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Download 1 File MASTERPIECES OF ART April 21 to September 4, 1962 SEATTLE WORLD'S FAIR Cover: PIERRE AUGUSTE RENOIR, French, 1841-1919 48. NEAPOLITAN GIRL'S HEAD LENT BY: Montreal Museum of Fine Arts (Adoline Van Home Bequest, 1945), Montreal, Quebec, Canada. Property of The Hilla von Rebay Foundation Copyright 1962 by Century 21 Exposition Inc. Seattle World's Fair Catalogue MASTERPIECES OF ART FINE ARTS PAVILION April 21 to September 4, 1962 SEATTLE WORLD'S FAIR April 21 to October 21, 1962 Original model of portion of Seattle World's Fair. Art building in left foreground. FOREWORD The "Masterpieces of Art" catalogue illustrates and describes one of the five exhibits which comprise the Fine Arts Exhibition at the Seattle World's Fair. The form and selection of this exhibit are the work of Dr. William M. Milliken, Director Emeritus of The Cleveland Museum of Art. These great works come from fifty-seven American museums; and from the National Gallery of Canada, the Art Gallery of Toronto, Montreal Museum of Fine Arts, the Louvre, Paris, the Tokyo National Museum, Japan, the Academia Sinica, Taiwan, Republic of China, and the National Museum of India. The loan of these priceless works is a measure of the importance of our Seattle World's Fair; but even more, the willingness to lend these works is a tribute of affection and esteem to Dr. Milliken himself, the dean of American museum directors. The Fine Arts Exhibition at the Seattle World's Fair comprises five main exhibits, each the responsibility of a leading authority in his field: "Master- pieces of Art," assembled by Dr. Milliken; "Northwest Coast Indian Art," by Dr. Erna Gunther of the University of Washington; "Art Since 1950, American," selected by Sam Hunter, Director of the Rose Art Museum of Brandeis Uni- versity; "Art Since 1950, International," selected by Willem Sandberg, Director of the Stedelijk Museum of Amsterdam, Holland; and "Art of the Ancient East" and "Paintings by Mark Tobey," selected by Dr. Richard E. Fuller from the collection of the Seattle Art Museum. I am deeply grateful to those who have assembled these exhibits. The general direction of this exhibition has been an exciting and fascinating experience, and I wish to express my appreciation to all who have worked with me. First, I must thank Dr. Richard E. Fuller, President and Director of the Seattle Art Museum, whose constant assistance has been a prime help. I also thank Joseph E. Gandy, President, and Ewen C. Dingwall, General Director, of the Seattle World's Fair, for their unfailing support and most of all for an absolutely free hand; and Paul Kirk, whose talents not only designed our magnificent exhibition building but also persuaded our city fathers to find the money for it. I must thank the West Coast Directors' Advisory Committee and museums, artists, art dealers everywhere for their generous loans. I must mention, too, the valued work of my assistants, Allen C. Wilcox and Jan H. van der Marck. Endless work, patience, and enthusiasm on the part of the directors of the various sections of our exhibition have resulted in a truly great art show. Norman Davis Direcfor, Fine Arts Exhibit Seattle World's Fair LENDERS TO THE EXHIBITION Academia Sinica, Taiwan, The Republic of China Musee du Louvre, Paris, France William Hayes Ackland Memorial Art Center, Museum of Fine Arts, Boston, Massachusetts Chapel Hill, North Carolina The Museum of Fine Arts of Houston, Houston, Addison Gallery of American Art, Phillips Texas Academy, Andover, Massachusetts Museum of Fine Arts, Springfield, Massachusetts The Akron Art Institute, Akron, Ohio The Museum of Modern Art, New York, New York Albright-Knox Art Gallery, Buffalo, New York National Gallery of Art, Washington, D.C. Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio The National Gallery of Canada, Ottawa, Ontario, Canada Art Center in La Jolla, La Jolla, California National Museum, New Delhi, India The Art Gallery of Toronto, Toronto, Ontario, Canada Nelson Gallery-Atkins Museum, Kansas City, Missouri The Art Institute of Chicago, Chicago, Illinois North Carolina Museum of Art, Raleigh, North The Baltimore Museum of Art, Baltimore, Carolina Maryland Norton Gallery and School of Art, West Palm Brandeis University, Rose Art Museum, Wal- Beach, Florida tham, Massachusetts Pasadena Art Museum, Pasadena, California California Palace of the Legion of Honor, San Philadelphia Museum of Art, Philadelphia, Francisco, California Pennsylvania Carnegie Institute, Pittsburgh, Pennsylvania Phillips Collection, Washington, D.C. Cincinnati Art Museum, Cincinnati, Ohio Portland Art Museum, Portland, Oregon Art of St. Louis, St. Louis, Missouri City Museum Rhode Island School of Design, Museum of Art, The Cleveland Museum of Art, Cleveland, Ohio Providence, Rhode Island Ringling Museum of Fine Arts, Sarasota, Florida The Columbus Gallery of Fine Arts, Columbus, Ohio San Francisco Museum of Art, San Francisco, California The Corcoran Gallery of