tion that encompasses painting, drawing, “shoe-boats,” 3 two-channel videos, sculpture, and video. Initially conceived and 2 single-channel videos as a means of connecting Castro’s Cuba Various dimensions with Key West in the United States, Don’t Cross the Bridge before You Get to the River Museum purchases funded by had a second life in the Strait of Gibraltar the Caroline Wiess Law Accessions as Alÿs attempted to build alliances that Endowment Fund, 2016.176.1–6, 2016.176.8–13, and would represent the common humanity by Lester Marks, 2016.176.7 of Europe and Africa. Alÿs stated, “I wanted to construct an authentic image of the Illlustrated: 2016.176.1 (opposite) place, a symbolic bridge between the two and 2016.176.8 (above) continents, but always ended up involved in someone else’s fight. It was absurd.” Ultimately faced with the impossibility of realizing the work with actual boats, Alÿs invited children to form a line at each end of the strait with toy boats, bringing the project back to the open- hearted spirit of collaboration that first motivated the artist. ALG

57 ACCESSIONS

58 YAYOI KUSAMA, Japanese, born 1929 Aftermath of Obliteration of Eternity, 2009 Wood, metal, glass mirrors, plastic, acrylic paint, LED lighting system, and water, edition 3/3 163 1/2 x 163 1/2 x 113 1/4 in. (415.3 x 415.3 x 287.7 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2016.34

Expanding upon her lifelong obsession with the dissolution of the self into the infinite, Yayoi Kusama created Aftermath of Obliteration of Eternity the year of her eightieth birthday. Viewers are invited to step into the room and stand on the central platform. Over time, a delicate, shimmering mirage unfolds, as an array of lights ignites and is mirrored on every surface of the all-encompassing environ- ment. In less than a minute, however, all light disappears, and then the cycle starts anew. Kusama has explained, “Life is what I always try to understand—its depths and its mystique of rise and fall. I struggle for it throughout my life. From day to day, I understand the greatness brought by this mystique as well as that love is eternal and keeps appearing and disap- pearing. And what is more, I am very pleased to be alive after realizing that I have overcome this everyday life and been able to reach today. Yet we keep flashing, disappearing, and again blossoming out in this Eternity.” ALG

59 ACCESSIONS

60 ÓLAFUR ELÍASSON, Icelandic, born Denmark, 1967 Your Lunar Nebula, 2015 Partially silvered crystal, acrylic paint, and stainless steel 65 3/4 x 64 1/8 x 5 7/8 in. (167 x 162.9 x 15 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2015.550

Ólafur Elíasson is fascinated with how we perceive the world around us, and, like much of his work, Your Lunar Nebula uses perceptual play to slyly upend our sense of place and scale. Standing before the work, viewers see themselves reflected and inverted in the silvered crystal spheres. Stepping back, the overall array suggests both droplets of water and an immense cosmos. Elíasson has described his sculptures as “devices for the experience of reality.” He explains further, “As I use these ideas of seeing-yourself-sensing or sensing-yourself-seeing, they are about trying to introduce relationships between having an experience and simultaneously evaluating and being aware that you are having this experi- ence. . . .You could say that I’m trying to put the body in the mind and the mind in the body.” ALG

61 ACCESSIONS

WANGECHI MUTU, Kenyan, born 1972 Wangechi Mutu first presented the collage, of figures and animals. Mutu herself acts A Trinity, 2015 sculpture, and video that make up A Trinity as the protagonist of The End of carrying at the 56th Venice Biennale, in 2016. All. The video traces her progress across She’s got the whole world in her, 2015 Encompassing Mutu’s ongoing exploration the savanna; as twilight falls, the basket of Western, African, and feminist identities, becomes increasingly filled with consumer Mannequin, wood, horn, papier-mâché, this suite also testifies to the artist’s passion- goods and industrial structures: a bicycle wax, disco ball, and found objects ate concern for the global environment. wheel, a satellite dish, a tower, and an oil 108 x 60 x 42 in. (274.3 x 152.4 x 106.7 cm) Each work focuses on a different aspect rig. Eventually, the burden becomes too Forbidden Fruit picker, 2015 of womanhood. Forbidden Fruit picker is much to bear, and the woman buckles dominated by a modern-day Eve, reaching and melts under the strain, consumed Photomontage from printed sources, up for an apple as two snakes twist and and ultimately becoming one with nature. collage, spray paint, and cut fabric with hiss. She’s got the whole world in her por- A volcanic eruption ripples through the ink on Mylar and paper board trays a sphinxlike matriarch contemplating earth, all is quiet, and then the journey 39 1/4 x 58 1/2 in. (99.7 x 148.6 cm) a hanging globe, burnt black and wasted, begins once again. Museum purchases funded by while her basketlike skirt shelters an array ALG the Caroline Wiess Law Accessions Endowment Fund 2016.79, 2016.81

The End of carrying All, 2015 Three-channel video, edition 1/3 Museum purchase funded by contemporary@mfah 2016 2016.80

62 63 ACCESSIONS

MARK BRADFORD, American, born 1961 Mark Bradford has won widespread acclaim apart. In the days following the riots, a Circa 1992, 2015 for his collage-based paintings made from local church group issued signs that read Mixed media mounted on canvas materials gathered in and around Leimert “REBUILD SOUTH CENTRAL WITHOUT 49 1/2 x 204 1/2 x 7/8 in. Park, the South Central Los Angeles neigh- LIQUOR STORES!! / RECONSTRUIRAL (125.7 x 519.4 x 2.2 cm) borhood where he lived as a child and SUR CENTRAL SIN NEGOCIOS DE continues to maintain a studio. Using BEBIDAS ALCOHOLICAS!!” More than Museum purchase funded by magazines, flyers, newsprint, and other two decades after this event, Bradford the Caroline Wiess Law Accessions found materials, Bradford creates densely stenciled the phrase into the densely Endowment Fund layered compositions to capture the rhythms collaged and sanded surface of this work, 2015.527 of Los Angeles street life. Circa 1992 looks confirming his own commitment to social back on a historic moment: 1992 is the year practice and community activism. that the Rodney King riots tore Los Angeles ALG

64 65 ACCESSIONS

GLENN LIGON, American, born 1960 Untitled, 2016 Inkjet print, edition 1/5 Sheet: 71 x 49 in. (180.3 x 124.5 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2016.142

Glenn Ligon’s enduring fascination with the written word is powerfully expressed in his most recent series of untitled prints, which reproduce pages from his personal copy of James Baldwin’s 1953 essay “Stranger in the Village,” a seminal text on black identity. Ligon used “Stranger in the Village” as the basis for numerous works, so that finally his copy of Baldwin’s essay reflected the history of his own studio practice: pages were annotated, splattered with paint, stained with oil, and folded and torn. Ligon scanned and printed these studio artifacts on a monumental scale, capturing each nuance of wear and tear. Untitled is the third page in the series, which describes not only Baldwin’s experience of encountering the outcasts of a Swiss village but also his own experi- ence as an outsider, “as much a stranger today as I was the first day I arrived.” Standing in front of Untitled, the viewer has a double consciousness that encom- passes both Baldwin’s passionately engaged narrative and Ligon’s presence as an equally engaged reader and artist. ALG

66 67 ACCESSIONS | African Art | Art of the Americas

Whenever possible, the nationality Classic Veracruz Maya Zuni and life-span dates of the artist or Flute with Woman and Shaman Dressed Face with Headdress from Effigy Vessel, Canteen-Shaped Jar, 1880–90 maker are provided. as a Feathered Reptile, AD 600–900 900–1519 Earthenware with slip “Smiling” Figure Head, AD 600–900 Earthenware with painted stucco 2015.423 Female Effigy Rattle, AD 600–900 Bowl Fragment with Glyphs, 600–900 AFRICAN ART Earthenware with traces of pigment Shell Casas Grandes (possibly) 2015.291, 2016.108, 2016.109 2015.478, 2015.479 Jar, Olla, with Geometric Designs, GIFTS 1350–1450 Tarascan (Purépecha) Mezcala Earthenware with slip Yoruba peoples, Owo group Pipe with Owl Head, AD 1100–1519 Standing Figure, 200 BC–AD 300 2015.430 Diviner’s Tapper, Iroke Ifa, 18th century Earthenware with slip Green stone, possibly serpentine Ivory with dark wood inlay 2016.110 2015.480 Zia Gift of Frank Carroll Jar, Olla, with Birds, c. 1910 2016.106 Gifts of the Harry K. Wright Inca Jar, Olla, with Birds and Plants, c. 1920 Collection: Storage Jar (Aryballos), 1400–1532 Earthenware with slip PURCHASES Earthenware with slip 2015.434, 2015.436 Nayarit 2015.481 Zulu Seated Figures, 300 BC–AD 300 Acoma Lidded Tobacco Vessel, late 19th century Seated Couple, 100 BC–AD 300 Quimbaya Four-Color Jar, Olla, with Geometric Shapes, Wood Earthenware with slip Seated Figure, 1200–1600 1900–1950 Museum purchase funded by the Alfred C. 2015.294, 2015.295, 2015.301 Earthenware and gold 2015.435 Glassell, Jr. Accessions Endowment Fund 2015.482 2016.47 Colima Casas Grandes Reclining Canine Effigy Vessel, Gifts of Mr. and Mrs. Meredith Long: Jar, Olla, with Geometric Designs, c. 1300 300 BC–AD 300 Earthenware with slip Seated Canine Effigy Vessel, ART OF THE AMERICAS Ancestral Pueblo (Anasazi) 2015.437 300 BC–AD 300 Socorro-Style Jar, Olla, with Geometric GIFTS Parrot Effigy Vessel, 300 BC–AD 300 Designs, 1100–1250 PURCHASES Warrior Effigy Vessel, 300 BC–AD 300 Pinto- or Gila-Style Bowl with Claw Gifts of Frank Carroll: Standing Warrior Figure, 300 BC–AD 300 and Circle Designs, 1100–1300 Purchases funded by the Alfred C. Glassell, Jr. Accessions Endowment Squash Effigy Vessel with Three Parrot Legs, Socorro-Style Jar, Olla, with Stepped Maya Fund: 300 BC–AD 300 Geometric Designs, c. 1200 Tripod Plate with Inscription, AD 600–900 Earthenware with slip Jeddito-Style Bowl with Sunburst Design, Earthenware with slip Siguas 2015.296–2015.300, 2015.476 1250–1350 In memory of Clytie Allen Short Poncho, 100 BC–AD 300 Gila Polychrome Bowl with Jagged Figure in Ceremonial Dress Effigy Rattle, Camelid wool yarns and natural dyes Teotihuacan Lines and Triangles, 1300–1400 AD 600–900 2016.59 Mask, 150–650 Tonto-Style Jar, Olla, with Checkerboard Earthenware with traces of pigment Black limestone and Sun Designs, c. 1300 Head of a Peccary, AD 600–900 Classic Veracruz 2015.302 Tonto- or Gila-Style Bowl with Chevron Earthenware with traces of pigment Standing Female Effigy Figure, 600–900 Patterns, 1275–1400 Head of a Tapir, AD 600–900 Terra cotta with pigment Nariño Jeddito- or Sityatki-Style Bowl with Angled Earthenware with traces of polychrome paint Articulated Figure, 600–900 Seated Coquero (Figure Chewing Red and Black Designs, 1300–1350 Pair of Tlaloc Eyepieces, 900–1200 Earthenware with slip, with modern Coca Leaf), 600–1600 Four-Mile-Style Glazeware Bowl with Mother-of-pearl string and wire Earthenware with slip Lightning Designs and Almond-Shape Female Figure Effigy Whistle, AD 700–900 2016.82, 2016.116 2015.474 Center, 1350–1400 Earthenware with traces of pigment St. John’s-Style Redware Bowl with 2015.287, 2015.290, 2015.293, 2016.31, Maya Classic Veracruz Feathered Jagged Shape, 1150–1300 2016.107 Vase with Two Mythological Scenes, Standing “Smiling” Figure, 600–900 Socorro-Style Black-on-White Jar, Olla, 600–900 Earthenware with Geometric Designs, c. 1200 Huastec Earthenware with slip 2015.475 St. John’s-Style Redware Bowl with Central Ballplayer, 900–1521 2016.146 Sun and Geometric Designs, 1150–1300 Earthenware with traces of pigment Moche Earthenware with slip 2015.288 Vessel with Four Running Warriors, 2015.419, 2015.421, 2015.422, 100–800 2015.424–2015.429, 2015.431–2015.433 Veracruz Earthenware with slip Bird, AD 300–900 2015.477 Hohokam Earthenware with traces of pigment Red-on-Buff Bowl with Wave In memory of Anne Carroll and Stripe Designs, c. 950–1150 2015.289 Earthenware with slip 2015.420

68 Art of the Islamic Worlds | Asian Art | The Bayou Bend Collection

ART OF THE ISLAMIC ASIAN ART Japanese THE BAYOU BEND WORLDS Natsume, c. 1850 COLLECTION GIFTS Lacquerware with gold and silver GIFTS Museum purchase funded by Dr. Ellen GIFTS Japanese R. Gritz and Mr. Milton D. Rosenau, Jr., William Adams, American, c. 1801–1861, Indian Okimono (Decorative Object) in the form Nanako and Dale Tingleaf, Mr. and Mrs. active 1829–1861 Rose-water Sprinkler and Tray, 18th century of Gama Sennin, late 19th century J. Hugh Roff, Jr., Ms. Miwa S. Sakashita Goblet, c. 1850 Silver filigree Ivory with black ink and Dr. John R. Stroehlein, Stephen E. New York, New York Gift of Mohammed Rezai Gift of Johnna Mueller Hamilton, Mr. and Mrs. Meredith Long, Silver 2015.503 2015.441 Mr. and Mrs. Randy Sim, and Elizabeth The Bayou Bend Collection, gift of Bart J. and David Copeland in memory of Truxillo in memory of Michael K. Brown PURCHASES Gifts of Julia Anderson Frankel: Barbara E. Butler B.2015.11 2015.283 Indian Japanese Helen Cruikshank Davis, American, Lion Head Sword, 18th–19th century Imari Ware Charger with “Three Friends Makuzu Kozan, Japanese, 1842–1916 1889–1978 Steel and copper gilding of Winter” design, 19th century Koro, mid-19th–early 20th century Dorothy Dawes Chillman (Mrs. James Museum purchase funded by Jim Flores Imari Ware Charger with inset scroll, bird, Incense Burner H. Chillman, Jr.) (1895–1968), 1926 in honor of Alfred C. Glassell, Jr. at and flower design, 19th century Porcelain Watercolor on ivory “One Great Night in November, 2015” Porcelain with underglaze cobalt blue, Museum purchase funded by Dr. Ellen The Bayou Bend Collection, 2015.409 iron red, gold, and polychrome enamels R. Gritz and Mr. Milton D. Rosenau, Jr., gift of Helen Chillman (Arita ware, Imari ware) Nanako and Dale Tingleaf, Mr. and Mrs. B.2015.16 Indian 2016.117, 2016.118 J. Hugh Roff, Jr., Ms. Miwa S. Sakashita Carpet Weight, late 17th–early 18th century and Dr. John R. Stroehlein, Stephen E. François-Benjamin Vayron, French, Zinc alloy; cast, engraved, inlaid with Mabuchi Toru, Japanese, 1920–1994 Hamilton, Mr. and Mrs. Meredith Long, c. 1795–1860, active 1836–1860 silver (bidriware) Blue Vase, 1965 Mr. and Mrs. Randy Sim, and Elizabeth After an unknown French artist Museum purchase funded by Tony Woodblock print on paper, edition 77/100 and David Copeland in memory of Published by Agustoni, Paris Bradfield and Kevin Black at “One Great 2016.119 Barbara E. Butler The America, 1854 Night in November, 2015” 2015.284 Lithograph with watercolor PURCHASES 2015.410 hand coloring on wove paper ¯ Nogami Ryuki, Japanese, 1865–1932 The Bayou Bend Collection, Japanese Indian Okimono (Decorative Object) in the form of a gift of Jas A. Gundry Still-life of a Kiseruzutsu (Pipe-Case), Dagger (khanjar), 18th century Group of Three Terrapins, 19th–20th century B.2015.20 Rock crystal, steel, and gold inlay Taboco-irei (Tobacco Case), and Netsuke, Bronze Museum purchase 1821 Museum purchase funded by the PURCHASES 2015.576 Woodblock print (surimono); ink, Sara Wheeler Memorial Fund in memory color, with silver and mica on paper of Sara Wheeler by her family, MFAH Duncan Phyfe, American, Indian, Deccan or Northern India Museum purchase funded by colleagues, and friends born Scotland, 1770–1854 Pilgrim Flask, 17th century Mr. and Mrs. William K. McGee, Jr. 2015.400 Worktable, 1813 Brass; cast and incised 2015.532 New York, New York Museum purchase funded by Japanese Mahogany; mahogany veneer, the Friends of Art of the Islamic Worlds Japanese Suiteki (Water Dropper) in the form ebony, and gilded brass 2015.577 Pair of Squared Wine Bottles with Design of an Usagi (Rabbit), 17th century The Bayou Bend Collection, of Prunus and Flowering Plants, 1670–90 Bronze museum purchase funded by Indian Porcelain (Kakiemon ware, Imari ware) Museum purchase funded by the the W. H. Keenan Family Dagger (chilanum), Museum purchase funded by the Friends Sara Wheeler Memorial Fund in memory Endowment Fund late 17th–mid-18th century of Asian Art, Julia Anderson Frankel and of Sara Wheeler by her family, MFAH B.2015.12 Steel, gold, and iron Russell M. Frankel, Dr. Ellen R. Gritz and colleagues, and friends Museum purchase Mr. Milton D. Rosenau, Jr., Elizabeth S. 2015.401 2015.580 and Marjorie G. Horning Asian Art Accessions Endowment Fund, Miwa S. Uzbek Sakashita and Dr. John Stroehlein, Shakhrisyabz suzani, c. 1800 Nanako and Dale Tingleaf, various donors Silk embroidery on cotton in honor of Nidhika Mehta, and Drs. Ellin Museum purchase funded by the Friends and Robert Grossman, and Elizabeth and of Art of the Islamic Worlds, Franci Neely, David Copeland Rania and Jamal Daniel, Olive and Bruce 2016.169 Baganz, Françoise and Edward Djerejian, Jennifer and Matt Esfahani, Nijad and Zeina Fares, Sima and Masoud Ladjevardian, Eileen and Kase Lawal, Jaleh and Bruce Sallee, and Aziz Shaibani 2016.83 69 ACCESSIONS | The Bayou Bend Collection | Decorative Arts

Adolphe Jean Baptiste Bayot, Dressing Table, c. 1780–1800 Elijah P. Lovejoy (1802–1837) William Gibson, English, French, 1810–1866 Lancaster, Pennsylvania Commemorative Side Plate and Dinner Plate, active 1682–1705 Louis-Pierre-Alphonse Bichebois, Cherrywood after 1837 Coffee Pot, 1701 French, 1801–1850 The Bayou Bend Collection, museum Staffordshire County, England Sterling silver and wood Erhard Schiéble, French, purchase funded by the Theta Charity Lead-glazed earthenware with 2016.124 born Germany, 1821–1880 Antiques Show transfer print After Carl Nebel, German, 1805–1855 B.2015.17 The Bayou Bend Collection, museum Christian Hillan, English, Text by George Wilkins Kendall, purchase funded by William J. Hill active London, after 1736 American, 1809–1867 Mortlake Pottery, English, B.2016.2 Tea Caddy, 1738 Printed by Rose-Joseph Lemercier active 1745–1823 Sterling silver Published by D. Appleton & Company, Period of William Wagstaff, English, Dish, c. 1665–95 In honor of Isaac Arnold, Jr. and New York, and George S. Appleton, died 1809, active 1804–1809 London, England Antonette Tilly Arnold Philadelphia Plate, 1805 Tin-glazed earthenware (delftware) 2016.125 The War between the United States and Probably Richmond upon Thames, The Bayou Bend Collection, museum Mexico Illustrated, Embracing Pictorial London, England purchase funded by the Ima Hogg “TC,” English, active London, c. 1676–90 Drawings of All the Principal Conflicts, Tin-glazed earthenware (delftware) Ceramic Circle in honor of their Sugar Box, 1677–78 by Carl Nebel, Author of “A Picturesque The Bayou Bend Collection, museum 40th Anniversary Sterling silver and Archaeological Voyage in Mexico,” purchase funded by the Carol Jean and B.2016.3 In honor of John A. Beck and with a Description of Each Battle, by Geo. Michael Moehlman Endowment Fund Audrey Jones Beck Wilkins Kendall, Author of “The Texan B.2015.18 Joseph Blackburn, American, 2016.126 Santa Fé Expedition,” etc., etc., 1851 born England, c. 1730–1774/78, Book with 12 lithographs with hand François Carquillat, French, 1802–1884 active 1754–1772 Gifts of Mary Cullen in honor of Alison de Lima Greene: coloring and 1 lithograph After Allardet, probably French, Portrait of Abigail Erving Scott (1733–1768), The Bayou Bend Collection, museum active 18th century 1760 Beyermann & Co., Czech, purchase funded by John Bookout After Gilbert Stuart, American, 1755–1828 Oil on canvas active 1865–1928 and Wallace S. Wilson in honor of George Washington, c. 1876 The Bayou Bend Collection, museum Goblet, c. 1920 Ann Bookout and Jeanie Kilroy Wilson Jacquard-loom-woven silk on paper mat purchase funded by the Theta Charity Glass at “One Great Night with copper-alloy foil decoration Antiques Show 2015.304 in November, 2015” The Bayou Bend Collection, museum B.2016.4 B.2015.13 purchase funded by the Toni and Ralph Conrath & Liebsch, Czech, Wallingford Endowment Fund established 1800 Unknown French Artist B.2015.19 DECORATIVE ARTS Jar, 1914 Printed (possibly) and published by Glass André Basset, Paris Joseph Lownes, American, 1758–1820, GIFTS 2015.305 Vue d’Optique de feu terrible`a Nouvelle active c. 1780–1816 Yorck (Optical View of the New York Tankard, c. 1798 Gifts of George S. Heyer, Jr.: Attributed to Oswald Lippert, Czech, Wall Street Fire), c. 1776 Philadelphia, Pennsylvania 1908–1992 Engraving with etching and hand coloring Silver Pierre Platel, French, c. 1664–1719, Manufactured by National Technical on laid paper The Bayou Bend Collection, museum active London, 1697–1717 Glassmaking School at Kamenicky´ Senov,˘ The Bayou Bend Collection, museum purchase funded by Cheri and Andrew Covered Cup, 1708–9 Czech, established 1856 purchase funded by Kathy and Marty Fossler, Judith S. and J. Michael Baldwin, Britannia silver Vase, 1935 Goossen at “One Great Night in Sharon Dies, Carol Jean and Michael In loving memory of his son Glass November, 2015” Moehlman, Toni E. Wallingford, Martha Jamie Dewar Ferguson 2015.306 B.2015.14 Erwin, and Janet Marshall, in memory of 2015.303 Michael K. Brown Attributed to Alfred Dorn, Czech George J. Henkels, American, 1819–1883 B.2015.21 Paul de Lamerie, French, Manufactured by National Technical Wall Clock, c. 1860 born Netherlands, c. 1688–1751, Glassmaking School at Kamenicky´ Senov,˘ Case made in Philadelphia, Pennsylvania Made for DeWitt Clinton, American, active London, 1703–1751 Czech, established 1856 Movement made in Paris, France 1769–1828 Ewer, c. 1735 Vase, c. 1935 Black walnut, brass, and enamel Dinner Plate, c. 1796–1810 Sterling silver Glass The Bayou Bend Collection, museum China In memory of his parents, George S. 2015.307 purchase funded by the Baird Estate, Hard-paste porcelain with famille Heyer and Jane Gregory Maréchal by exchange rose enamel and gilding Cup and Cover, 1739–40 B.2015.15 The Bayou Bend Collection, museum Silver-gilt purchase funded by the Crain Foundation In honor of his sons, William McIver on behalf of Mrs. Lacy Crain and Heyer and Gregory Stuart Heyer Mr. Joe Galloway 2015.533, 2016.123 B.2016.1

70 Attributed to the National Technical Leo Moser, Czech, 1879–1974 Attributed to Franz Welz, Czech, Rolly Munro, New Zealander, born 1954 Glassmaking School at Kamenicky´ Senov,˘ Manufactured by Ludwig Moser & Sons, 1728–1920s Bowl, 2000 Czech, established 1856 Czech, established 1857 Vase, c. 1930 Wood Vase, 1920–25 Vase, 1925 Glass and mica 2015.498 Vase, 1925 Glass and gilt 2015.331 Vase, 1930 2015.322 Kohyama Yasuhisa, Japanese, born 1936 Vase, c. 1930 Czech Untitled, c. 2004 Glass Josef Hoffmann, Austrian, 1870–1956 Covered Cup, c. 1915 Stoneware 2015.308–2015.311 Manufactured by Johann Oertel & Co., Glass 2015.499 Czech, established 1869 2015.332 Attributed to the Secondary School of for Wiener Werkstätte, Austrian, Andrew Hayes, American, born 1981 Glassmaking at Novy´ Bor, Czech, active 1903–1933 Gifts of Lesley and Adrian Harrow, 2013 Olabuenaga/ACME Studio Inc.: established 1763 Vase, 1924 Steel and paper Vase, c. 1912 Glass 2015.500 Stanley Tigerman, American, born 1930 Glass, enamel, and gilt 2015.323 Manufactured by ACME Studio Inc., Vase, c. 1914 Christian Burchard, American, American, established 1985 Glass, enamel, and gilt Manufactured by Johann Oertel & Co., born Germany, 1955 “R.O.R.” Brooch, 1986–92 Vase, c. 1915–20 Czech, established 1869 Untitled, 1997 Cloisonné enamel and silver Glass Vase, 1924 Manzanita 2015.333 2015.312–2015.314 Glass 2015.501 2015.324 Ettore Sottsass, Italian, born Austria, Attributed to Carl Goldberg, Czech, James Lovera, American, 1920–2015 1917–2007 1881–1945 Attributed to Karel Palda, Czech, Smoked Tea Dust, 1999 Manufactured by ACME Studio Inc., Vase, 1930–35 1888–1930s Porcelain American, established 1985 Glass and paint Vase, c. 1930 2015.502 “Circulus” Brooch, 1986–92 2015.315 Glass Cloisonné enamel and silver 2015.325 • • • 2015.334 Rudolf Hlousek˘ Glassworks, Czech, active 1930–1948 Attributed to Adolf Beckert, Czech, Roberto Matta, Chilean, 1911–2002 Michele De Lucchi, Italian, born 1951 Vase, c. 1935–48 1884–1929 Manufactured by Knoll International, Manufactured by ACME Studio Inc., Glass Attributed to Friedrich Pietsch, Czech American, established 1938 American, established 1985 2015.316 Jar, 1920–22 “Seating System,” designed 1966, “Platone” Brooch, 1985–92 Glass, enamel, and gilt manufactured 1972 Cloisonné enamel and silver Wilhelm Kralik Sohn, Czech, 1881–1938 2015.326 Polyurethane foam and stretch wool 2015.335 Bowl, c. 1930 Gift of Toni and Jeffery Beauchamp Glass Rachmann Bros., Czech, 2016.7 Gifts of John and Robyn Horn: 2015.317 active 1884–1945 Vase, c. 1930 Gifts of the artist and Moody Gallery Kishi Eiko, Japanese, born 1948 in honor of Clinton T. Willour: Manufactured by Johann Lötz Witwe, Glass Noh-Inspired Form, 2007 Czech, active 1836–1947 2015.327 Stoneware and colored clay Elinor Evans, American, 1914–2016 Vase, 1908 2015.494 Untitled, c. 1970–80 Vase, 1914 Solomon Reich & Co., Czech, Untitled, c. 1970–80 Glass established 1813 Jane Sauer, American, born 1937 Wool, cotton, and wood 2015.318, 2015.319 Vase, c. 1935 Desert Zone, 1988 Untitled, c. 1960–89 Glass Waxed linen thread, acrylic paint, Wool and cotton Hans Bolek, Austrian, 1894–1978 2015.328 and foam 2016.8–2016.10 Manufactured by Johann Lötz Witwe, 2015.495 Czech, active 1836–1947 Antonín Rückl & Sons, Czech, Dish, 1916–23 established 1848 Marc Leuthold, American, born 1962 Glass and enamel Vase, c. 1925 Purple Cone, 1993 2015.320 Glass Earthenware 2015.329 2015.496 Attributed to Johann Lötz Witwe, Czech, active 1836–1947 Attributed to Ernst Steinwald & Co., Rick Smith, American Vase, c. 1930 Czech Fixed Position, 2000 Glass Vase, c. 1930 Steel and concrete 2015.321 Glass 2015.497 2015.330

