The most beautiful woman in the world : the obsessions, passions, and courage of Elizabeth Taylor. Elizabeth Taylor : the lady, the lover, the legend : : a new biography. Elizabeth Taylor [electronic resource] : the life of a Hollywood legend.
Electronic reproduction Topics: Taylor, Elizabeth, , Actresses. Bibliography: p. Includes bibliographical references p. David Clemens David , Filmography: p. Filmography: p Topics: Taylor, Elizabeth, , Motion picture actors and actresses. Elizabeth Taylor : a passion for life : the wit and wisdom of a legend. A treatise on the theory and practice of landscape gardening, adapted to North America; with a view to the improvement of country residences With remarks on rural architecture.
Andrew Jackson , ; Sargent, Henry Winthrop, The metadata below describe the original scanning. See also the What is the directory structure for the texts? FAQ for information about file content and naming conventions. Topics: Landscape gardening, Architecture, Domestic. Book digitized by Google from the library of Harvard University and uploaded to the Internet Archive by user tpb. The Horticulturist, and Journal of rural art and rural taste, Volume The fruits and fruit-trees of America, or, The culture, propagation, and management in the garden and orchard of fruit-trees generally : with descriptions of all the finest varieties of fruit, native and foreign, cultivated in this country.
Andrew Jackson , ; Downing, Charles. Title on added t. Downing; appendixes I. New York : J. Villas and cottages. A series of designs prepared for execution in the United States. Source: removedNEL. Vetica reveals insider secrets and techniques for recreating magazine and celebrity hairstyles, and how to adapt the look for the average reader's tools and time constraints.
Before-and-after photos also show readers the best hairstyles based on face shape, bone structure, type of hair, age, and personal style Topics: Hairdressing, Beauty, Personal, Motion picture actors and actresses, Beauty, Personal, Elaine Spear. George C. Scott, who played the role in a boar's head mask, received an Emmy Award nomination as Best Actor, and nominations also went to Albert Wolsky for his costume designs and to Del Acevedo, John Chambers and Dan Striepke for their Topics: Beauty and the Beast, George C.
Scott, Trish Van Devere. This gem is presented by Silent Hall of Fame. Directed by Fred Niblo A disinherited 13th Century Saxon nobleman leaves Norman England with an archer friend to seek his fortune in the Far East.
Topics: Adventure, History, Romance. Two writers try to save their marriage even as life gets in the way. Topics: Printing blocks, Prints, Polychrome woodblock print, ink and color on paper, Relief prints, Wood Topics: Water gardens. Introduction -- Tubs and barrels -- Oriental style and bamboo sprouts -- Sinks and troughs -- Millstones and bubblers -- Terracotta and glazed pots -- Sunken containers -- Wooden features -- Pot fountains -- Spouts and cascades -- Planted tub with fountain -- Barrel and spout -- Japanese-themed container -- Bamboo spout -- Miniature trough for marginals -- Dressing a sink with hypertufa -- Setting up a millstone -- Bubbler in a glazed pot -- Miniature pot pool -- Sunken container -- Watering The nonstop garden : a step-by-step guide to smart plant choices and four-season designs.
The show has attained an iconic status in the United States, with the Cleavers exemplifying the Although this is just a typical comedy-drama about live in the big city, this features nice cameos by Jack Oakie and Kay Medford, along with on location footage of New York City and others during the intro, giving a glimpse of the era.
Topic: Rat Race 50s 60s drama comedy movie vintage. Douze ans passent, ils se retrouvent. Frequent smaller gifts Steichen in the United States and Europe gave the photography col- lection an international scope. In , the year before he retired, Steichen was encouraged by the trustees to hold a retrospective of his liest romantic days own work.
Steichen the Photographer traced his career from his ear- as a "pictorialist" Navy Air Force. Since that time the department's exhibition activity has expanded and become more varied. The collection developed steadily, photography publications increased. All of this director and his staff, and the number of reflected not only the energies of the but also the support given the department in response to the dra- matically expanding public interest in photography.
Szarkowski 's first Landscape in , framework important theme exhibition, The Photographer and the American initiated a number of exhibitions that provided a historical and critical for understanding the evolution of a particular photographic tradition.
