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NEA Chronology Final
THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com strengthening the artistic life of this country – was created. panies as there were in 1965. -
List of Exhibitions Held at the Corcoran Gallery of Art from 1897 to 2014
National Gallery of Art, Washington February 14, 2018 Corcoran Gallery of Art Exhibition List 1897 – 2014 The National Gallery of Art assumed stewardship of a world-renowned collection of paintings, sculpture, decorative arts, prints, drawings, and photographs with the closing of the Corcoran Gallery of Art in late 2014. Many works from the Corcoran’s collection featured prominently in exhibitions held at that museum over its long history. To facilitate research on those and other objects included in Corcoran exhibitions, following is a list of all special exhibitions held at the Corcoran from 1897 until its closing in 2014. Exhibitions for which a catalog was produced are noted. Many catalogs may be found in the National Gallery of Art Library (nga.gov/research/library.html), the libraries at the George Washington University (library.gwu.edu/), or in the Corcoran Archives, now housed at the George Washington University (library.gwu.edu/scrc/corcoran-archives). Other materials documenting many of these exhibitions are also housed in the Corcoran Archives. Exhibition of Tapestries Belonging to Mr. Charles M. Ffoulke, of Washington, DC December 14, 1897 A catalog of the exhibition was produced. AIA Loan Exhibition April 11–28, 1898 A catalog of the exhibition was produced. Annual Exhibition of the Work by the Students of the Corcoran School of Art May 31–June 5, 1899 Exhibition of Paintings by the Artists of Washington, Held under the Auspices of a Committee of Ladies, of Which Mrs. John B. Henderson Was Chairman May 4–21, 1900 Annual Exhibition of the Work by the Students of the CorCoran SChool of Art May 30–June 4, 1900 Fifth Annual Exhibition of the Washington Water Color Club November 12–December 6, 1900 A catalog of the exhibition was produced. -
The Character of an Art Collection
The Character of an Art Collection: Isabella Stewart Gardner, Henry Clay Frick, Albert C. Barnes, David Lloyd Kreeger, and the Donor Memorial in the U.S. Dana D. Litowitz A Senior Thesis Submitted to the Growth and Structure of Cities Program Bryn Mawr College, Bryn Mawr, PA December 2007 The Character of an Art Collection i ABSTRACT Donor memorial museums represent a unique group of American art collections. These museums, created by private art collectors to perpetuate their own legacies, are among the most interesting institutions in the American art world. House museums like the Isabella Stewart Gardner Museum, the Frick Collection, and the Kreeger Museum are especially intriguing because each iconoclastic collector conceived and implemented a specific vision for how visitors would view the collection. These museums, along with one of the most controversial private art collections in the country, the Barnes Foundation, share many similarities in format and creation. Each is an anomaly in its respective setting and fully projects the force and personality of its creator. The architectural styles of the buildings especially convey the eccentricities of the donors, who chose ostentatious, incongruous architectural vocabularies for 20th century Boston, New York, Philadelphia, and Washington, DC. Strong desires and wishes of the collection creators, coupled with virtually iron-clad legal wills, ensure constancy and permanence for these institutions. Although it no longer seems to be the fashion or convention of the wealthy to devote energies and resources to cultivating such private art collections, these institutions remain popular destinations for art lovers. Their continued existence allows us to understand how people of another age created monuments to themselves—museums that still fascinate and attract us today. -
Audiovisual Records, 1964-2008