71 ACCESSIONS | Decorative Arts | European Art | Latin American Art

PURCHASES Paul Cocksedge, British, born 1978 Peter Pincus, American, born 1982 Paul Gauguin, French, 1848–1903 Prototype for Poised (Right), 2013 Vessels, 2016 Still Life with Mangoes and Edward William Godwin, English, Steel Porcelain, slip, and gold luster a Hibiscus Flower, 1887 1833–1886 Museum purchase funded by the Museum purchase funded by the Oil on canvas Tea Table, c. 1880 John R. Eckel, Jr. Foundation Museum Collectors Museum purchase funded by the Audrey Mahogany 2016.71 2016.132 Jones Beck Accessions Endowment Fund The American Institute of Architects, 2016.39 Houston Design Collection, J. J. P. Oud, Dutch, 1890–1963 Giò Ponti, Italian, 1891–1979 museum purchase funded by Manufactured by Gispen’s N.V., Dutch, M. Singer & Sons, New York Francisco José de Goya y Lucientes, friends of James Furr, in his honor active 1916–2016 Display Cabinet, Model 2140, 1951 Spanish, 1746–1828 2015.523 “Giso” Piano Lamp, model no. 404, Italian walnut, lacquered wood, and brass Don Vicente Isabel Osorio de Moscoso y designed 1927, manufactured c. 1929–31 Museum purchase funded by the Álvarez de Toledo, Conde de Trastámara, Norwood Viviano, American, born 1972 Nickel-plated and patinated brass John R. Eckel, Jr. Foundation c. 1787–88 Cities: Departure and Deviation, 2011 Museum purchase funded by the Design 2016.145 Oil on canvas Glass and inkjet print on vinyl Council, 2016, Leo and Karin Shipman, Museum purchase funded by Museum purchase funded by the Caroline Jan and John Bebout, Brian Hoffner, EUROPEAN ART the Alice Pratt Brown Museum Fund Wiess Law Accessions Endowment Fund Ray and Ashley Simpson, Cynthia Toles, and the Brown Foundation Accessions 2015.524 and T. L. Marten PURCHASES Endowment Fund 2016.114 2016.78 Hayley Smith, British, born 1965 Auguste Préault, French, 1809–1879 Handover, 2012 Marianne Brandt, German, 1893–1983 Le Silence (Silence), 1842–43 Jacopo da Empoli, Italian, c. 1554–1640 From The Hand of the Maker series Manufactured by Ruppelwerk Plaster Madonna and Child with the Young St. John Maple Metallwarenfabrik, Germany Museum purchase funded by Fayez the Baptist, late 16th–mid-17th century Museum purchase funded by Napkin Holder, 1930 Sarofim in memory of Maxwell Alexander Oil on panel John and Robyn Horn Nickel-plated brass and glass Sarofim at “One Great Night in Museum purchase 2015.545 Museum purchase funded by November, 2015” 2016.147 the Design Council, 2016 2015.281 Piero Fornasetti, Italian, 1913–1988 2016.115 Baron François Gérard, French, “Eva” Plates, designed 1954, Flemish, probably Tournai 1770–1837 manufactured 2015 Ruth Adler Schnee, American, Hercules Slaying King Laomedon, Portrait of François-Gédéon Reverdin “Adamo” Plates, designed 1954, born Germany, 1923 1480–1500 (1772–1828), 1796 manufactured 2015 Manufactured by Adler-Schnee Tapestry: wool and silk Oil on panel Porcelain and gilt Associates, American, active 1949–1977 Museum purchase funded by the Museum purchase Museum purchases “Lazy Leaves” Textile, c. 1953 Agnes Cullen Arnold Endowment Fund 2016.155 2016.16, 2016.17 Polyester, silk, cotton, rayon, and 2015.547 wool blend LATIN AMERICAN ART Misha Kahn, American, born 1989 Museum purchase funded by Joan Giuseppe Canella the Elder, Italian, In collaboration with Gone Rural, Morgenstern and Michael W. Dale, and 1788–1847 GIFTS Swaziland, established 1992 an anonymous donor, and by Dr. Helen View of the Escorial (one of a pair), Gifts of Leslie and Brad Bucher: The Wild One, 2015 Tanour and Eleanor Freed, by exchange early 19th century Lutindzi grass, banana leaves, cactus, 2016.120 View of the Convento de Los Agustinos Darío Escobar, Guatemalan, born 1971 bone, wood, other grasses, and glass Recoletos, Madrid (one of a pair), Paisaje urbano I [Urban Landscape I], Wall Mirror, 2014 Märta Mattsson, Swedish, born 1982 early 19th century 2011 From the Saturday Morning series Fossil Brooch, 2012 Oil on metal Screenprint and wood Resin, vinyl, glass, and foil Cicadas, glitter, crushed copper ore, Museum purchases funded by the 2015.507 Museum purchases funded by silver, and resin Edward Oppenheimer, Jr. Charitable Trust an anonymous donor Museum purchase funded by in memory of Edward Oppenheimer, Jr.; Regina Silveira, Brazilian, born 1939 2016.25, 2016.26 the Design Council, 2016 in memory of Ms. Elly Thüring; Barbara 2016.121 C. Goedecke in honor of Helga Aurisch; Mea culpa, 2007 Overglaze on porcelain Joris Laarman, Dutch, born 1979 Rita Hendrix; and the Wolff-Toomim 2015.508 Produced by Joris Laarman Lab, Attai Chen, Israeli, born 1979 Foundation in memory of Dutch, established 2004 Untitled, 2014 Linda Finger Lester Rodríguez, Honduran, born 1984 Maker Chair (Pixel), 2014 Cardboard, paper, paint, glue, wood, 2016.6.1, 2016.6.2 Sin título, de la serie Desértica [Untitled, Resin silver, and stainless steel from the series Deserted], 2012 Museum purchase funded by Museum purchase funded by the estate Toothpicks on wood, ed. 3/3 the Mary Kathryn Lynch Kurtz of Martha and H. Malcolm Lovett, Sr., 2015.514 Charitable Lead Trust Fund by exchange, Friends of Decorative Arts, 2016.29 and the Design Council, 2016 2016.122 • • •

72 Latin American Art | Modern and Contemporary Art

Manuel Espinosa, Argentinean, Doris Salcedo, Colombian, born 1958 Martin Kline, American, born 1961 She’s got the whole world in her, 2015 1912–2006 Disremembered IV, 2015 Carbon Totem, 2004 Mannequin, wood, horn, papier-mâché, Sin título [Untitled], c. 1960 Silk thread and nickel-plated steel Carbon steel wax, disco ball, and found objects Ink on paper Museum purchase funded by the Caroline Gift of the artist and Stephen Mazoh Forbidden Fruit picker, 2015 Gift of Leonel Pedro Sicardi and María Wiess Law Accessions Endowment Fund 2015.339 Photomontage from printed sources, de las Nieves Calandrelli de Sicardi in and the Latin American Experience collage, spray paint, and cut fabric honor of María Inés Sicardi and her son 2015.664 Jenny Saville, British, born 1970 with ink on Mylar and paper board Maximiliano Rivarola in celebration of Witness, 2009 2016.79, 2016.81 the 20th anniversary of Sicardi Gallery Enio Iommi, Argentinean, 1926–2013 Oil on canvas 2016.11 Curvas y líneas en el espacio Gift of Martin Sosnoff Glenn Ligon, American, born 1960 [Curves and Lines in Space], 1947 2015.407 Untitled, 2016 PURCHASES Steel wire on marble base Inkjet print, edition 1/5 Museum purchase funded by PURCHASES 2016.142 Sebastián Gordín, Argentinean, the Latin Maecenas born 1969 2015.665 Mona Hatoum, Palestinian, Aristide Maillol, French, 1861–1944 Sea Stories #3, 2008 born Lebanon, 1952 La Rivière (The River), 1938–43 Wood veneer on carved MDF A Bigger Splash, 2009 Bronze, edition 4/6 Museum purchase funded by Brad and Purchases funded by the Caribbean Murano glass, edition of 6, 2016.153 Glen Bucher in honor of Mari Carmen Art Fund and the Caroline Wiess Law artist’s proof 2/2 Accessions Endowment Fund: Ramírez at “One Great Night in Museum purchase funded by Philip Worthington, British, born 1977 November, 2015” contemporary@mfah, the Caroline Wiess Shadow Monsters, 2004–ongoing Carlos Rojas, Colombian, 1933–1997 2015.534 Law Accessions Endowment Fund, and Java, Processing, BlobDetection, SoNIA, Segunda avenida, de la serie Américas: Rosanette and Harry H. Cullen and Physics software Cruzados [Second Avenue, from the Sebastián Gordín, Argentinean, 2015.418 2016.156 series Americas: Crossed], 1972 born 1969 Sin título, de la serie Américas: Horizontes Purchases funded by the Weird Tales #2 (Otoño) [Autumn], 2010 Francis Alÿs, Belgian, born 1959 [Untitled, from the series Americas: Caroline Wiess Law Accessions Wood veneer on carved MDF Don’t Cross the Bridge before You Horizons], 1970 Endowment Fund: Museum purchase funded by Alfred C. Get to the River, 2005–9 Sin título, de la serie Ingeniería de la Glassell, III in honor of Tom Buchholz, A multipart installation comprising 1 Visión: Pueblos [Untitled, from the series Mark Bradford, American, born 1961 Jason Buchman, Thad T. Dameris, W. painting, 3 altered postcards, 3 working Engineering of Vision: Pueblos], 1969–70 Circa 1992, 2015 Gregory Looser, Christopher M. Odell, sketches, 1 sculpture made up of 31 Oil on canvas Mixed media mounted on canvas Jan Rask, Ned Smith, Mike O. Strode, “shoe-boats,” 3 two-channel videos, 2016.36–2016.38 2015.527 and Winston Talbert at “One Great Night and 2 single-channel videos in November, 2015” Ólafur Elíasson, Icelandic, born 2016.176.1–6; 8–13 2015.535 MODERN AND Denmark, 1967 Your Lunar Nebula, 2015 • • • Sebastián Gordín, Argentinean, CONTEMPORARY ART Partially silvered crystal, acrylic paint, born 1969 Wangechi Mutu, Kenyan, born 1972 GIFTS and stainless steel Avon Fantasy Reader #9, 2008 2015.550 The End of carrying All, 2015 Wood veneer on carved MDF Three-channel video, edition 1/3 Simon Hantaï, French, Museum purchase funded by Randy Museum purchase funded by born Hungarian, 1922–2008 Martin Kline, American, born 1961 Allen, Anthony Duenner, Pedro Frommer, contemporary@mfah 2016 Tabula, 1980 Essence, 2014 Steve Gibson, Craig Massey, Henry J. N. 2016.80 Acrylic on canvas Encaustic on linen Taub II, and John Wombell in honor of Gift of Zsuzsa Hantaï, Paris 2015.552 Jim and Cherie Flores at “One Great Caline Aoun, Lebanese, born 1983 2015.336 Night in November, 2015” Yayoi Kusama, Japanese, born 1929 Pine Needles, 2015 2015.536 3,800 cast-copper-alloy pine needles John Zurier, American, born 1956 Aftermath of Obliteration of Eternity, 2009 Museum purchase funded by Chris Before and After Summer, 2014 Wood, metal, glass mirrors, plastic, acrylic Sebastián Gordín, Argentinean, Urbanczyk, with matching funds Oil on linen paint, LED lighting system, and water, born 1969 from Chevron, and by Gift of the Alex Katz Foundation edition 3/3 Pequeñas piezas para viola y piano vertical the Museum Collectors 2015.337 2016.34 [Small Pieces for Viola and Upright 2016.92 Piano], 2012 Matt Magee, American, Huma Bhabha, Pakistani, born 1962 Wood veneer on carved MDF Francis Alÿs, Belgian, born 1959 born France, 1961 Untitled, 2014 Bibi, Rouzat, 1911, 2014 Untitled (Study for Don’t Cross the Bridge Anemone, 2011 India ink and collage on Wood veneer on fiberglass reinforced before You Get to the River), 2005–9 Oil on panel chromogenic print polyester Altered postcard Gift of Greg Fourticq 2016.40 Museum purchases funded by Museum purchase funded by 2015.338 Wangechi Mutu, Kenyan, born 1972 Alfred C. Glassell, III at Lester Marks A Trinity, 2015 “One Great Night in November, 2015” 2016.176.7 2015.537, 2015.538 73 ACCESSIONS | Photography

PHOTOGRAPHY Unknown Artists, American Elaine Ling, Canadian, born 1956 Tang Desheng, Chinese, born 1947 [Nashville, Tennessee: Market Street Baobab, Tree of Generations #6, Mali, Plowing and Transport, One Machine GIFTS Scene of Courthouse Square], c. 1856 2008 with Many Uses, Dantu County, 1974, [Lexington, Kentucky], c. 1855 Incredible Rocks, Kangaroo Island printed later Gifts in Honor of Anne Wilkes Tucker 2 salted paper prints from glass negatives (Australia Stones #2), 2005 A Production Team Attends Political on the Occasion of Her Retirement: Gifts of Alex Novak 2 inkjet prints Night School, Litang, 1971, printed later 2015.217, 2015.218 Gifts of the artist From the series Educated Youth, 1969–79 Man Ray (Emmanuel Radnitzky), 2015.350, 2015.351 2 inkjet prints American, 1890–1976 Toshio Shibata, Japanese, born 1949 Gifts of Frederick Baldwin and [Photomontage Portrait of a Young Man], Juocho, Hitachi City, Ibaraki Prefecture, Akira Gomi, Japanese, born 1953 Wendy Watriss c. 1926 2008 Yellows (49 Daughters), 1993 2015.363, 2015.364 Gelatin silver print Chromogenic print 49 gelatin silver prints Gift of Manfred Heiting Gift of the artist and Laurence Miller Gift of Don A. Sanders Saul Leiter, American, 1923–2013 2015.90 2015.219 2015.352 Through Boards, 1957, printed later Chromogenic print Gay Block, American, born 1942 Ray K. Metzker, American, 1931–2014 Robert Clark, American, born 1961 Gift of Howard Greenberg and Susan Rosenthal, Camp Pinecliffe, Maine / Philadelphia, 2009 Mike Winchell, November 11, 1988 the Saul Leiter Foundation Susan Rosenthal Schwartz, Jenkintown, PA, From the series Autowackies Gelatin silver print 2015.365 1981, 2006, printed 2007 Gelatin silver print Gift of the artist From the series Camp Girls Gift of Ruth Thorne-Thomsen and 2015.354 Jess T. Dugan, American, born 1986 2 inkjet prints Laurence Miller Betsy, 2013 Gifts of the artist 2015.220 Carl Chiarenza, American, born 1935 From the series Every Breath We Drew 2015.205 Sulfite Lion, 1959 Inkjet print Harry Callahan, American, 1912–1999 Marble Madonna, Ipswich, MA, 1960 Gift of Catherine Edelman Gallery John Willis, American, born 1957 Chicago, 1950, printed 1970s Whirling Knothole, 1962 2015.366 Playground, Oglala, 2006 Gelatin silver print 3 gelatin silver prints Aerial View of a Prairie Dog Colony, 2007 Gift of Susan and Peter MacGill Gifts of the artist and Heidi Katz Catherine Wagner, American, born 1953 Bureau of Indian Affairs Housing, 2006 2015.221 2015.355–2015.357 Re-Classifying History III, 2005 Allen Housing, 2005 Chromogenic print Tin Teepee, 2004 Nobuyoshi Araki, Japanese, born 1940 Terry Evans, American, born 1944 Gift of the artist 5 gelatin silver prints Untitled, 2009 Edyth Pladson, May 2012 2015.367 Gifts of Jeanne and Richard S. Press Inkjet print collage Harley Bingenheimer, May 2012 2015.206, 2015.340–2015.343 Gift of Don A. Sanders From the series North Dakota Oil Boom Dawoud Bey, American, born 1953 2015.223 2 inkjet prints Mavis, 1995 Diane Arbus, American, 1923–1971 Gifts of the artist Dye diffusion transfer prints Printed by Neil Selkirk, American, Lee Friedlander, American, born 1934 2015.358, 2015.359 Gift of Stephen Daiter born England, 1947 Houston, 1977 2015.368 Albino sword swallower at a carnival, Md., Gelatin silver print Mayumi Lake, Japanese, born 1966 1970, printed later Gift of Fredericka Hunter and Ian Glennie Yumiko 3442, 2008, printed 2015 Brassaï (Gyula Halász), French, Gelatin silver print 2015.224 From the series Ex Post Facto born Hungary, 1899–1984 The Gay Block Collection, Chromogenic print [Woodland Plants], c. 1935 gift of Gay Block Tang Desheng, Chinese, born 1947 Gift of the artist Gelatin silver print 2015.213 Expressing Devotion for the Little Red Book, 2015.360 Gift of Françoise and Alain Paviot Fangqian Commune, 1976, printed later 2015.369 Robert Mapplethorpe, American, From the series Educated Youth, 1969–79 Tang Desheng, Chinese, born 1947 1946–1989 Inkjet print Country Doctors in a Farming Home Nancy Newhall, American, 1908–1974 Susan Sontag, 1984 Gift of Steven Evans Perform Outpatient Surgery, Chengzhang [Tree], c. 1947 Gelatin silver print 2015.248 Commune, 1971, printed later Gelatin silver print Gift of the Robert Mapplethorpe A Bath in the Sunshine after Work, Lishui, Gift of Janet Russek and Foundation Sergey Maximishin, Russian, born 1964 1975, printed later David Scheinbaum, Beaumont and 2015.214 Field Kitchen, Positions of Federal Troops From the series Educated Youth, 1969–79 Nancy Newhall Estate near the Village of Laha-Varanda, 2 inkjet prints 2015.370 Gregory Crewdson, American, born 1962 Chechnya, January 2000, Gifts of FotoFest International Untitled, 1992 printed 2015 2015.361, 2015.362 Beaumont Newhall, American, From the series Natural Wonder Quay in Colonial Style, Sousse, Tunisia, 1908–1993 Chromogenic print January 2001, printed 2015 Charles Sheeler, 1948, printed later Gift of Joan Morgenstern 2 chromogenic prints Gelatin silver print 2015.215 Gifts of the artist and Nailya Alexander Gift of Janet Russek and 2015.344, 2015.345 David Scheinbaum, Beaumont and Nancy Newhall Estate 2015.371 74 Christian Boltanski, French, born 1944 Arthur Leipzig, American, 1918–2014 Stanley Greene, American, born 1949 Tom Stappers, Dutch, born 1944 Composition Musicale, 1982 Divers, East River, 1948, printed later Maryam, the only young girl living on “Healing” (Diane dancing on house party), 3 dye destruction bleach prints Gelatin silver print Chechen Island. Her mother, Patimat, is the Club Exposure, Scheveningen 30/7/95, 1995 Gift of Raphael and Jane Bernstein Gift of Eve France in honor of Anne island’s nurse. Her father was killed at sea, From the series House Parties 2015.372 Wilkes Tucker and in memory of her while drunk, and she lost her two brothers to Gelatin silver print cousin Arthur Leipzig cancer. She stays on the island because of her Gift of the artist Justin Kimball, American, born 1961 2015.222 mother. Chechen Island, Dagestan, 2015.381 Florence Road, 2007–11 November, 2013, 2013 Cecile Street, kitchen, 2007–11 Danny Lyon, American, born 1942 From the series Hidden Scars Carl Chiarenza, American, born 1935 River Road, 2007–11 Printed by Chuck Kelton, American, Inkjet print Mephisto, North Shore, Massachusetts, From the series Pieces of String born 1952 2015.375 1958–59 3 inkjet prints The Destruction of Lower Manhattan, Gelatin silver print Gifts of Jeanne and Richard S. Press 1966–67 Berenice Abbott, American, 1898–1991 Gift of the artist and Heidi Katz in honor 2015.376–2015.378 Portfolio of 76 gelatin silver prints Magnetism and Electricity I, c. 1958 of Del Zogg for his commitment to the Gift of Michael and Jeanne Klein Gelatin silver print Museum of Fine Arts, Houston Douglas Kent Hall, American, 1938–2008 in honor of Anne Wilkes Tucker 2015.471 2015.440 Paris, 1980 2015.249 Gelatin silver print Minor White, American, 1908–1976 Sid Grossman, American, 1913–1955 Gift of Betty Moody Gifts of Mara Vishniac Kohn: Ice Study, 1969 Country, c. 1947 2015.380 Maine, 1960 Black Christ, c. 1945 Roman Vishniac, American, born Russia, 2 gelatin silver prints 2 gelatin silver prints Richard Misrach, American, born 1949 1897–1990 2015.472–2015.473 Gifts of Arline and Ben Guefen Yosemite (Burnt Forest & Half-Dome), [Radensdorf Train Station in the 2015.442, 2015.444 California, 1988 Spreewald, near Berlin], 1933–34 • • • Chromogenic print [Holy books in the Beit Midrash Aaron Siskind, American, 1903–1991 Gift of the artist (House of Study), Mukacevo], 1935–38 Les Krims, American, born 1942 [Peeling Paint], 1948 2015.506 Grandfather and Granddaughter, Warsaw, Young Person of Ambiguous Gender, Gelatin silver print 1935–38 Pretending to Be a Painting of a Young Boy, Gift of Stefani and Loren Twyford Arno Rafael Minkkinen, American, A porter asleep on top of his carrying box. “Art Alive” Annual Event, a Postmodern 2015.447 born Finland, 1945 He is holding on to his most valuable Strategy Designed to Deconstruct, Relativize, The Shoulder Blades of Lianzhou, 2006 possession: his shoes, Warsaw, 1935–38 and Trivialize Art, Albright-Knox Art James Welling, American, born 1951 Inkjet print The Main Street, Slonim, 1935–38 Gallery Lawn, June 2005 C-69, 1981 Gift of the artist [Wife of Nat Gutman, a Porter, Warsaw], Mary’s Middle-Class, 1985, printed 2001 From the series Drapes 2015.522 1935–38 2 inkjet prints Gelatin silver print [Old Woman Searching for Work, Gifts of Del and Sharon Zogg Gift of the artist • • • Warsaw or Lublin], 1935–38 2015.347, 2015.348 2015.451 7 gelatin silver prints William Henry Fox Talbot, British, 2015.269, 2015.271, 2015.273–2015.277 Rodrigo Valenzuela, American, born 1982 Bruce Davidson, American, born 1933 1800–1877 Hedonic Reversal #14, 2014 From the series East 100th Street, 1966, Summit of the Tower of Lacock Abbey, Roman Vishniac, American, born Russia, Inkjet print printed later Taken from the Roof of the Building, 1897–1990 Gift of Leslie and Brad Bucher 10 gelatin silver prints October 14, 1840 An Elder of the Village, Vysni Apsa, 2015.349 Gifts of William Carter Salted paper print from paper negative Carpathian Ruthenia, 1935–36 2015.454–2015.463 Gift of Hans P. Kraus, Jr. and Mariana [Sara, Sitting in Bed in a Basement John Cohen, American, born 1932 Cook in honor of Anne Wilkes Tucker Dwelling, with Stenciled Flowers above Macchu Tussec Dancers, Juli, Peru, 1956, Diane Arbus, American, 1923–1971 2015.91 her Head, Warsaw], 1935–37 printed 2014 Printed by Neil Selkirk, American, Storekeeper with Nothing to Sell, Two Girls on Road, 1959, printed later born England, 1947 Irving Penn, American, 1917–2009 Warsaw or Kazimierz, Krakow, 1935–38 2 gelatin silver prints Tattooed man at a carnival, Md., 1970, Many-Skirted Indian Woman (B), 1948 3 platinum prints Gifts of the American Academy of Arts printed later Gelatin silver print 2015.270, 2015.272, 2015.278 and Letters, New York Gelatin silver print Gift of The Irving Penn Foundation, 2015.373, 2015.374 The Gay Block Collection, Gifts of Joan Morgenstern: donated in gratitude for Anne Wilkes gift of Gay Block Tucker’s many years of support and Douglas Kent Hall, American, 1938–2008 2015.464 Brian Finke, American, born 1976 friendship Mesquite, Texas, 1973 U.S. Marshals, 2014 2015.216 Gelatin silver print Inkjet print Gift of Betty Moody 2015.346 2015.379

