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The Metropolitan Museum of Art recently lent the mantel from quired by the Metropolitan in 1917. Prior to its reinstallation in the Gadsby's Tavern pictured above to the city of Alexandria. Va. tavern, the mantel was for many rears part of the "Alexandria Al­ which is restoring the historic tavern as part of its bicentennial ob­ cove" in the Museum's American Wing. servance. Lent for a ten-rear, renewable period, the mantelwas ac­ uLEN T BY THE METROPOLITAN"

A REPORT ON THE MUSEUM'S NATIONAL LENDING ACTIVITIES

The five historic buildings comprising the Pennsyl­ In 1975. the Museum was involved in some spec­ vania Farm Museum of Landis Valley in Lancaster. tacular international exchanges, notablv with France and s_ Pennsylvania, are tilled with eishteenth-centurv furniture the Soviet Union. But this new focus on international and decorative objects native to the area. Most of the cooperation has in no wav diminished the Museum's dower chests, gate-leg tables, samplers and even valen­ long-standing, largeh unheralded commitment to other tines on displav alongside the Farm Museum's own American institutions and its comprehensive national loan collection of agricultural implements and textiles have program. In the fall, for example, the Allentown Museum been on loan from The American Wing at The Metropoli­ in Pennsylvania will receive 47 paintings bv American tan Museum since 1968. masters, valued at more than S2.000.000—the largest The Springfield Museum in Massachusetts has on long-term loan ever made bv the Department of American display in us gothic galleries two fifteenth-century French Paintings and Sculpture. In addition to works bv Copley, stained glass panels which once adorned a terrace on Park Sargent and Stuart, among others, the one-year, renew­ Avenue. These seven-foot depictions of Saint Catherine able loan will also include 25 contemporary works from and Saint John have been on loan from The Cloisters, a the Department of Twentieth Centurv Art. part of The Metropolitan Museum, since 1945. The Springfield (Missouri) Art Museum has bor­ The General Shale Museum in Johnson Citv. rowed nine works of high qualitv from the Metropolitan Tennessee, the Wilkie Brothers Foundation in Des this year with help from the Missouri Council on Arts for Plaines. Illinois. Emory University in Atlanta. Albion transit and insurance costs. During each month of the College in Michigan, and a host of other institutions from 1975-76 school year, Springfield will displav one "Master­ Baltimore to Honolulu, have material from the Metropol­ piece of the Month" cm loan from the Metropolitan, itan's Egyptian Collection. There are also musical in­ accompanied bv an educational exhibit designed to serve struments in Cincinnati, papyri in New Haven, porcelains the public at large as well as local schools and universities. in San Francisco, and Spanish helmets in San Antonio, all The first three works lent to Springfield for this program bearing the label. "Lent by The Metropolitan Museum of are: a red granite portrait of Queen Hatshepsut from the Art." Egyptian Department; a 13th centurv Limoge champlevé Objects from even department in the Museum, enamel tabernacle from the Medieval Department: and from Ancient Near Eastern Art to Twentieth Century Soutine's Portrait of a Girl in a Fur Coat from the Painting and Sculpture, have found their way to all parts Department of Twentieth Centurv Art. Other institutions of the country. For more than 30 years, the Metropolitan receiving loans from the Metropolitan this year are listed has been making loans of from one to several hundred on pages 28 and 29. objects to Mster institutions—museums, college art galler­ The Metropolitan does not charge for lending ies, historic homes —across the nation, therebv providing works of art: however, borrowers are responsible for such kev works of art for special exhibitions and strengthening costs as packing and shipping, as well as transit fees and the collections of other museums. The Metropolitan's annual insurance premiums. The Museum will not ap­ large-scale loan program has helped bring its vast trea­ prove a loan unless satisfied that the objects will be cared sures out of the galleries and storerooms and to the for properly and exhibited under suitable conditions with attention of an ever-growing national audience. adequate fire protection and security. For loan purposes, CURRENT LOANS objects are classified into three categories with Class I "There's no question that we do more lending than loans so designated because of their value, unique charac­ om .stk-i»- ;r>.-»;tiit¿r>« in thf» rmint rv " according to M lid red ter, great importance, special size, fragility or unusual ;, arranged all outgoing installation. Foreign loans and all Class I loans must be SON LIBRARY ARCHIVES lend more because we authorized bv the Trustees. tat at anv given time as Though the Museum's loan program has never THE METROPOLITAN it on loan. In 1974-75 received major publicity of the kind accorded important MUSEUM OF ART orrowed 1.843 objects: acquisitions or special exhibitions, the attitude of its public for periods ranging up is positive. More than half of the Metropolitan's visitors. The Libran' ns: 25 others borrowed including a majority of New York Citv residents, regard i on a renewable basis.* the Museum as primarily national rather than local in

