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Pyramids of Lake Erie: the Historical Evolution of the Cleveland Museum of Art’S Egyptian Collection

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Pyramids of Lake Erie: the Historical Evolution of the Cleveland Museum of Art’S Egyptian Collection PYRAMIDS OF LAKE ERIE: THE HISTORICAL EVOLUTION OF THE CLEVELAND MUSEUM OF ART’S EGYPTIAN COLLECTION A thesis submitted To Kent State University in partial Fulfillment of the requirements for the Degree of Master of Arts By Christine M. Pienoski May 2016 © Copyright All rights reserved Except for previously published materials. Thesis written by Christine Marie Pienoski B.A., Walsh University, 2014 M.A., Kent State University, 2016 Approved by ____Dr. Kenneth Bindas___________, Advisor ____Dr. Kenneth Bindas___________, Chair, Department of History ____James L. Blank_______________, Dean, College of Arts and Sciences TABLE OF CONTENTS TABLE OF CONTENTS ............................................................................................................... iii LIST OF FIGURES .........................................................................................................................v ACKNOWLEDGEMENTS .......................................................................................................... vii INTRODUCTION ...........................................................................................................................1 CHAPTERS I. THE CLEVELAND MUSEUM OF ART’S EGYPTIAN COLLECTION AND EDUCATION IN THE 1910s ..................................................................................15 Cleveland and the Cleveland Museum of Art ....................................................................17 Collecting Egypt: America, Egypt, and Western Ideologies (Why Collect?) ...................20 Collecting and Displaying Egypt: The Inaugural Exhibition at the CMA .........................25 Aftermath of the Inaugural Exhibition ...............................................................................35 Conclusion .........................................................................................................................38 II. THE 1950s: PRESERVATION AND THE CLEVELAND MUSEUM OF ART’S EGYPTIAN COLLECTION .................................................................................40 American-Egyptian Relations ............................................................................................44 Cleveland History ..............................................................................................................49 CMA Renovation and Egyptian Collection: Preservation is the Focus .............................50 Conclusion .........................................................................................................................58 iii TABLE OF CONTENTS (Continued) CHAPTERS Page III. TECHNOLOGY AND VISITORS AT THE CLEVELAND MUSEUM OF ART’S EGYPT’S DAZZLING SUN EXHIBITION ........................................................60 America and Egypt in the 1990s ........................................................................................63 Cleveland in the 1990s .......................................................................................................65 The Cleveland Museum of Art and Egypt’s Dazzling Sun: A Special Exhibition.............66 Conclusion .........................................................................................................................77 IV. EPILOGUE: THE CLEVELAND MUSEUM OF ART AND EGYPT IN THE PRESENT DAY...................................................................................................79 Another Renovation and the Permanent Gallery ...............................................................79 A New Travelling Exhibition: Bringing Egypt Back to the CMA ....................................87 FINAL CONCLUSION .................................................................................................................90 BIBLIOGRAPHY ..........................................................................................................................95 iv LIST OF FIGURES Figure Page 1.1. Main Story Plan, Hubbell and Benes Architects, circa 1916. Courtesy of Cleveland Museum of Art Archives ..................................................................................28 1.2. Egyptian Collection, Gallery 15, 1916. 16c338, Registrar’s Gallery Views Photographs, Cleveland Museum of Art Archives ............................................................32 1.3. Egyptian Collection, Gallery 15, 1922. 22c3661, Registrar’s Gallery Views Photographs, Cleveland Museum of Art Archives ............................................................32 1.4. Egyptian Collection, Gallery 15, 1916. 16c270, Registrar’s Gallery Views Photographs, Cleveland Museum of Art Archives ...........................................................33 1.5. Egyptian Collection, Gallery 15, 1916. 