75 ACCESSIONS | Photography

William Carter, American, born 1934 Abelardo Morell, Cuban, born 1948 Testing at Ford Motor Co., 1948 Unknown Artists, American Windmill, Lake Valley, New Mexico Pietà by El Greco, 1993 Tosca at the Met, 1958 [Two Seated Men], 1845–55 (Ghost Town), c. 1971 Shiny Books, 2000 Bing Crosby Rehearsing with Saxophonist [Seated Man and Standing Woman], New York City—Washington Square, Gelatin silver print; inkjet print Bud Freeman at Eddie Condon’s Apartment, 1850s c. 1962 Gifts of John A. Mahon NY, 1946 [Man with Crossed Hands], 1845–55 Parade, Kansas City, Missouri, 1973 2015.516, 2015.517 12 gelatin silver prints [Seated Woman in Dress], 1845–55 Marin County, California, 1970 2015.553, 2015.588–2015.598 [Man with Hand at Waist], 1850s [Men Playing Chess], c. 1962 Gifts of Anne Wilkes Tucker: [Man with Tie], 1845–55 Kurdistan, Iraq, 1964, printed 2005 Gifts of Adam and Susan Finn: [Man in Double-Breasted Jacket], 1845–55 6 gelatin silver prints Charles Wong, American, born 1922 [A Gentleman], 1850s Gifts of the artist Corner of Grant and Jackson, San Francisco, Esther Bubley, American, 1921–1998 [Man with Dark Hair Resting Arm], 2015.465–2015.470 1951 14-Year-Old Texas Boy, 1945 1845–55 Gelatin silver print [Dogs Running in Snow], 1958–65 [Man with Beard], 1845–55 Gifts of Clinton T. Willour: In memory of Lewis Baltz Spectators at the Parade to Recruit Civilian [Man Holding Book], 1845–55 2015.518 Defense Volunteers, Washington, DC, 1943 Daguerreotypes in leather cases Jon Naar, American, born England, 1920 3 gelatin silver prints 2015.556–2015.559, 2015.561, Betty Parsons with Alex Liberman Athena Tacha, American, born Greece, 2015.554, 2015.558, 2015.571 2015.563–2015.568, 2015.572 Sculpture, 1963, printed later 1936 Inkjet print Untitled, 1982 Gjon Mili, American, 1904–1984 George K. Warren, American, 1832–1884 In celebration of Moody Gallery’s Gelatin silver print collage Stroboscopic Image of Man Demonstrating [Man with Bow Tie], 1850s 40th anniversary 2015.519 Arm and Wrist Action Used in Fly Casting, Daguerreotype in leather case 2015.490 1947 2015.560 Harry Callahan, American, 1912–1999 Senator Howard Baker and Minority Will Michels, American, born 1968 Highland Park, Michigan, 1941–42 Council Fred Thompson Listening to Geoffrey K. Johnson, American Motion Study No. 2, 2011 Gelatin silver print Proceedings during Watergate Hearings, [Bearded Man], 1845–55 Salted paper print 2015.520 Washington, DC, 1973 Daguerreotype in leather case 2015.491 Stroboscopic Image of Rope Skipping 2015.562 Mathew B. Brady, American, 1823–1896 Champion Gordon Hathaway in Action, Christopher Landis, American, born 1954 [Grant Viewing Hooker’s Battle Site from NY, 1947 Root Gallery, American, Holbrook, AZ #11, 1990 above, Lookout Mountain, Battle above Stroboscopic Image of Rope Skipping active c. 1846–1860 Gelatin silver print the Clouds], November 28, 1863, Champion Gordon Hathaway Performing George Smith Cook, American, In honor of Allison Pappas in her new printed later Complicated Steps, NY, 1947 1819–1902 position as Assistant Curator at the Gelatin silver print Figure Skater Carol Lynne’s Movements [Man with Waxed Moustache], c. 1856–60 Museum of Fine Arts, Houston 2015.521 Illustrated by Flashlights Embedded in Daguerreotype in leather case 2015.658 Each Boot, NY, 1947 2015.569 Emmet Gowin, American, born 1941 Drummer Gene Krupa Performing at Earlie Hudnall, Jr., American, born 1946 Edith, Chincoteague, Virginia, 1967 Gjon Mili’s Studio, NYC, 1941 Unknown Artist, American Arnett Cobb, Maceba Theater, 1986 Gelatin silver print 6 gelatin silver prints [Man with Dark Hair], 1850s Gelatin silver print In honor of Allison Pappas 2015.574, 2015.575, 2015.578, 2015.579, Daguerreotype in thermoplastic case In honor of Mike and Mickey Marvins 2016.111 2015.581, 2015.582 2015.570 2015.659 Gifts of Jordan Finn: Arnold Newman, American, 1918–2006 Samuel Broadbent, American, 1810–1880 Cynthia Morgan Batmanis, Gerald R. Ford, 1975 [Man with Tie], c. 1850s Gjon Mili, American, 1904–1984 American, born 1939 Boot Hill Saloon Interiors, 1989 Daguerreotype in leather and enamel case Actress Jane Fonda, 1961 Lacock Abbey, 2011 George Segal, 1976 2015.573 Salted paper print from glass negative Artillery Drill, Horses and Carriages Pablo Picasso, 1954 In honor of Malcolm Daniel Colliding, 1941 Pablo Picasso, 1954 Gifts of Mike and Mickey Marvins: 2015.660 Emmet Kelly, c. 1950, printed later 5 gelatin silver prints Gaseous Elements Spilling Out of Pipe, 2015.583–2015.587 Unknown Artist, American • • • Air Reduction Co., 1942 [Three Children], 1870s Jimmy Durante at Piano, 1944 Gifts of Judith Hardy Stashin: Tintype Lisa Kereszi, American, born 1973 Lauren Bacall in Bed in “Goodbye Charlie,” 2015.599 Bus Stop with Sea Spray, Governors Island, 1959 Jesse H. Whitehurst, American, 2003 Maneuvers Indoors, Part of Artillery Drill, 1820–1875 Unknown Artist, American Chromogenic print 1941 [Man with Double-Breasted Jacket [Gem Tintype Album], 1860s–80s Gift of John A. Mahon Singer Mildred Bailey and Louis Armstrong and Bow Tie], 1845–55 94 tintypes 2015.515 Playing Trumpet in Esquire Jam Session, Daguerreotype in leather case 2015.600 1944 2015.555 Stroboscopic Image of Man Demonstrating Arm and Wrist Action Used in Fly Casting, 1947 76 André Adolphe-Eugène Disdéri, French, Marcos Chamudes, Chilean, 1907–1989 Bruce Gilden, American, born 1946 Alma Lavenson, American, 1897–1989 1819–1889 Pablo Picasso, c. 1948 New York City, 1986 Self-Portrait, 1932 [Carte-de-Visite Album], 1860s–80s Rufino Tamayo, 1943 Gelatin silver print Gelatin silver print 48 albumen silver prints from Pablo Picasso, 1948 2015.624 2015.635 glass negatives Minero Boliviano—“La familia del 2015.601 hombre”—Museo de Arte Moderno de N.Y. Eugene Omar Goldbeck, American, Rupert S. Lovejoy, American, 1885–1975 [Minero Boliviano—“The Family of 1892–1986 Between the Lines—Dawn, c. 1919 A. Aubrey Bodine, American, 1906–1970 Man”—The Museum of Modern Art, [Eugene Goldbeck and Assistant Gum bichromate print [Cracked Land], c. 1950 N.Y.], c. 1952 Sam Rothwell, Austin, Texas], 1925, 2015.636 Gelatin silver print 4 gelatin silver prints printed later 2015.602 2015.611–2015.614 Dedication of the New Bridge Connecting Dorothy Norman, American, 1905–1997 the United States with Mexico—Laredo, Alfred Stieglitz, An American Place, Mathew B. Brady, American, 1823–1896 Edward Sheriff Curtis, Texas, and Laredo, Tamaulipas, Mexico, 1934, printed c. 1950 Battle Field of Cedar Mountain, 1862–65 American, 1868–1952 February 22, 1922, printed later Gelatin silver print Albumen silver print from glass negative Yuma Maiden, c. 1907 Indoctrination Division, Air Training 2015.637 2015.603 Hapchach-Yuma, c. 1907 Command, Lackland Air Base, Yuma Girl, c. 1907 San Antonio, Texas, July 19, 1947 Hal Phyfe, American, 1892–1968 Hugo Brehme, Mexican, born Germany, 3 photogravures 3 gelatin silver prints Lili Damita, 1928–35 1882–1954 2015.615–2015.617 2015.625–2015.627 Gelatin silver print Amecameca, 1920s 2015.638 Gelatin silver print with applied color Zdenko Feyfar, Czech, 1913–2001 Philippe Halsman, American, 2015.604 Countess Waldstein (104 Years Old), 1955 born Latvia, 1906–1979 Eliot Porter, American, 1901–1990 Gelatin silver print Aldous Huxley, 1950s, printed later Sculptured Rock, near House Rock Rapids, Frédéric Brenner, French, born 1959 2015.618 Gelatin silver print Marble Canyon, Arizona, June 13, 1967, In the Hungarian Quarter of Mea Shearim, 2015.628 printed 1981 Jerusalem (Dans le quartier hongrois de William Henry Fox Talbot, British, From the portfolio In Wilderness Mea Shearim, Jerusalem), c. 1980 1800–1877 Leopold Hugo, American, 1866–1933 Is the Preservation of the World Gelatin silver print Bust of Patroclus, August 9, 1843, [Landscape with Trees], c. 1910 Dye transfer print 2015.605 printed later Gelatin silver print 2015.639 Salted paper print from paper negative 2015.629 Heinrich Kühn, Austrian, 1866–1944 2015.619 George A. Tice, American, born 1938 Study, 1911 William Henry Jackson, American, Country Road, Lancaster, Pennsylvania, From Camerawork, January 1911 Nadar (Gaspard Félix Tournachon), 1843–1942 1961, printed 1984 Photogravure French, 1820–1910 Mancos Canyon, Looking Down Gelatin silver print 2015.606 Baron Taylor, c. 1880 from Near Its Mouth, 1870s 2015.640 From Galerie Contemporaine [Canyon de Chelly], c. 1880 Agustín Víctor Casasola, Mexican, Woodburytype 2 albumen silver prints from Unknown Artist 1874–1938 2015.620 glass negatives [Woman with Horse], 1890s Child Soldier (Niño Soldado), June 1914, 2015.630, 2015.631 Cyanotype printed later Pierre Petit, French, 1832–1909 2015.641 Female Soldier Visits Federal Prison Littré, c. 1880 Wu Jialin, Chinese, born 1942 (Mexico) (Soldadera Visita Cuartel From Galerie Contemporaine Funing Yunnan, 1992 Francis Bedford, English, 1815–1894 Federal [Mexico]), c. 1912, printed later Woodburytype Gelatin silver print Carnarvon Castle, 1853–59 Dance in Santa Anita (Mexico) 2015.621 2015.632 Albumen silver print from glass negative (Baile en Santa Anita [Mexico]), 1920s, 2015.642 printed later Arnold Genthe, American, Geir Jordhal, American and Norwegian, Female Soldier with Three Children born Germany, 1869–1942 born 1957 Jesse H. Whitehurst, American, (Mexico) (Soldadera con tres Niños [Woman in Kimono, Sand Mountain, Nevada, 1990 1820–1875 [Mexico]), c. 1910, printed later Leaning Against Fence], 1908 Gelatin silver print John Robert McDowell Livermore, c. 1862 4 gelatin silver prints Gelatin silver print 2015.633 Salted paper print from glass negative 2015.607–2015.610 2015.622 2015.643 Dorothea Lange, American, 1895–1965 Mario Giacomelli, Italian, 1925–2000 Daughter of migrant Tennessee coal miner. Unknown Artist, American Dalla poesia di Permunian Living in the American River Camp near [World War I Military Portraits from (The Poetry of Permunian), 1953–63 Sacramento, California, November 1936 the United States Army, 105th Infantry, Gelatin silver print Gelatin silver print Machine Gun Company], 2015.623 2015.634 1914–18 16 gelatin silver prints 2015.644

77 ACCESSIONS | Photography

Carleton Watkins, American, 1829–1916 PURCHASES William Lake Price, British, 1810–1896 Purchases funded by Printed by Isaiah West Taber, American, Robinson Crusoe, c. 1856 Joan Morgenstern: 1830–1912 György Lorinczy, Hungarian, 1935–1981, Albumen silver print from glass negative The Bridal Veil Falls, 900 feet, Yosemite, active United States Museum purchase funded by Jon Tonks, British, born 1981 California, 1865–66, printed 1880s New York, New York No. 15, 1968 John A. MacMahon A Gather of Sheep, Long Island Farm, Albumen silver print from glass negative Gelatin silver print 2015.261 Falkland Islands, 2013 2015.645 Museum purchase funded by From the series Empire the Mary Kathryn Lynch Kurtz Charitable Purchases funded by the Buddy Taub Inkjet print Foundation, Dennis A. Roach and Eudora Welty, American, 1909–2001 2015.266 Lead Trust Fund in honor of the great Jill Roach, Directors: Ruins of Windsor, 1942 collaboration between Anne Wilkes Gelatin silver print Tucker and Mary Kathryn Lynch Kurtz Ádám Magyar, Hungarian, born 1972 Charles Clifford, English, 1819–1863 2015.646 2015.207 Urban Flow 1364, New York, 2009, Zaragoza, Courtyard of the House of the printed 2015 Infantes (Zaragoza, Patio de la Casa de Marion Post Wolcott, American, Purchases in Honor of Anne Wilkes Inkjet print los Infantes), 1860 1910–1990 Tucker on the Occasion of Her 2015.399 Retirement: Albumen silver print from glass negative Rodney, Mississippi, August 1940 2015.262 Gelatin silver print Pam Connolly, American, born 1959 Gordon Parks, American, 1912–2006 2015.647 Fanda Smoking, 2014 Children with Doll, Washington, D.C., Louis-Émile Durandelle, French, Inkjet print 1942, printed later 1839–1917 Eugene A. Delcroix, American, In honor of Terri Zalta Gelatin silver print The New Paris Opera: Ornamental 1891–1967 2015.403 Museum purchase funded by Sculpture (Le Nouvel Opéra de Paris, Old Stairway, Toulouse St., 1930–50 Bill and Sara Morgan and Nina and Sculpture Ornementale), 1866–75 Gelatin silver print Bernard Alfieri, British, 1860–1939 Michael Zilkha Bound volume containing 45 albumen 2015.648 Fantastic Figures, possibly 1920s 2015.210 silver prints from glass negatives Gelatin silver print 2015.267 • • • In honor of Carol Silverman Johnston John Davies, British, born 1949 2016.15 Monkwearmouth Colliery, Sunderland, 1983 Nadar (Gaspard Félix Tournachon), Marcela Magno, Argentinean, born 1966 Gelatin silver print French, 1820–1910 38°1’24.75”S | 67°39’11.36”O | 17 Sep 2013, • • • Museum purchase funded by Joan Adrien Tournachon, French, 1825–1903 2013 Morgenstern and Photo Forum 2015 [Pierrot in Pain], 1854 From the series Land Vera Lutter, German, born 1960 2015.212 Salted paper print from glass negative Inkjet print San Marco, Venice XX: December 3, 2005, 2016.42 Gift of the artist and 2005 William Klein, American, born 1928 FotoFest International Gelatin silver prints Pachinko Doorman, Tokyo, 1961, Svetlana Kopystiansky, American, 2016.32 Museum purchase funded by the Caroline printed later born Russia, 1950 Wiess Law Accessions Endowment Fund Gelatin silver print Untitled, 1993–94 James Welling, American, born 1951 2015.285 Museum purchase funded by Deborah From the series Shadow of Gravitation In Search of . . . , 1981, printed 2006 Bay and Edgar Browning 6 collages of printed postcards and From the series Drapes Purchases funded by the S. I. Morris 2015.247 chromogenic prints Photography Endowment: Gelatin silver print 2016.65–2015.70 Gift of Morris Weiner Karen Knorr, American, born 1954 Jesse H. Whitehurst, American, 2016.43 There are hardly any pink bits left. Before Purchases funded by Franci Neely: 1820–1875 the War you just had to look at the map. [Copy of a Painted Portrait], 1850–52 Unknown Artist, American There were marvelous pink bits all over, Félix Moulin, French, 1802–1879 Daguerreotype with applied color [Seated Man with Top Hat and Cane], India, Africa, the Isles, one fourth of the [Reclining Nude], 1853 2015.404 1890s–1900s world was pink, English, 1979–81, Albumen silver print from glass negative Gelatin silver print printed 2015 2015.263 Bernard Alfieri, British, 1860–1939 Gift of William J. Hill From the series Belgravia Fantastic Figures, possibly 1920s 2016.74 Gelatin silver print Dawoud Bey, American, born 1953 Gelatin silver print with applied color Museum purchase funded by Birmingham: Four Girls, Two Boys, 2014 2016.14 Various Photographers Photo Forum 2015 6 inkjet prints 30 Founders Portfolio, Houston Center 2015.402 2015.492 Kenneth Josephson, American, born 1932 for Photography, 1963–2014 Western U.S., 1985, printed 2012 31 photographs, various processes • • • Unknown Artist, French Gelatin silver print Gift of Friends and Supporters of Le Commandant Anatole Charlemagne, 2016.33 Houston Center for Photography 1846–51 2016.135 Daguerreotype • • • 2016.133

78 Josiah Johnson Hawes, American, O. H. Willard, American, died 1875 Luis Mallo, American, born Cuba, 1962 Nicholas Nixon, American, born 1947 1808–1901 Infantry, Private, 1866 No. 58, 2005, printed 2015 The Brown Sisters, Wellfleet, Massachusetts, Albert Sands Southworth, American, Infantry, Sergeant Major, 1866 From the series In Camera 2015 1811–1894 Engineer, Musician, 1866 Inkjet print Gelatin silver print [Martha Ripley Hawley and Her Light Artillery, Private, 1866 Museum purchase funded by Joan Museum purchase funded by Daughter-in-Law Harriet Tobey Hawley], 4 albumen silver prints from glass negatives Morgenstern in honor of Ed Osowski Nina and Michael Zilkha 1850–55 Museum purchases funded by Alexander 2015.530 2015.549 Daguerreotype McLanahan, Jonathan Finger, Unal Museum purchase funded by the Baysal, Michael Casey, Clayton Chambers, William Klein, American, born 1928 Marcela Magno, Argentinean, born 1966 S. I. Morris Photography Endowment Dean Gladden, Edward Griffin, and Kevin Cineposter, Tokyo, 1961, printed later 38°4’8.34”S | 67°49’16.56”O | 14 Ene 2012, and The Bayou Bend Collection, funded Lewis in honor of Jerry Finger at Gelatin silver print 2012 by The Brown Foundation, Inc., in “One Great Night in November, 2015” Museum purchase funded by Eddie Allen From the series Land memory of Michael K. Brown 2015.414–2015.417 in honor of Wally Wilson and Will Mathis Inkjet print 2015.405 at “One Great Night in November, 2015” Museum purchase funded by Mr. K. C. Jeff Widener, American, born 1956 2015.531 Weiner in honor of Mike McLanahan at Sama Alshaibi, American, born 1973 Tank Man—Chinese Man Stands in Front “One Great Night in November, 2015” Razor Wire, 2008 of Tanks, Tiananmen Square, Beijing, Purchases funded by Sara Morgan: 2015.657 From the series Between Two Rivers China, June 5, 1989 Inkjet print Thermal transfer print Emil Vogt, German Harry Callahan, American, 1912–1999 Museum purchase funded by Museum purchase funded by F. Richard Second Company, Fourth Naval Artillery [Camera Movement], 1946 Pivot Point Advisors, LLC, and Pappas and David Heymann in honor of Section, Cuxhaven, April 1912 Gelatin silver print the Photography Endowment Anne Wilkes Tucker Gelatin silver print with applied color, Museum purchase funded by 2015.406 2015.449 photomontage Morris Weiner 2015.539 2016.5 Predrag Vuckovic, Serbian, born 1973 Purchases funded by Krista and Michael Dumas: Fisherman on Tara River, Montenegro, Étienne Carjat, French, 1828–1906 Peter Sekaer, American, born Denmark, August 30, 2012 Gustave Courbet, 1870s 1901–1950 Alexandre Bertrand, French, 1822–c. 1871 From the series Fly Fishing on Tara River Henry Monnier, c. 1865 7th Avenue, Nashville, Tennessee, 1939 [Postmortem Portrait of a Child], Chromogenic print Alexandre Dumas, père, c. 1862 Gelatin silver print mid-1850s Museum purchase funded by Gelatin matrices Museum purchase funded by Franci Daguerreotype with applied color Mrs. Clare A. Glassell in memory of 2015.542–2015.544 Neely, in honor of Andrew E. Beck III; 2015.493 Alfred C. Glassell, Jr. Carey Shuart; and the S. I. Morris 2015.411 • • • Photography Endowment George Barker, Canadian, 1844–1894 2016.27 Purchases funded by Cave of the Winds, Niagara Falls, c. 1890 Viktor Grebnev, Russian, born 1907 Clinton T. Willour: Albumen silver print from glass negative The Operational Commander of the 3rd Trevor Paglen, American, born 1974 2016.129 Army Which Was the First to Storm the NSA-Tapped Fiber Optic Cable Landing Ellen Garvens, American, born 1955 Reichstag and Raise the Victory Flag on Site, New York City, New York, United Attraction, 2014 Victor Plumier, Belgian, 1821–1878 the Roof, May 1945, printed 1960s States, 2015 From the series Parallel Play [Mother and Son], 1850s The Return of German Civilians, Chromogenic print; mixed media on HappySad, 2014 Daguerreotype May 1945, printed 1960s paper navigational chart From the series Subset 2016.131 2 gelatin silver prints Museum purchase funded by The Francis 2 inkjet prints Purchases funded by Joan Morgenstern L. Lederer Foundation and Clare A. Glassell 2015.412, 2015.413 • • • and Geoffrey and Barbara Koslov 2016.28 2015.540, 2015.541 Étienne Neurdein, French, 1832–1918 Thomas Demand, German, born 1964 Daido Moriyama, Japanese, born 1938 Sarcophagus of Victor Hugo in the Control Room, 2011 Scherer & Nabholz, Swiss, active Moscow Workshop no. 6, 1976, printed 1981 Pantheon, Paris, 1885 Chromogenic print 1860–1911 Gelatin silver print Albumen silver print from glass negative Museum purchase funded by “One Great Saint Basil’s Cathedral, Moscow, c. 1860 Museum purchase funded by members In honor of Malcolm Daniel Night in November, 2015” Salted paper print with varnish from of the Photography Subcommittee in 2016.46 2015.528 glass negative honor of Yasufumi Nakamori Museum purchase funded by Harry M. 2016.84 Sara Macel, American, born 1981 Marcia Resnick, American, born 1950 Reasoner in honor of Macey Reasoner at Plane over Baton Rouge, Louisiana, 2009, She became an expert shoplifter, 1978 “One Great Night in November, 2015” Jones Precision Photo Finish, American printed 2015 From the series Re-visions 2015.548 Photo for Win, Roosevelt Raceway, From the series May the Road Rise Gelatin silver print Third Race, June 17, 1961, 1961 to Meet You Museum purchase funded by Larry Horton Gelatin silver print Inkjet print in honor of Kathryn Allison Mann at Museum purchase funded by Susie 2016.137 “One Great Night in November, 2015” Morris in memory of Isabel B. Wilson 2015.529 2016.85 • • • 79 ACCESSIONS | Photography | Prints and Drawings

Louis Lafon, French, active 1870s–1890s Franco Fontana, Italian, born 1933 PRINTS AND Keith Sonnier, American, born 1941 [Railroad Viaduct], 1879–80 Swimming Pool, 1981 DRAWINGS Study for Neon Wrapping Incandescent, Albumen silver print from glass negative Chromogenic print 1968 Museum purchase funded by Robin Museum purchase funded by Manfred GIFTS Colored pencil and graphite with Gibbs with love to his wife Lela at Heiting, John Parsley, Anne Wilkes erasing on graph paper “One Great Night in November, 2016” Tucker, Clinton T. Willour, and Gifts of Dr. and Mrs. Craig Calvert: Gift of the artist 2016.128 Joan Morgenstern in honor of 2015.384 Denise Bethel Hanns Lautensack, German, 1524–1566 Unknown Artist, French 2016.143 A River Town, 1551 Jean Carruthers Wetta, American, Published by Calavas Frères, French, Etching on laid paper, state II/II born 1944 active 1875–1930 Roger Mayne, British, 1929–2014 A Cabin and Two Pines, 1551 Strange Light, 1995 [Sample of Lace], 1880s Train Spotters, Paddington Station, 1957 Etching on laid paper, state II/II Oil on paper Cyanotype Gelatin silver print 2015.382.1, 2015.382.2 Gift of Jerry Williams in loving memory Museum purchase funded by Bryn Larsen Museum purchase funded by of James Lee Reynolds in honor of Stephanie Larsen Burt Nelson, John Parsley, and Giovanni Domenico Tiepolo, Italian, 2015.385 2016.130 Photo Forum 2016 1727–1804 2016.144 The Holy Family descending a forest path, Mara Held, American, born 1954 Kevin Cooley, American, born 1975 near a flock and some shepherds, Number 21, Pulce 8, 2013 Controlled Burn #2, 2013 Will Michels, American, born 1968 from the series Idee Pittoresche sopra la Egg tempera and graphite on Arches Inkjet print The Flagellation—Blurred, 2014 fugga in Egitto [Picturesque Ideas on the watercolor 300 lb. wove paper Museum purchase funded by the From the series Studies Flight into Egypt (The Flight into Egypt)], Gift of the artist and McClain Gallery Museum Collectors Salted paper print c. 1752, published 1753 2015.386 2016.134 Museum purchase funded by Etching on Venetian laid paper, state II/II various donors 2015.392 Lily Cox-Richard, American, born 1979 Roberto Fernández Ibáñez, Uruguayan, 2016.148 Untitled (Lead and Copper), 2015 born 1955 Adriaen van Ostade, Dutch, 1610–1685 Hammered lead and found copper wire El bretel / The Strap, 1990 Purchases funded by Die Trinkgesellschaft or Le Gourmet en on wove paper From the series Fotografías Pendientes / Photo Forum 2016: compagnie (The Breakfast), c. 1664 Gift of Leslie and Brad Bucher Pending Photographs Etching with engraving on laid paper, 2015.387 Gelatin silver print Victoria Sambunaris, American, state IX/XII Museum purchase funded by born 1964 2015.393 Harold Mendez, American, born 1977 VS-15-10 (Galveston), 2015 Geoffrey C. Koslov We were the mist, the smoke curtain, 2016.136 Chromogenic print Ugo da Carpi, Italian (Modenese), that hid everything, 2015 2016.149 1450–1520/32 Electrostatic toner transfer with white Julie Brook Alexander, American, After Raphael, Italian, 1483–1520 spray enamel paint, graphite, watercolor, born 1957 Roberto Fernández Ibáñez, Sybil Reading, Facing Right, c. 1518 lithographic crayon, soot, paper fibers, Points of View, 2014 Uruguayan, born 1955 Chiaroscuro woodcut in black and and vegetable oil on reclaimed From the series Parables, The Hand—9, 2016 tan on laid paper ball-grained aluminum lithographic plate Perspectives, and Epiphanies From the series The Hand 2015.394 Gift of Leslie and Brad Bucher (In the Red Cave) Inkjet print 2015.388 Museum purchase funded by Joan Gelatin silver print Master M. Z., German, active Bavaria, Morgenstern, Clinton T. Willour, and 2016.150 late 15th–early 16th century Demetrius Oliver, American, born 1975 Anne Wilkes Tucker in honor of Das Martyrium der Heiligen Katharina Neutrino, 2013 Rick Wester Weegee (Arthur Fellig), American, (The Martyrdom of St. Catherine), Enamel on watercolor paper 2016.138 born Austria, 1899–1968 before 1500 Gift of Greg Fourticq Self-Portrait (Kaleidoscopic), 1950s Engraving on laid paper 2015.389 Simon Starling, British, born 1967 Gelatin silver print 2015.395 Recursive Plates (Recursive Plates [Glass 2016.151 Gifts of Clinton T. Willour: Skull, Casa Luis Barragán]), 2015 • • • Daguerreotype Pierre Cordier, Belgian, born 1933 Jillian Conrad, American, born 1970 Museum purchase Chemigram (Chimigramme), August 27, Vincent Valdez, American, born 1977 Untitled [envelope drawing], 2011 2016.140 1976 Printed by Hare and Hound Press, Collage of envelope and cut frosted Gelatin silver print San Antonio polyester with graphite and colored Simon Starling, British, born 1967 In honor of Allison Pappas The Strangest Fruit, 2014 pencil on card Daguerreotype Plate, Gold-toning Stand, 2016.152 Lithographs on wove paper, edition 7/10 2015.390 2014 Gift of Kerry F. Inman and Denby Auble Silver-plated copper, Meccano 2015.383 Museum purchase 2016.141

80 Marie Leterme, American, born Belgium, Jill Moser, American, born 1956 Hedwige Jacobs, Dutch, David Hockney, English, born 1937 1942 Untitled (For GD), 1993 born Singapore, 1971 Printed at Pratt Graphics Center, New York Totem series #2, 2015 Black and brown inks on wove paper Pool House, 2007 Published by Associated American Monotype in colors and monoprint in red Gift of Stephen Mazoh and Martin Kline Blue ballpoint pen, graphite, and orange Artists, New York with blind embossment on wove paper 2015.391 fiber-tip marker on wove paper Edward Lear, 1964 In honor of Rolf Pressier 2015.512 Etching, aquatint, and soft ground 2015.396 Martin Kline, American, born 1961 aquatint with scraping on wove paper, Abstraction Spectrum, May 29, 1998 Stanley William Hayter, English, edition 24/50 Leamon Green, American, born 1959 Colored inks over graphite on hot press 1901–1988 2016.55 Stampede, 2015 watercolor paper Untitled, 1946 Lithograph on wove paper, artist’s proof Gift of Stephen Mazoh Watercolor on wove paper Wes Mills, American, born 1960 In honor of Geri Hooks 2015.448 2016.24 Printed by Michael Leiner at 2015.397 Aurobora Press, San Francisco Oscar Bluemner, American, Georg Baselitz, German, born 1938 Published by Aurobora Press, Grace Phillips, American, born 1942 born Germany, 1867–1938 Untitled (Kopf), 1984 San Francisco Untitled, 2015 Earth Sets on Moon, 1922 Woodcut in yellow and black on Untitled, 2000 Sculpted monotype on wove paper Watercolor over graphite on paper wove paper, trial proof Monotype and graphite on wove paper In honor of Dr. Dena M. Woodall Gift of Alice C. Simkins 2016.48 2016.56 2015.398 2015.453 Ambreen Butt, American, Larry Rivers, American, 1923–2002 Sydney Yeager, American, born 1945 Andrew Forge, American, 1923–2002 born Pakistan, 1969 Printed by Chris Prater at Printed by Katherine Brimberry at Song (Yellow Line), 1995 Untitled, from the series Kelpra Studio, London Flatbed Press, Austin, Texas Watercolor on wove paper What is past, or passing, or to come, 2003, Published by Marlborough Graphics, Containers & Ropes, 1991 Untitled, no date (late 20th century) Watercolor, gouache, pen and ink, graphite, London Etching and photo etching with roulette, Watercolor on wove paper from and thread on layered Mylar, printed Redcoats – Mist, from the series printed chine collé, on wove paper, spiral-bound pad paper, and handmade paper Boston, Massacre, 1970 edition 5/15 Gifts of Ruth Miller Forge 2016.49 Screenprint in colors on wove paper, Two Knots, 1991 2015.487, 2015.488 edition 4/150 Etching and photo etching with roulette, John Cage, American, 1912–1992 2016.57 printed chine collé, on wove paper, Thomas Colbert, American, 1954–2015 Printed by Marcia Bartholme edition 10/15 Untitled, 2015 at Crown Point Press, San Francisco Abraham Walkowitz, American, Ropes & Ladders, 1991 Ballpoint pen over graphite on Where There Is Where There— born Russia, 1878–1965 Etching and photo etching with roulette, wove paper Urban Landscape No. 6, 1987/89 Abstraction, 1932 printed chine collé, on wove paper, Untitled, 2015 Flat bite etching in colors and aquatint Brush and ink on wove paper edition 14/15 Black, red, and purple ballpoint pen on wove paper, edition 6/48 2016.58 Three Bowls, 1991 on wove paper 2016.50 Etching and photo etching with roulette, Gifts of Bernard Bonnet and Ronnie Self Mary Frank, American, born England, printed chine collé, on wove paper, 2015.504, 2015.505 William Christenberry, American, born 1933 edition 12/15 born 1936 Untitled – Figures, 1989 In honor of Eleanor D. (Roni) McMurtry Gifts of Renée and Stanford Wallace: Night Tree, 2006 Charcoal on wove paper 2015.483–2015.486 White ink on blue paper Untitled, no date (mid- to late 20th century) Sue Coe, British, born 1951, 2016.51 Lithograph on wove paper, edition 34/35 Robert Goodnough, American, 1917–2010 active United States 2016.86, 2016.87 Untitled, 1970 Yvonne Jacquette, American, born 1934 Santiago Cucullu, Argentinean, Screenprint in colors on wove paper, Ellen Lanyon, American, 1926–2013 born 1969 Nancy Graves, American, 1939–1995 edition 11/15 Melissa Miller, American, born 1951 They are Stuck, They are Stuck, 2003 Printed and published by Graphicstudio, 2015.489 Paula Rego, British, born Portugal, 1935 Watercolor over graphite on wove paper University of South Florida, Tampa Betye Saar, American, born 1926 2016.52 Canoptic Prestidigitation, 1990 Orna Feinstein, American, born Israel, 1954 Kiki Smith, American, born Germany, 1954 Lithograph in colors on white wove paper, Rings Series #390, 2014 Printed at Gresham Studio, Ltd., Leamon Green, American, born 1959 printed chine collé, and cast paper collage Monoprint in colors on wove paper Cambridge, England Hand Figure, 1998 from pulp with gold leaf, artist’s proof 4/10 In honor of Anya Tish Printed at Hare and Hound Press, Screenprint, woodcut, acrylic, and 2016.88 2015.513 San Antonio charcoal on wove paper Published by National Museum of 2016.53 • • • Women in the Arts, Washington, D.C. The National Museum of Women in the Rachel Heller, British, born 1973 Arts, Tenth Anniversary Print Portfolio, The Sleeping Man, 2001 published 1998 Charcoal on wove paper Portfolio of seven prints, edition 42/100 2016.54 2015.509