In Szarkowski directed The Photographer's Eye, a large loan exhibition of two hundred photographs from public and private collections. All three photographers major It styles of field. Barry as curator of the Film Library. Griffith documentary filmmaker who had worked during the war with Frank Capra, and he built up the Film Library's collection of wartime films and social documentaries.
He encouraged historical investigation into the cinema, and in wrote, with Arthur was a Mayer, the indispensable history of American edition updated and enlarged film, The Movies, recently reissued in an by curator Eileen Bowser. Griffith had expanded the film programs from fewer than five per year to about fifteen when he retired in A major breakthrough in film preservation in , the invention of triacetate film stock, which provided a stable alternative to nitrate, guarantee the long-term survival of film footage Introduction 29 — made it possible for the Museum to provided there were funds for the 30 Introduction expensive duplicating process.
During Griffith's tenure the department began work on its extensive film-preservation program. In the nucleus of the Film donated a large collection of film Stills stills Archive was formed when Photoplay magazine and publicity photographs. Levine Collection. Kubrick, then a young director, had discovered his cinematic vocation and studied the potentialities of film expression in regular attendance at Museum screenings.
Van Dyke was appointed director of the Film Library, and as his first official act, changed its name to the Department of Film. He revitalized the department's public programming with several series that continue today. Cineprobe, begun in , gives independent or avant-garde filmmakers an opportunity to present In filmmaker Willard their films and engage in discussion following the screenings.
Brakhage, Anger, and Frampton were among the first "new talents" who participated in the series. Van Dyke also introduced the program What's Happening? In the department broadened ings of foreign films through the gift of the Janus Films Collection, its hold- which included twenty-seven postwar films by Bergman, Antonioni, Ray, Truffaut, and others.
But the Museum's history was not wholly In May a serious Fortunately the fire fire broke out while the a succession of galleries happy developments. The large late-Impressionist painting was soon through the purchase of an equally fine Monet of the same period and a after replaced scale. Umberto The City Rises was badly burned over one-third of its surface, but thanks to the resources of modern-day conservation, the area was faithfully restored.
Smoke damage to Pollock's Number 1, was also severe, but the soot and grime were successfully removed, as they were from several other works which suffered from Boccioni's masterwork the smoke.
A strong show of public sympathy followed the fire. A large group of supporters were clearly concerned with the well-being of the Museum, and the trustees aged to launch an ambitious fund-raising campaign in the ing and increase the Museum's endowment. At succeeded William A. Rockefeller 3rd as president of the Museum. The chairmanship was held, successively, Family of Man, , below: Edward man encour- of to enlarge the build- by Nelson Rockefeller, Henry Allen Moe, and, in , David Rockefeller.
By the money needed had been raised through large private donations, support of the general public, and Museum membership, and construction began on two The Above: Nelson A. Rockefeller and this fall felt fire- new wings and fire, M.
Burden and Mrs. Rockefeller 3rd, In May principally other building improvements. The acquisition of the former Whitney Museum of American Art building at 20 West Fifty-fourth Street, adjoining the ture Garden, had been designed new sculpture garden, provided space for a garden restaurant, the library, conservation laboratories, and storage for painting and sculpture; storage areas for the collections of each department were designed as study centers so that scholars and the public could easily view the works not on display in the galleries.
A new garden wing to the east of the Museum was also built to house temporary exhibitions, adding fifty-four porting piers. Above this hundred square feet of gallery space, uninterrupted by sup- space a terrace was built to connect with the new garden and provide additional space for the exhibition of outdoor sculpture. In the renovated galleries Introduction 31 Museum of the original The space thus Goodwin was reserved building, space permanent for the first time for the changing display, of the collections of the various departments of the Museum.
Sachs Galleries for draw- ings and prints. In addition, a greater proportion of the painting and sculpture collection was now on exhibit. The Museum was thus able to offer the public a larger and more coherent visual documentation of the major mediums of twentieth-century art than had heretofore been possible. Bates Lowry, who had been head of the art University, succeeded d'Harnoncourt but served for less than a year his brief tenure.
At the directorship of the painting and sculpture the same time the presidency of the Museum again Bliss Parkinson now Mrs. Henry Ives completion of the Museum's expansion. Paley, a trustee Lowry continued as chairman of the board. Hightower, previously head of to be director in Oldenburg, head of the Publications since and formerly managing editor made acting director.