Audiovisual Records, 1964-2008 Finding aid prepared by Smithsonian Institution Archives Smithsonian Institution Archives Washington, D.C. Contact us at [email protected] Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Descriptive Entry.............................................................................................................. 1 Names and Subjects ...................................................................................................... 1 Container Listing ............................................................................................................. 3 Audiovisual Records https://siarchives.si.edu/collections/siris_arc_294871 Collection Overview Repository: Smithsonian Institution Archives, Washington, D.C., [email protected] Title: Audiovisual Records Identifier: Accession 11-004 Date: 1964-2008 Extent: 15.5 cu. ft. (13 record storage boxes) (5 document boxes) Creator:: Hirshhorn Museum and Sculpture Garden Language: Language of Materials: English Administrative Information Prefered Citation Smithsonian Institution Archives, Accession 11-004, Hirshhorn Museum and Sculpture Garden, Audiovisual Records Descriptive Entry This accession consists of video and audio recordings and film created or maintained by the Hirshhorn Museum and Sculpture Garden (HMSG). The majority of the recordings -
Esther Coopersmith Goes International the Democrats' Fabulous Fundraiser Moves On
6e~n's Jodhpur proudly presents BALLY OF SWITZERLAND AVAILABLE AT: TYSONS CORNER CENTER, McLEAN, VIRGINIA 22102, (703) 356-1180. ALSO AVAILABLE AT GEORGETOWN, "F" STREET, N.W. DOWNTOWN AND WHITE FLINT MALL. Dear Washingtonian; As the new owner and manager of the Hay~ Adam , let me extend my greetings and invite you to vi it our hotel and dining room. Until recently I served as Vice Chairman of the French company that operates three of Europe,s most dis~ tinguished hotels: Le Meudce, LeGrand and Le Prince de Galles in Paris, plus the world famous Cafe de la Paix restaurant. My family and I have now come to live in Washington. We feel this city-and The Hay~Adams-perfectly combine the finest American traditions with the elegance and beauty we knew and enjoyed in Europe. We look forward to our life here and to maintaining the 52~year tradition of The Hay~ Adams, as the premier hotel and dining room in the nation,s capital. I intend to apply the high standards of European luxury to The Hay~ Adams. In this dedication, I am joined by my wife, Danielle. Together we will per~ sonally supervise every aspect of operations and service-for your total comfort. Your patronage is deeply appreciated. We trust that our efforts to assure your satisfaction will meet with your approval. Sincerely, Georges and Danielle Masse At 16th and H rreet , N.W. Wa hingron, D.C. 20006 Tel. 63 ~ 2260 2501 Elite. In recent years that word has taken style rubber floors, microwave ovens and on a negative connotation. -
Annual Report 1999
NATIONAL GALLERY OF ART 1999 Annual Report 1999 ANNUAL REPORT NATIONAL GALLERY OF ART 1999 Annual Report Copyright © 2000 Board of Trustees, Cover: View of the fountain in the new National Details illustrated at section openings: Gallery of Art Sculpture Garden, with the western National Gallery of Art, Washington. p. 5: El Greco, Saint Martin and the Beggar, facade of the West Building in the background. 1597/1599, oil on canvas, Widener Collection, All rights reserved. Photograph by Robert Shelley 1942.9.25 Photograph on page 65: copyright © Title page: Sanford Robinson Gifford, Siout, Egypt, p. 7: Albrecht Diirer, Small Horse, 1505, engraving, 1874, oil on canvas, 53.3 x 101.6 cm, New Century Rosenwald Collection, 1943.3.3558 2000 Estate of Andre Kertesz Fund, Gift of Joan and David Maxwell, 1999.7.1 p. 9: Moritz von Schwind, Saint George and the Image of House I by Roy Lichtenstein Dragon, 1825/1830, pen and brown ink on wove Photographic credits: Works in the collection of the paper, Ailsa Mellon Bruce Fund, 1998.22.2 (page 80): copyright © 2000 Estate of National Gallery of Art have been photographed by Roy Lichtenstein the department of imaging and visual services. p. 13: Augustus Saint-Gaudens, Memorial to Robert Image of Cheval Rouge by Alexander Other photographs are by Dennis Brack / Black Shaw and the Massachusetts Fifty-fourth Regiment, Star (pp. 12, 18, 34, 40, 68, 86, 94), Sally Freitag 1900, patinated plaster, on long-term loan from the Calder (page 80): copyright © 2000 (p. 70), and Robert Shelley (cover and pp. -
Annual Report 1991
National Gallery of Art 1991 ANNUAL REPORT IB 1991 ANNUAL REPORT 1991 ANNUAL REPORT National Gallery of Art Copyright © 1992. Board of Trustees, National Gallery of Art All rights reserved. No part of this publication may be reproduced without the written permission of the National Gallery of Art, Washington, D.C. 20565 Photographs on p. 33, © August Sander Archive; p. 46, © Robert Frank; and p. Ill, © Estate of Walker Evans This publication was produced by the Editors Office, National Gallery of Art Edited by Tarn L. Curry Designed by Susan Lehmann, Washington, D.C. Printed by Schneidereith & Sons, Baltimore, Maryland The type is Bodoni Book, set by BG Composition, Baltimore, Maryland Photo credits: Dean A. Beasom, this page and pp. 19, 20, 23, 