81 ACCESSIONS | Prints and Drawings

Jasper Johns, American, born 1930 Gifts of Dávid Bíró: PURCHASES Ford Madox Brown, British, Printed and published by Universal born France, 1812–1893 Limited Art Editions, Bay Shore, New York Ilka Gedö, Hungarian, 1921–1985 John Wilson, Jr., American, 1922–2015 The Dream of Sardanapalus, 1869 Untitled (Ocher), 1995 2 Self-portraits, 1947 Printed by James Stroud at Center Street Black chalk, black and brown ink, iron Mezzotint in colors, printed chine collé, Graphite on wove paper Studio, Milton Village, Massachusetts gall ink, gray and brown wash with on Gampi paper laid down on wove 2 Self-portraits, 1947 Martin Luther King, Jr., 2002 watercolor on wove paper John Koller HMP handmade paper, Charcoal on laid paper Hard ground and soft ground etching, Museum purchase funded by Meredith J. edition 15/39 Self-portrait, 1948 aquatint, spit bite and foul biting, printed Long in honor of Cornelia Long at 2016.89 Pen and ink on wove paper chine collé, on wove paper, working proof “One Great Night in November, 2015” Self-portrait, 1949 Museum purchase funded by 2015.282 Terry Winters, American, born 1949 Charcoal on translucent wove paper Art + Paper 2015 Printed by David Lasry at Two Palms, Self-portrait, 1949 2015.256 Kara Walker, American, born 1969 New York Graphite on wove paper Printed and published by Landfall Press, Published by Two Palms, New York Self-portrait, 1948–49 Domenico Piola, Italian (Genoese), Chicago Graphic Primitives, 1998 Pastel on wove paper 1627–1703 Cotton, 1997 Portfolio of nine woodcuts printed in 2015.651–2015.656 The Triumph of Bacchus, c. 1642–1703 Etching and aquatint with spit bite, white ink with black ink wash on Pen and brown ink, brush and brown printed chine collé, on white wove paper, Japanese Kochi paper, edition 10/35 • • • wash, over red chalk, squared for edition 17/35 2016.90 transfer with red chalk on laid paper Museum purchase funded by Katja Oxman, American, Museum purchase funded by Joe and Aggie Foster • • • born Germany, 1942 the Marjorie G. and Evan C. Horning 2015.286 Eventually to Embrace, 1982 Print Fund Neil Welliver, American, 1929–2005 Aquatint in colors and etching on 2015.260 Grant Wood, American, 1891–1942 Homage to J.B., c. 1960–65 wove paper, edition 39/60 Printed by George C. Miller, New York Watercolor and graphite on wove paper Lands That Were, 1986 Ursula von Rydingsvard, American, Published by Associated American mounted to gessoed tempered hard board Aquatint in colors and etching on born Germany, 1942 Artists, New York Gift of Merryl and Frank Piper wove paper, artist’s proof 8 Made and published by Dieu Donné Fertility, 1939 2015.510 Gifts of the artist Papermill, New York Lithograph on wove paper 2016.12, 2016.13 Untitled [Inventory No. 5981], 2010 Museum purchase funded by Lynne David Folkman, American, 1938–1993 Handmade linen paper, pigment, Werner in memory of her parents, Printed by Al Smith Gifts of Eileen Glaser: thread, and fabric Robert and Carolyn Werner Untitled, 1981 Museum purchase funded by 2015.439 Screenprint in colors on wove paper, Frank Short, British, 1857–1945 Art + Paper 2015 artist’s proof After Joseph Mallord William Turner, 2015.264 Kiki Smith, American, Gift of Merryl and Frank Piper English, 1775–1851 born Germany, 1954 2015.511 Published by Robert Dunthorne, London Pablo Bronstein, Argentinean, born 1977, Printed and published by Universal Via Mala, c. 1895 active England Limited Art Editions, Bay Shore, New York Rufino Tamayo, Mexican, 1899–1991 Falls of the Rhine, Schaffhausen, 1896 Minton China Factory, 2015 Free Fall, 1994 Printed and published by Ediciones Huntsmen in a Wood, 1896 Ink and watercolor with graphite on wove Photogravure, etching, and drypoint on Polígrafa, Barcelona From the series Liber Studiorum paper in artist’s frame paper, edition 14/40 Sandías (Watermelons), from the series (Book of Studies) Museum purchase funded by Ralph Eads Museum purchase funded by Steve Rufino Tamayo 15 litografias 1973, 1973 Etchings and mezzotints in brown on and Bill Pritchard at “One Great Night in Lindley in honor of Shelli and Jenna Lithograph in colors on wove paper, cream wove paper November, 2015” Lindley at “One Great Night in edition 45/75 2016.20–2016.22 2015.265 November, 2015” Gift of the Mark Lensky Estate 2015.525 2015.546 • • • Uberto Bonetti, Italian, 1909–1993 Aerial View of San Marino, c. 1935 Purchases funded by Francita Stuart Koelsch Ulmer: Buckminster Fuller, American, 1895–1983 Watercolor, graphite, and black chalk Printed and published by Universal with blue oil pastel and gouache on John Constable, English, 1776–1837 Limited Art Editions, Bay Shore, New York wove ledger paper Coal Brigs and Fishing Vessels on the Tetrascroll, 1977 Museum purchase funded by Beach at Brighton, 1824 Portfolio of 25 bound lithographs in Joe and Aggie Foster Graphite on Whatman wove paper black and blue on wove paper, bound 2015.268 with rag board, black wove paper, and The Stuart Collection, in memory of Rear Admiral Philip Carleton Koelsch Dacron woven polyester cloth in a Corita Kent, American, 1918–1986 2015.551 triangular wooden case with lid, Peache Bread, 1964 edition 29/34 Screenprint in colors on wove paper Gift of Universal Limited Art Editions Museum purchase funded by Ilene and in honor of Ted Lee for his commitment Donald Kramer at Art + Paper 2015 to the printed arts 2015.279 2016.23 82 The Rienzi Collection

William Turner of Oxford, English, El Lissitzky, Russian, 1890–1941 Rodolphe Bresdin, French, 1822–1885 THE RIENZI 1789–1862 Printed at Robert Leunis & Chapman, Printed at Imprimerie Lemercier, Paris COLLECTION Figures on the Beach at Clovelly, Hannover, Germany La Comédie de la Mort (The Comedy North Devon, 1820s Published by Eckart von Sydowand of Death), 1854 GIFTS Watercolor over graphite with gouache Verlag Ludwig Ey, Hannover, Germany Lithograph, printed chine collé, on and scratching on wove paper mounted Proun I, from the 1. Kestnermappe (The wove paper, state V/VI John Carlin, American, 1813–1891 on board First Kestner Porfolio), published 1923 Museum purchase funded by Richard Portrait of Two Boys, 1859 The Stuart Collection, in honor of Lithograph in black and gray on Finger, Theodore J. Lee and Marc Sekula, Watercolor on ivory Robert Stuart Koelsch wove paper Wynne Phelan, Dr. Craig Calvert, Kelty The Rienzi Collection, 2016.1 Museum purchase funded by Crain, and the Alvin S. Romansky Prints gift of James Deegan Aggie Foster and the Alvin S. Romansky and Drawings Endowment Fund 2015.408 James Ward, English, 1769–1859 Prints and Drawings Accessions 2016.112 Pegwell Bay, 1816 Endowment Fund PURCHASES Watercolor and graphite on wove paper 2016.19 François Boucher, French, 1703–1770 The Stuart Collection, in honor of La tendresse maternelle Sèvres Porcelain Manufactory, French, Lesley McCary Schlumberger and Vincent Valdez, American, born 1977 (Maternal Tenderness), c. 1765 established 1756 Pierre Marcel Schlumberger Laid Out, 2004 Black chalk with stumping heightened Probably after models by 2016.2 Charcoal on wove paper with white chalk on blue laid paper Louis-Simon Boizot, French, 1743–1809 Museum purchase funded by the Vaughn Museum purchase funded by Art + Paper Bust of Louis XVI, c. 1785 John Varley, British, 1778–1842 Foundation Fund, Ilene and Donald 2016 and the Alvin S. Romansky Prints Bust of Marie-Antoinette, Mount Snowden from the Slopes of Kramer, Leslie and Jack S. Blanton, Jr., and Drawings Accessions Endowment Fund c. 1785 Moel Hebog, Beddgelert below, 1812 and Bridget and Patrick Wade 2016.139 Hard-paste porcelain; giltwood Watercolor over graphite heightened 2016.35 The Rienzi Collection, museum purchases with stopping out Maria Catharina Prestel, German, funded by the Rienzi Society, Jas Gundry, The Stuart Collection, in honor Okay Mountain, American, founded 1747–1794 Mr. and Mrs. Thomas R. Reckling III in of James G. Ulmer 2006 After Jacopo Ligozzi, Italian, 1547–1626 honor of Dr. Marjorie Horning and Mrs. 2016.3 Untitled Tattoo Flash, 2013 The Triumph of Truth over Envy, 1781 Rosanette Cullen, and Lucy J. Currie in Pen and ink over graphite on collage Etching and aquatint printed in brown memory of Mary Ellen Carey Peter de Wint, British, 1784–1849 of cut papers on board ink and gold leaf over yellow ochre ink 2015.661, 2015.662 Llandaff Cathedral, South Wales, c. 1848 Museum purchase funded by the on laid paper Watercolor over [possibly] graphite Mark and Hilarie Moore Family Trust Museum purchase funded by Lynne Johann Zoffany, German, 1733–1810, heightened with scratching out and 2016.41 Werner in honor of Nancy Elaine Rix active England stopping out on wove paper at Art + Paper 2016 Portrait of the Archduchess Maria Amalia The Stuart Collection, in memory of Agostino Veneziano, Italian, 2016.154 of Austria, Duchess of Parma, c. 1778 Robert Cummins Stuart c. 1490–after 1536 Oil on canvas 2016.4 After Raphael, Italian, 1483–1520, Maurice Prendergast, American, The Rienzi Collection, museum purchase and GianFrancesco Penni, Italian, born Canada, 1858–1924 funded by the Rienzi Society Alexander Cozens, British, 1717–1786 c. 1496–c. 1528 Lady, c. 1891–94 2015.663 A Small Pool with Willow Trees, c. 1770 The Cumaean Sybil, 1516 Monotype and colored pencil on Brown wash on laid paper Engraving on laid paper, state I/II wove paper, laid down on board The Stuart Collection, in honor of Museum purchase funded by Museum purchase funded by the Frances Hubbard Koelsch the Marjorie G. and Evan C. Horning Alvin S. Romansky Prints and Drawings 2016.30 Print Fund Accessions Endowment Fund 2016.44 2016.157 • • • Dorothy Cross, Irish, born 1956 Jacques Callot, French, 1592–1635 Printed and published by Stoney Road Israël Henriet, French, c. 1590–1661 Press, Dublin The Temptation of Saint Anthony Tear, 2009 (Second Version), 1635 Portfolio of five photopolymer intaglio Etching on laid paper, state III/V prints in color on Moulin de Gue Museum purchase funded by wove paper, edition 22/40 the Alvin S. Romansky Prints and Museum purchase funded by Michael Dale Drawings Accessions Endowment Fund 2016.45 2016.18

83 MAJOR LOAN AND PERMANENT-COLLECTION EXHIBITIONS

Except where noted, all exhibitions listed on pp. 84–103 were organized exclusively by the Museum of Fine Arts, Houston.

Texas Clay: 19th-Century Pottery Texas Clay: 19th-Century Pottery from the Bayou Bend Collection focused from the Bayou Bend Collection on the vibrant tradition of handmade, utilitarian pottery that flourished September 5–November 1, 2015 in mid- to late-19th-century Texas. The early Texas pottery exhibited was Alice Pratt Brown Gallery selected from the unparalleled collection housed at Bayou Bend. This The Caroline Wiess Law Building collection, the largest of its kind, includes outstanding examples of vessels by master potters from the principal stoneware manufacturing Generous funding for the exhibition regions in Texas. The exhibition showcased stoneware jugs, jars, butter and the accompanying publication was churns, and pitchers that were turned on a potter’s wheel by profes- provided by Leslie and Brad Bucher in sional potters, their family members, and African American slaves memory of Michael K. Brown. trained in the craft, some of whom later established their own opera- tions after emancipation.

84 Mark Rothko: A Retrospective The Museum was privileged to serve as the sole US venue of September 20, 2015–January 24, 2016 Mark Rothko: A Retrospective, which drew on the unrivaled Brown Foundation, Inc. Gallery holdings of the National Gallery of Art in Washington, DC, The Audrey Jones Beck Building and on a selection of Rothko’s works from superb collec- tions in Houston. One of the vanguard figures of Abstract The exhibition was organized by the National Gallery of Art, Washington, Expressionism, Mark Rothko (1903–1970) embraced the DC, and the Museum of Fine Arts, Houston. This exhibition was supported possibility of beauty in pure abstraction and gave a new by an indemnity from the Federal Council on the Arts and the Humanities. voice to American art. In a remarkable career that spanned the most troubled years of the twentieth century, Rothko Lead corporate sponsor: River Oaks District explored both the tragic and the sublime. The more than sixty canvases on view revealed Rothko at his most daring Generous funding was provided by Sotheby’s; Norton Rose Fulbright; and experimental, as well as at his most assured and declar- Oliver Wyman; Robert Lehman Foundation; Mr. and Mrs. Rodney Margolis. ative. These works remain a testament to the humanism, unrivaled passion, and spirituality that Rothko brought to Official Media Partner: Houston Public Media modern painting. The exhibition traveled from the Gemeentemuseum, The Hague, and the Hangaram Art Museum, Seoul Arts Center, South Korea, where it was on view from March 19 to June 28, 2015, and from September 20, 2014, to March 1, 2015, respectively. 85 MAJOR LOAN AND PERMANENT-COLLECTION EXHIBITIONS

Roman Vishniac Rediscovered Roman Vishniac Rediscovered introduced the radically diverse September 24, 2015–January 3, 2016 body of work by Roman Vishniac (1897–1990), who, more Millennium Gallery and Corridor than any other photographer, deeply influenced contemporary The Audrey Jones Beck Building impressions of Jewish life in Eastern Europe. Vishniac created the most widely recognized and reproduced photographic This exhibition was organized by the International Center of Photography. record of that world on the eve of its annihilation, yet very It was made possible with support from the National Endowment for the Arts. little of his work was published or printed during his lifetime, and much of it was only recently discovered. Known primarily Generous funding was provided by The David Berg Foundation; for his poignant images of Eastern Europe, Vishniac was in fact Barbara and Gerry Hines; Shirley Toomim; and Cyvia and Melvyn Wolff. a remarkably versatile and innovative photographer. This exhi- bition repositioned his iconic photographs of Eastern Europe Additional generous funding was provided by Bruce Stein Family/Triple S Steel; Rolaine and within a broader tradition of social documentary photography. Morrie Abramson; Joan and Stanford Alexander; Nancy Beren and Larry Jefferson; Jerry and Vishniac’s career spanned more than five decades, ranging Nanette Finger Family; Barbara and Michael Gamson; Joyce Z. Greenberg; Barbara and from his early engagements with European Modernism to Charles Hurwitz; Joan and Marvin Kaplan; Ann and Stephen Kaufman; Helaine and David his highly inventive color photomicroscopy. Lane; Susan and Jack Lapin; Rochelle and Max Levit; Mrs. Joan Schnitzer Levy; Barbara and Barry Lewis; Suzanne Miller; Ms. Joan Morgenstern; Paula and Irving Pozmantier; Herman Proler; Minnette Robinson; Leslie and Russ Robinson; Regina Rogers in honor of Stefi Altman; The Lester and Sue Smith Foundation; Sugar Land Skeeters; Mr. and Mrs. Conrad Weil, Jr.; Erla and Harry Zuber; and additional supporters of the exhibition.

The exhibition traveled from the International Center of Photography, New York, where it was on view from January 18 to May 5, 2013; the NSU Art Museum, Fort Lauderdale, where it was on view from October 19, 2013, to January 4, 2014; the Jewish Historical Museum, Amsterdam, where it was on view from April 3 to August 24, 2014; the Musée d’art et d’histoire du Judaïsme, Paris, where it was on view from September 17, 2014, to January 25, 2015; the Museum of the History of Polish Jews, Warsaw, where it was on view from May 5 to August 31, 2015; and then traveled from Houston to the Contemporary Jewish Museum, San Francisco, where it was on view from February 11 to May 30, 2016.

86 Ólafur Elíasson: Museum visitors were invited to participate in Ólafur Elíasson: The collectivity The collectivity project project, an imaginary cityscape made of more than 580,000 white Lego bricks. October 16, 2015–January 31, 2016 This hands-on, interactive installation was conceived in 2005 by Danish- North Foyer Icelandic artist Ólafur Elíasson (born 1967). The project was previously The Caroline Wiess Law Building installed in public squares in Tirana, Albania (2005), Oslo, Norway (2006), and Copenhagen, Denmark (2008). Before Ólafur Elíasson: The collectivity The exhibition traveled from the project opened at the Museum, students from the Rice University School High Line, New York, where it of Architecture and Texas Southern University collaborated on building the was on view from May 29 to initial structures for the installation. The presentation in Houston coincided October 12, 2015. with the October 2015 groundbreaking for the Museum’s Susan and Fayez S. Sarofim Campus and the new Glassell School of Art.

87 MAJOR LOAN AND PERMANENT-COLLECTION EXHIBITIONS

Pleasure and Piety: The Art of Joachim Wtewael (1566–1638) The first monographic exhibition devoted to the Late Renaissance Dutch November 1, 2015–January 31, 2016 master Joachim Wtewael, Pleasure and Piety: The Art of Joachim Wtewael Sarah Campbell Blaffer Foundation Galleries (1566–1638) cast light on his artistic excellence. The paintings and The Audrey Jones Beck Building drawings on view revealed an expert draftsman and a brilliant colorist who could work on both a large and a small scale with equal ease. This exhibition was organized by the Centraal Museum Utrecht; Wtewael embraced international Mannerism, a popular painting style the National Gallery of Art, Washington, DC; the Museum of Fine characterized by extreme refinement, artifice, and elegant distortion. Arts, Houston; and the Sarah Campbell Blaffer Foundation. An He remained one of the leading proponents of this style throughout indemnity was granted by the Federal Council on the Arts and his career, as he returned repeatedly to depicting the motifs of “pleasure” the Humanities. and “piety.” The exhibition included compelling portraits of his family members and close associates that demonstrate his exceptional ability to Generous funding was provided by United Airlines. capture the likeness and character of a subject. His oeuvre also features a wealth of religious and mythological scenes, such as The Annunciation The exhibition traveled from the Centraal Museum Utrecht, to the Shepherds and Mars and Venus Surprised by Vulcan. where it was on view from February 21 to May 25, 2015, and the National Gallery of Art, Washington, DC, where it was on view from June 28 to October 4, 2015.

88 Vera Lutter: Inverted Worlds New York–based German photographer Vera Lutter (born 1960) creates mysterious, November 21, 2015–March 27, 2016 monumental photographs that are one-of-a-kind negative prints. To produce these Cameron Foundation Gallery large-scale images, she transforms a darkened room, shipping container, or specially The Audrey Jones Beck Building constructed box into an enormous pinhole camera. The exposures can last for days, weeks, or even months. Lutter retains the negative form as the final work—a literal Generous funding was provided by Gagosian Gallery; reflection of space and time as determined by the immediate visual environment. Joseph M. Cohen; and Peter Josten and Sam Trower. Vera Lutter: Inverted Worlds presented an eerie parallel universe: images that are tonally reversed, laterally mirrored, and devoid of people because of the long The exhibition traveled to the New Orleans Museum of Art, exposures. The subjects exhibited ranged from postindustrial ruins, to the visual where it was on view from April 15 to July 17, 2016. cacophony of Times Square, to the serenity of Venetian canals.

89 MAJOR LOAN AND PERMANENT-COLLECTION EXHIBITIONS

Contingent Beauty: Contemporary Art from Latin America Contingent Beauty: Contemporary Art from Latin America featured a selection November 22, 2015–February 28, 2016 of major works created by twenty-one established artists from Argentina, Upper Brown Pavilion Brazil, Colombia, Cuba, Mexico, and Venezuela. Drawn primarily from the The Caroline Wiess Law Building Museum’s permanent collection of modern Latin American art—one of the most comprehensive collections of its kind in any public institution—nearly all Lead corporate sponsor: Mercantil Commercebank the thirty-two works on view were acquired during the last five years through the Caribbean Art Fund initiative of the Museum and the Fundación Gego. Additional generous funding was provided by Leslie and Brad Bucher. Encompassing drawing, sculpture, video, and interactive object- and video- based installations, the exhibition highlighted contemporary artists who use seductive and engaging materials to convey their social, political, and envi- ronmental concerns. The “beauty” of their works resonates across time and geographic borders and is contingent upon contextual interpretation. Each piece harbors a tension between opposing elements, such as beauty and violence, seduction and repulsion, or elegance and brutality.

90 Statements: African American Art Statements: African American Art from the Museum’s Collection brought together more from the Museum’s Collection than forty works in a wide range of media spanning eight decades. Organized in three From January 24, 2016 sections, the exhibition began with pioneering artists of the 1930s through 1960s, Millennium Gallery including John Biggers, Elizabeth Catlett, and Loretta Pettway, whose forward-looking The Audrey Jones Beck Building works helped break down institutional barriers. The second section charted America’s changing social landscape from the 1950s forward, reflected in the photographs of Gordon Generous funding was provided by Parks and in works by Thornton Dial, Sr., among others. The final section focused on United Airlines. contemporary artists who explore stereotypes and identity politics, such as Mequitta Ahuja, Nick Cave, and Kara Walker, as well as those with a strong Houston presence, such as Dawolu Jabari Anderson, Michael Ray Charles, and Trenton Doyle Hancock.

91 MAJOR LOAN AND PERMANENT-COLLECTION EXHIBITIONS

Sculpted in Steel: Art Deco Automobiles Art and elegance once reigned supreme in the automotive industry, and the exhibition Sculpted in and Motorcycles, 1929–1940 Steel: Art Deco Automobiles and Motorcycles, 1929–1940 showcased fourteen cars and three motorcycles February 21–May 30, 2016 designed during this iconic period. The machine-inspired Art Deco style originated in France in the Brown Foundation, Inc. Galleries early twentieth century, but World War I interrupted its dissemination. The style reemerged across The Audrey Jones Beck Building Europe after the war, and the 1920s to 1930s proved to be a tremendously creative fertile ground in international design—from fashion to transportation. Automakers embraced the sleek Art Deco Lead corporate sponsor: Northern Trust iconography of streamlining, utilized high-quality industrial materials, and looked to the body styles of aircraft as models for their new “sculptures in steel.” Grilles and hood ornaments, headlamps, Lead foundation underwriting was windows, and instrument panels are among the elements that were transformed through the use provided by The Hamill Foundation. of chrome detailing and innovative aerodynamics.

Additional generous funding was provided by Texas Commission on the Arts; Norton Rose Fulbright; and Vivian L. Smith Foundation.

92 High Society: The Portraits of Franz X. Winterhalter The German-born Franz Xaver Winterhalter (1805–1873) was the nineteenth From April 17, 2016 century’s most renowned portraitist of the European aristocracy. The exhibition Upper Brown Pavilion – East High Society: The Portraits of Franz X. Winterhalter showcased about forty-five The Caroline Wiess Law Building of the artist’s magnificent paintings, drawn from public, private, and royal collections around the world. Winterhalter gained popularity in Paris before This exhibition was organized by the Museum of Fine Arts, Houston; becoming the preferred portraitist of England’s Queen Victoria and Prince the Städtische Museen Freiburg; the Réunion des musées nationaux – Albert, and his services were eventually in great demand throughout Europe. Grand Palais, Paris; and the Musée national du Palais de Compiègne. He was celebrated for his ability to capture likenesses, and for his superb rendering of textures and fashionable details. His distinguished sitters used Lead underwriting was provided by: Kinder Foundation fashion to convey their wealth and status, and many of them also patronized Charles Frederick Worth (1925–1895), the acclaimed couturier. Select articles Additional generous funding was provided by the Estate of of clothing designed by Worth and his contemporaries accompanied the Margo Lamb; Luther King Capital Management. canvases on display, enlivening the exhibition and offering a further glimpse into the opulence and elegance of the European courts. The exhibition traveled from the Städtische Museen Freiburg, where it was on view from November 28, 2015, to March 20, 2016, and then traveled from Houston to the Musée national du Palais de Compiègne, where it was on view from September 17, 2016, to January 15, 2017. 93 MAJOR LOAN AND PERMANENT-COLLECTION EXHIBITIONS

Kusama: At the End of the Universe Yayoi Kusama (born 1929), named by TIME magazine in 2016 to its annual list From June 12, 2016 of “The 100 Most Influential People” in the world, brought two of her signature Cullinan Hall Infinity Rooms to the Museum of Fine Arts, Houston. The contemporary artist, The Caroline Wiess Law Building now eighty-seven years old, is acclaimed for creating transformative, interactive environments that engage audiences of all ages. The exhibition Kusama: At the End of the Universe presented Aftermath of Obliteration of Eternity, a major new acquisition (see pages 58–59) that dissolves the viewer’s perception of physical space through the wondrous play of light; and Love Is Calling, which represents the more physical side of Kusama’s often intangible production.

94 95 ADDITIONAL DISPLAYS FROM THE PERMANENT COLLECTION AND GALLERY ROTATIONS

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1. A History of Photography: Selections 2. Defining the Body: Contemporary 3. Marco Brambilla: Countdown 4. Violence and Precision: from the Museum’s Collection (III) Figuration on Paper—Selections (Apollo XVIII), 2015 Artists’ Manifestoes July 28–November 29, 2015 from the Permanent Collection November 6–15, 2015 November 24, 2015–February 28, 2016 Lower Beck Corridor August 1–November 1, 2015 Cullinan Hall Hirsch Library The Audrey Jones Beck Building Cameron Foundation Gallery The Caroline Wiess Law Building The Caroline Wiess Law Building The Audrey Jones Beck Building Generous funding was provided by Courtesy of McCabe Fine Art, Stockholm. The Robert Mapplethorpe Foundation, Inc.; PHILLIPS; and Susan and Countdown (Apollo XVIII) was Thomas Dunn. presented at the Museum of Fine Arts, Houston, in conjunction with the Houston Cinema Arts Festival.

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5. A History of Photography: Selections 6. Deco Nights: Evenings in the Ja zz Age from the Mu seum’s Collection (IV) December 12, 2015–June 5, 2016 December 8, 2015–April 17, 2016 Alice Pratt Brown Gallery Lower Beck Corridor The Ca roline Wiess Law Bu ilding The Au drey Jones Beck Bu ilding

Generous funding was provided by The Robert Mapplethorpe Foundation, Inc.; PHILLIPS; and Susan and Thomas Dunn.

97 ADDITIONAL DISPLAYS FROM THE PERMANENT COLLECTION AND GALLERY ROTATIONS

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7. Eye on Houston: High School 8. Everything and Everyone: Artists’ 9. William Kentridge: Zeno Writing Documentary Photography Books Published by the National March 17–May 18, 2016 January 12–May 1, 2016 Museum of Women in the Arts Cullinan Hall Lower Beck Corridor From March 1, 2016 The Caroline Wiess Law Building The Audrey Jones Beck Building Hirsch Library The Caroline Wiess Law Building The Eye on Houston: High School Documentary Photography exhibition receives generous funding from the CFP Foundation and the Junior League of Houston, Inc.

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10.2016 Core Exhibition 11. A History of Photography: Selections Ap ril 21–May 26, 2016 from the Mu seum’s Collection (V) Cameron Foundation Gallery From Ap ril 27, 2016 The Au drey Jones Beck Bu ilding Lower Beck Corridor The Au drey Jones Beck Bu ilding

Generous funding was provided by The Ro bert Mapplethorpe Fo undation, Inc.; PHILLIPS; and Susan and Thomas Dunn.