W j is of exhibition quality, loans outstanding are reviewed annual!) bv the curatorial .•finite loans. Since 1966 departments and new or renewed loans are regularlv reported on a renewable basis of to the Board of Trustees. all on 30 davs' notice. All character and concur in the Museum's obligation to share glass. As soon as the exhibition ended, thev were returned its resources with other American institutions. In the 1973 to their niches in the wall built specially for them in Yankelovich survey, some 70 percent of the Metropoli­ Springfield's Gothic Gallery.* tan's visitors agreed that the Museum should lend works of Some loans of duplicate material not likely ever to art to other institutions, even though as a result, certain be recalled for study purposes or for exhibition have been favorites would not always be on view. bought bv borrowing institutions for their own collections. In 1968 Kenmore. a historic home in Fredericksburg. RESPONSES FROM RECIPIENTS Virginia, bought seven pieces of furniture which had been Loan recipients are enthusiastic about the Muse­ on loan from The American Wing since 1934. On the um's commitment to assist institutions around the country. occasion of the sale one of the Kenmore trustees wrote: At the University of Texas Institute of Texan Cultures, for "Your furniture loan to Kenmore has meant a great deal example, four pieces of sixteenth-century Spanish armor to us. and we deeph appreciate the advice and counsel have been on display since 1970. When, in 1974. the loan that the Metropolitan gave us in the early thirties when the was extended, a staff member wrote: "The three helmets restoration of Kenmore began." and shield have contributed a great deal toward the Other restoration projects with which the Metro­ success of our exhibit dealing with the arms and armor of politan has cooperated, supplying technical advice, long- the conquest and have been enjoyed bv thousands of term loans and. in some cases, an opportunity for first students. Texans, and out-of-state visitors during the past refusal on deaccessioned loan items, include: William year." Trent House (Trenton. New Jersey); Rock Hall At the Shaker Community in Hancock. Massachu­ (Lawrence. Long Island): Constable Hall (Beaver Falls. setts. 24 objects on loan from The American Wing are New York): Dey Mansion (Wavne. New Jersev ): Van displayed in period rooms throughout the village. Re­ Alen House (Kinderhook. New York): Hancock Shaker garding a nineteenth-century pine and maple trestle table Village (Pittsfield. Massachusetts): Bartow-Pell Mansion borrowed in 1973 for exhibition in the Ministry Dining and Poe Cottage (Bronx. New York): Jumel Mansion Room of their 1830 Brick Dwelling, a staff member wrote (New Yeirk): Gracie Mansion and The White House. recently: "We have no other piece of furniture that INAUGURAL LOANS expresses the mood of the room as completely as the tabic from the Metropolitan." Similarly, the 28 objects inter­ In recent years the Metropolitan has sent objects, as spersed among their own collections to enhance room well as specially-organized loan exhibitions, to help interiors at the Pennsylvania Farm Museum "have con­ launch new museums and celebrate special occasions at tributed immensely to our overall program." according to other institutions. In 1974. for example, the Metropolitan Director Carroll J. Hopf. sent eight American paintings for the inaugural exhibition of the new Lightner Museum in Saint Augustine, Florida. Often, such long-term loans as the 46 Egyptian and When the Detroit Institute of Arts opened new medieval objects lent to the Akron Art Institute in 1950 galleries devoted to ancient Mesopotamian and Iranian (thev still have 32) have enabled an institution to display art in 1970. the Metropolitan saluted the event with a tvpes of material for which they have no purchase funds. long-term loan of 24 objects from the Department of In 1963 Akron's director wrote. 'This loan has made it Ancient Near Eastern Art. In celebration of their mutual possible for us to have material difficult to acquire and to 100th birthdavs in 1970. the Metropolitan and The Muse­ use our own limited buving power to build our painting um of Fine Arts. Boston, exchanged loan exhibitions of collection." 