25, 26, 29, 31, 33, 42, 46, 69, 71, 73, 78, 92,97, 111, 128 Dennis Brack, Black Star, p. 100 Kathleen Buckalew, pp. 2-3, 50, 75 Richard A. Carafelli, pp. 7, 36, 40, 57, 83, 88, 95 Jacques-Louis David, Thirius de Pautrizel, c. 1795 Philip A. Charles, pp. 8, 17, 37, 41, 48, 55, Gift of Walter H. and Leonore Annenberg, in Honor of the 86, 109 Fiftieth Anniversary of the National Gallery of Art, Jose Naranjo, p. 11 1990.47.2 James Pipkin, cover William D. Wilson, p. 106 ISBN 0-89468-174-5 Pages 2-3: Installation of "animobiles" by Alexander Calder, 1970-1976 Gift of Mrs. Paul Mellon, 1991.7.6-15 Contents President's Preface 6 Administration Director's Report 9 Protection Services 87 Publication Sales 88 Art Programs Gallery Architect 90 Acquisitions 15 Facilities Management 91 Renaissance Paintings -
DC MODERN: a Context for Modernism in the District of Columbia, 1945-1976
DC MODERN: A Context for Modernism in the District of Columbia, 1945-1976 Historic Context Study FINAL Prepared for the District of Columbia Historic Preservation Office (HPO) by Robinson & Associates, Inc. January 23, 2009 DC Modern: A Context for Modernism in the District of Columbia, 1945-1976 Robinson & Associates, Inc. January 23, 2009 TABLE OF CONTENTS I. Preface A. Purpose.....................................................................................................................3 B. Background ..............................................................................................................3 C. Methodology ............................................................................................................3 D. Acknowledgements ..................................................................................................5 E. List of Figures ..........................................................................................................6 F. Modernism Defined..................................................................................................11 II. Introduction A. Washington Conservatism and the Legacy of the McMillan Commission Plan......12 B. The Dissemination of Modern Ideals .......................................................................13 C. The Transition toward Modernism...........................................................................14 D. World War II Mobilization.......................................................................................18 -
The Kennedy Center the JOHN F
The Kennedy Center THE JOHN F. KENNEDY CENTER FOR THE PERFORMING ARTS If it’s nothing to rave about, ■ THE ART OF PERFORMANCE: THE MAKING OF A LEGENDARY CLASSIC. call GEICO. You » is-minute a l l see, in just 15 could sdue you is x Ihe Movado Museum or more. Watch is in the minutes, we could permanent collections M - m of museums around th e w o rld . Stoatliches Museum cut your rates by 15% or fOr a n g ew an d te Kunst Neue Sammlung, Munich, Germany more. We’ll even give you Museum Moderne Kunst American Ballet Theatre, recognized Vienna, Austria as one of the great dance companies of Museo de Arte Moderno the world, presents a unique reper Bogota, Colombia line-by-line comparison toire ftom classic to contemporary. Museum Boymans-van (Pictured, Susan Jaffe in Swan Lake.) Beuningen, Rotterdam, Ihe Netherlands The Movado Watch Company is with your current policy proud of its long-term com m itm ent Museo de Arte Contemporaneo to the arts and its role as a principal Caracas, Venezuela benefactor of this outstanding ballet so you can see the savings. Finnish Museum of ensem ble. Horology Espool, Helsinki, Finland What kind of S e z o n M useum o f Art And GEICO offers Tokyo, Japan * Kunstindustri-museets B illed b o g, complete 24-hour seruice to reuiem mould uou Copenhagen, Denmark Musee International d'Horlogerie La Chaux-de-Fonds, help you file a claim, Switzerland glue .your Museo de Bellas Artes Bilbao, Spain change your policy or get a Design Museum London, England car insurance Kawasaki City Museum rate quote anytime. -
1990 ANNUAL REPORT National Gallery of Art