99 ADDITIONAL DISPLAYS FROM THE PERMANENT COLLECTION AND GALLERY ROTATIONS

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12. Selections from the Mu seum’s Collection: Postwar Pa inting and Sculpture From Ma y 5, 2016 Upper Brown Pa vilion–West The Ca roline Wiess Law Bu ilding

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13. Infinite Pause: 14. Look to the East: Decorative Arts Photography and Time and Orientalism, 1870–1920 From June 18, 2016 From June 25, 2016 Cameron Foundation Gallery Alice Pratt Brown Gallery The Audrey Jones Beck Building The Caroline Wiess Law Building

101 ADDITIONAL DISPLAYS FROM THE PERMANENT COLLECTION AND GALLERY ROTATIONS

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LOWER BROWN CORRIDOR KINDER FOUNDATION INSTALLATIONS GALLERY EXHIBITIONS in the Caroline Wiess Law Building in the Caroline Wiess Law Building The MFAH Education Center receives generous 15. American Abstract Expressionism: Works on funding from The Kinder Foundation. Paper 1940s–1960s—Selections from the Permanent Collection 19.Learning Skills for Life through Art October 20, 2015–February 7, 2016 July 3, 2015–January 18, 2016

16.Duets: Photographs Echo across History— Glassell-on-the-Go Selections from the Museum’s Collection January 22–February 7, 2016 February 16–June 12, 2016

17. Stanley William Hayter, Master Printmaker— Scholastic Arts Gold Key Exhibition Selections from the Museum’s Collection February 17–March 27, 2016 February 16–June 12, 2016 A+rt Journeys 18. Age of Kusama: Pop Art and Minimalism— From March 31, 2016 Selections from the Permanent Collection From June 28, 2016

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RIENZI EXHIBITIONS THE GLASSELL SCHOOL OF ART EXHIBITIONS Digital Assist: Works from the Glassell Digital Department À la Mode: Fashioning European Visual Arts Scholastic Event (VASE) February 29–June 3, 2016 Silver, 1680–1825 Gold Seal Exhibition Interspace Gallery October 10, 2015–January 31, 2016 Through August 7, 2015 Studio School Isla’s Gallery Junior School This Is New, This Is Now: 20. The Lavish Prince Regent Summer 2015 Student Show Stephanie Gonzalez and Gerald Syler From March 5, 2016 August 28–October 22, 2015 March 7–26, 2016 Isla’s Gallery Junior School Studio School

Annual Student Exhibition Advanced Portfolio Prep (APP) Exhibition Through September 10, 2015 From April 8, 2016 Studio School Norma R. Ory Gallery Junior School SAO Select 2015: A Student/Alumni Organization Exhibition Society for the Performing Arts Exhibition September 21–October 18, 2015 April 8–20, 2016 Studio School Junior School

Glass Block Building Images: Tierrayari The Photography Students’ Eye April 12–30, 2016 November 16–December 5, 2015 Interspace Gallery Interspace Gallery Studio School Studio School Annual Student Exhibition Annual Junior School Holiday Exhibition From May 20, 2016 November 16–December 31, 2015 Interspace Gallery Junior School Studio School

Digital Assist: Works from the Glassell Digital Department The following Glassell School of Art Exhibitions December 14, 2015–January 30, 2016 were presented in the Kinder Morgan Building Interspace Gallery in Houston: Studio School Student Selections from the Photography Glassell Junior School Faculty Show and Digital Departments From January 6, 2016 June 1–September 4, 2015 Junior School Student Selections from Drawing Beyond Resemblance: and Printmaking Classes Two Takes on the Portrait September 1–November 20, 2015 February 8–27, 2016 Interspace Gallery Studio School

103 DEPARTMENTAL HIGHLIGHTS

Wotan (1950), by Franz Kline Film still from Rififi The Hirsch Library this year inaugurated exhibitions of rare books from its collection.

CONSERVATION Corina Rogge, the Andrew W. Mellon Planet. Continuing its involvement with In 2015–16, the Conservation Department Research Scientist, has continued working preserving and distributing the films of was principally involved in the logistics on a number of projects, perhaps the most Robert Frank, the Museum completed of relocation. After twenty-five years of notable being the examination and analy- preservation of the artist’s 1969 film Life- working off-site in a building located on sis of key works from the Museum’s Latin Raft Earth with funding from the National Rosine Street, four of the conservation American art collection. The future work Film Preservation Foundation. The restored studios and laboratories, as well as the of the research scientist will be enhanced 16mm print was screened in April 2016. departmental administration offices, were immeasurably by an exceptionally gener- —Marian Luntz moved into temporary spaces in the Audrey ous gift from Cecily E. Horton that will CURATOR, FILM AND VIDEO Jones Beck Building while awaiting the equip the research laboratory with up-to- opening of the new Sarah Campbell Blaffer the-minute analytical instrumentation. LIBRARIES Foundation Center for Conservation in —David Bomford The Hirsch and Powell Libraries remained 2018. Moving the numerous artworks and CHAIRMAN, CONSERVATION active centers for scholarly research and equipment, records, and working materials learning, significantly expanding the that had accumulated over the past quarter- FILM opportunities for outreach and the number century was a major operation, but the Classic films always look their best on of orientations provided to students and department is at last consolidated on the big screen of the Brown Auditorium faculty at Texas colleges and universities. the Museum’s main campus. Theater. Audience favorites this year Our productive cataloging staff added a included The Sound of Music, The Third record 6,390 volumes to our collection, Meanwhile, practical conservation, research, Man, Goldfinger, and Rififi. Presenters which now numbers more than 175,000 and exhibition and acquisition support in the eleventh season of the film series volumes. A two-year project to catalog the continued across all parts of the collection. Movies Houstonians Love were invited to Rienzi Library was completed, making this A notable project, successfully completed, choose a comedy. Entertaining the crowds rich collection of more than 2,300 volumes was the stabilization and return to the gal- with selections reflective of their distinctive accessible to staff and the public for the leries of Franz Kline’s monumental Wotan senses of humor were Houston Chronicle first time in its history. Book collections (1950)—a celebrated Abstract Expressionist columnist Ken Hoffman, architect James assembled by art collectors Adolpho painting of great structural complexity and Furr, filmmaker Stephanie Saint Sanchez, Leirner and Leatrice and Melvin Eagle now delicacy. This project was accompanied by and authors Mat Johnson and Gwendolyn enhance the Hirsch Library, complementing significant research into Kline’s technique Zepeda. A spring series featured memo- the objects they gave to the Museum. We carried out in collaboration with partner rable car movies, inspired by the exhibition established our first e-book platform, museums in New York and presented at Sculpted in Steel: Art Deco Automobiles and enabling patrons to trigger the acquisition a major symposium hosted by the Getty Motorcycles, 1929–1940. In collaboration of electronic content on-demand. Record Conservation Institute in Los Angeles. with the FotoFest 2016 Biennial, the numbers of Hirsch Library materials were This was just one of the many presentations Museum offered documentaries that featured in exhibitions, with more than and peer-reviewed publications put forth by responded to the theme Changing one hundred items shown at the Museum the conservation team during the past year. Circumstances: Looking at the Future of the and another sixty-eight publications seen at

104 The Museum published major exhibition catalogues to critical and popular acclaim. institutions across the United States. The Contingent Beauty: Contemporary Art from High Society: The Portraits of Franz Xaver Hirsch Library inaugurated its installations Latin America assembled major works Winterhalter focuses on the most of rare books with two exhibitions mounted by twenty-one artists who, as they renowned portraitist of European aristoc- in its reading room: Violence and Precision: vigorously explore cutting-edge tech- racy of his day. Winterhalter (1805–1873) Artists’ Manifestoes (November 24, 2015– niques and provocative themes, have expertly captured the refinement and opu- February 28, 2016) and Everything and intertwined aesthetic refinement with lence of his distinguished sitters, and he Everyone: Artists’ Books Published by the their social and political critiques. The gained such international acclaim for his National Museum of Women in the Arts majority of the innovative works in state portraits that he painted all but a few (opened March 1, 2016). The William J. this publication were culled from the of the monarchs in Europe. This lavishly Hill Texas Artisans and Artists Archive Museum’s exceptional holdings. illustrated publication, issued in English continued to build on its extensive and German editions by Arnoldsche Art holdings, including all relevant artist Pompeo Batoni: The Complete Works is Publishers in association with the data from the 1850, 1860, and 1870 a meticulously researched catalogue Museum, complemented the exhibition censuses. This unique digital archive now raisonné that provides the most complete of Winterhalter’s magnificent portraits comprises more than 55,000 records on assessment to date of the works of and also clothing by the sought-after Texas material culture. Pompeo Batoni (1708–1787), one of the couturier Charles Frederick Worth. eighteenth century’s most celebrated —Jon Evans painters who received prestigious com- Arts of Islamic Lands: Selections from CHIEF LIBRARIAN, HIRSCH LIBRARY missions from popes, princes, and British The al-Sabah Collection, Kuwait docu- aristocrats on the Grand Tour. This two- ments the more than two hundred objects PUBLICATIONS volume set contains entries on more placed on long-term loan to the Museum The Museum continued to publish a than 480 paintings and 250 drawings. by Their Excellencies Sheikh Nasser range of books and catalogues that Sabah al-Ahmed al-Sabah and Sheikha appealed to regional, national, and inter- Sculpted in Steel: Art Deco Automobiles Hussah Sabah al-Salem al-Sabah. The national audiences. Texas Clay: 19th- and Motorcycles, 1929–1940 celebrates catalogue also celebrates the Museum’s Century Pottery from the Bayou Bend cars and motorcycles designed during partnership with the Dar al-Athar Collection elicited praise from art critic the period between the two world wars, al-Islamiyyah (House of Islamic Roberta Smith of the New York Times: one of the most influential eras for Antiquities) in Kuwait, of which Sheikha “Books and catalogs that plunge us into international design. The 1925 Paris Hussah is the visionary director. This unknown corners of familiar mediums Exposition of Decorative Arts and Modern exquisite volume documents what many can be thrilling, as exemplified by the Industry, which showcased the elegance recognize as the most comprehensive, highly concentrated Texas Clay.” This of the French Art Deco style, reverberated authoritative, and scholarly collection of catalogue highlights a recent gift from throughout the world. As revealed in this Islamic art in private hands. Museum Trustee William J. Hill and publication, no field was impacted more records nearly 180 examples of stoneware —Diane Lovejoy than that of automobiles and other jugs, jars, churns, and pitchers made PUBLISHER IN CHIEF vehicles. The catalogue was published between 1850 and 1880 in different by Stance & Steed Press for the Museum counties and regions in Texas. of Fine Arts, Houston. 105 LEARNING AND INTERPRETATION

This year, the Department of Learning curriculum for middle-school teachers and Interpretation deepened its com- and students, supported by a major mitment to teaching and learning Institute for Museum and Library through the Museum’s collections and Sciences grant. The Museum expanded exhibitions, while developing new ini- its partnerships with area universities, tiatives in gallery interpretation and welcoming sixty-two fellows and interns audience engagement. The department, throughout the year, including four serving a total of 112,000 visitors on-site fellows from the Mellon Foundation and off-site, made art relevant for inter- Undergraduate Curatorial Fellowship generational audiences region-wide. program for students from diverse backgrounds, and a new Graduate The ExxonMobil School Tour Program Object-based Learning Fellow from at the MFAH welcomed 42,865 the University of Houston. students, educators, and chaperones to the Museum this year, with docent-led In organizing public programs, tours in the galleries and the new addi- Learning and Interpretation staff tion of Discovery Carts, a series of six made particular effort to interpret the hands-on stations that highlight art- Museum’s major loan exhibitions this making techniques, such as oil painting year. The 40th Annual Ruth K. Shartle and ceramics, which relate to works in Symposium, generously funded by The the permanent collections. We continue Brown Foundation, Inc., interpreted to serve all third-grade students from Mark Rothko: A Retrospective, with Houston and Clear Creek Independent renowned speakers, including Harry School Districts, as well as all fourth- Cooper, Norman Kleeblatt, and graders from Spring Branch and Houston’s own Sarah Rothenberg, artistic Galena Park Independent School director of Da Camera of Houston. For Districts. Additionally, the Museum the popular Sculpted in Steel: Art Deco offers guided and self-guided tours to Automobiles and Motorcycles, 1929–1940, a any school, including public, private, series of public programs provided inno- homeschool, and university groups. vative interpretation for intergenerational audiences. Programs included “The In September, the Object-based Theater of Transportation,” a lecture Learning team hosted the Fifth Annual by J Mays, one of the greatest living Houston Arts Partners conference at the automobile designers and former chief MFAH, welcoming 1,100 Houston-area creative officer at Ford Motor Company; school administrators, classroom teachers, “Cars and Cocktails,” an after-hours and arts organization staff, providing exhibition tour and tasting program of Texas educators with ideas and methods period cocktails and hors d’oeuvres pre- for arts integration in the classroom. sented in collaboration with Houston’s Among many sessions, the conference popular bar Mongoose versa Cobra; featured the Museum’s award-winning “Sculpted in Sound,” gallery concerts by Learning Through Art program, which the Da Camera Young Artists featuring offered multiple institutes and work- music that combined the Roaring shops serving 750 teachers during the Twenties and the classical tradition; year, as well as the successful launch “Art Deco Architecture Walking Tours” of the Learning Through Art online in downtown Houston with architect

106 Opposite and above: In fiscal year 2015–2016, the Department of Learning and Interpretation developed numerous new initiatives for intergenerational audiences.

Celeste Williams; Spring Break family tion of Goya portraits. Audiences loved End, the Museum has established a programs, in which visitors created and these immersive films and look forward consistent presence within this Latino decorated their own automobiles; and the to the next summer series. community. The goal is to raise aware- second annual Fashion Fusion competi- ness by providing an understanding tion and runway show, featuring original Throughout this year, visitors enjoyed of what the MFAH offers through a garments inspired by Sculpted in Steel, new interpretive tools in the Museum’s sustainable relationship starting in a created by students in the award-win- galleries for better understanding of familiar environment. Through addi- ning fashion design program at Houston and engagement with the art on view. tional partnerships with area branches Community College. A new approach to the audio tour for of the Houston Public Library, the Mark Rothko: A Retrospective brought Museum offers Glassell-on-the-Go, New initiatives this year included voices of artists and curators in Houston a studio art outreach program designed expansion of the MFAH family offer- into dialogue with Rothko’s paintings, to bring high-quality art classes to youth ings, launching two new programs for with positive feedback and higher in the surrounding community. families with children under three years usage from visitors. The Museum was of age. “MFAH Playdate” participants awarded a prestigious Kress Interpretive The Museum’s Kinder Foundation enjoy multisensory experiences in the Fellowship, which allowed a pre-doctoral Education Center continues to serve galleries with songs, storybooks, and fellow to assist in developing interpreta- MFAH guests, families, and teachers with games. “Our Youngest Artists” encour- tive tools and evaluation for the a support center and an exhibition space ages babies and toddlers to touch, Museum’s collections and exhibitions for student art. And, the Department of explore, and make their own works of of early modern European art. These Learning and Interpretation continues art in the studio. Response to these new included in-gallery iPads and video to collaborate closely with the Glassell programs has been highly enthusiastic, slideshows in Pleasure and Piety: The Junior School, which served 5,056 young with capacity attendance at each ses- Art of Joachim Wtewael (1566–1638), students with expert art instruction sion. In addition, a new foray into encouraging visitors to view intricate during the year. screening documentary films resulted painting details and to understand the in the series “Armchair Travel: Old investigative findings of the Museum’s —Caroline Goeser, Ph.D. Master Exhibitions on Screen,” with conservation team. W. T. AND LOUISE J. MORAN CHAIR two June screenings of a documentary OF THE DEPARTMENT OF on the major Rembrandt exhibition The newest Learning and Interpretation LEARNING AND INTERPRETATION held in 2016 at the National Gallery, initiative focuses on building new London, and the Rijksmuseum, and audiences in Houston’s diverse commu- two screenings of a documentary on nities. Together with the Ripley House the National Gallery, London’s, exhibi- Neighborhood Center in Houston’s East

107 MEMBERSHIP AND GUEST SERVICES

to admire every feature of the superbly stylish vehicles—sometimes sitting or reclining in the galleries to take in all the details.

In addition to the thousands of students who visited the Museum as part of free field trips with their schools, the Museum’s main campus provided free or discounted access to more than 37,521 youth visitors ages 18 and under.

During fiscal year 2015–2016, the Museum benefited from the member- ship support of 26,434 households. Consisting of membership levels for individuals, couples, and families, the total number of individuals who identi- fied themselves as card-carrying mem- bers of the Museum was equivalent to Members Preview of Sculpted in Steel: The Museum tracked a total of 900,595 51,910 persons. Additionally, 9,930 local Art Deco Automobiles and Motorcycles, 1929–1940. visits this year to its main campus, the college students were provided free, Glassell School of Art, and to Bayou year-round general admission as part Bend and Rienzi. Attendance at the of the Museum’s University Partnership main campus increased by 23 percent Program. Participating schools in the from the previous fiscal year, with an 2015–2016 school year included Rice impressive 63,551 more entries recorded. University; Texas Southern University, College of Liberal Arts and Behavioral The upturn in visitation can be attributed Sciences; University of Houston, to a consistent and diverse offering of School of Art; University of Houston specially ticketed exhibitions, including Downtown, Arts and Humanities; the Habsburg Splendor: Masterpieces from University of St. Thomas; and the Vienna’s Imperial Collections (opened Glassell Studio School of Art. June 14, 2015); Mark Rothko: A Retrospective; Sculpted in Steel: Art Deco The Museum continues to receive Automobiles and Motorcycles, 1929–1940; high satisfaction ratings from its visitor and Kusama: At the End of the Universe, surveys, and the staff of the Membership which opened a few weeks prior to the and Guest Services Department takes conclusion of this fiscal year. The tremendous pride in providing a positive Museum’s first “car show,” Sculpted in experience for all guests. Steel, attracted a high number of new visitors. This exhibition drew 69,373 —Jennifer Garza visits, with many guests circling CHIEF ADMINISTRATOR OF MEMBERSHIP through the exhibition multiple times AND GUEST SERVICES

108 INTERNATIONAL CENTER FOR THE ARTS OF THE AMERICAS

During fiscal year 2015–2016, the International Center for the Arts of the Americas (ICAA) met several critical milestones related to the Documents of 20th-Century Latin American and Latino Art project. The central operat- ing team at the Museum of Fine Arts, Houston, finalized uploading the mate- rials submitted by partner teams in Brazil, Peru, and Venezuela. By the end of June 2016, nearly 8,000 documents from these and other teams had been made available, free of charge, to more than 266,000 online visitors and to Installation view of Contingent Beauty: Contemporary Art from Latin America. 18,400 registered users through its bilingual platform (icaadocs.mfah.org). In fiscal year 2015–2016, the ICAA in Houston to hold its second annual significantly advanced key collaborative conference. Under the rubric The Public Concurrent with the Documents Project, exchanges with Rice University, the Sector and the Visual Arts in Latin the ICAA oversees a rigorous publishing University of Texas at Austin, and the America: Re-Framing the Issues for the program that serves as the foundation for University of Houston. Focused on 21st Century, the meeting addressed the research, scholarship, and exhibition modern and contemporary Latin American the visual arts and their various inter- initiatives of the Museum’s Latin and Latino art, these partnerships sections with governments and American Art Department. In fall 2015, consisted of a combination of academic government-sponsored initiatives. The the Museum and the ICAA published the seminars and hands-on graduate-student meeting was extremely well attended, catalogue accompanying the exhibition internships centered on the recovery with members and participants (includ- Contingent Beauty: Contemporary Art from and use of archival documents for ing several high-ranking ministers of Latin America (see p. 105). This exhibi- art-historical research. culture and patrimony) from across tion highlighted the work of twenty-one the globe, and it solidified timely action established artists from Latin America The ICAA also continued to expand its plans for the Ideas Council. who use seductive and engaging materi- Ideas Council, a global think tank for als to convey their social, political, and dialogue and the direct exchange of ideas This fiscal year, the ICAA received a environmental concerns. The ICAA also about critical issues impacting the field grant from the Institute for Museum organized a series of artist-centered dia- of Latin American and Latino art. In and Library Services (IMLS), and sub- logues—The Contingencies of Beauty: December 2015, council member Ella stantial support was received from the Artists in Dialogue—as part of the Fontanals-Cisneros hosted a breakfast individual contributions of the Ideas opening activities related to the exhibi- meeting for the group at the Cisneros Council members. tion. Presented in four installments Fontanals Art Foundation (CIFO) in (two conversations, a roundtable dis- Miami. Museum Director Gary Tinterow —Mari Carmen Ramírez, Ph.D. cussion, and a more formal two-session joined Fontanals-Cisneros and Diane WORTHAM CURATOR OF LATIN AMERICAN symposium on time-based media), Halle in leading an intimate group ART AND DIRECTOR, INTERNATIONAL the program featured many of the discussion on key issues of concern to CENTER FOR THE ARTS OF THE AMERICAS most relevant midcareer artists from private collectors of Latin American art Latin America, including María as they contemplate the future of their Fernanda Cardoso, Guillermo Kuitca, respective collections and legacies. In Los Carpinteros, and Regina Silveira. March 2016, the Ideas Council convened

109 SARAH CAMPBELL BLAFFER FOUNDATION

UNKNOWN PAINTER FROM THE LEIDEN SCHOOL Foundation organized the exhibition Pleasure Vanitas Still Life with Books, a Globe, a Skull, a Violin, and a Fan, c. 1625–30 and Piety: The Art of Joachim Wtewael (1566–1638) Oil on panel 12 13/16 x 16 7/16 in. (32.5 x 41.8 cm) in association with the Centraal Museum in Sarah Campbell Blaffer Foundation Utrecht, the Netherlands, and the National BF.2016.5 Gallery of Art in Washington, DC. The exhibi- tion, which was shown at the Museum of Fine Arts, Houston, shed light on Wtewael’s artistic excellence, allowing him to reclaim his rightful place among the great masters of the Dutch Golden Age. Wtewael’s painting in the Blaffer Collection, The Annunciation to the Shepherds, 1606, was on view in Washington and Houston Sarah Campbell Blaffer In 1964, Sarah Campbell Blaffer established only, next to a second version, nearly identical Foundation a foundation for religious, charitable, and Board of Trustees in composition, from the Rijksmuseum in educational purposes. Since that time, the Sarah Amsterdam. Recent technical analysis of the Mr. Charles W. Hall Campbell Blaffer Foundation has supported a two paintings suggests that the Houston President wide variety of institutions through monetary painting is the prime version followed by the grants. In 1971, its trustees, including Mrs. Amsterdam picture. Mr. Edward Joseph Hudson, Jr. Blaffer, decided to focus more of the founda- Vice-President and Secretary tion’s resources on acquiring works of art that In 2016, the foundation acquired the rare, very would be made available to people in Texas Ms. Anne D. Owen high-quality Vanitas Still Life with Books, a Globe, Vice-President and Treasurer through a “museum without walls.” a Skull, a Violin, and a Fan, c. 1625–30, by an unknown Dutch painter from the Leiden Mr. Robert Lee Hudson The Sarah Campbell Blaffer Foundation now School. The vanity of human achievement, Vice-President maintains, exhibits, and continues to develop represented in this painting by the pile of books a collection of more than 150 Old Master and for knowledge and literature, the violin for Mr. James Owen Coleman modern paintings, approximately 500 works Vice-President music, and the globe for the global span of on paper, and a small collection of decorative Dutch mercantile power, was a common theme arts. Prior to 2000, the foundation had never of seventeenth-century Dutch culture. The occupied its own permanent exhibition space. painting is also a memento mori, a reminder of However, as the result of an agreement with death: the mirror evokes the obsession with the Museum of Fine Arts, Houston, the finest youth and beauty, while the skull is a stark works in the Blaffer Foundation’s collection are reminder that youth, beauty, and life itself will now exhibited in five dedicated galleries in the eventually disappear into death. Currently on Audrey Jones Beck Building. display in the so-called cabinet of curiosity, installed in the foundation’s smallest gallery In the 2015–2016 fiscal year, the Blaffer at the Museum, the picture resonates with the Foundation continued its program of exhibiting illustrated books and other three-dimensional works of art at museums in Texas and outside the objects displayed in the room. state. Individual works were lent to the Princeton University Art Museum in New Jersey, the The staff of the Blaffer Foundation is grateful Cornell Fine Arts Museum on the Winter Park to the foundation’s Board of Trustees for its campus of Rollins College in Florida, and the continued guidance. We would also like to Museo Thyssen-Bornemisza in Madrid. Our t thank Museum staff members who lend their raveling exhibition, Venetian Paintings from the expertise to the advancement of the founda- Collection of the Sarah Campbell Blaffer tion’s art programs. Foundation, was presented at the San Angelo Museum of Fine Arts in Texas. The Blaffer —James Clifton 110 DIRECTOR, SARAH CAMPBELL BLAFFER FOUNDATION THE GLASSELL SCHOOL OF ART

Established in 1979, the Glassell School of Art serves as the teaching wing of the Museum by offering a variety of classes, workshops, and educational opportuni- ties for students diverse in age, interests, experience, and needs through the Glassell Studio School, the Glassell Junior School, and the nationally acclaimed Core Residency Program.

The Glassell Studio School moved to its temporary location at the John P. McGovern Campus of the Texas Medical A student at the Glassell Studio School begins her painting project. Center, its home until construction is completed on the new facility. The school school’s continued success. Portfolio Day the work of all seven Core artists-in-resi- offered a variety of programs designed to and Sketch Day, the school’s annual schol- dence and an installation of works from engage the student body and to comple- arship competitions, resulted in more than the Museum’s collection. An accompany- ment the coursework. The school’s lectur- 260 scholarships awarded. ing publication documented the artists’ ers this year included Anne Wilkes Tucker, work and featured essays by the Core criti- formerly the Museum’s Gus and Lyndall The Core Residency Program at the cal writers. Wortham Curator of Photography, and Glassell School of Art is a nine-month ceramics curator and educator Garth postgraduate program consisting of In 2015–2016, the Glassell School of Johnson. The school continued its partner- seven artists and three critical writers. Art received generous financial support ship with Kinder Morgan, which hosted an Participants are provided studio or office from individuals, foundations, and cor- exhibition series featuring selections of stu- space in the Bermac Arts building, a porations. The Annual Fund Drive dent and faculty work. The popular Annual stipend, and access to all school equip- raised $301,240. The Annual Benefit and Student Exhibition opened in the Interspace ment and facilities. A distinguished roster Art Auction, “Yellow Submarine: All You Gallery on May 20, culminating a year of artists, critics, curators, and art histori- Need Is Glassell,” chaired by Judy Nyquist of individual and group student shows. ans is invited each year to lecture and con- and Trenton Doyle Hancock, raised The school saw steady enrollment num- duct studio visits. This year included $309,970. The Core Program exceeded its bers, reaching 1,894 units, 141 of which lectures by Huey Copeland, Joshua fund-raising goal, and the Glassell Studio were registered through the University Decter, Jennifer Doyle, Miki Garcia, and Junior schools continued to receive of St. Thomas. David Hartt, Demetrius Oliver, and Lisa strong support. Sigal, and seminars led by Bruce Hainley, The Glassell Junior School continued to Timothy Morton, and Fred Moten. The I would like to thank the members of maintain strong and steady enrollment Core critics-in-residence presented a pair of the Glassell School of Art committees for numbers. The school celebrated record shows in the She Works Flexible gallery their leadership and enthusiastic support enrollment for the fifth summer in a row, space: I’ve Only Known My Own, curated of the school. I wish to acknowledge the boosting the final total enrollment for the by Nicole Burisch, and Dean Sameshima: Executive Committee Chairman Brad year to 5,056. Newly added program- Public Sex, curated by Andy Campbell. In Bucher and the Core Program ming and growing community partner- April, the 2016 Core Exhibition opened in Subcommittee Chair Jereann Chaney. ships with Post Oak High School, the Cameron Foundation Gallery of the Presbyterian School, and the homeschool Audrey Jones Beck Building. This exhibi- —Joseph Havel community have played a large role in the tion, also curated by Campbell, featured DIRECTOR, THE GLASSELL SCHOOL OF ART