100 paintings from their respective collections. In six Long-term loans from the Metropolitan have also weeks, some 42.817 Bostonians viewed some of the Met­ helped other museums to round out their collections until ropolitan's greatest treasures, includine Sassetta's Joitrnev thev could acquire comparable material of their own. In of the Magi. Titian's I 'enus and the Lute Player. Veronese's 1945. for example, the Metropolitan lent 101 objects to the Venus and Mars United by Love. Breugel's The Harvesters. Springfield (Massachusetts) Museum—at the time one of Rembrandt's Aristotle Contemplating the Bust of Homer. the largest long-term loans of high quality material ever Monet's Terrace at Sainte-Adresse and Winslow Homer's made by one American museum to another. The loan The Gulf Stream. included tapestries, paintings, ivories, enamels, stained glass, armor and decorative objects, all representative of As part of its on-going program of community die arts of Europe from the Middle Ages to the early involvement, the Metropolitan has also assisted in the nineteenth centurv. Pursuant to the original agreement development of many new neighborhood museums in the with Metropolitan Director. Francis Henry Taylor, under whom the Museum began to lend not only material from *In addition to the Springfield panels, long-term loans which the storage, but objects of MMA exhibition quality as well. Trustees have allowed to be "built in" at other institutions Springfield has over the years returned objects for which include more than 100 medieval objects (chandeliers, stone thev have acquired replacements of their own. Among the statues and columns, an iron grille and two choir stalls) lent to the Cathedral of St. John the Divine in New York Citv in 1942 24 ítems still on loan are the stained glass panels referred and 1949. and six medieval frescoes from the Church of San to in the introduction to this loan survey which at one time Baudelio de Berlanga lent to the Prado in Madrid in 1957. In a were set into the terrace doors of George Blumenthafs historic transaction between the Metropolitan and the Spanish home on Park Avenue: (He was President of the Metro­ government, the Prado frescoes were sent in exchange for a politan from 1933-1941). In 30 years these stained glass long-term loan to The Cloisters of the apse of the abandoned panels have left Springfield only once when, in 1971. thev 12th century Romanesque Church of San Martin in Fuen- were recalled bv The Cloisters for an exhibition of stained tiduefia, a small town north of Segovia. Terrace at Sainte-Adresse by Claude Monet, lent to The Art Insti­ Max Schmitt in a Single Scull by Thomas Eakins, lent to The tute oj Chicago for the exhibition "Paintings by Claude M unci. ' Philadelphia Museum of Art for the exhibition "300 Years of the Spring 1975. Iris in the Greater Philadelphia Area. " Spring 1976. greater New York area, not only b\ lending works of art as rangement whereby about 250 paintings not on exhibition well as exhibition and display materials, but also bv could be placed on the Extension Division's lending list sharing the knowledge and technical experience of the and lent regularly bv authority of the Director alone Museum's staff and officers. Twenty-eight American and without Board action. Bv 1937. paintings from this so- European paintings went to the Rotunda of the Bronx called "lending list" were on loan in Florida. Nebraska. County Courthouse in 1971. as the inaugural exhibition of Connecticut and at various institutions around New York the Bronx Museum of the Arts. The design, selection and City. installation of the exhibition were all executed bv the Increased lending activity also led to a series of Metropolitan. Similarly, in 1972. the Metropolitan sent "neighborhood" exhibitions begun in 1933 at the Univer­ Nineteenth Century Landscape Paintings to the new sity Settlement on Eldridge Street. Between 1933 and Queens County Art and Cultural Center in Flushing 1941. these exhibitions, with 72 separate installations in 34 Meadow Park and An from Far Away Islands to the new locations around the city, were seen free of charge bv some Staten Island Institute of Arts and Sciences facility at 2.044.867 visitors. From 1935 until the program ended, the Sailor's Snug Harbor. Some 25.000 visitors, including Works Progress Administration furnished guards and many who had never before been to Snug Harbor, saw this instructors. exhibition of archeological artifacts and primitive art. "An In 1940. the lending pool was suddenl) increased to exhibition of this size and scope could only have been about 500 paintings upon a reversal in poliev respecting staged with the support of the Metropolitan." said Insti­ contemporary American pictures acquired bv the Hearn tute Director George O. Pratt. Lund. Persuaded that their action would be a source of THE EARLY YEARS goodwill and good publicity because of the rising interest Like