1990 ANNUAL REPORT National Gallery of Art 1990 ANNUAL REPORT 1990 ANNUAL REPORT National Gallery of Art Copyright © 1991. Board of Trustees, National Gallery of Art, Washington All rights reserved. No part of this publication may be reproduced without the written permission of the National Gallery of Art, Washington, D.C. 20565 This publication was produced by the Editors Office, National Gallery of Art Edited by Tarn L. Curry Designed by Susan Lehmann, Washington, D.C. Printed by Schneidereith & Sons, Baltimore, Maryland The type is Bodoni Book, set by BG Composition, Baltimore, Maryland Photo credits: Dean A. Beasom, pp. iv, x, xiii, 2-4, 7-8, 15, 17, 21, 35, 37, 39. 50, 54, 62, 77. 80, 102 E. Irving Blomstrann, p. xi Dennis Brack, Black Star, pp. xvi, 29, 56, 58, 59, 60, 65-67, 78 Kathleen Buckalew, pp. 23, 24, 33, 42 Richard A. Carafelli, pp. 12, 63 Philip A. Charles, pp. 2, 13, 74. 89 James O. Milmoe. p. 52 Jose A. Naranjo, pp. ii-iii, viii, 10, 69, 92 Edward Owen, pp. 5,18 James Pipkin, cover Rex Stuckey, p. 46 William D. Wilson, pp. 30, 48, 70, 71 ISBN 0-89468-161-3 Pages ii-iii: Peter Paul Rubens, The Fall of Phaeton, c. 1605, Patrons' Permanent Fund, 1990.1.1 This page: Hendrick Goltzius, Arnoud van Beresteyn, c. 1579, Gift of Ruth and Joseph Bromberg in memory of their son. Michael, 1990.24.1 Contents President's Preface vi Administration Director's Report ix Protection Services 55 Art Programs Publication Sales 57 Gallery Architect 57 Acquisitions I Facilities Management 58 Renaissance Painting 9 Procurement and Supply 58 Baroque -
American Art
American Art The Library of Prof. Patricia Hills Professor Emerita, American Art & African American Art, Boston University with important completions from The Library of Prof. Jules David Prown Paul Mellon Professor Emeritus, History of Art American Art and Material Culture, Yale University 3927 titles in over 4050 volumes American Art: The Library of Prof. Patricia Hills, with important completions from The Library of Prof. Jules David Prown. Patricia Hills, Professor Emerita of Boston University, is a nationally recognized specialist in American art and African-American art. She is the author of numerous studies on nineteenth- and twentieth century American art and artists, from the development of the early Western frontier to the gender politics of contemporary society. She received the Distinguished Teaching of Art History award from the College Art Association in 2011. Her library comprises more than 3,800 titles providing a substantial basis for the study of American art of all periods, and is especially strong on the nineteenth- and twentieth centuries, African-American art, as well as modern and contemporary art. The addition of books from the Prown Library bolsters coverage of major figures and movements of American art, particularly of the eighteenth- and nineteenth centuries, from early colonial portraiture, the Hudson River School, academic art, and American Impressionism, up to the advent of Modernism, together with selected works on postwar and contemporary art. Jules David Prown is Paul Mellon Professor Emeritus of the History of Art, Yale University, where he was the founding Director of the Yale Center for British Art, and Curator of American Art at Yale University Art Gallery. -
Annual Report 1987
NATIONAL GALLERY OF ART 1987 ANNUAL REPORT \ 1987 ANNUAL REPORT National Gallery of Art All rights reserved. No part of this publication may be reproduced without the written permission of the National Gallery of Art, Washington, D.C. 20565 Copyright © 1988. Board of Trustees, National Gallery of Art This publication was produced by the Editors Office, National Gallery of Art, Washington Edited by Tarn L. Curry Designed by Susan Lehmann, Washington Printed by Schneidereith & Sons, Baltimore, Maryland The type is Bodoni Book, set by VIP Systems, Inc., Alexandria, Virginia Photo credits: James Pipkin, cover Lucian Perkins, The Washington Post, p. 10 Kathleen Buckalew, pp. 2-3, 98, 102, 104, 106, 148-149 Philip Charles, pp. 97, 122 Ann Hageman, p. 124 Mary Ellen Wilson, p. 65 William Wilson, pp. 74, 77, 92, 100 ISBN 0-89468-116-8 Pages 2-3: Sculpture from the Patsy and Raymond Nasher Collection CONTENTS 6 PREFACE 8 ORGANIZATION 11 DIRECTOR'S REVIEW OF THE YEAR 32 DONORS AND ACQUISITIONS 50 LENDERS 56 LOANS TO EXHIBITIONS 64 EDUCATIONAL SERVICES 64 Department of Public Programs 71 Department of Extension Programs 73 CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS 81 OTHER DEPARTMENTAL REPORTS 81 Curatorial Division 89 Division of Records and Loans 90 Changes of Attribution 91 Library 95 Photographic Archives 95 Conservation Division 101 Editors Office 102 Exhibitions Office 103 Department of Installation and Design 106 Gallery Archives 107 Photographic Services 109 STAFF ACTIVITIES AND PUBLICATIONS 121 MUSIC AT THE GALLERY 123 ADMINISTRATOR'S REPORT 123 Publications Service 123 Facilities, Security, and Attendance 124 Office of Planning and Construction 126 FINANCIAL STATEMENTS 141 ROSTER OF EMPLOYEES AND DOCENTS PREFACE The National Gallery's fiscal year ending 30 September 1987 con- tinued the busy but rewarding pace that has characterized the past few years.