111 BAYOU BEND COLLECTION AND GARDENS

The year 2016 addition, many programs received support marked a significant from underwriters and donors. Particular milestone for Bayou recognition is given to Occidental Petroleum Bend. On March 5, Corporation, presenting sponsor of our free we celebrated fifty Family Days and July 4 events, and William years of sharing our J. Hill for underwriting children’s program- Houston heritage. ming. And, we could not have shared Bayou Each guest that day Bend this year—or for the past fifty years— received a card with without the steadfast commitment of service excerpts from Ima given by the members of the Bayou Bend Hogg’s 1966 dedi- Committee and four special organizations: cation remarks, including her joyous conclu- Bayou Bend Docent Organization; River View of Bayou Bend. sion: “I was holding Bayou Bend only in trust Oaks Garden Club; Houston Junior Woman’s for this day. Now Bayou Bend is truly yours!” Club; and Theta Charity Antiques Show. Her beloved home, gardens, and collection would be forevermore a museum that every- The gifts of service and financial support one could visit, an inspiring place where all made possible a wide range of activities dedi- people could learn more about America’s cated to preserving, enriching, and sharing cultural history. the collection and gardens with the public. This was a banner year for overall atten- For fifty years, thousands of individuals dance, as more than 125,000 people visited, have generously supported Bayou Bend. including a record 2,841 students who partici- Thousands more have donated their time pated in our free school tour program. We as docents and volunteers to ensure that offered 325 days of public tours, and 120 days the public’s experience has been one of discov- of other programming. Of special note, the ery, beauty, and hospitality. Hundreds of staff fifth biennial David B. Warren Symposium members have cared for and enhanced the was held; the William J. Hill Texas Artisans buildings, collection, and gardens; advanced and Artists Archive reached more than scholarship through publication and research; 55,000 online entries; and the exhibition and presented programs for all ages. Texas Clay: 19th-Century Pottery from the Bayou Bend Collection was accompanied by The half-century tradition of philanthropy an authoritative catalogue. A new holiday and educational excellence was once again in program, Christmas Village at Bayou Bend, evidence this year under the skilled guidance presented an immersive experience for 13,000 of Bayou Bend Committee Chairman visitors over 13 nights, featuring dazzling Susanne M. Glasscock. Our annual fund lighting displays in the gardens, a magical drive raised $588,346, exceeding its goal. house tour and 3-D projection, and a visit The spring benefits season was expanded from Santa and his reindeer. to include a Fashion Show and Luncheon, a highly successful event that helped bring the Everyone associated with Bayou Bend is three-day weekend total over the $1,000,000 proud of its fifty-year contribution to the mark for the first time. Special thanks go to cultural life of Houston, and, as always, we Fashion Show Chairs Laura Arnold and honor Ima Hogg, the remarkable woman Jennifer Segal; Children’s Party Chairs whose extraordinary vision and commitment Brittany and Travis Cassin, Kate and Paul made it all possible. Stouffer, and Amy and Robert Urquhart; and Garden Party Chairs Tina and Joe Pyne for —Bonnie Campbell their leadership and personal generosity. In DIRECTOR, BAYOU BEND COLLECTION 112 AND GARDENS RIENZI

part of the Marie-Antoinette, were also acquired for Mastersons’ the Rienzi Collection (see p. 31). notable silver collection. Rienzi’s On February 2, Rienzi held a special slate of fall programs, event, British Tastes and French Wine: including tours, A Pairing Party; the next afternoon, a lectures, and other lecture sponsored by The Garden Club public events, of Houston was delivered by the Duchess proceeded as of Rutland, who spoke about the history planned. The annual and landscape of her family’s country fall Punch Party house, Belvoir. Rienzi’s spring exhibition, featured historic The Lavish Prince Regent, opened on recipes for March 5, in time for Azalea Trail (March View of Rienzi. English punch. 11–13), followed by Rienzi Family Day (April 17). The annual Spring Party (April Fiscal year 2015–2016 was successful On October 10, Rienzi and the Museum 28), chaired by Jana and John McHenry, and very challenging. By the time the lost a dear friend, Trustee George S. Melanie and Mace Meeks, and Chaille year ended, Rienzi had undergone a Heyer, Jr., who bequeathed his superior Strake, was held poolside, where 331 metamorphosis, which energized the collection of English eighteenth-century people raised $148,515 for Rienzi. Three staff and committee members and silver to the Museum, where it is inspiring Houston Grand Opera Studio prepared them for a new chapter in presently exhibited both at Rienzi and performances closed the Rienzi season. Rienzi’s history. In summer 2015, the in the Audrey Jones Beck Building. Sterling-Turner Foundation, through All of Rienzi’s fund-raising events the kindness of Isla Reckling, gave In the fall, Museum Director Gary exceeded their goals: the 2016 Annual Rienzi a grant to replace its deteriorat- Tinterow, Rienzi’s Collections Fund Drive; The Garden Club of ing boilers and to repair its pool, ter- Subcommittee Chair Cyvia Wolff, and Houston Rienzi Garden Endowment race, and also the facade on the north Rienzi’s Committee Chair Rosslyn Appeal; the Rienzi Society; and the side of the house, considerably improv- Crawford worked with the Museum’s Rienzi Spring Party. Rienzi is also ing Rienzi’s operations and appearance. curators to identify superior paintings most grateful for the support received At the same time, Rienzi’s staff was in and decorative objects to purchase at from The Garden Club of Houston, transition. Despite the departure of four the annual Rienzi Society event. More especially from President Lester staff members, Rienzi’s operations con- than one hundred guests attended the Grundy and Garden Subcommittee tinued smoothly and admirably under event and, thanks to Chairs Christiana Chair Ardon Armstrong. the guidance of the remaining staff: and Luke McConn and Marilyn and Associate Curator Christine Gervais; Christopher Winters, raised more than This fiscal year marked my fifteenth, Curatorial Assistant Misty Flores; $300,000, with which members voted and final, annual report for Rienzi, and Stephanie Niemeyer, Rienzi’s to purchase Portrait of the Archduchess and also my forty-first year serving learning and interpretation manager, Maria Amalia of Austria, Duchess of as a curator at the Museum of Fine as well as with the help of Rienzi’s Parma (c. 1778) by Johann Zoffany Arts, Houston. I am both proud of excellent docents. (see p. 30). Tapping the financial and indebted to this fine institution support provided by the guests, as and the people who have made it so. In October, Rienzi’s fall exhibition, well as the proceeds from collection À la Mode: Fashioning European Silver, deaccessions, two Sèvres porcelain —Katherine S. Howe 1680–1825, opened, giving guests the busts (c. 1785), one of King Louis DIRECTOR, RIENZI opportunity to view, for the first time, XVI and the other of his wife,

113 THE BROWN FOUNDATION FELLOWS PROGRAM THE DORA MAAR HOUSE, MÉNERBES, FRANCE

of La femme qui pleure au chapeau rouge, a film about Maar’s life, as well as a screening of a documentary; a powerful performance of Maar’s poetry; and an open house and closing reception. Nearby, the Maison de la Truffe et du Vin du Luberon presented a ten-day exhibition of Dora Maar’s work, and the local school created a curriculum around the Surrealists. As a capstone to the events, the mayor of Ménerbes named the street in front of the house “Passage Dora Maar” in honor of the artist.

View of Dora Maar House. As of June 30, 2016, the program counted 165 alumni who continuously wish to express Now in its tenth year, the Brown Foundation their gratitude to Mrs. Negley and The Brown Fellows Program at the Dora Maar House in Foundation, Inc. Their collective accolades are Ménerbes, France, has established an interna- a true credit to the residency. For example, tional reputation as a highly respected resi- this year three Dora Maar Fellows won John dency program for people in the arts and the Simon Guggenheim Memorial Foundation humanities. The program was conceived in Fellowships: the poet Sally Keith, the painter 2006 by Life Trustee Nancy Brown Negley Laurie Fendrich, and the artist J. Morgan Puett. and is funded by The Brown Foundation, Inc. Mark Kendall was awarded a Pew Fellowship. Mary Flannagan was awarded an honorary Twenty-one Brown Foundation Fellows were doctorate from the Illinois Institute of selected for the 2015–2016 program from Technology. In 2017 she will become the first an impressive pool comprised of 322 interna- J. Paul Getty Museum Guest Scholar in the tional applicants. These Fellows—which field of game design. Fabianny Deschamps’s included artists, poets, novelists, filmmakers, film was selected to screen at the Cannes Film a choreographer, and scholars from a wide Festival. Chia-Yu Hsu was given the Wladimir range of disciplines—immersed themselves and Rhoda Lakond Award in music composition in the creative aspects of their work and from the American Academy of Arts and Letters. engaged with their peers and community through 35 cultural activities and events that The close of the 2015–2016 program brought drew more than 1,700 visitors to the Dora the retirement of Katherine S. Howe, the Maar House. These activities included lec- founding director of the Brown Foundation tures from the rewarding partnership with Fellows Program at the Dora Maar House. the classical music organization Les We are grateful for her good work, careful Musicales du Luberon, and monthly salons insights, and dedication. I have served as in which the Fellows shared their work with assistant director since September 2007 and the community. have now assumed the position of director of the program. In June, the residence hosted a weekend symposium, “Dora Maar chez elle.” The event —Gwen Strauss included a lecture by Victoria Combalia, the DIRECTOR foremost expert on Dora Maar; a presentation

114 DEVELOPMENT

During the 2015–2016 fiscal year, the many successes in fund-raising were the result of commitment and work by members of the Board of Trustees, chaired by Richard D. Kinder; the Campaign for the Museum of Fine Arts, Houston, chaired by Cornelia C. Long; and the Development Committee, chaired by Mrs. Courtney L. Sarofim. The generous support of individuals, foundations, corporations, and government agencies totaled $ 14.2 million for operations, accessions, and special projects. On behalf of the Board of Trustees, we honor all those donors who made this achievement possible. For a list of the donors who con- tributed to the Museum’s capital campaign, as of June 30, 2016, please see pages 14–15.

ANNUAL DRIVES

Funds raised through annual drives are an essential portion of the Museum’s operating budget. This year, four separate drives raised a total of $3,292,496 for the Museum, Bayou Bend Collection and Gardens, the Glassell School of Art, and Rienzi. The institution is indebted to the individuals who give their time and resources to help raise unrestricted funds for daily operations. We give special thanks to the Glassell Family, whose challenge grant matched unrestricted gifts for the Glassell School of Art, and to Cartier, which sponsored the 2015–2016 MFAH Leadership Circle. Additionally, we would like to thank the Cullen Foundation and Houston Endowment Inc. for providing leadership gifts.

BENEFITS

Every year, special events at the Museum raise vital funds for operations, and the MFAH organized nine such events for the 2015–2016 fiscal year. The Grand Gala Ball raised $2,025,150, and The Fine Art of Shooting: A Sporting Clays Invitational raised $166,808. The Glassell School of Art Benefit and Auction raised $309,970. Three benefits at Bayou Bend raised $1,236,450, and the Rienzi Spring Party raised $148,515. Two additional events, One Great Night in November and the Latin American Experience, supported accessions for the Museum and collectively raised $2,365,511.

For a list of all MFAH annual drives and benefits, please see page 118.

INDIVIDUAL GIFTS

Individuals continue to provide some of the most significant support for the Museum’s activities, including exhibitions; learning and interpretation programs; conservation projects; and accessions. For extraordinarily generous gifts, we thank the Estate of Jeaneane B. Duncan; the Glassell Family; Mindy and Jeff Hildebrand; Nancy and Rich Kinder; Rolanette and Berdon Lawrence; Sara and Bill Morgan; Minnette Robinson; Fayez Sarofim; Louisa Stude Sarofim; and Jeanie Kilroy Wilson.

115 DEVELOPMENT

FOUNDATION SUPPORT

This year, 185 foundations provided more than $20 million in support of operations, accessions, and capital projects. Houston foundations are exceptional in their giving, and we extend a special thank-you to The Brown Foundation, Inc.; Ting Tsung and Wei Fong Chao Foundation; the Cullen Foundation; the Elkins Foundation; the Hamill Foundation; Houston Endowment Inc.; the Levant Foundation; the Omena Fund; the Windgate Charitable Foundation; and the Wortham Foundation, Inc.

CORPORATE CONTRIBUTIONS

The Museum is proud of the support received from the corporate community in Houston and far beyond. This year, corporate groups provided $2.9 million. Special thanks go to Aramco; BBVA Compass; Cartier; Budweiser/Silver Eagle Distributors; Northern Trust Bank of Texas; the Rand Group; River Oaks District; Shell Oil Company; Simon Property Group / Galleria Houston; and Tenaris.

CIVIC AND GOVERNMENT GRANTS

The Museum could not exist without funds provided by various civic and government organizations. This year, the Museum received more than $1.7 million in grants from these local, state, and national groups. Our deepest appreciation is extended to the City of Houston; the Institute of Museum and Library Services; Houston Junior Woman’s Club; MD Anderson Cancer Center; the National Endowment for the Arts; the River Oaks Garden Club; and Texas Commission on the Arts.

116 PLANNED GIVING

The Museum’s Myrtle Wreath and Ima Hogg Societies continue to flourish, with 228 members to end the fiscal year. These societies allow the MFAH to recognize donors who have let us know that they intend to provide important resources for future generations by including the Museum, the Glassell School of Art, Bayou Bend, and/or Rienzi in their estate plans. We extend our deep gratitude to the friends who have enrolled in these societies.

VOLUNTEERS

Our volunteers are perhaps the most impressive endorsement of the Museum. They give their time and service to enable the institution to better serve the community. In 2015–2016, more than 1,100 volunteers worked over 53,000 recorded hours. According to guidelines estab- lished by the Independent Sector, this support is worth more than $1.2 million. Volunteers give vital assistance in all areas of the Museum, including membership, learning and interpreta- tion, and guest services. The corps of docents provides vast support not only for the Museum, but also for Bayou Bend and Rienzi. We wish to pay special tribute to the Guild, the Museum’s volunteer leadership organization. The Guild was 474 members strong and provided constant immeasurable support.

—Amy Purvis CHIEF DEVELOPMENT OFFICER

117 DEVELOPMENT

ANNUAL DRIVES BENEFITS

Funds raised by the annual drives 2015 Grand Gala Ball and benefits listed in this section October 2, 2015 are total gross proceeds. Chair: Lynn Wyatt Raised: $2,025,150 for operations Museum Annual Fund Drive Raised: $2,258,525 2015 Latin American Experience November 21, 2015 Bayou Bend Annual Fund Drive Chairs: Linda and George Kelly Chair: Mrs. Susanne M. Glasscock Raised: $1,322,640 for accessions Raised: $588,346 and operations

Glassell School Annual Fund Drive One Great Night in November, 2015 Chair: Mr. Brad Bucher November 11, 2015 Raised: $301,240 Raised: $1,042,871 for accessions

Rienzi Annual Fund Drive The 2016 Fine Art of Shooting: Chair: Mrs. Rosslyn Crawford A Sporting Clays Invitational Raised: $144,385 February 27, 2016, at the Greater Houston Gun Club PLANNED GIFTS Chairs: The Mach Family Raised: $166,808 for operations The Myrtle Wreath Society Members: 182 2016 Bayou Bend Fashion Show and Luncheon April 1, 2016 The Ima Hogg Society Chairs: Laura Arnold and Jennifer Segal Members: 46 Raised: $448,250 for operations

2016 Bayou Bend Children’s Party April 2, 2016 Chairs: Brittany and Travis Cassin; Kate and Paul Stouffer; and Amy and Robert Urquhart Raised: $69,300 for operations

2016 Bayou Bend Garden Party April 3, 2016 Chairs: Tina and Joe Pyne Raised: $718,900 for operations

2016 Rienzi Spring Party April 28, 2015 Chairs: Jana and John McHenry; Melanie and Mace Meeks; and Chaille Strake Raised: $148,515 for operations

The 2016 Glassell School of Art Benefit and Auction May 7, 2016, in the Museum’s Caroline Wiess Law Building Chairs: Trenton Doyle Hancock and Judy Nyquist Raised: $309,970 for operations

118 1 2 3

4 5 6 7

8 9

1 Grand Gala Ball: Chair Lynn Wyatt; Gary Tinterow 6 One Great Night in November: Holbrook Dorn; Wally Wilson 2 Grand Gala Ball: Susan and Fayez Sarofim 7 One Great Night in November: Bill Wheless; Jim Flores 3 Grand Gala Ball: Bobby and Phoebe Tudor 8 One Great Night in November: Mike Linn; Gary Tinterow; 4 Grand Gala Ball: Nidhika and Pershant Mehta Will Mathis 5 Grand Gala Ball: Rich and Nancy Kinder 9 Latin American Experience: Chairs Linda and George Kelly; Mari Carmen Ramírez

119 DEVELOPMENT

10 11

12 13

14 15 16

10 Latin American Experience: Mari Carmen Ramírez; Brad Bucher; 14 The Fine Art of Shooting: Ruth Chow Kneese; Meredith Long; María Inés Sicardi; Gary Tinterow; George Kelly; Mary Lile Sarah Lamb Larned; Cornelia Long 11 Rienzi Society: Chairs Christopher and Marilyn Winters; 15 Bayou Bend Fashion Show: Chairs Jennifer Segal; Christiana and Luke McConn Laura Arnold 12 Rienzi Society: James and Elise Reckling 16 Bayou Bend Fashion Show: Laurie Morian; Courtney Sarofim 13 The Fine Art of Shooting: Chairs Steve and Joella Mach; Harry and Cora Sue Mach; Carmen and Butch Mach

120 17 18 19

20 21 22

23 24 25

17 Bayou Bend Children’s Party: Chairs Amy Urquhart; 22 Rienzi Spring Party: Chairs Jana and John McHenry; Brittany Cassin; Kate Stouffer Chaille Strake; Mace and Melanie Meeks 18 Bayou Bend Children’s Party: Kathy Goossen; 23 Rienzi Spring Party: Tommy and Isla Reckling Matthew and Lacey Goossen; Marty Goossen 24 Glassell School of Art Benefit and Auction: 19 Bayou Bend Garden Party: Chairs Tina and Joe Pyne Chairs Judy Nyquist and Trenton Doyle Hancock 20 Bayou Bend Garden Party: Frank and Michelle Hevrdejs 25 Glassell School of Art Benefit and Auction: 21 Bayou Bend Garden Party: Margaret Alkek Williams and Jim Daniel Sima Ladjevardian; Rania Daniel

121 26 27 28

29 30 31

32 33 34

26 Texas Clay: 19th-Century Pottery from the Bayou Bend Collection 31 Sculpted in Steel: Art Deco Automobiles and Motorcycles, 1929–1940 opening reception: William J. Hill opening dinner and reception: Marsha and Tom Brown 27 Mark Rothko: A Retrospective opening dinner and reception: 32 Sculpted in Steel: Art Deco Automobiles and Motorcycles, 1929–1940 Christopher Rothko, Lynn Wyatt, and Gary Tinterow opening dinner and reception: Jeanie Kilroy Wilson and 28 Roman Vishniac Rediscovered opening dinner and reception: Wallace Wilson Barbara and Gerry Hines; Lois Stark 33 High Society: The Portraits of Franz X. Winterhalter opening dinner 29 Contingent Beauty: Contemporary Art from Latin America opening and reception: Tony and Cynthia Petrello dinner and reception: Gail Adler; Ana Sokoloff; Louis Adler 34 High Society: The Portraits of Franz X. Winterhalter opening dinner 30 Vera Lutter: Inverted Worlds: Vera Lutter; Malcolm Daniel and reception: Charles and Anne Duncan

122 DEVELOPMENT

Contributions to the Museum Mr. Gary Mercer Stedman West Foundation Mr. and Mrs. Jorge Perez of Fine Arts, Houston; Bayou Bend Laurie and Reed Morian Judy and Charles Tate The Petrello Family Foundation Collection and Gardens; the Glassell National Endowment for the Arts Tenaris Phillips School of Art; and Rienzi Bobbie and John Nau United Airlines Mr. and Mrs. Harry M. Reasoner Franci Neely Lan and Kuan Yu Mr. and Mrs. Omar Rehmatulla A list of donors to the Capital Campaign Northern Trust Corporation Ms. Beth Robertson is published on pages 14–15. The Omena Fund $25,000–$49,999 Sanchez Energy Corporation Mary Lawrence Porter The Alkek and Williams Foundation A. R. “Tony” and Maria J. Sanchez Amegy Bank of Texas $500,000 or More Tina and Joe Pyne Family Foundation Atlantic Trust Private Wealth Nancy and Rich Kinder The Rand Group Sayago and Pardon Inc. Management Mr. Fayez Sarofim River Oaks District Scaler Foundation, Inc. Melza and Ted Barr The Brown Foundation, Inc. River Oaks Garden Club Ms. Anne Schlumberger Mr. Luis Benshimol Houston Endowment Inc. Scurlock Foundation Sotheby’s The Bookout Foundation The Wortham Foundation, Inc. Shell Oil Company Theta Charity Antiques Show Mr. Charles Butt The Estate of Alfred C. Glassell, Jr. Simon Property Group The Carl and Marilynn Thoma Dr. and Mrs. Luis T. Campos Mrs. Jeanie Kilroy Wilson The Skiles Foundation Art Foundation The P. and C. Carroll Foundation Mrs. Clare Attwell Glassell The Joseph & Sylvia Slifka Foundation Ms. Ann G. Trammell Mrs. Jereann H. Chaney Sarah Campbell Blaffer Foundation The Vivian L. Smith Foundation Susan Vaughan Foundation Christie’s The Cullen Foundation Sterling-Turner Foundation Mr. and Mrs. James M. Vaughn, Jr. Citi Anne and Charles Duncan The Buddy Taub Foundation W Magazine The Coneway Family Foundation Rolanette and Berdon Lawrence Texas Commission on the Arts Dr. Morris A. Weiner Mr. Duncan W. Corbett Sara and Bill Morgan Phoebe and Bobby Tudor The Winston Charitable Foundation Mr. Michael W. Dale Mindy and Jeff Hildebrand Mr. and Mrs. James G. Ulmer Sharon G. Dies Ting Tsung and Vinson & Elkins LLP $10,000–$24,999 Mr. and Mrs. Stephen B. Donson Wei Fong Chao Foundation The Windgate Charitable Foundation Mr. and Mrs. Mark Abendshein Betty and Brack Duker The Elkins Foundation Cyvia and Melvyn Wolff Sofia Adrogué and Sten Gustafson Krista and Michael Dumas Mrs. Minnette Robinson Lynn and Oscar Wyatt Joan and Stanford Alexander Lisa and Ralph Eads City of Houston Mr. and Mrs. Michael S. Zilkha Julie and Drew Alexander The William Stamps Farish Fund Mrs. Louisa Stude Sarofim Chinhui and Edward Allen H. Fort Flowers Foundation, Inc. The Estate of Jeaneane B. Duncan $50,000–$99,999 American Institute of Architects Houston Mrs. H. J. Foster The Glassell Family Foundation Sushila and Durga Agrawal The Americana Foundation Frost Bank The Hamill Foundation Apache Corporation Edward H. Andrews Foundation Gagosian Gallery Aramco Services Company Argos The Garden Club of Houston Mr. and Mrs. Gregory Armstrong $100,000–$499,999 Mr. Leon Brener Heidi and David Gerger Arnold & Porter, LLP Mr. and Mrs. Louis K. Adler Budweiser/Silver Eagle Distributors Ms. Carroll R. Goodman Mr. and Mrs. Isaac Arnold, Jr. Mrs. Nancy C. Allen Cartier Mr. and Mrs. Martyn E. Goossen Mr. Roland Augustine Anchorage Foundation of Texas Mr. and Mrs. Harry H. Cullen Mr. Samuel F. Gorman Mr. and Mrs. David Ayers The Honorable and Mr. and Mrs. Jamal H. Daniel Ms. Melanie Gray and Mr. Mark Wawro Olive and Bruce Baganz Mrs. Hushang Ansary The Estate of Leonora De Grasse Windi and David Grimes Mr. and Mrs. A. L. Ballard Laura and John Arnold Mrs. Linnet F. Deily The Bruce T. Halle Family Foundation Bank of America BBVA Compass Mrs. Diane Lokey Farb Ms. Cynthia G. Holliday Barclays Wealth Ann and John Bookout Mr. and Mrs. Robin C. Gibbs Ms. Joanne M. Houck The Joe Barnhart Foundation Leslie and Brad Bucher Houston Junior Woman’s Club Houston Livestock Show and Rodeo Karol and Paul Barnhart, Jr. The Gordon A. Cain Foundation Houston Public Media Mrs. Olive McCollum Jenney BB&T John R. Eckel, Jr. Foundation Mr. and Mrs. Ronald E. Huebsch Mrs. Nancy Glanville Jewell David Berg Foundation The Favrot Fund Institute of Museum and Library Services Kirby Inland Marine Bloomberg Paige and Tilman Fertitta The Joan and Marvin Kaplan Foundation Kirkland & Ellis LLP Ms. Tanya Brillembourg Cherie and Jim Flores Linda and George B. Kelly Carla Knobloch Mr. and Mrs. James L. Britton III The Fondren Foundation Knobloch Family Foundation Tamara and Andrius Kontrimas Sue and Rusty Burnett Mr. and Mrs. Michael Gamson The Estate of Margo Lamb Samuel H. Kress Foundation Mr. and Mrs. Laurence C. Burns, Jr. Mr. and Mrs. Melbern G. Glasscock Mr. and Mrs. Thomas H. Lile Mr. J. Venn Leeds, Jr. Butler, Shine, Stern & Partners Mr. Alfred C. Glassell, III Mr. Mike A. Loya The Robert Lehman Foundation, Inc. The Carruth Foundation, Inc. Mr. and Mrs. Frank J. Hevrdejs Ms. Beth Madison Mr. and Mrs. Steven J. Lindley Ms. Bettie Cartwright Mr. William J. Hill Mr. James Edward Maloney Mrs. Fred R. Lummis Cecilia de Torres, Ltd. The Estates of Winifred and Mr. and Mrs. Rodney H. Margolis Luther King Capital Management CFP Foundation Maurice Hirsch Mr. and Mrs. William N. Mathis Mrs. Frances Parker Marzio Chanel, Inc. Lynne and Joe Hudson MD Anderson Cancer Center Mr. and Mrs. J. Luke McConn III Mr. and Mrs. Albert Y. Chao The Mary Kathryn Lynch Kurtz Nidhika and Pershant Mehta Mr. and Mrs. Downing Mears Mr. and Mrs. Ernest M. Charles Charitable Lead Trust Occidental Petroleum Memorial Hermann Healthcare System Chevron The Levant Foundation Mr. and Mrs. John S. Orton Steven and Sheila Miller Foundation Mr. and Mrs. Victor Costa Carol and Mike Linn The Estate of Mary Anne Mr. Luis C. L. Morton The Crane Family Foundation Mr. and Mrs. Meredith J. Long Holloman Phillips North Houston Commercial Mr. and Mrs. Gary T. Crum John P. McGovern Foundation Mr. and Mrs. T. R. Reckling III Norton Rose Fulbright Hilda and Greg Curran Mr. and Mrs. Robert C. McNair Mrs. Costanza Restrepo Mr. and Mrs. Scott Nyquist Mr. and Mrs. Louis B. Cushman The Andrew W. Mellon Foundation Diane and John Riley Oliver Wyman Rebecca and Morgan de Marigny