16c281, Registrar’s Gallery Views Photographs, Cleveland Museum of Art Archives ...........................................................33 1.6. Egyptian Collection, Gallery 15, 1916. 16c288, Registrar’s Gallery Views Photographs, Cleveland Museum of Art Archives ...........................................................34 2.1. Gallery Floor, Handbook of the Cleveland Museum of Art, 1966, page vii. Courtesy of the Cleveland Museum of Art Ingalls Library ...............................................52 2.2. Egyptian Collection, Gallery 15, 1956. 29022C, Registrar’s Gallery Views Photographs, Cleveland Museum of Art Archives ...........................................................54 2.3. Egyptian Collection, Gallery 15, 1956. 29022A, Registrar’s Gallery Views Photographs, Cleveland Museum of Art Archives ............................................................54 2.4. Egyptian Collection, Gallery 15, 1950. 24600, Registrar’s Gallery Views Photographs, Cleveland Museum of Art Archives ...........................................................55 2.5. Egyptian Collection, Gallery 15, 1952. 25548B, Registrar’s Gallery Views Photographs, Cleveland Museum of Art Archives ...........................................................56 2.6. Egyptian Collection, Gallery 11, 1963. 34955a, Registrar’s Gallery Views Photographs, Cleveland Museum of Art Archives ...........................................................57 v LIST OF FIGURES (Continued) Figure Page 3.1. Egypt's Dazzling Sun: Amenhotep III, 1992. 35-333n 24, Photograph Collection, Cleveland Museum of Art Archives ...............................................................70 3.2. Egypt's Dazzling Sun: Amenhotep III, 1992. 35-333n 12, Photograph Collection, Cleveland Museum of Art Archives ...............................................................71 3.3. Egypt's Dazzling Sun: Amenhotep III, 1992. Credit G.M. Donley, Photograph Collection, Cleveland Museum of Art Archives ...............................................................71 3.4. Egyptian Collection, Gallery 205, 1993. 57941e, Registrar’s Gallery Views Photographs, Cleveland Museum of Art Archives ...........................................................75 3.5. Egyptian Collection, Gallery 204, 1993. 57941d, Registrar’s Gallery Views Photographs, Cleveland Museum of Art Archives ...........................................................76 3.6. Egyptian Collection, Gallery 204, 1993. 57941c, Registrar’s Gallery Views Photographs, Cleveland Museum of Art Archives ...........................................................76 4.1. Egyptian Collection, Gallery 107, March 2015. Photo by author ....................................83 4.2. Egyptian Collection, Gallery 107, March 2015. “Kings and Gods” section panel text. Photo by author ................................................................................................84 4.3. Egyptian Collection, Gallery 107, March 2015. Statue of Heqat, the Frog Goddess (1976.5). Photo by the author .............................................................................85 vi ACKNOWLEDGEMENTS This thesis project is the result of the support and encouragement of many people. First, I would like to thank my advisor, Dr. Kenneth Bindas, for mentoring and guiding me through this project, for providing critical feedback on drafts, and for encouraging my own confidence in my work. Without his help, this thesis would not exist. I would also like to thank my committee members- Dr. Mary Ann Heiss, Dr. Leslie Heaphy, and Dr. Mindy Farmer- for also providing feedback, encouragement, and resources for research. Our email and in person conversations reminded me that I was on track, and could finish this project on time. In a special way, I thank Dr. Shane Strate who, while not on my committee, aided me in developing my thoughts and crafting my research through a difficult Writing Seminar class. He pushed me to think differently, approach my research and writing from a new angle, and showed me what graduate level writing consists of, forcing me to grow as a scholar and a person. I also thank Dr. Timothy Scarnecchia for ensuring that I was registered for the proper classes, able to graduate on time, and supporting all of my endeavors. The History Department secretaries-Carla Weber, Alana “Kay” Dennis, and Heather Miller- were fantastic. They listened to my struggles, witnessed my breakdowns, directed me to the appropriate forms to fill out, and generally encouraged me throughout my graduate school years. I thank them for all of this, and more, from the bottom of my heart. The History Librarian at the Kent State University Library, Kara Robinson, also helped by answering my research questions, especially when I had trouble finding sources. I thank her for all of her hard work and dedication in helping this project come to completion.
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