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Abby Aldrich Rockefeller and Print Collecting : an Early Mission for Moma : June 24-September 21, 1999

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Abby Aldrich Rockefeller and Print Collecting : an Early Mission for Moma : June 24-September 21, 1999 Abby Aldrich Rockefeller and print collecting : an early mission for MoMA : June 24-September 21, 1999 Date 1999 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/191 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art AN EARLY MISSION FOR MoMA JUNE 24-SEPTEMBER 21, 1999 THE MUSEUM OF MODERN ART, NEW YORK v*.| Fifty years ago, The Museum from today's vantage point, these works reveal more of Modern Art dedicated The than simply Mrs. Rockefeller's tastes. They also shed Abby Aldrich Rockefeller Print light on the art world of her day, through the currently Room, establishing printed art debated issues they reflect, the galleries where they as one of its major areas of were purchased, and the experts Mrs. Rockefeller concentration. Although a consulted. On this occasion, we pay homage to a group of prints had been the woman of extraordinary imagination and vision, who first acquisition of the new Museum when it opened in saw the potential of printed art to provide a large 1929, it was not until 1949 that a special area of audience with insight into the modern experience. MoMA was dedicated to housing and studying this Deborah Wye, Chief Curator art form as a fundamental aspect of modern art. Audrey Isselbacher, Associate Curator Abby Aldrich Rockefeller (1874-1948), one of the Department of Prints and Illustrated Books Museum's three founders and an avid collector of the Selected References: print medium herself, was the single most important Chase, Mary Ellen. Abby Aldrich Rockefeller. New York: The force in the establishment of the Print Department. MacMillan Company, 1950. Hanks, David A., with JenniferToher. Donald Deskey: Decorative While her foremost goal for the new Museum was to Designs and Interiors. New York: E.P.Dutton, 1987. bring modern art of all kinds to the public's attention, Kert, Bernice. Abby Aldrich Rockefeller: The Woman in the she also hoped to encourage private collecting for its Family. New York: Random House, 1993. Lynes, Russell. Good Old Modern: An Intimate Portrait of The personal pleasures and for the support it could offer Museum of Modem Art. New York: Atheneum, 1973. living artists. Realizing that collecting painting and Read, Helen Appleton. "Modern Art: The Collection of Mrs. John D. Rockefeller,Junior." Vogue 77 (April 1, 1931): 78-79, 114. sculpture was beyond the means of most Museum Sterne, Margaret. The Passionate Eye: The Life of William R. visitors, she understood that prints, produced in multi Valentiner. Detroit: Wayne State University Press, 1980. Tepfer, Diane. Edith Gregor Halpert and the Downtown Gallery ple editions, could be more accessible. In order to Downtown: 1926—1940. A Study in American Art Patronage. provide the public with a source of modern prints to Ann Arbor, Mich.: UMI DissertationInformation Services, 1990. Williams, Reba. The Weyhe Gallery Between the Wars, study and appreciate, Mrs. Rockefeller donated her 1919-1940. Dissertationsubmitted to the Graduate Faculty in own collection of 1,600 works to MoMA. This gift Art History, The City University of New York, 1996. formed the basis for a curatorial department of For research assistance, we are grateful to PeterJ. Johnson, an printed art and created the opportunity for exhibitions associate of David Rockefeller,Gail S. Davidson of the Cooper- Hewitt National Design Museum, and the staffs ofThe Museum of and educational activities devoted to this medium. Modern Art Archives and the Rockefeller Archive Center. We The present exhibition celebrates the fiftieth thankfully acknowledge Eric and Nannette Brill and Radio City ProductionsL.L.C. for the loan of Donald Deskeyfurnishings. anniversary of the dedication of the Print Room by bringing together some of the many prints that Abby This booklet is funded in part by The Associates of the Depart ment of Printsand Illustrated Books. Aldrich Rockefeller collected and enjoyed in her own home, before donating them to the Museum. Seen © 1999 The Museum of Modern Art, New York introduced her to the world's great museums, passing on his love of art to his daughter. In the fall of 1894, Abby met John D. Rockefeller, Jr., (1874-1960) at the Providencehome of a classmate. The son of the founder of the Standard Oil Company Abby Greene Aldrich, the fourth child of Abby Pearce was a shy, but sensitive and highly principled young Chapman and Nelson Wilmarth Aldrich, was born man, who was immediately drawn to Abby's sponta October 26, 1874, in Providence, Rhode Island, to a neous spirit, keen intelligence, and uncanny ability to socially prominent family of wealth and influence. Her set others at ease. In 1901, they married and would father, a successfulbusinessman and politician, served