the Metropolitan itself, whose first home was a in contemporary art around the country, the Trustees four-story brownstone previously known as Dodsworth's approved the addition of 242 Hearn paintings to the 24 Dancing Academy, the Museum's large-scale lending already on the lending list. The Hearn bequest, thev activity had humble origins. For many years following its decided, did not restrict this use. Hearn. who died in 1913. founding in 1870. the Metropolitan was too busv with its had apparently said that he did not want his pictures lent: own acquisitions and excavations to focus much on however, the preference was neither legallv binding nor cooperation with the handful of other American museums consistent with Hearn's wish to foster American art and his then in existence. Also, in many cases, restrictions placed written authorization to the Museum to sell or exchange on bequests did not allow the art objects involved to leave Hearn pictures. the building. Furthermore, even apart from such restric­ The 1940's marked the real beginning of lending as tions, the Trustees were fearful of setting what thev often we know it today, in part, because Francis Hcnrv lav lor. referred to as a "dangerous precedent." who became Director in 1940. was a lending enthusiast. The breakthrough came in 1929 when Museum During his first year as Director he sought Board approval Secretan Henry Kent began to lobbv for "a more liberal for colleges and other public galleries to borrow duplicate attitude on the part of the Museum, and especially if it material from excavations "on indefinite loan, subject to could be quite definitely stated." Kent's aim was to have recall and not exceeding S5.000 worth to any one institu­ the Library's Extension Division (which already lent tion." As a result, in 1942. Taylor made loans which he secondary materials and some paintings) become the described as "virtually small museums in themselves" to vehicle through which loans from the collection could be the Milwaukee Art Institute and the John Herron Institute made on a regular basis without special action of the in Indianapolis. Trustees. Kent pointed out that the Museum's poliev of After America's entry into World War II, arm) lending only under special circumstances was developed camps, naval stations and army hospitals were the benefi­ in the davs before the inauguration of the tern pora ry ciaries of numerous loans of reproductions. Halloran exhibition which, in itself, presupposes loans from other Hospital and Kingsbridge Hospital, both in New York museums as well as collectors. "If loans are to be asked Citv. were lent original paintings as well. Security con­ from other museums, a reciprocal policy might fairly be siderations during the war years prevented school children expected in return: the continued success of the temporary from visiting the Museum in groups. As a result. Junior exhibition depends on it." he said. Kent also noted that the Museum exhibits were circulated in schools and a high traditional objections to making loans were no longer school program was begun in 1944 with 44 exhibitions sent valid. Public displeasure over the removal of exhibits was to junior and high schools around the city. Four circulat­ no problem: the collections had grown so large that ing exhibitions were also, put together for labor union removal of a given object would be relatively insignificant. locals: there were 21 showings to ten unions such as the Transportation dangers could now be minimized with National Maritime Union and the Amalgamated Clothing intelligent care and modern facilities. His answer to the Workers. The Museum also arranged 13 circulating exhi­ dangers of unskilled handling of works of art by borrowers bitions of material from the Index of American Design, a was that the museum send personnel to superintend the collection of 23.000drawings by WPA artists documenting installations (which, in some cases, is still done today). early American art objects on display throughout the With the onset of the Depression, plans to build a country. new wing to ease congestion in the galleries and Taxlor's commitment to spreading the vast wealth storerooms had to be scrapped. As a result of both the of the Museum's collections throughout the country man­ space problems and Kent's persuasive arguments, the ifested itself in the huge Springfield loan of 1945. referred Trustees passed a resolution in 1930. approving an ar­ to at the outset of this report. Material from the Metro- Metropolitan loans on display in Niagara Palls. Kyoto and Fredericksburg. politan enabled this regional museum to pia) an entirely of representative art collections" and bv the "alacrity and new and more effective role in working with the Spring­ enthusiasm with which, without exception, all'these muse­ field school system and in enriching the community.