Six board of months later trustees. In reporting his into the workings of the Museum, grasp of its William S. Rockefeller 3rd that its had been developing during the preceding functions and purposes in a changing environ- Museum had ment.
Although a private museum institution in terms of goals and concerns. In fact, in modern lections mission, and the extraordinary presidency. The very gallery spaces success of the were Museum's now crowded by efforts had altered a million visitors growing number of collectors of contemporary galleries in art New York had been founded Museum ot and elsewhere.
Its year. They looked to The York not only as an example but as a primary resource center lor loans, exhibitions, scholarship, and expertise. The second collaboration was even more ambitious, A Retrospective, which filled the entire Museum in and remains one of the most memorable exhibitions in recent history. The costs of maintaining its its programs and services had also grown proportionately, producing expenses-over-income too large to be covered as in the by a few affluent and dedicated patrons.
Major efforts were launched to broaden the Museum's base of financial support, and contributions to the Museum's Annual Fund past quadrupled in the decade following Increasingly significant were grants from two sources from which support had been negligible or nonexistent in prior years: govern- ment and corporations. Aid from these sources was particularly rapidly rising costs of special exhibitions.
Receiving accountability for the Museum's programs, and mental work was not neglected simply because While meet expenses remained efforts to it, essential in meeting the however, implied greater public also required care to ensure that experiit was less easily funded. In the period since the Museum added new buildings in , the inadequacy of increasingly acute.
Only shown in the galleries, at one time to be reallocated for Lobby constantly growing collection could be its and spaces formerly reserved for special exhibitions had Museum announced an imaginative and innovative plan to expand air rights over its prime location of the Trust for Cultural Resources of the City of sale of the air rights to a private tower over the its and develop new funding sources to support them by realizing the value of a frozen asset: the by the art.
In , the facilities had become modest representations of recent acquisitions of contemporary areas, elevators, Museum a small fraction of its facilities a Museum new Museum wing to receives new apartment in midtown Manhattan. Under the New York, was implemented developer to construct a condominium apartment the west of its existing buildings.
An essential paign to provide additional element of the plan was a fiftieth-anniversary capital cam- endowment funds With these commitments designed by Cesar stantially Pelli in place, the after construction costs Museum proceeded with were covered. The result is a handsome, expanded Museum almost doubled in size. Each department now has its own gallery space for displaying representative portions of its permanent collection and for changing exhibitions.
Together the different mediums, and tal foci in historical time, curatorial tastes have dramatically enriched the pluralistic multidepartmen- plan that found its first complete expression in Today the presentation is far more complexly accented, both in depth and in breadth, given the opportunity to display a much David Rockefeller Introduction 33 greater portion of the permanent collection. Limited gallery space formerly meant minor works usually had that some of the most age.
Now many have joined the company of the assured masterpieces of the collection, offering a The more original and interesting and historically diversified realization of this ambitious patience, perseverance, courage, the board of trustees, and its to be kept in stor- modern just reading of the evolution of and complex expansion is and resourcefulness of Oldenburg and the principal executive officers art.
Paley, Mrs. Rockefeller 3rd, president, Donald B. Marron, chairman of the Expansion Committee, and their colleagues. At the beginning of the post-d'Harnoncourt years the painting and sculpture department was Museum in by William Lieberman, who also retained supervision of prints and books and of drawings.
At the same time, William Rubin, who had come to the directed illustrated in to organize the exhibition and was subsequently appointed became tion, make helped its contemporary His persuasive involvement with the generous donor had chief curator.
It consisted of paintings and sculptures immeasurably that strengthened the Museum's collection with a veritable anthology of twentieth-century masterworks. In addition to important works by Cubists, Surrealists, and European — including no and — the on modern — had been modernists less than eight Mondrians — the Janis gift enriched the collec- tion with important works by Gorky, Kline, Pollock, de Kooning, Oldenburg, Rosenquist, Segal.
Janis a author, with his wife Harriet, of a closely associated with the art Museum number of scholarly books in the thirties member of the Advisory Committee, and later, when he opened and forties as organized a gallery, exhibitions of such quality that Barr remarked ruefully, "Sidney Janis's scholarly attitude was expressed not only exhibitions.