Art, Washington, D.C. Santa Barbara Museum of Art, Santa Barbara, The Currier Gallery of Art, Manchester, New California Hampshire Seattle Art Museum, Seattle, Washington Dallas Museum for Contemporary Arts, Dallas, Texas Smith College Museum of Art, Northampton, Massachusetts Dallas Museum of Fine Arts, Dallas, Texas The Taft Museum, Cincinnati, Ohio The Detroit Institute of Arts, Detroit, Michigan Tokyo National Museum, Tokyo, Japan The Fine Arts Gallery of San Diego, San Diego, The Toledo Museum of Art, Toledo, Ohio California University of Nebraska, Lincoln, Nebraska The Solomon R. Guggenheim Museum, New York, New York Virginia Museum of Fine Arts, Richmond, Virginia John Herron Art Institute, Indianapolis, Indiana Wadsworth Atheneum, Hartford, Connecticut Joslyn Art Museum, Omaha, Nebraska Walker Art Center, Minneapolis, Minnesota Los Angeles County Museum, Los Angeles, Walters Art Gallery, Baltimore, Maryland California Whitney Museum of American Art, New York, Marion Koogler McNay Art Institute, San New York Antonio, Texas Worcester Art Museum, Worcester, Montreal Museum of Fine Arts, Montreal, Massachusetts Quebec, Canada Yale University Art Gallery, New Haven, Pierpont Morgan Library, New York, New York Connecticut Munson-Williams-Proctor Institute, Utica, New M. H. de Young Memorial Museum, San Francisco, York California ACKNOWLEDGMENTS It is hard to express gratitude to all those who have aided by lending works of art for the "Masterpieces of Art" Exhibition of the Seattle World's Fair. Foreign nations have made possible the representation of three great countries and three great traditions on the farther rim of the Pacific. Special thanks are due to the Government of India and to the personnel of the National Museum in New Delhi; to the President and Officers of the Academia Sinica in Taiwan, The Republic of China; and to the Director and Curators of the National Museum in Tokyo, Japan. They have enriched the Exhibition by their out- standing loans. The Director of the National Museums of France and the Musee du Louvre has also honored Seattle by the gracious loan of a most important canvas. This aid and this deep and sympathetic interest add another feature of major importance. To the Directors, Trustees and Staffs of the Museums of the United States and Canada, who have granted loans of their masterpieces with such open-hearted generosity, must go a special word of appreciation. They have made the Exhibition possible. It is difficult to express adequately the deep sense of obligation felt in their regard. I must add a word of personal thanks to Norman Davis and to his staff for ever-ready consideration and never-failing aid; to all those associated with the management and organization of the Fair; to Dr. Richard E. Fuller, Director of the Seattle Art Museum, for his help in securing loans from Taiwan and Japan and for his encouragement, interest, and invaluable advice. I am indebted to Miss Helen S. Foote, retired Associate Curator of Decorative Arts in The Cleveland Museum of Art, for the rare ability, patience, and skill with which she has carried through the complex editorial problems of the catalogue; and to Mrs. Justin G. Zverina and others who have assisted her. F. Byers Hays, architect, designed the physical settings of the Exhibition galleries. A special word of thanks must go to the Directors and Superintendent of The Art Institute of Chicago, who made possible the services of G. Louis McManus, their Assistant Superintendent, to take care of unpacking and installation, repacking and shipping. Finally, renewed thanks to Norman Davis and to all who have aided. This Exhibition is the composite of their interest and hopes, a rare tribute to the cooperation of so many. WILLIAM M. MILUKEN INTRODUCTION Art is life. Life is change. These simple truisms are a basis for understanding, for when art ceases to change, ceases to evolve, when life stagnates, then comes death. It is the eternal renewal of the creative principles that has given the art of the ages its varied and ever-different aspects. And art, being an expression of life, reflects the thinking, the religious beliefs, the aspirations and dreams of the artists in each period and in any one of many mediums. Fashions, modes of thinking, points of view, techniques vary as the world varies. But it is significant that through the centuries the esthetic moments of man give a clear expression of his age. The aspirations of artists incorporate within their productions the time spirit. It is the individual approach within the time pattern, however, that allows and gives variety to each period. This variety is puzzling when seen without per- spective, for it-is easier to judge the art of an earlier age after the chaff has been winnowed by time. The present is almost always an enigma to the con- servative, who instinctively tries to conserve the past and refuses to recognize the inevitability of change. He sees incomprehensibility in the unfamiliar.
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