* um officials responded to our plans for possible loans." He Taylor said. 'The Trustees have recognized that the wrote further: "There is nothing the Museum could do Museum can render a great national service bv making that would so add to its prestige as a national institu­ available objects which have hitherto remained in tion . . . the Museum should accept the obligation of storage." He also noted that plans for the Museum's 75th lending as one of its prime duties to the nation." Anniversary Celebration emphasized the policy of giving Phillips' findings sparked a series of very important people in other cities a chance to enjoy works they might loans. In that ver) same vear of 1947. 30 paintings bv old otherwise not see. masters, valued at more than S 1.000.000. were shipped to With the success of the Springfield loan. Tav lor the Dallas Museum of Fine Arts, where paintings of this sent associate curator John C. Phillips further afield in the quality had rarely been seen before. The works, on view as summer of 194" to inform museum directors in more a special exhibition at the Texas State Fair, attracted more remote areas of the Metropolitan's liberalized loan policy than 125.000 visitors in a few weeks. The loan included and to test the waters for additional loans. Phillips noted two Rembrandt portraits, a Titian. Bellini's Madonna and that "the poverty of the southern and southwestern Child. El Greco's Adoration of the Shepherds, Rubens" museums can hardl) be imagined b) those used to the Virgin and Child, as well as Rosa Bonheur's The Horse comparative richness of average museums in the East." He Fair, which had never left the Metropolitan before. was Jeeplv impressed bv both "the pitiful lack everywhere Another important loan resulting from Phillips" trip was made to the Los Angeles Count) Museum. It 'On the strength of the Metropolitan loan, local citizens gave the received four major paintings bv Rembrandt and Hals for Springfield Museum $30,000 with which to prepare the galler­ a comprehensive exhibition of the works of these artists. ies for receiving the new material. Never before had a representative exhibition of these In 1974-75 The Metropolitan Museum of Art made short- term loans to institutions in 27 states. A total of 24 states had long-term loans outstanding. Altogether in 1974-75. The Metropolitan had objects on loan to institutions in the District of Columbia and 33 out of the 50 states including Hawaii. TtS cvw^ £

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SHORT-TERM LOANS 1974-75

LONG-TERM LOANS

LONG-TERM AND ^v^ SHORT-TERM LOANS ¡^ NIAGARA FALLS ROCHESTER SARATOGA • BUFFALO

ALBANY ITHACA • KINDERHOOK ALFRED • CORNING BINGHAMTON

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WEST POINT • • CARMEL NORTH SALEM KATONAH • 1974-75 SHORT-TERM LOANS-NEW YORK STATE • HUNTINGTON SOUTHAMPTON GREENVALE LONG-TERM LOANS-NEW YORK STATE OLD BETHPAGE NEW YORK CITY* \ HEMPSTEAD LAWRENCE* GARDEN CITY

In 1974-75 a total of 15 institutions in upstate New York had long-term loans from The Metropolitan. Additional loans made during the year went to 20 institutions in com­ munities around the state. Dutch masters been displayed west of the Rockies. objects since 1957. Constable Hall in Beaver Falls had a During the 1940's and 1950's, the Museum cooper­ 20-vear loan of objects (1949-1969). five of which were ated with the American Federation of the Arts in putting purchased for its own collection in 1956. The Buffalo and together exhibitions for circulation around the country. In Erie County Historical Society has displayed an 18th-cen­ 1950. for example, the Metropolitan contributed to ten tury maple plate from the Metropolitan since 1965. while exhibitions, circulated under AFA auspices in 1951-1952. the Susan B. Anthony Memorial in Rochester has a Also in the 1950's, more surplus material from the Egyp­ marble bust of its namesake on loan since 1947. The New tian. Greek and Roman. Ancient Near Eastern and York State Historical Association at Cooperstown has a Medieval Departments was made available on a long- total of 22 items on loan including a sampler, two chairs term basis to small institutions in such cities as Akron. and a desk on display at Headquarters House in Tieon- Columbus and Fort Wayne. Bv the end of the decade, an deroga since 1948. estimated 18.000 objects* were out on loan. The oldest long-term loan outstanding to an up- NEW YORK STATE LOANS state institution is the group of 42 fragments of Near During the earl) 1960's a program sponsored bv Eastern potterv which have been at Alfred University's The New York State Council on the Arts sparked consid­ School of Ceramics since 1926. The Rochester Museum of erable long-term loan activity around the state. The Arts and Sciences has 37 Egyptian and Near Eastern purpose of this program, under which the Council picked objects on loan since 1946. up both insurance and transport costs for extended period More recently, in 1970. 