have six children: Abby (1903-76), John (1906-78), as Speaker of the Rhode Island House of Representa Nelson (1908-79), Laurance (born 1910), Winthrop tives, and a United States Representative and Senator. (1912-73), and David (born 1915). Mrs. Rockefeller's Growing up, Abby spent much time in Washington, life centered around her devotion to fulfilling the needs D.C.'s political milieu, an experience which cultivated of a growing family, and to eventually overseeing her natural social grace and honed her considerable homes in New York City; Pocantico Hills, New York; diplomatic skills. Because Senator Aldrich was fiercely scrutinized and occasionally vilified by the press, Abby developed a lifelong disdain for publicity and ostentation. Abby's formal education was typical of a young lady of privilege growing up in New England in the late 1800s. Until the age of seventeen, she was tutored by Quaker gov ernesses, and then attended Miss Abbott's School for Young Ladies, where she studied lib eral arts. After graduating and mm,-, making her debut in 1893, THE Family at Seal Harbor, Maine, summer 1921. Left to right: Laurance, Abby, John 3rd, she set off for a grand tour Mrs. Rockefeller, David, Winthrop, Mr. Rockefeller, and Nelson. Courtesy the Rockefeller of Europe. There, her father Archive Center Seal Harbor, Maine; and Williamsburg, Virginia. of cultural monuments in France. Mrs. Rockefeller Mr. and Mrs. Rockefeller shared a deep-seated focused her attention on progressive social issues, belief in the responsibility of wealth and devoted such as public housing and women's causes. She was much effort to philanthropy. Mr. Rockefeller's dona spurred to action by World War I and participated in tions were distributed among many wide-ranging the American Red Cross's efforts to send care pack projects, including The Cloisters in New York City, ages to troops overseas. Through the Young Women's Colonial Williamsburg in Virginia, and the restoration Christian Association (YWCA), an organization that would continue to engage her over the years, she became active in securing housing for women war workers. These efforts led to her becoming one of the earliest champions of residential hotels for working women. She also, in collaboration with her husband, created a community center for industrial workers at the Bayway Refinery of Standard Oil in New Jersey. Together, Mr. and Mrs. Rockefeller amassed a range of art works including Persian miniatures, Buddhist sculpture, porcelains, antique furnishings, and paintings by the Old Masters. In addition, Mrs. Rockefeller had a longstanding interest in Japanese prints, an art form which had played an important role in early modernism. With broad areas of color and flattened-out perspectives, these technically com plex works on paper surely nurtured her appreciation of printed art of the modern period. The historic Armory Show took place in 1913, and although she, herself, did not attend, many who would enter her life in the ensuing decades first recognized modernism there. By the mid-twenties Mrs. Rockefeller had begun to collect modern art. Her growing conviction of its importance and relevance cultivated her desire to establish a museum devoted to this era. 10 WEST 54 Street, Mr. and Mrs. John D. Rockefeller, Jr.'s city residence from 1913 to 1937. Torn down and property given to MoMA in 1938. Courtesy the Rockefeller Archive Center While others were reluctant, she lobbied for the establish ment of a permanent collec tion. Her statesmanship and leadership made her a beloved During the winter of 1928-29, associate of Museum Trustees Mrs. Rockefeller, Lillie P. Bliss and staff, and her astute judg (1864-1931), a fellow art ments became indispensable. collector and philanthropist, Mrs. Rockefeller was a and Mary Quinn Sullivan generous patron. In her lifetime (1877-1939), a collector and she donated over 2,000 works former art teacher, discussed to the Museum in all mediums, their common goal of founding although prints, by far, repre the first American institution sented the greatest number. She dedicated exclusively to mod also instituted MoMA's first ern art. By July, a museum purchase fund for art, placing organizing committee appoint no restrictions upon its use. In ed Alfred H. Barr, Jr., a young 1936 her remarkable contribu art historian and Wellesley The Museumof Modern Art in 1939. Designedby tions were publicly acknowl PhilipL. Goodwin and EdwardD. Stone College professor, as Museum edged when she appeared on Director. On November 8, the cover of Time magazine. 1929, on the twelfth floor of the Heckscher Building at Although John D. Rockefeller, Jr., disliked mod 730 Fifth Avenue, at Fifty-seventh Street, The Museum ern art, he made major contributions to the Museum of Modern Art launched its inaugural exhibition, through the distribution of money, securities, and, Cezanne, Gauguin, Seurat, van Gogh. Despite the most importantly, real estate.
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