123 DEVELOPMENT

Mr. Ugo di Portanova Mr. and Mrs. Dee S. Osborne Mr. and Mrs. Ed Britt Mrs. Thomas W. Blake The Dickson-Allen Foundation Dr. and Mrs. David A. Ott The Green Tree Fund Mr. and Mrs. Edwin H. Frank III Dior Mr. and Mrs. Ernesto Poma Mr. and Mrs. Marshall Crawford JF Painting LLC Ann and Leslie Doggett Post Oak Motor Cars Mrs. A. P. Raghuthaman John L. Wortham & Son, L.P. Susan and George Domolky The Powell Foundation The Honorable and Mediaplace Latin America, LLC Mr. and Mrs. Frank E. Driscoll Mr. and Mrs. William E. Pritchard III Mrs. Edward P. Djerejian Mr. and Mrs. Shannon B. Sasser Mr. and Mrs. John H. Duncan, Sr. Karen S. Pulaski Philanthropic Fund Sicardi Gallery Mr. and Mrs. Douglas W. Schnitzer Mr. and Mrs. David B. Duthu Mr. and Mrs. David A. Pustka Mr. and Mrs. Jack S. Blanton, Jr. The Webber Foundation Mrs. James A. Elkins III Mrs. Henry K. Roos The Burguieres Family Foundation Mr. and Mrs. Corbin J. Robertson, Jr. Mr. and Mrs. Dan English III Mr. Martin Rozenblum Mr. and Mrs. Joseph A. Cleary, Jr. Mr. and Mrs. Mark S. Elias Mr. and Mrs. Sheldon R. Erikson Miwa Sakashita and John Stroehlein Julia and Russell M. Frankel Mr. and Mrs. R. W. Wortham III ExxonMobil Mr. and Mrs. William Prescott Mrs. Fredrick Hawkins Mr. and Mrs. Floyd Kenneth Bailey Mr. and Mrs. Nijad Fares Mills Schwind Holt Atherton Educational Foundation, Inc. Mr. and Mrs. Albert J. Grobmyer IV Nanette and Jerry Finger Jennifer and Justin Segal Honeywell International Puffer-Sweiven Inc. Mr. and Mrs. Andrew M. Fossler The Helmle Shaw Foundation Ralph H. and Ruth J. McCullough Mr. and Mrs. Yasuhiko Saitoh Mr. Gregory E. Fourticq, Jr. The Ray and June Smith Foundation Mr. and Mrs. Keller Towns Mr. and Mrs. R. Neal Gassman Charitable Foundation McDugald-Steele Landscape Mr. and Mrs. Douglas S. Diehl Gensler W. A. and Madeline Smith Architects and Contractors Mr. and Mrs. James L. Ketelsen Mr. and Mrs. H. Lee Godfrey Charitable Trust Mitra Mujica-Margolis and Mrs. Sidney Faust Grits Foundation R. E. Smith Foundation Michael Margolis Mrs. Deborah S. Gibson Dr. Ellen R. Gritz and St. Luke’s Episcopal Health System Palmer Foundation Mr. and Mrs. Tom R. Kelsey Mr. Milton D. Rosenau, Jr. Strake Foundation Mr. and Mrs. William E. Penland, Jr. McCarthy Building Companies, Inc. Eugenia and Eduardo Grüneisen Mrs. Dorothy C. Sumner Pauline and Stephen Smith Margaret Wilson Reckling Cecilia and Tomás Gunz Mr. and Mrs. J. Taft Symonds Erla and Harry Zuber Fund Mary Eliza and Park Shaper Merrill and Joe Hafner Tam International Inc. Kerry F. Inman and Denby Auble Mr. and Mrs. J. Hugh Roff, Jr. The George and Mary Josephine Tenenbaum & Co. Mrs. Ralph Wallingford Mr. and Mrs. James E. Thorp Hamman Foundation Nanako and Dale Tingleaf The Weingarten Schnitzer Foundation, Inc. Dr. and Mrs. Terry Simon Mrs. James W. Hargrove Mr. Gary Tinterow William E. and Natoma Pyle Harvey Rosenstock Investments Ms. Celina Hellmund and Mr. Christopher Gardner Charitable Trust Ms. Meg Goodman and Mr. Mike Bonini Hines Interests Limited Partnership Mrs. Shirley W. Toomim Naomi Turner True Foundation Lucky 13 Revocable Trust Mr. and Mrs. Richard A. Hosley II Mr. and Mrs. Frank D. Tsuru Mr. and Mrs. James S. Reckling Mr. Edward Andrews III Edward Joseph Hudson Foundation Ms. Anne W. Tucker Mr. and Mrs. Robert Frank Bulgari Mr. Takayuki Ishii Kim and Dan Tutcher Mary and Bernardino Arocha Humanities Texas The JBD Foundation Mr. and Mrs. Timothy J. Unger Randall’s Ms. Nancy Powell Moore John Daugherty Realtors Mr. Chris Urbanczyk Mr. Frank N. Carroll Ms. Anne Lamkin Kinder Mr. Jesse H. Jones II Clara Vega and Mauricio Fabre S. W. and M. R. Miles Foundation Katherine S. and George E. Howe JPMorgan Chase Bridget and Patrick Wade Lynn and Marcel Mason Mr. and Mrs. Jerry Rubenstein Carolyn Frost Keenan and Charlie Gaines Ms. Suzanne D. Walstad Mr. John A. MacMahon Mr. and Mrs. Thomas G. Bacon Mr. and Mrs. John Wilson Kelsey Richard W. Weekley Family Fund Mr. and Mrs. W. Douglas Ankenman, Jr. Mr. and Mrs. James E. Furr Ms. Kelli Kickerillo and Mr. Todd Forester Randa and K. C. Weiner Mr. Joseph M. Cohen Mr. and Mrs. Richard R. Nelson, Jr. Ilene and Donald Kramer Ms. Carol Lynne Werner Mr. and Mrs. Ken Delery Mr. and Mrs. Hugh Ray Ms. Karol Kreymer and Dr. Robert Card Mrs. Raye G. White Mr. Scott Ensell Mrs. Nancy P. Guinee Ms. Bryn K. Larsen Mrs. Sara E. White Susan and Bill Finnegan Margie Wedemeyer and Richard Machain The Francis L. Lederer Foundation Mrs. Sue Trammell Whitfield Louise and Larry Glenn University of Houston The Meyer Levy Charitable Foundation Mrs. Curtis C. Williams III Mr. Larry A. Horton Ms. Ann S. Jackson Ms. Martha Katherine Long Mr. Clinton T. Willour Mr. Randall H. Jamail Elizabeth and George Passela Lowe and Booker Charitable Trust Mr. Wallace S. Wilson Kendall/Heaton Associates, Inc. Ms. Tina L. Buikat Carmen and Harry E. Mach III Mr. and Mrs. Welcome W. Wilson, Sr. Mr. and Mrs. Masoud Ladjevardian Mr. Rodrigo Leal Mr. and Mrs. Harry E. Mach, Jr. Mr. and Mrs. Christopher D. Winters Mr. and Mrs. Kase L. Lawal Mr. and Mrs. Harry Holmes Macy’s Woodlands Preparatory School Mr. and Mrs. Hugh E. McGee III Air Liquide America Corporation Mr. and Mrs. Paul S. Madan Mr. and Mrs. Thomas V. McMahan American Express Dr. Penelope Marks and Mr. Lester Marks $5,000–$9,999 Mr. and Mrs. David S. Neuberger Andrews Kurth LLP Mary Lynn and Steve Marks European Fine Art Foundation Mr. and Mrs. John A. Robins Ms. Priscilla R. Angly Elisabeth and Brian McCabe Ima Hogg Ceramic Circle, Inc. Mrs. Ellen C. L. Simmons Argus Media Inc. McClain Gallery Ms. Nelda P. Gilliam and The Lester and Sue Smith Foundation Art Colony Association Inc. Dr. and Mrs. G. Walter McReynolds Mr. Eugene Nosal Mr. and Mrs. John E. Williams, Jr. Aspen Technologies Mr. Marc Melcher Mr. and Mrs. J. Murry Bowden Mr. and Mrs. William Zartler Avalon Advisors Mercantil Commercebank Mr. and Mrs. Alexander K. McLanahan Mr. and Mrs. Sanford W. Criner, Jr. Mr. and Mrs. James V. Baird Mrs. William James Miller Carnegie Corporation of New York Mr. and Mrs. Robert W. Bailey Mr. and Mrs. James A. Baker III Mr. and Mrs. Richard Mithoff, Jr. Ms. Sara Paschall Dodd Mrs. Seth Irwin Morris The Bertuzzi Family Foundation Mr. and Mrs. H. Dixon Montague Ms. Kari Gonzales Alvin and Lucy Owsley Foundation C56J45 Fund Mrs. Denise D. Monteleone Nina Andrews Revocable Trust Mr. and Mrs. Emory Pylant Monica and Carlos Camin Ms. Joan Morgenstern Rice University Mr. and Mrs. Arnold M. Miller Capricorn Foundation Mrs. Lucian L. Morrison III Mrs. Howard W. Horne Pat and Susie Cunningham Randi and Johnny Carrabba Ms. Leslie Nelson Negley Pat and Dan Breen William Bickford and Oscar Cuellar Casas Riegner OFS Energy Fund Mr. and Mrs. Nicholas Silvers Mr. and Mrs. Herman L. Stude Chubb Group of Insurance Companies

124 Jean and Robert L. Clarke Mr. and Mrs. Raleigh William Baird III Marita and J. B. Fairbanks Mr. and Mrs. William Gentry Lee, Jr. Family Foundation Ms. Julie Watkins Baker and Claire and Richard Farley Joe Levit Family Foundation Cragg Family Foundation Mr. Paul Heim Ms. Carolyn G. Fay Rochelle and Max Levit The Crain Foundation Mr. and Mrs. Sundaresan Bala Mr. Sergio Ferreira Family Foundation Mr. and Mrs. James W. Crownover Mr. and Mrs. J. Michael Baldwin Caroline and Jeremy Finkelstein Barbara & Barry Lewis Family Denman/Newman Foundation Ms. Julie Barry Mr. J. F. Fort Philanthropic Fund Mr. and Mrs. Michael Dokupil Garth C. Bates Jr. Memorial Fund Freeport-McMoRan Inc. Mr. and Mrs. Blake T. Liedtke Elaine and Marvy A. Finger Bayou Bend Docent Organization Mr. and Mrs. L. R. French III Victoria and Marshal Lightman Ms. Julia M. Flowers Ms. Michelle Beale and Mr. and Mrs. Thad B. Fuller Manmeet and Paul Likhari Friedman Grossman Family Foundation Mr. Dick Anderson Maria-Anna and Piotr Galitzine Cherie and John Lindley Fuller’s Service Center Nancy T. Beren and Larry Jefferson Elizabeth and William Galtney Nancy and Erik Littlejohn Dr. and Mrs. Gary Glober Celia and Leon Birbragher Galveston Arts Center, Inc. Louis Vuitton Grasselli Endowment Foundation John Blackmon and Mohn Roberson Dr. Cullen K. Geiselman The Lubrizol Foundation Gurwitch Charitable Fund Mrs. W. Tucker Blaine, Jr. Mr. Robert L. Gerry IV Ms. Marlene Marker Ms. Ursaline Hamilton Mr. Robert T. Blakely III Betty and Robert Gilliam Ms. Poppi Massey The Houston Arts Alliance Rita and Jerred Blanchard Mr. and Mrs. Tom Glanville Mr. and Mrs. Arshad Matin Huneycutt Family Foundation Mr. Elliott M. Bossin Ms. Gwendolyn H. Goffe Misty and Surena Matin David Huntington Foundation, Inc. Mr. and Mrs. Peter Bowden Aron & Anaruth Gordon Foundation Mr. and Mrs. William K. Matthews III International Investors Group Mr. and Mrs. William G. Bowen, Jr. Mr. and Mrs. James C. Gordon Dr. and Mrs. Malcolm L. Mazow Invesco Ltd. Mr. Tony Bradfield Greenberg Traurig LLP Mr. and Mrs. Scott McCool IRO Mrs. Karen A. Bradshaw Mrs. Jacob Greenberg Mr. Timothy P. McGinty Mr. and Mrs. James K. Jennings, Jr. Mr. and Mrs. Sverre Brandsberg-Dahl Mr. James H. Greer McGregor Manne Charitable Fund Mr. Peter W. Josten Nancy and Walter Bratic Mr. and Mrs. W. Garney Griggs Mr. and Mrs. Michael McKeogh Mrs. David H. Knapp Mrs. Katherine Tsanoff Brown Mr. and Mrs. Gary L. Hall Mrs. Karen Benbow McRae Mr. and Mrs. John P. Kotts Mr. Steve Brown Mr. Stephen E. Hamilton Mrs. Pati Mengden-Eckhardt La Perla North America Ms. Terry Ann Brown Mr. and Mrs. Henry R. Hamman Jean and Saul A. Mintz Foundation Kevin and Lesley Lilly Foundation Ms. Jeannette Burg and Mr. Tony Riedel Mr. and Mrs. George A. Hawkins Stephanie and Bradley W. Mitchell Lone Pine Foundation Mrs. Alice Burguieres Mr. and Mrs. Michael J. Hay Mix Creative Learning Center, LLC Macquarie Group Mr. and Mrs. Thomas W. Burke, Jr. Mrs. Sheila Heimbinder Mr. and Mrs. David A. Modesett Marie Claire Mr. and Mrs. David D. Bynum Mr. and Mrs. Michael Hendryx Mr. and Mrs. Michael S. Moehlman Mischer Investments, L.P. Jeri and Craig Calvert Maria and Pablo Henning Montgomery Family Fund Ms. Solita Mishaan Mr. and Mrs. Roy A. Camberg Maureen Higdon Hilarie and Mark Moore Cristina G. and William R. Moore Cardno Haynes Whaley, Inc. Mr. and Mrs. Thomas A. Hill Lida and Mahmood Moradi Janice and Richard Moore Mr. and Mrs. Brady F. Carruth Steven Holl Architects Dr. Susan R. Morrison The Claire & Theodore Morse Foundation Clare Casademont and Michael Metz Mr. and Mrs. Ned S. Holmes Morton Auctioneers & Appraisers Drs. Jin Sup and Yang-Ok Huh Park Dr. Mirtha T. Casimir Mrs. Rosann F. Hooks Mr. and Mrs. Keith Mosing Ms. Marti S. Peterson Mr. Martin Cerruti Mr. and Mrs. John Horn Mrs. Claude H. Mullendore Pontikes Development LLC Mr. Arturo Chavez Dr. Marjorie G. Horning Mr. and Mrs. R. Nelson Murray, Jr. Ralph F. Herbert Charitable Fund Wendy and Bill Chiles Houston Neurocare, P.A. New Life Ventures, Inc The Edward and Ellen Randall Foundation Norbert Choucroun Trust Houston Palestine Film Festival The Oshman Foundation Mr. and Mrs. John A. Rathmell, Jr. The Cockrell Family Fund Dr. Georgia R. Hsieh and Catherine and Cenk Ozdogan The Arch and Stella Rowan The James M. Collins Foundation Dr. Mark Hausknecht Ms. Patricia B. Paine Foundation, Inc. The Conlon Family Trust The Hurwitz Family Philanthropic Fund Peak Roofing, Inc. Mr. and Mrs. Mike G. Rutherford, Sr. ConocoPhillips International Fine Print Carrie and Albert A. Pepi Mr. Samuel Scruggs Elizabeth and David Copeland Dealers Association Phonoscope Lightwave Sokoloff & Associates, LLC Elizabeth Cosgrove and Cameron Smith Mr. and Mrs. Thomas G. Jameson Mr. and Mrs. Bill Porter Mr. and Mrs. J. Terry Strange Ms. Carolyn Covault Mrs. Daniel R. Japhet Mr. and Mrs. Irving Pozmantier Taub Foundation Mr. Steven L. Cowart Catherine and William Jenkins Mr. Herman Proler Alice and Terry Thomas Charitable Fund Robin and Joseph Cunningham Betsy and Cutter Jones Mr. Carlos Cruz Puga Transart Foundation Mr. and Mrs. Nigel W. E. Curlet Jack S. and Donna P. Josey Foundation Mr. Eric J. Pulaski Triple-S Steel Supply Company Mr. and Mrs. James D. Dannenbaum Mr. and Mrs. Lenoir Moody Josey II Mr. and Mrs. David A. Pursell Mr. and Mrs. Brad Tucker Mr. and Mrs. Daniel David Junior League of Houston, Inc. Mr. and Mrs. Perry J. Radoff Mr. Paul A. Van Hook DCA Investments, Inc. Madeleine and Kenneth Kades Mr. Tom Raguse Mr. and Mrs. M. C. Bill Walker III The Carl and Phyllis Detering Foundation Media and Shashank Karve Mr. and Mrs. Risher Randall Mrs. Ellena P. Dickerson Ann and Stephen Kaufman Foundation Leonor and Eric Ratliff $2,500–$4,999 Linda and David Dillahunty Ms. Lauren Kelly Azra and Zamir Rauf Mrs. Marie-Claire Abelanet and Mrs. Karen Duddlesten Elizabeth and Albert Kidd Raymond James & Associates Mr. Ed Price Dupre Family Fund Mrs. Mary Louis Kister Mr. Thomas R. Reckling IV Morrie and Rolaine Abramson E & M Foundation Mr. and Mrs. Thomas C. Knudson Mr. and Mrs. Jordan W. Reese III Family Foundation Mary and John Eads Mr. and Mrs. Geoffrey C. Koslov Ms. Lillie Robertson AIG Mr. and Mrs. S. Stacy Eastland L’Alliance Française de Houston Mr. and Mrs. Howard Robinson Lilly and Thurmon Andress Susan and Rodney Eichler Mr. and Mrs. David L. Lane Leslie and Russ Robinson Dr. Angela Rechichi Apollo Charles Jago Elder Foundation, Inc. Mrs. Diane A. Langwith-McFall Ms. Regina J. Rogers Mr. and Mrs. Daniel C. Arnold Mr. and Mrs. Douglas Elliott Mr. and Mrs. Jack K. Lapin Mr. Glen Rosenbaum Mrs. Ray B. Bailey Chandos Dodson-Epley and Ike Eply Mr. Matthew A. LeBlanc Ms. Marci Rosenberg and Mrs. James N. Erwin, Jr. Mr. Theodore Lee and Mr. Marc Sekula Mr. Ben Samuels

125 DEVELOPMENT

Mr. and Mrs. Scott B. Rothwell Jessie Carolyn Brown and Elsie Lieskovsky * Ima Hogg Society Rudolph Blume Fine Arts Jack Harold Upton Brown + * Victoria and Marshal Lightman Anonymous Donors (2) Mr. and Mrs. Pat R. Rutherford, Jr. Leslie and Brad Bucher + Michael C. Linn + Marie Sharpe Blaine + Salient Partners Hiram Butler Patricia G. Linn * Bonnie Campbell + Ms. Silvia T. Salle and Mr. Peter Wood Rose Marie Byrne * Eric R. Liston Evelyn Houstoun Chew + * Mr. and Mrs. H. Bruce Sallee Frank N. Carroll + Mr. and Mrs. Meredith J. Long + Marie and John Houser Chiles Ms. Rose Mary Salum Elizabeth H. Caselli * Christopher H. Loo, M.D., Ph.D. Elinor M. Christian + Dr. Sara Sant’Ambrogio Duncan Corbett John Andrew MacMahon Mary Frances Couper * Mr. and Mrs. Christopher B. Sarofim Mary Frances Couper * Mr. and Mrs. Michael D. Malbin + Mrs. Lacy Crain + Mrs. Nancy Schissler Fredricka Crain * Mike and Mickey Marvins Sharon G. Dies Mr. and Mrs. Arthur Seeligson III Michael W. Dale Mrs. Frances P. Marzio + O. B. Dyer + * Mrs. Mariana Servitje John Blodgett Davis + * Dr. Peter C. Marzio + * Martha Erwin + Mrs. Elizabeth Shamas James J. Deegan + Lori Lynn and Marcel Mason + Lorraine and David Frazier Leigh and Reggie Smith Leonora De Grasse * June Mattingly Richard E. Fluhr and Mr. and Mrs. Richard S. Snell Ms. Ellena Dickerson Kate Hilton McConnico Rodolfo Hernandez, Jr. Mr. and Mrs. George Solich Diana do Carmo Kay McKeough Debbie and Gary Gibson + Mr. and Mrs. William S. Sparks Mr. Stan Druck Allen D. McReynolds Susanne M. Glasscock + Mr. Gregory Spencer Shirley S. Druggan Gary Mercer Jas A. Gundry + The Stanton Foundation Mrs. Wayne B. Duddlesten Sara and Bill Morgan Cynthia G. Holliday + Mr. and Mrs. Stuart W. Stedman Jeaneane Booth Duncan + * Joan Morgenstern Mrs. Nancy Glanville Jewell + Mr. and Mrs. Andrew Stepanian Deborah DeFord Dunkum + Mrs. S.I. Morris * A. Clark Johnson + Drs. Ishwaria and Vivek Subbiah John R. Eckel, Jr. * Charles A. Morse * Carolyn Frost Keenan + Dr. and Mrs. Van W. Teeters Charles Emrich + Celia and James Munisteri Kathy Lee Kennedy Dr. and Mrs. Peter K. Thompson John Eymann Franci Neely Elsie Layton Tootsies Mrs. Marilyn Jane Fedder * Edward Oppenheimer, Jr. * Mr. and Mrs. Gilbert Y. Marchand + Mrs. David M. Underwood Linda K. Finger + * Mary Anne Holloman Phillips Laura Sue H. McMurrey * University of St. Thomas Richard E. Fluhr and Mary Lawrence Porter + Susan Morrison Mr. and Mrs. William Utt Rodolfo Hernandez, Jr. Amy M. Purvis Mrs. Robert V. Nelson, Jr. + Volunteer Houston Aggie Foster Mr. and Mrs. Edward Randall III Susan Neptune + Mr. and Mrs. John vonBerg H.J. (Joe) Foster * Minnette Robinson + Sara M. Peterson + Mr. and Mrs. Randall Walker Eileen B. Glaser Arthur D. Robson, Jr. + * Marc Schindler + Mr. and Mrs. Tom Walker Alfred C. Glassell, Jr. + * Milton D. Rosenau, Jr. Mr. and Mrs. Morin Montagu Scott, Jr. + Ms. Elizabeth C. Walter Clare Attwell Glassell + Diane and Ron Sandberg + Alice C. Simkins Ms. Barbara Waugh and Mr. Jay Jackson Marc P. Gordon Linda A. Sarandrea Mrs. Dewitt Untermeyer + * Mr. and Mrs. Ralph Weaver Samuel F. Gorman + Anne-Louise Schaffer Ralph Wallingford + * Mr. and Mrs. Conrad Weil, Jr. Valerie B. Greiner Marc Schindler + Toni Wallingford + Dr. and Mrs. Stuart M. Weil Dr. Ellen R. Gritz Alice C. Simkins David B. Warren + Ms. Kathy Welch and Mr. John Unger Nora Grossman William J. Sloughter * Mrs. Sara E. White Michelle and Michael Whitney Nancy P. Guinee Anita J. and William R. Snell Barbara Graham Williams + Mr. and Mrs. Robert H. Whitten, Jr. Jas A. Gundry + Charlotte H. Stafford + Jeanie Kilroy Wilson + Mr. and Mrs. Michael C. Wilde Luis A. Gutierrez Levi Alvin Stark, Jr. + * Sally and Denney Wright Mrs. Milt C. Williams Bruce and Anne Overton Haass William F. Stern * Vallette and Russell Windham William C. Hauber * Catherine Stevenson Mrs. Barbara W. Winston Barbara and Ernest Henley Carol Ann Straus * *gift matured Mr. and Mrs. William A. Wise Carola and John Herrin Harold Jack Tausend, M.D. * +charter member Ann and Mathew Wolf George S. Heyer, Jr. * Charlene Quitter Thompson * The Woodcock #2 Foundation Marjorie G. Horning + Gary Tinterow Every effort was made to ensure that Mr. Steven Wyatt Dr. Ira Jackson * Dr. Robert and Fiona Toth the information published in this report Elizabeth and Barry Young Virginia Hartle Jackson * Ann G. Trammell + is accurate and reflects the requests Marcie and Bob Zlotnik Dr. Lamar and Jane Jackson Jana Vander Lee Charitable Remainder Trust + Suneeta and Nanik Vaswani of individual donors. If any errors or omissions have occurred, please notify Myrtle Wreath Society Mrs. Nancy Glanville Jewell + Margaret Waisman, M.D. Anonymous Donors (20) A. Clark Johnson + Thomas Barry Walker * the Museum’s development department. Sandy and Russell Andorka Dr. Blair Justice + * Michael Weller Diane Arnold and Bill Frazier Dr. Rita Justice + Dorothy S. and Robert D. Wells Lynne and John Averett Kathryn and James Ketelsen Herbert C. Wells * Virginia Baker Mr. Jarrod S. Klawinsky Jane Day Westerfield +* Audrey Jones Beck * Andrius R. Kontrimas + Eleanor L. Williams Margaret E. Biehl * Mr. and Mrs. Vahid Kooros + Isabel B. Wilson + * Rick Bihner Mary Lynch Kurtz * Jeanie Kilroy Wilson + Dorothy B. Black Ms. Margo Lamb * Diane and Gabriel Wisdom Jack S. Blanton, Sr. * Caroline Wiess Law * Daisy S. Wong Gay S. Block Mark Lensky * John C. Wynne * Dr. Michael and Susan Bloome + Richard D. Lester John L. Zipprich II

126 REPORT OF THE CHIEF FINANCIAL OFFICER

In fiscal year 2016 there was a keen focus at the Museum of Fine Arts, Houston (MFAH), on the various activities related to the ongoing campus expansion. Although the local and regional economic landscape remained uneven, the Museum’s finances stayed solid, resulting in a surplus from operations both on a Generally Accepted Accounting Principles (GAAP) basis and on a Management View basis.The Museum’s balance sheet also remained strong with net assets (assets minus debt) of $1.5 billion (fig. 1).

OPERATING RESULTS

The Museum’s operating budget excludes certain non-cash (primarily depreciation) and non- recurring items. By this measure, the Museum finished the year with an operating surplus of $1.5 million, or 2.3% of operating revenues.

The Museum’s finances have historically been anchored by philanthropic support. Endowment distributions that reflect the generosity of past donors accounted for 54% of operating revenues in fiscal year 2016. The generosity of current donors—evidenced in operating fund-raising support— rose from $13.7 million in fiscal year 2015 to $14.2 million in fiscal year 2016 (fig. 2). In addition, $30 million was added to the capital campaign during the 2016 fiscal year, bringing the total raised at the end of the year to more than $375 million. The fund-raising progress is all the more remark- able given the much slower economic growth in the Houston region during the last two years.

The 2016 fiscal year was marked by a robust exhibition schedule, including the following ticketed exhibitions: Mark Rothko: A Retrospective (September 20, 2015–January 24, 2016), Sculpted in Steel: Art Deco Automobiles and Motorcycles, 1929–1940 (February 21–May 30, 2016), High Society: The Portraits of Franz X. Winterhalter (opened April 17, 2016), and Kusama: At the End of the Universe (opened June 12, 2016). At Bayou Bend, a new holiday-themed program—Christmas Village at Bayou Bend—was introduced, including a one-of-a-kind Spiegeltent, magical holiday lighting, and 3-D automated lighting shows. Fueled in large part by the exhibition schedule and Christmas Village at Bayou Bend, admissions revenue reached a record $3.2 million (fig. 3). These amounts include admissions revenue at the Museum, Bayou Bend, and Rienzi. Membership revenues remained steady at $2.9 million, modestly below the $3 million generated in fiscal year 2015.

Tuition revenues at the Glassell School of Art also held steady at just over $2 million. This was particularly impressive, because as a result of the construction at the main campus, the Glassell Studio School program had to relocate to a temporary home on Holcombe Boulevard between Hermann Park and the Texas Medical Center. The Glassell Studio School program will be back at the main campus in early 2018, following the construction of the reimagined Glassell School.

A total of 900,595 visits to the Museum, Bayou Bend, Rienzi, and the Glassell School were tracked during fiscal year 2016. The Museum had an average of 26,434 household members.

INVESTMENT PERFORMANCE

Fiscal year 2016 was a very difficult investment year for all endowment and pension funds— the worst collective year since the 2008–9 financial crisis. The Museum’s pooled endowment generated a 0.8% investment return for the fiscal year—substantially better than the average for peer organizations. Even so, with spending from the endowment (4.8% of endowment value) exceeding the investment return for the year (0.8%), the absolute value of the Museum’s pooled endowment decreased by $43 million to $1.09 billion at June 30, 2016 (fig. 4).

127 REPORT OF THE CHIEF FINANCIAL OFFICER

The Museum also had certain non-pooled investments totaling approximately $60 million. The Museum employs a spending formula that cushions the operating budget from short-term swings in the value of the endowment, with primary emphasis on maintaining the purchasing power of the endowment. The objective is to achieve a long-term real return in excess of endow- ment spending. Although in fiscal year 2016 the endowment spending exceeded the annual return, it is important to note that over the past seven years, the pooled endowment’s trailing annualized real return has exceeded endowment spending by more than 300 basis points.

As of June 30, 2016, 62.5% of the pooled endowment was allocated to equity and equity mutual funds (fig. 5), followed by alternative investments (25.6%), money market mutual funds (5.1%), U.S. Treasuries and bonds (4.8%), and real estate and REITS (1.9%).

CHANGE IN NET ASSETS

The Museum had total assets of $1.55 billion at the end of fiscal year 2016 (fig. 6). The largest asset categories are investments of $1.16 billion; land, buildings, and equipment of $157 million; and pledge notes and accounts receivables of $144 million.

On an ongoing basis the Museum’s financial strength is measured by its net assets (assets minus debt). This gauge of the Museum’s net worth decreased by $31.6 million from fiscal year 2015, but it still remains at $1.5 billion (fig. 7). The principal additions to net assets were $30 million in gifts primarily earmarked for facilities, offset by a decrease in endowment returns (net of spending) of $43 million, art purchases net of gifts and endowment support of $14.1 million, and depreciation of $7 million.

CONCLUSION

Although the medium-term outlook favors an uneven local and regional economic recovery, modest endowment growth due to low interest rates, and low risk premiums, we continue to envision a future at the Museum of Fine Arts, Houston, full of great possibility, a redoubled commitment to the mission of the institution, and at the conclusion of the capital campaign, a financial reservoir to see the Museum through the next decade.

Amid this optimism, prudent financial management is paramount and the Museum’s Management is likely to continue to make trade-offs—prioritizing a set of ambitious goals and matching these with available resources. As much as at any time in its history, in a period of transition and transformation, the Museum will need the continued generosity of Houstonians and the tremendous leadership, dedication, and support of its Trustees that has been a constant for which I am most grateful.

—Eric Anyah

The audited financial statements of the Museum of Fine Arts, Houston, for the year ended June 30, 2016, are available by contacting the Office of the Controller, 5100 Montrose Blvd., Houston, TX 77006. They are also available online at the Museum’s website, mfah.org.