216 stained glass fragments loans, was "to expand the educational usefulness of were sent to the Corning Glass Center for examination reserve collections in major museums while providing and study. When the Carborundum Museum of Ceramics opportunities for regional museums to reinforce their was founded in Niagara Falls in 1973. the Metropolitan resources with first rate materials normally beyond their sent a three-vear loan of more than 300 ceramics from reach." The first such loan ( 184 objects from five different seven different departments. This new museum, now departments) went in 1962 to the Roberson Center for the known as the Crafts Museum, also borrowed five pieces of Arts and Sciences, in Binghamton, New York. Director Mexican pottery for a special exhibition on ceramics in Keith Martin wrote at the time. "It is unlikely that a North America in 1974. quantity of materials in this area of the arts will become In 1974-75 a total of 15 upstate institutions had part of our permanent holdings through normal process­ long-term loans from the Metropolitan. Additional loans es." In 1973. an associate curator wrote. "As vou know. made during the year went to 20 institutions in such Roberson is ver) proud of our permanent loan collection communities as Ithaca. New Paltz. West Point. South­ from the Metropolitan and many people come to the ampton. Plattsburgh. Katonah. North Salem. Garden Citv Center especially to see it." As of now. 165 of the original and Huntington. In addition to its lending activities, the objects are still on loan and since 1967. Roberson has Metropolitan has also provided technical assistance received additional loans of paintings and objects from through the Museum Workshop Program, administered later periods. Similar long-term loans have also been through the MMA Department of Public Education and made under New York State Council auspices to the funded by the New York State Council since 1967. This Albright-Knox Art Gallery in Buffalo (French and Eng­ program brings together groups of museum professionals lish furniture), the Everson Museum of Art in Syracuse from all parts of the state to studv the managerial and (ceramics) and the Albany Institute of History and Art administrative aspects of museum operations at the Met­ (ancient artifacts). The Albany Institute still has 57 of the ropolitan and other citv and state institutions. 62 Greek and Roman, ancient Near Eastern and Islamic THE CENTENNIAL AND SUBSEQUENT YEARS objects received in a 1964 loan made under New York During the Metropolitan's 100th birthday celebra­ State Council auspices. Additional loans to the Institute tion, more than 1.000 special guests from 35 cities and 30 have included 60 Egyptian objects sent in 195 1 (38 are still different institutions visited the Museum on Centennial there): an American kas or cabinet on loan since 1962 and. Tours. Centennial exhibitions organized as loans to other more recently, stained glass from the Rensselaer Albany museums focused national attention on the Metropolitan Dutch Church for inclusion in a series of exhibits on the in various regions of the country and helped introduce it to historic and artistic background of the Albany area. new audiences which had neither previously visited nor The Metropolitan"has for many years cooperated expressed an interest in the Museum. Between earlv 1970 with the restoration efforts of historical societies around and the end of 1972. eight such shows traveled to more the state and has provided furniture and other objects than 20 cities in the United States and abroad. Thev from the American Wing to a number of historic houses. included: Treasures from the Cloisters and The Metropoli­ The Columbia Count) Historical Society, for example, has tan Museum of Art. on view at the Los Angeles County borrowed a total of 10 objects for Van Alen House and the Museum and The Art Institute of Chicago: Prints by Nine House of History, both in Kinderhook. Rock Hall in New York Painters, which toured eight cities: 77?e? Rise of Lawrence. L.I. has a mahogany side chair and drop-leaf an American Architecture, which toured for two vears: an table on loan since 1953 and the Old Saratoga Historical exhibition of 17th-century Dutch paintings from The Society's General Philip Schuyler House has had 11 Metropolitan, shown at the University of California Art Museum in Berkeley: Spectrum: A Cross Section from The Metropolitan Museum of Art, shown at the Fort Worth Art 'This figure includes the 10.132 coins then on loan to the American Numismatic Societ) and the 1.936 pre-Columbian Center: Great American Paintings from the Boston and objeets then at the American Museum of Natural History. Metropolitan Museums, which appeared at Washington's Museum staff preparing a loan for shipment.