The in his books and Museum was lectures but also in a number of enterprising shows but was glad to contribute to such slightly cha- grined that a commercial gallery should anticipate by several years both the Museum's Les Fauves and Futurism exhibitions.
In this enabled to acquire a Janis, now his collection to buy manner, and with number of key works. Building on Barr's foundation, Rubin and his staff enlarged and enriched the painting and sculpture collection, creating a preeminent representation of the work of the Abstract Expressionists and adding a smaller but exemplary group of European masterworks by Munch, Klimt, Matisse, Klee, and Miro.
Among the most critical historical acquisitions were two haunting images of late Symbolist painting, Munch s The Storm and Picasso, Hope Klimt's II; Picasso's first Cubist metal construction of , Guitar, and the realiza- tion oi the heroically scaled construction about after plaster a Monument wire maquette both Head of a Woman Marte -Theresc gifts to Guillaume Apollinaire, made of the artist , Walter and a unique and the monumental plywood construction, Above: Alfred H.
March Opposite, aboic: Wilh. In Jams order to build the collection oi American Abstract Expressionism, some of the gifts originally assigned to the Museum were sold to make possible the purchase oi Introduction Rockefeller 3rd, Richard E. Oldenburg The Hull quality, I. Ben Sublimis, the gift of Mr. Rubin key paintings he had was Newmans also prevailed selected, upon Rothko and recently, a artist, some through purchase, made generous group of seven important Pollocks was acquired from the others as a gift of the artist's his Ad Reinhardt's widow and upon Rita Reinhardt to give five key works.
Gottlieb and Motherwell also More Vir Heroicus gifts. With these additions, in conjunction with other acquisitions systematically made over the past decade, the quality and completeness of the representation of the American Abstract Expressionist collection have redefined the meaning of the modernist past, inevitably shifting the historical center At and balance of the collection forward in time.
That year the artist wish, Picasso's mural Guernica and in after an had number of other personal dating back to and its Museum keep loans in the exhibition.
In Picasso's legal advisor and heirs concluded that a sufficiently democratic civil situation existed in Spain, Prado in and the work was sent to the Madrid. The departure of Guernica, which had been an important and Abstract Expressionist generation particularly, presentation of the Museum had full inspiring work to the Museum's noticeable vacancy in the range of Picasso's work. But anticipating the loss in , the taken steps to diminish related painting left a The Cbarnel House, it a by acquiring powerful the stylistically and thematically grisaille work partly inspired by photo- graphs of Nazi death camps.
The James Thrall Soby Bequest added another extraordinary gift, concentrated in eight works by de Chirico, including The Enigma of a Day and The Seer, and work by the Surrealists, with important examples by Dali and Tanguy as well as Picasso and Miro, and the more recent masters Bacon two bequests by In superlative masterworks trustees greatly enriched the collection with a in painting.
In addition, the department continued to collect vigorously in the field of American and European contemporary art, assembling a comprehensive representation of such as LeWitt, Rothenberg, Jenney, Kelly, Noland, Caro, Stella, artists Close, Merz, and Beuys.
Today, the painting and sculpture collection numbers more than thirty-five hundred objects, forming an incomparable treasure of works. The late nineteenth- and twentieth-century world's only synoptic, internationally balanced collection of such scope, defines the full range of modern art as a exploring the byways of individual it coherent historical development while also artists and idiosyncratic groups that have enriched the art of our century. While the concern of it this publication is the presentation of the Museum's cannot be forgotten that in the recent past, as at the inception of the collection, Museum, its foun- dation has rested on the series of experimental and often brilliant exhibitions that have Introduction 35 been the primary vehicle for ern art.
Continuing and Sculpture has its original its presentation, and transformation, of the history of in the seventies and eighties presented numerous the arts and of the increasingly large audience for modern were Cezanne: The Late Work and Pablo A at of support for Among these, art. Much experi- a limited scale in over one group exhibitions of the seventies, notably Information, a pioneering view of Conby Kynaston McShine, senior curator in the department.
In , when an independent Department of Drawings was created at the Museum under William Lieberman's directorship, the term drawing was expanded to include all of contemporary vanguard of the ceptual art, organized the Museum's works on paper. Only a decade later, this encompassed more a collection of than six thousand works on paper in a variety of mediums.
In earlier years the Museum defined drawings as unique works mainly in black and white, and then the definition was mediums; now not all of its drawings are on paper, for the department began to include works drawn directly on walls as well.