128 Fig. 1MFAH: Net Assets: Total Financial Assets less Debt Fig. 2 MFAH: Fund-raising for Operations (millions) (thousands)

$1,800 $18,000 $15,515 $15,322 $1,600 $1,527 $16,000 $1,497 $1,496 $13,684 $14,192 $13,083 $1,400 $14,000 $1,299 $1,200 $12,000 $1,103 $1,000 $10,000

$800 $8,000

$600 $6,000

$400 $4,000

$200 $2,000 0 0 FY2012 FY2013 FY2014 FY2015 FY2016 FY2012 FY2013 FY2014 FY2015 FY2016

Fig. 3Total Admissions Revenue (Museum, Bayou Bend, and Rienzi) Fig. 4 MFAH: Market Value of Endowment (thousands) (millions) $1,300 $3,500 $3,152

$3,000 $1,200 $1,181.8 $2,585 $2,531 $1,141.3 $2,475 $1,044.0 $1,098.0 $2,500 $1,100

$2,000 $989.5 $1,000 $1,595 $1,500 $900

$1,000 $800

$500 $700

0 0 FY2012 FY2013 FY2014 FY2015 FY2016 FY2012 FY2013 FY2014 FY2015 FY2016

Fig. 5MFAH: Composition of Pooled Investments at June 30, 2016 Fig. 6 MFAH: Composition of Assets at June 30, 2016 (000) (millions)

Money Market Real estate Mutual Funds Net Physical Assets Other Assests and REITS 5.1% $157 $3 1.9%

Pledges, Notes, and Accounts Receivable Alternative $144 Investments 25.6%

Equity and Equity Mutual Funds Cash Investments 62.5% $89 $1,158

U.S. Treasuries, Bonds, and Bond Mutual Funds 4.8%

129 REPORT OF THE CHIEF FINANCIAL OFFICER

Fig. 7 FY 2016 Change in Total Net Assets (millions) FY 2016 operating surplus (deficit) $1.5 Contributions designated for capital and long-term investment 29.8 Depreciation and amortization (7.0) Investment returns on long-term assets less amounts designated for current use (42.9) Net art acquisition activity (purchases in excess of contributions and investment returns) (14.1) All other net 1.1 Total increase (decrease) in net assets 31.6

Net assets at June 30, 2015 1,527.2 Net assets at June 30, 2016 $1,495.6

Table 1

The Museum of Fine Arts, Houston Statements of Financial Position as of June 30, 2016 (thousands) 6/30/2016

Assets: Cash and cash equivalents $88,553 Pledges, grants, accounts and interest receivable 143,974 Inventories 493 Prepaid expenses and other assets 2,487 Investments 1,158,461 Property and equipment, net 157,022 Total assets $1,550,990

Liabilities and net assets:

Liabilities: Accounts payable and other liabilities 38,603 Deferred revenues 16,830 Total liabilities $55,433

Net assets: Unrestricted 269,221 Temporarily restricted 521,802 Permanently restricted 704,534 Total net assets 1,495,557

Total Liabilities and Net Assets $1,550,990

130 Table 2

The Museum of Fine Arts, Houston: FY 2016 Operating Statement (000)

Operating Revenues Contributions and Grants $12,421 Investment returns designated for current use 34,030 Membership revenue 2,920 Admission revenue 3,152 Tuition revenue 2,070 Auxiliary revenue 2,703 Other 1,997 Net assets released from restriction 4,247

Total Operating Support and Revenue 63,540

Operating Expenses Program Services Curatorial and collections 9,294 Exhibitions 2,749 Education and public programs 7,638 Glassell School 3,910 Bayou Bend 4,407 Rienzi 1,586 Membership activities 1,104 Buildings and Grounds and Security 12,681 Subtotal program services 43,369

Supporting Services Management and general 11,469 Auxiliary activities 3,055 Fund-raising 4,166 Subtotal supporting services 18,690

Total Operating Expenses Before Depreciation and Amortization 62,059

Operating Surplus (Deficit) Before Depreciation and Amortization $1,481

131 STAFF As of June 23, 2016

Gary Tinterow Paintings Art of the Islamic Worlds Nora Heymann DESIGN Director Zahira Bomford Aimée Froom Copyrights Coordinator Jack Eby Senior Conservator Curator Maria McGreger Chief Exhibition Designer Maite Leal Janet O’Brien Beatriz Olivetti Eric Anyah Bill Cochrane Conservator Curatorial Assistant Specialists Chief Financial Officer Exhibition Designer Melissa Gardner Bonnie Van Zoest Willard Holmes Assistant Conservator Asian Art Project Administrator EXHIBITIONS Chief Operating Officer Bert Samples Amy Poster Deborah Roldán Amy Purvis Senior Conservation Interim Curator Modern and Contemporary Art Assistant Director Chief Development Officer Technician Beatrice Chan Alison de Lima Greene Winnie Scheuer Curatorial Assistant The Isabel Brown Wilson Exhibitions Coordinator OFFICE OF Photography Curator of Modern and Jane Evans THE DIRECTOR Toshi Koseki Decorative Arts, Craft, Contemporary Art The Mellon Director’s The Carol Crow and Design Althea Ruoppo Initiative Fellow, James Batt Senior Conservator Cindi Strauss Curatorial Assistant Rice University Assistant Director, of Photographs The Sara and Bill Morgan Hospitality Curator of Decorative Arts, Photography HIRSCH LIBRARY Research Science Craft, and Design Malcolm Daniel Jon Evans Deborah Roldán Corina Rogge Christine Gervais The Gus and Chief Librarian Assistant Director, The Andrew W. Mellon Associate Curator Lyndall Wortham Jamie Teich Exhibitions Research Scientist Marissa Hershon Curator of Photography Acquisitions Assistant Cindi Strauss Curatorial Assistant Allison Pappas Sunyoung Park Assistant Director, Works on Paper Anna Walker Assistant Curator Library Assistant Programming Tina Tan Windgate Foundation Kara Fiedorek Diane Sandberg Conservator Curatorial Fellow Curatorial Assistant Cataloging Assistant Nykia Omphroy Rachel Vogel Jason Dibley Jason Valdez Executive Administrator Administrator European Art Collection Manager, Prints, Serials and Reference Jennifer Carpenter Christina Taylor David Bomford Drawings, and Photographs Assistant Administrative Assistant The C. E. Horton Fellow The Audrey Jones Beck Selina Lamberti Edward Lukasek Blanch Rodriguez Curator of European Art Collection Cataloguer Catalog Librarian Administrative Receptionist CURATORIAL Helga Kessler Aurisch August DiStefano Cheryl Payne Administration Curator Framing Technician Technical Services Librarian CONSERVATION April Gutierrez Adrian Alejo Joel Pelanne David Bomford Administrator Film and Video Administrative Assistant Assistant Technical Chairman Clifford Edwards Marian Luntz Services Librarian Esmar Sullivan Ray Gomez Curator Prints and Drawings Lynn Wexler Assistant to the Chairman Kaitlin Murphy Tracy Stephenson Dena Woodall Reference Librarian Daniel Estrada Madison Rendall Coordinator Associate Curator Senior Framing Technician Administrative Assistants Lauren Rosenblum LEARNING AND Matthew Golden Latin American Art and the Curatorial Assistant INTERPRETATION Conservation Imaging Africa, Oceania, and International Center for the Arts Jason Dibley Caroline Goeser Specialist the Americas of the Americas (ICAA) Collection Manager, Prints, The W. T. and Karen Willis Frances Marzio Mari Carmen Ramírez Drawings, and Photographs Louise J. Moran Coordinator Curator, The Wortham Curator of Chair of the Department The Glassell Collections Latin American Art and Sarah Campbell of Learning and Decorative Arts Chelsea Dacus Director, International Blaffer Foundation Interpretation Steve Pine Assistant Curator Center for the Arts of James Clifton Faith Webber Senior Conservator the Americas Director Department Coordinator Ivan Reyes Garcia American Painting and Sculpture Michael Wellen Kaitlin Murphy and Assistant to the Chair Assistant Conservator Kaylin Weber Assistant Curator Administrative Assistant Mayra Rivera Assistant Curator Rachel Mohl Assistant Objects and Sculpture Curatorial Assistant Jane Gillies Antiquities María Gaztambide Senior Conservator Frances Marzio Associate Director, ICAA Ingrid Seyb Curator Angel Carrazco Assistant Conservator Chelsea Dacus Yvonne Zepeda Assistant Curator Technical Assistants

132 Object-based Learning MARKETING AND Collections OFFICE OF THE CHIEF Building Engineers Jennifer Beradino COMMUNICATIONS Kim Pashko OPERATING OFFICER Florin Dragan Manager Mary Haus Registrar Celestino Garcia Kelley Magill Geoffrey Dare Vernon Wells, III Head of Marketing Willard Holmes Natalie Svacina Senior Assistant Registrar, Team Leaders and Communications Chief Operating Officer Specialists Incoming Loans Leonard Chapa Gwen Watkins Marlene Hoffheiser Clare Hulfish Phyllis Hastings Anselmo Estrada Associate Head Executive Assistant/ Assistant Associate Registrar, Juan Garza Kelly Erin Laskosky Projects Coordinator New Accessions Bernie Rodriguez Senior Editor Carlotta Ramirez Studio and Gallery Programs Jen Levy Ricky Rodriguez Laine Lieberman Policy and Compliance Jason Moodie Assistant Registrar, Petre Salajan Publicist Administrator Manager Incoming Loans Kyle Schuenemann Sarah Baker Andrew Spies Elizabeth Roath Garcia Kacie Rice Lead Technicians Associate Publicist Event Management Specialist Assistant Registrar Larry Farr Kerry Ingram System Specialist Denise Gonzalez Vanessa Ramirez-Sparrow Merrianne Timko Technician I Coordinator Associates Data Standards Manager ARCHIVES Sorin Coman Melissa Aytenfisu Linda Wilhelm Alfredo Diego Sara Blair Matthews Lorraine Stuart Claudia Zopoaragon Associate Registrar Mohan Singh Christi Vasquez Chief of Archives Teaching Artists Coordinators Maggie Williams Technicians II Tiffany Echevarria Senior Assistant Registrar, BUILDING AND James Barber Zully Wisniewski PUBLICATIONS Outgoing Loans GROUNDS Bob Evans Guides Paul Fatu Diane Lovejoy Mike Pierce Exhibitions Oscar Magana Publisher in Chief Interim Chief of Lectures, Tours, and Concerts Kathleen Crain Gabriel Ramos Christine Waller Manca Building Operations Margaret Mims Registrar Matthew Sieger Senior Editor Jim Rightmire Senior Manager John Obsta Roger Vasquez Heather Brand Interim Associate Chief Kat Hastings Associate Registrar Miladin Vidojevic Managing Editor of Building Operations Claire Johnson Nadia Abdul Ghani Vernon Wells, Jr. Michelle Dugan Chelsea Kucinski Coordinators Elspeth Patient Technicians III Associate Editor Administrative Coordinator Merritt Peele Assistant Registrars Lucio Espinal Kem Schultz Allie Ramsey Assistant Jack Kerby Editorial Assistant Administrative Assistant PHOTOGRAPHIC AND Theodore Kucinski Audience Engagement GRAPHICS IMAGING SERVICES Nereo Sifuentes Waverly Gooding Phenon Finley-Smiley Marty Stein Apprentices Manager Manager Manager David Hernandez Sydney Kreuzmann Graciela Constanza Flora Brooks Control Room Operator Specialist Amy Elliott Rights and Reproduction Paola Picon Martinez Senior Designers Administrator Building Services Coordinator Anthony Reynolds Tom DuBrock Ron Armfield Graphic and Web Designer Senior Collection Photographer Sotero Dolormente Gallery Interpretation Chick Bianchi Matthew Lawson Nicholas Pedraza Margaret Sternbergh Production Specialist Digital Imaging Projects Hernan Medina Rivas Manager Coordinator Building Services Assistants Claire Spadafora REGISTRATION Will Michels The Samuel H. Kress Julie Bakke Collection Photographer Lighting Interpretive Fellow Chief Registrar Shelby Rodriguez Wesley Jefferson Minerva Carmona Imaging Services Associate Senior Lighting Technician On-Call Educators Administrative Assistant Albert Sanchez Harol Carrillo Mike Beradino Digital Imaging Specialist Liviu Niculae Rita Curran-Whiteman Lighting Technicians Heather Heath Sandra Jacobs LuAnn Turley

133 STAFF

EXHIBIT PRODUCTION INFORMATION PREPARATIONS Emma De Guzman Jason Salinas Lucian Salajan TECHNOLOGY Dale Benson Paulita Del Gallego Maria Santos Manager Shemon Bar-Tal Chief Preparator Gloria Del Rosario Miguel Sifuentes Alfonso Cipriano Chief Technology Officer Michael Kennaugh Cadido Dequito Joselito Solis Senior Production Technician Jill Aremband Senior Preparator/ Carl Dequito Dawn St. Andrassy Alberto Sanchez Senior Administrator Administrator Andres Dominguez Bill Stephenson Carpenter/Technician Tom Howell Ken Beasley Joseph Dugas Edward Stinchcomb Jesus Merino Senior Infrastructure and Richard Hinson Alma Ebarle Vaska Stoeva Radu Runcanu Technical Services Manager Senior Preparators Marvin Escobar Vicente Tan Painters/Carpenters Tim Luu Terry Andrews Manolo Estrada Andres Tarol Network Operations Michael Crowder Nancy Felipe Antonio Tenio HOUSEKEEPING Administrator Curtis Gannon Rodolfo Fornillos Luz Tibus James Batt David Knickerbocker Chris Huron Darren Freeman David Torres Assistant Director, Senior Support Center Russ Lane Kay French Nani Tubman Hospitality Technician Ole Petersen Julian Gay Lilia Velmonte Orlando Martinez Albert Diaz Jason Storrs Regina Gomez Leonila Villacorte Housekeeping Manager Support Center Technician Associate Preparators Maria Granados Jesse Villareal Rogelio Morales Richard Ramirez Joseph Cowart Nicolas Grimaldo Armando Villegas Narciso Orellana-Sorto Support Center Analyst Robert Kimberly Richard Hayes Eleanor Villegas Housekeeping Supervisors Tausheli McClure Preparators Belen Hernandez Balaji Viswanathan Liliana Gomez Network Communications Juan Escoto Mario Hernandez Rose Walker Lead Custodian Specialist Collections Photography Sayed Hosseini Rodolfo Yap Jorge Alfaro Cheryl Lee Preparator Laura Jaramillo Villedas Eder Zapata Mario Alvarado Network Security Manager Frances Trahan Sammie Johnson Security Officers Maria Herrera Edward Nelson Mountmaker Fnu Khisraw Victoriano Perez Network Security Analyst Chase Lee VOLUNTEER SERVICES Custodians/Floor Technicians Phillip Parks SECURITY Sonia Lopez Lesleigh Gilmour Maria Alvarado Project Manager Kevin Rapp Michelle Louring Manager Dora Ceballos Christina Pierce Chief of Security Analie Lucasan Rebeca Barvin Jose Davila Purchasing and Inventory Mona Jones Leticia Magno Coordinator Maria Escobar Manager Office Manager Ashley Malone Marta Granados Chris Pratt Franklin Collantes Guidomer Manuel OFFICE OF THE CHIEF Ana Hernandez Lead Application and Andrew Perez Jose Martinez DEVELOPMENT OFFICER Laura Hernandez Web Developer Assistant Chiefs Mila Martinez Minerva Medrano Edith Stone Lemuel Bulawin Reynaldo Martinez Amy Purvis Ryan O’Toole Software Trainer Adam Gutierrez Emeteria Mendoza Chief Development Officer Maria Rangel Dave Thompson Duncan Hart Osvaldo Montes Rebecca Little Hunt Maria Rosales TMS Database Carlos Morales-Pereira Alexander Morales Executive Assistant Freddy Torres Administrator Jerri Olivas Abdul Musazade Kristen Flack Custodians Dat Truong Cheryl Williams Blandina Narciso Coordinator Web Developer Daniel Williamson Vicente Natividad Miles Pequeño HUMAN RESOURCES Security Supervisors Xuan Nguyen Senior Development Officer, Sheila Armsworth Audio-Visual Florencia Aguila Ana Oprean Annual Campaigns Head of Human Resources MariAlice Grimes Haroon Ahmad Nilda Ortega Ana Pibric Perla Mancillas Manager Danilo Alviar Jesper Panessah Annual Fund Coordinator Representative I Omar Al-Bochi Sylvia Banay Basilio Paningbatan Gabriella Flournoy Carole Pavlik Ralph Kaethner Kent Barker Debra Pereira Stewardship Coordinator Human Resources Kirston Otis Lolita Battin Genaro Pesodas Ashley Powell Database Administrator Technicians Clyde Benoit Fnu Qasem Patron Groups Coordinator Kara Perez Marlon Bonifacio Sylvia Ramirez Bradley Houston Representative Office Services Vincent Burden David Rivera Development Officer, Liz Reitz Patsy Gonzales Beatrice Cadelinia Elena Rodriguez Programming Senior Benefits Administrator Supervisor Benedicto Capalad Elizabeth Rodriguez Sarah Atnipp Mary Ann Neal Laura Rodriguez Alice Carmona Franklin Rodriguez Development Officer, Coordinator Mail Room Coordinator Jose Casallo Maria Rodriguez Corporate Relations Sarah Martinez Tony Domingo Paul Castro Maxita Rodriguez Alexis Hyatt Assistant Mail Services Technician Guadalupe Cavazos Holly Ross Development Associate, Isaac Chun Gavin Roy Corporate Relations Virgilio Cortez Stephanie Salas Elsie Corteza Victor Saldon

134 Development Special Events OFFICE OF THE CHIEF MEMBERSHIP AND RETAIL BAYOU BEND Julia Oettinger FINANCIAL OFFICER GUEST SERVICES Chris Goins COLLECTION Senior Development Officer Jennifer Garza General Manager AND GARDENS Kathryn Brill Eric Anyah Chief Administrator Bernard Bonnet Senior Coordinator Chief Financial Officer Book Buyer Bonnie A. Campbell Arianna Gazis Maggie Schutza Membership Mel Cronenwett Director Coordinator Executive Assistant Andrew Edmonson Inventory Assistant Caryn Fulda Nicole Daily Manager Andrew Groocock Assistant to the Director Associate ACCOUNTING Lori Lang Manager, Inventory Sue Canup Julia Petty Senior Coordinator and Receiving Janet Marshall Development Operations Controller Brianna Norman Suzanne Harrison Administrative Assistants Tammy Largent Sergio Britos Coordinator Manager, MFAH Stores Deputy Chief Development Accounts Payable Specialist Helen Rogers Barbarah Viles Curatorial Officer Christy Brown Associate Retail Administrator Bradley Brooks JoAnne Herrington Payroll Manager Joy Zhou Maricela Covarrubias Curator Donor Database Manager Michelle Buchanan Audience Research Manager John George Remi Dyll Tara Thorne Senior Accountant, Jessica Kreutter Curatorial and Coordinator General Accounting Guest Services Heather Layne Programs Liaison Jason Alber Kristopher Clark Kristi Marchand Victoria Martinez Erika Cordova Accountant, General Manager Cynthia Odell Education Tim Hsu Kathy Dishman Rebecca Benitez Ellen Patton Jennifer Hammond Data Processors Accounting Assistant Assistant Manager Susan Soffer Head of Education Marianne Xu Chris Hill Andi Kling Bill Voss Emily Hermans Research Officer Accounting Clerk Ticketing Operations Sales Assistants Joey Milillo Laura Howitt Coordinator Program Managers Grants and Development Cash Receipts Clerk Annie Ardell SPECIAL EVENTS Martha Rogers Communications Lonnie Lew Cassandria Bradley James Batt Assistant Lisa Powell Assistant Controller Matthew Glover Assistant Director, Senior Development Officer Minnie Lugo Harry Godfrey Hospitality Building and Grounds Dorie Shellenbergar Accounts Payable Patrick Krause Jose Leal Joe Calderon Senior Writer Coordinator Jack Lucas Operations Manager Team Leader, Lucas Sepulveda Linda O’Toole Maybelline Mallory Meagan McKellar Bayou Bend and Rienzi Samantha Skelton Accounting Assistant Robert Newcomb Administrative Assistant Ruben Obregon Writers Stella Rivera Rosemarie Pesodas Nerissa Gomez Facilities Manager, Michelle Verduzco Payroll Coordinator Rachel Stephens Senior Coordinator Bayou Bend and Rienzi Coordinator Stephanie Rogers Edwin Terrell Sarah Gutierrez Amanda Estrada Senior Accountant Reginald Thomas Shannon Howell Apprentice Special Gifts Virginia St. Hilaire Attendants Anne Simpson Mario Cuellar Valerie Greiner Accounts Payable Manager Dionesia Narvios Coordinators Building Services Assistant Senior Development Officer Vijay Thiyagarajan William Short Martha Gutierrez Alexis Hyatt Business Analyst Senior Attendants Juana Zapata Associate Custodians INVESTMENTS The Campaign for the MFAH Darren Bartsch Gardens Emily Church Officer Bart Brechter Senior Development Officer Bradford Smith Curator Senior Analyst Sue Canup Administrative Assistant Eduardo Castaneda Raymundo Castaneda Ramiro Rangel-Perez Rafael Ruiz Gerardo Ruiz-Martinez Gardeners

135 STAFF

Kitty King Powell Library Security RIENZI THE GLASSELL SCHOOL Studio School Administration Margaret Culbertson Nevelyn Williams OF ART Jennifer Cronin Librarian Security Manager, Associate Director Katherine S. Howe Helen Lueders Bayou Bend and Rienzi Nadia Al-Khalifah Director Joseph G. Havel Assistant Victorino Aguila Administrative Assistant Adriana Rubio Director Sarah Callahan Lilia Gonzalez-Alvarado Gina Stayshich Executive Assistant Lindsay Kayser Project Assistant Benny Orda Registrar Communications Liaison Michelle Johnson David Yates Alexandria Gomez Curatorial and Assistant to Director Project Manager, William J. Console Monitors Assistant Registrar Christine Gervais Hill Texas Artisans and Eva Campbell Travis Dennard Associate Curator Core Residency Program Artists Archive Angela Chavez Weekend Desk Attendant Misty Flores Mary Leclère Amy Kurlander Milagros Del Rosario Don Ridenhour Curatorial Assistant Associate Director Project Fellow, William J. Charlene Dinn Evening Administrative Peter Gershon Hill Texas Artisans and Rosalie Stowe Monitor Education and Docent Program Program Coordinator Artists Archive Apollo Tee Stephanie Niemeyer Tsuyoshi Anzai Leslie Rahuba, Raymond Thomas Studio School Manager Taraneh Fazeli Project Associate, William J. Bridget Thompson-Mathis Patrick Palmer Ryan Hernandez Sondra Perry Hill Texas Artisans and Juan Torres Faculty Chair/Dean Coordinator Kenneth Tam Artists Archive Security Officers Anna Tahinci Core Residents Kadien Chin Art History Department Building and Grounds The Shop at Bayou Bend Katherine Orsak Head Cristian Ortiz Junior School Administration Lisa Sugita Jonathan Zapata Kimberly Tompkins Building Services Assistant Pam Perez Supervisor Weekend Exhibition Guards Program Assistant Administrative Dean Krista Beveroth Sandra Zilker Security Naila Ansari Susan McCuistion Visitor Services Student Event and Francisco Narvios Natalie Torres Sales Assistants Lavinia Ignat Exhibitions Coordinator Jessie Narvios Program Assistants Manager and Department Head Johnnie Powell Carrie Ramsey Cyrus Kohanloo Michael Bise Security Officers Registrar Assistant Amy Blakemore Emily Anmuth Daniel Kiehnhoff Lydia Bodnar-Balahutrak Judi Burton Attendant Susan Budge Stacy Coulter Dorothy Taylor Charlotte Cosgrove Jane French Receptionist Sharon Dennard David Fulton Yasmin Ali Nathan Dube Loren Gardner Marcus Cone Jeff Forster Donna Garoh Weekend Attendants Francesca Fuchs Michele Heater Jan Harrell Erin Joyce James Hill Vehishta Kaikobad Clara Hoag Jessica McMahon Suzanne Manns Maureen McNamara Arielle Masson Valerie Nevarez Ken Mazzu Eduardo Ortiz David Medina Elena Poirot Emily Peacock Mary Rouen Mark Ponder Emily Sloan Brian Portman Michael Stovall Robert Ruello Susan Tadlock Arthur Turner Tamar Tcholakian Christopher Wallace Bonnie Van Hook Studio School Instructors Rachelle Vasquez Richard Williams Junior School Instructors Flora Siaotong Security Officer

136 CREDITS

© 2017 The Museum of Fine Arts, Houston Copyright and Photography Credits Major Loan and Permanent-Collection Exhibitions, and 1001 Bissonnet Additional Displays from the Permanent Collection and Gallery Rotations Houston, Texas 77005 pp. 6, 119–22: Photographs by Jenny Antill Clifton Photography 713-639-7300 pp. 11: Photograph by Wilson Parish Photography All installation views of exhibitions and gallery rotations www.mfah.org p. 104 (left): Franz Kline, Wotan, 1950, oil on canvas are provided courtesy of the Museum of Fine Arts, mounted on Masonite, the Museum of Fine Arts, Houston, Houston, Archives. Printed in the United States of America museum purchase, by exchange, 80.120. © The Franz Kline Estate/Artists Rights Society (ARS), New York; p. 96 (top): Bill Brandt, Self-portrait with Mirror, East Sussex (center): courtesy of Rialto Pictures Coast, 1966, gelatin silver print, the Museum of Fine Arts, p. 108: Photograph by Cameron Bertuzzi Houston, the Sonia and Kaye Marvins Portrait Collection, The authors of the texts accompanying museum purchase funded by Sonia and Kaye Marvins, the accessions highlights, which are p. 112: Photograph by Rick Gardner, donated in memory 84.277. © Bill Brandt Archive Ltd.; (bottom): Alex Katz, illustrated on the cover and on pages of Mary Gardner printed by John C. Erickson, published by Peter Blum 17–67, are identified as follows: Edition/Blumarts, Inc., 3 PM, 1988, woodcut on wove Highlights of Accessions paper, edition VII/X, the Museum of Fine Arts, Houston, the Peter Blum Edition Archive, 1980–1994, museum AF Aimée Froom Except where noted, all photographs of the Museum’s purchase funded by the Alice Pratt Brown Museum Fund, ALG Alison de Lima Greene highlights of accessions are by Thomas R. DuBrock 96.26. © Alex Katz/Licensed by VAGA, New York, NY AP Allison Pappas (pp. 18–21, 24 [top], 25, 26, 27, 29, 31, 36, 50, 52, 53); BB Bradley Brooks Will Michels (cover, 17, 22, 23, 24 [bottom], 28, 30, 32, p. 97 (right): Helmar Lerski, from the series Verwandlungen durch Licht (Metamorphosis through Light), 1936, gelatin BC Beatrice Chan 34, 35, 38, 41, 42, 43, 45, 46–47, 54–55, 56, 58–59, 60–61, 62, 64–65); and Albert Sanchez (33, 37, 39, 40, silver print, the Museum of Fine Arts, Houston, gift of CD Chelsea Dacus 48, 49, 57), the Department of Photographic and Manfred Heiting, the Manfred Heiting Collection, CG Christine Gervais Imaging Services. 2002.1533. © Helmar Lerski CS Cindi Strauss p. 39: © Mara Vishniac Kohn DB David Bomford p. 100: Frank Stella, Lunna Wola I, from the series Polish p. 40 (left): © Man Ray Trust/Artists Rights Society (ARS), Village, 1972, cloth, acrylic, canvas, cardboard, and felt on DMW Dena M. Woodall NY/ADAGP, Paris; (right): © The Irving Penn Foundation wood relief, the Museum of Fine Arts, Houston, gift of HKA Helga Kessler Aurisch p. 41: © Estate of Diane Arbus Sylvia and Joseph Slifka, 2005.1199. © Frank Stella/Artists KF Kara Fiedorek Rights Society (ARS), New York, NY. KHW Kaylin Haverstock Weber p. 42: © Robert Mapplethorpe Foundation MCR Mari Carmen Ramírez p. 43: © Dawoud Bey p. 101: Manufactured by Établissements Gallé, Elephant Vase, 1918–31, glass, the Museum of Fine Arts, Houston, gift of MD Malcolm Daniel p. 44: © Thomas Demand; image courtesy of J. Brian and Varina Eby, 73.94. YN Yasufumi Nakamori Matthew Marks Gallery p. 45: © Vera Lutter p. 102 (left): Michael Goldberg, Untitled, 1957–58, oil on p. 49: © Terry Winters wove paper, the Museum of Fine Arts, Houston, museum purchase funded by the Alvin S. Romansky Prints and p. 50: © Ennio Iommi Drawings Accessions Endowment Fund, 98.179. © Estate p. 51: © Doris Salcedo; photograph courtesy of of Michael Goldberg; (center): Unknown Artist, [Reclining Alexander and Bonin Gallery, Patrizia Tocci, photographer nude, negative print], c. 1890s, cyanotype, the Museum of Fine Arts, Houston, museum purchase funded by the Buddy p. 53 (top): © Christian Burchard; (bottom): Taub Foundation, Dennis A. Roach and Jill Roach, Directors, © Paul Cocksedge 2014.830; (right): Stanley William Hayter, Tree, 1977, litho- pp. 54–55: © Mona Hatoum graph in colors on paper, edition 1/150, the Museum of Fine Arts, Houston, gift of Mr. and Mrs. Alvin S. Romansky, pp. 56, 57: © Francis Alÿs 77.275. © Artists Rights Society (ARS), New York. pp. 58–59: © Yayoi Kusama pp. 60–61: © Ólafur Elíasson p. 103: Ellsworth Kelly, published by Maeght Éditeur, Noir sur Jaune (Black over Yellow), from Suite of Twenty-Seven pp. 62–63: © Wangechi Mutu; photograph by Color Lithographs, 1964–65, lithograph in colors on wove Alessandra Chemollo, courtesy of la Biennale di Venezia paper, edition 10/75, the Museum of Fine Arts, Houston, pp. 64–65: © Mark Bradford gift of the artist, 2003.724. © Ellsworth Kelly p. 67: © Glenn Ligon; photograph courtesy of the artist and Luhring Augustine Gallery, New York

137 138 THE MUSEUM OF THE MUSEUM OF FINE ARTS, HOUSTON, FINE ARTS, HOUSTON, WARMLY THANKS WARMLY THANKS THE MORE THAN THE MORE THAN 1,000 DOCENTS, 1,000 DOCENTS, VOLUNTEERS, AND VOLUNTEERS, AND MEMBERS OF THE MEMBERS OF THE MUSEUM’S GUILD FOR MUSEUM’S GUILD FOR THEIR EXTRAORDINARY THEIR EXTRAORDINARY DEDICATION DEDICATION AND COMMITMENT. AND COMMITMENT. ON THE COVER:

FRANCISCO JOSÉ DE GOYA Y LUCIENTES, Spanish, 1746–1828 Don Vicente Isabel Osorio de Moscoso y Álvarez de Toledo, Conde de Trastámara, c. 1787–88 Oil on canvas 54 1/2 x 41 in. (138.4 x 104.1 cm) Museum purchase funded by the Alice Pratt Brown Museum Fund and the Brown Foundation Accessions Endowment Fund 2016.78

Together with the famous companion painting of the sitter’s red-suited younger brother in the Metropolitan Museum of Art, New York, this celebrated portrait is one of Francisco de Goya’s most enchanting depictions of childhood. It has long been known as one of a group of four paintings of the Altamira family— among the highest-ranking families of Spain’s ancestral peerage—painted by Goya in about 1787–88. The fame of this group of paintings lies both in the importance of the commission and in the significant change in Goya’s portrait style, in which figures are placed against a plain background, in emulation of the monumental single-figure paintings of Velázquez that Goya would have seen in the Royal Collection in Madrid. DB