National Gallery, the City Art Museum of St. Louis and of the post of interim director at the Queens Museum in the Seattle Art Museum: Treasures from The Metropolitan Flushing Meadows, to help re-organize aspects of that Museum, assembled for the new Indianapolis Museum of museum's operations. Art's inaugural: and the exchange of masterpieces with the Since the approval of the Museum's Comprehen­ Museum of Fine Arts. Boston, mentioned earlier. sive Architectural Plan in 1971. the Metropolitan has Many programs conceived during the Centennial proceeded with a large-scale construction program, in­ extended the Museum's resources into New York City and cluding such projects as the wing housing The Robert neighboring communities. In 1970 the Trustees approved Lehman Collection, the Temple of Dendur. the American a program of special assistance to institutions in other Bicentennial Wing, the Michael C. Rockefeller Wing of boroughs and created the Department of Community Primitive Art and the reinstallation of the Islamic and Programs to support neighborhood groups in their efforts Egyptian Collections. Despite the tremendous resources to develop local cultural centers. The staff of this depart­ involved in completing this master plan, the Museum has ment serves as a liaison between the Museum and such made special efforts not to neglect its local, national and groups, offering technical advice, display materials and worldwide responsibilities. In a recent speech in Spring­ loans of works of art. Museum lecturers are available to field. Missouri. Director Hoving said: "The international speak at schools, addiction centers, senior citizens' homes exhibits and agreements, along with our activities as a and other community cultural centers. lending institution in New York and nationally, reveal The specially-organized borough loan exhibitions once again the scope and ambition which the Metropoli­ referred to earlier (to date there have been six) are an tan is called upon to fulfill in its exhibitions, its collecting. outgrowth of this program of community involvement, as its presentation and interpretation of art." is a series of traveling exhibitions to Queens and Long Hoving, who attended the dedication of a new Island Libraries. The most recent example of the Metro­ Springfield Art Museum auditorium, told his audience: politan's strong commitment to the cultural life of the citv "We want to reach out to all in the community ... be and to other museums was Director Hoving's acceptance evangelists about art. We'd like to form a national and world community of museums. We try to see if we can was a confirmed advocate of lending. His reply to Dreiser, form bonds with communities such as this. Springfield w ill however, pointed out the prevailing arguments against benefit from all the works of art from The Metropolitan large-scale lending by the Metropolitan, such as costs. Museum of Art's holdings . . . we can be partners."* inconveniences, restrictions on bequests, and the "dislike In 1909. long before the spirit of cooperation and of the curators in the various sections to having the work of sense of national mission implicit in Hoving's remarks arrangements continually upset by withdrawals for cir­ took hold at the Metropolitan. American novelist Theo­ culation." He suggested that perhaps only the Smithson­ dore Dreiser wrote a forward-looking letter to Sir Caspar ian Institution, as a government funded museum, could Purdon Clark. MMA Director from 1905-1910. Dreiser carry out the mission envisioned by Dreiser.* suggested to Clark that he circulate "the wonderful collec- More than sixty years have gone by since the tions" of the Metropolitan through the principal cities exchange of letters between Dreiser and Clark. From since "the mass of people would hear more about the real today's vantage point. Dreiser was right about the national value of art in six months this wav than thev would in three capabilities of non-governmental institutions in this years as the matter is now handled." He said: "It is not country such as the Metropolitan. Despite the very special enough to gather magnificent specimens of any particular commitment that the Metropolitan has to its native city, its art and then house them unobtrusively, almost, one might scope is no more limited to New York today than The sav. exclusively in a great temple like the Museum of Art Smithsonian's is to Washington. Both institutions are now is. and leave them for the few strangers who can clearly national resources of extraordinary value to all afford to come, or the cities, or one particular city, who, as Americans. I have said, mav already be surfeited. The thing should be *Interestinglv. The Smithsonian Institution is the only other heralded abroad and this is one way of heralding it. museum (or more accurately, collection of museums) in the almost. I should think the best." country whose lending activities compare with those of the A former director of London's South Kensington Metropolitan. The Smithsonian Traveling Exhibition Service Museum and administrator of its circulating system. Clark circulates exhibitions covering not only art history but also science, urban affairs, social and world problems. Constituent *As a result of Hoving's visit, the Springfield (Missouri) Art agencies such as the Hirschhorn Museum and Sculpture Museum received its first loan from the Metropolitan in Garden, the Cooper-Hewitt Museum of Decorative Arts and 1975—the nine works referred to earlier which enabled Spring­ Design, and The National Gallerv of Art. also have lending field to launch its "Masterpieces of the Month" program. programs.

MILDRED MeGILL This publication is dedicated to the memory of Mil- responsible for administering all outgoing loans and dred McGill. who served the Museum in several ca- her effective and devoted service played a vital role in pacities for almost 30 years. Most recently, she was the success of the national lending program. INSTITUTIONS AND ORGANIZATIONS RECEIVING LOANS

LONG-TERM LOANS Homestead Association Roberson Center for the Arts Yale University Art Gallery OUTSTANDING Honolulu Academy of Arts and Sciences Indianapolis Museum of Art Rochester Museum of Arts Akron Art Institute and Sciences LOANS MADE Albany Institute of History Instituto Nacional de Rock Hall and Art Antropologia e Historia, Royal Ontario Museum DURING THE YEAR Albion College Mexico IN NEW YORK CITY Alfred University International Garden Club. Saint-Gaudens National American Museum in Britain Bartow Mansion Historical Site Acquavella Galleries Saint Luke's Episcopal American Federation of Arts American Museum of Natural Joslyn Art Museum History Church American Museum of Natural American Numismatic Society Kenmore Association Santa Barbara Museum of Art History Amherst College Robert E. Lee Memorial Skowhegan School of Painting Associated American Artists Susan B. Anthony Memorial, and Sculpture El Museo del Barrio Foundation. Inc. Smithsonian Institution Inc. Los Angeles County The Brooklyn Museum Ashmolean Museum Society of the Founders of Museum of Natural History Norwich. Connecticut. Inc. The Century Association Association of the Bar of the Middlebury College Andrew Crispo Gallery City of New York Staten Island Institute of Arts Monmouth County Historical and Sciences Badisches Landesmuseum Federal Reserve Bank Society Staten Island Council on the Finch College Museum of Art Karlsruhe James Monroe Memorial Arts Forum Gallery Baltimore Museum of Art Foundation. Inc. Barre Museum Musée du Louvre William Trent House Goddard-Riverside Birmingham Museum of Art Museo del Prado United Nations Community Center Blacklock House Museum of the City of Office of the Gracie Mansion Boston Athenaeum New York Secretary-General The Grolier Club Boston Museum of Fine Arts Museum of Fine Arts Residence of the Jewish Museum The Brooklyn Museum of Houston Secretary-General. Public Buffalo and Erie County Museum of Fine Arts. 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Crocker Art Gallerv. Folk Art Collection. Va. Institute de France. Academie Johnson Museum of Art. Calif. Rüthers Universit) Art des Beaux-Arts. Paris Ithaca Gallery, N.J. Historical Society of Israel Museum. Jerusalem Executive Mansion, Albany Delaware. Old Town Hall San Francisco Museum of Denver Art Museum. Colo. Art. Calif. Kunsthaus. Zurich Hammond Museum. North Detroit Institute of Arts. St. Louis Art Museum. Mo. Monumenti Musei e Galerie Salem Mich. St. Petersburg Museum of Heckscher Museum. Pontífice, the Vatican Fine Arts. Fla. M usee des Beaux-Arts. Rouen Huntington Field Museum of Art. 111. Smithsonian Institution Musée du Lou\ re Hofstra University, The F.milv Fogg Art Museum. Mass. National Collection of Fine Museo de Arte Moderno. Lowe Gallerv. Hempstead Georgia Museum of Art, The Arts Bogota Katonah Gallerv. Katonah University of Georgia National Gallery of Art Museo de Arte de Sao Paulo The Gettv Museum. Calif. National Museum of Nassau County Museum of Museo Nacional de Artes Houston Museum of Fine Histor) and Technology Plásticas. Montevideo Art. Schenck House (Old National Portrait Gallerv Bethpage Restoration) Arts. Texas Museum of Historical High Museum of Art. Ga. Society of the Four Arts Fla. Treasures. Kiev Parrish Art Museum. Hvìand House. Conn. South Dakota Memorial Art Southampton Center National Gallerv of Canada. < . W. Post Art Gallerv. Indiana Universit) Art Maurice Spertus Museum of Ottawa Greenvale Gallerv. Ind. Judaica. 111. National Gallerv of Victoria, Indianapolis Children's Australia Roberson Center for the Arts Museum. Ind. Taft Museum. Ohio National Museum. and Sciences. Binghamton International Exhibitions The Textile Museum. Wash., Jerozolimskie, Poland D.C. State University of New York Foundation. Wash.. D.C. National Museum of Modern Toledo Museum of Art. Ohio Art. Kyoto at Binghamton Universit) of Kansas Trinity College. 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LOANS MADE Massachusetts Institute of Walters Art Gallerv. Wash., London D.C. DURING THE YEAR Technology University or Miami, The Wesleyan University, Conn. NATIONALLY Lowe Art Museum. Fla. University of Wisconsin at Albion College. Mich. Universit) of Michigan, Madison University of Wisconsin at Allentown Art Museum, Pa. Alumni Memorial Hall CREDITS. Copyright E 1975 Lyman Allyn Museum. Conn. Minneapolis Institute of Arts, Milwaukee by The Metropolitan Museum American Revolution Minn. Wichita State University. of An. Fifth A venue and 82nd Bicentennial University of Minnesota. Edwin A. Ulrich Museum Administration. Wash.. University Gallery of Art. Kan. Street. New York. N.Y. 10028. D.C. Monmouth Aluseum. N.J. The White House. Wash.. Design: John Marnino. Text: Amherst College. Mass. Montclair Art Museum. N.J. D.C. Diana Goldin. Photographs: Museum of Con temporar) Steven Scher and the Museum Baltimore Museum of Art. Yale University Art Gallerv. Art. Chicago. 111. Md. Conn. 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