A collection of theater arts, set and costume designs by artists who are generally recogbroadened to include works on paper in a variety of nized as painters and sculptors rather than primarily as designers for the theater, is another division within the department. Since the formation of the department, been the gift its single most important acquisition has of the Joan and Lester Avnet Collection, sheets dating from to The Avnets and Lieberman worked in close collaboration for Museum bling a collection tailored specifically to ber of British artists around the Vorticist movement; periods; an eclectic choice of contemporary more than a decade, assem- needs in four areas: the work of a theater production designs of American and artists; num- all group of a special fine drawings by European sculptors.
There are also examples of superlative quality by major painters and sculptors of the School of Paris; and another area of strength tation of German is the represen- Opposite, above: John Elderfield, Expressionist masters. In , the department's Museum the Collection of The Lieberman organized, of Modern Art traveled to Japan, Australia, in , a dazzling exhibition that works and more particularized: Seurat works of supreme quality to Matisse: was Drawing at the below: Arthur Drexler and Europe.
It Museum was able to assemble entirely from its own resources. The Department of Drawings art at the Museum pioneered the serious study of twentieth-century drawing from both the historical and aesthetic perspectives, as those drawn from 1 ieberman retired and supported its its position with temporary loan exhibitions as well collection. In 19S1 he Fauve painting and directed Matisse in the Collection directed the fust in a new series ol drawings exhibitions devoted to contemporary artists.
The second installment in the adventurous by Bernice Rose, the department's scale curator, offered a dramatic contrast in num- series, directed works of larger and on unconventional supports. A Century of Modern Drawing, organized for the British Museum and shown in New York in a preview of the new west wing galleries in , and the exhibition The Modern Drawing: Works on Paper from The Museum of Modern Art, shown in , were two exhibitions that traced the history of twentieth-century art through drawings; both amply demonstrated the fact that the collection had matured to the point where such an overview was possible.
The Prints had been recognized in when the Department of was Books formed; when Lieberman became director of the new size of the print collection and Illustrated drawings department in , he was nominally director of prints, but supervision of the who was named curator in and director The department's most inclusive survey of American prints from the Museum's collection was American Prints: , directed by Castleman in and shown also in Europe during America's bicentennial in The exhibition commemorated the twenty-fifth anniversary of the Abby Aldrich Rockefeller Print Room and included many prints collected by Mrs.
Under Castelman's guidcollection was assumed by Riva Castleman, of the department in She directed the States, Picasso: most complete exhibition of prints by Picasso held Master Printmaker, and in Decades, a full-scale survey of contemporary organized Printed Art: artists' prints.
A in the United View of Two Her catalogue for the exhibi- tion provided a lucid guide to the refractory terminologies and techniques of contempo- rary printmaking. The print department in recent years has acquired important Matisse; a portfolio of works by Schiele; and two works by Picasso and historical illustrated books, Malevich's On New Systems in Art and a rare edition of Der Blaue Reiter with prints by Marc and Kandinsky.
Among acquisitions of contemporary work were a number of prints by the Europeans Baselitz, Penck, elsewhere in the Museum Clemente, Paladino, and Hodgkin, at the classics of recent vintage that entered the collection Usuyuki, Rauschenberg's Glacial Decoy The architecture artists not represented time of the print acquisitions.
The Archive contains more than twenty thousand , the largest drawings of varying scale encompassing the entire range of Mies's architectural oeuvre and his furniture designs.
Since its inception, scholarly exploration of this material, work. The Museum work has proceeded which the architect in the cataloguing also acquired eighty architectural drawings and body of by another master, Louis wished held as a unified rare drawing of the Millard House and two of his stained-glass windows from the Coonley Playhouse entered the collection; and a teapot with Suprematist geometry on its surface by the Russian Suetin exemplified the department's interest in historical objects.
In the contemporary field, architectural drawings by Michael Graves, John Hejduk, James Stirling, and others were added, as well as a telephone by Henning Andreasen, Nikon binoculars, and a Bell Laboratories microcomputer of anonymous I.
Wright's design. Among the department's major exhibitions of the period were the survey, Italy: The New Domestic Landscape, displaying objects for household use and twelve remark- introduction 37 commissioned by the Museum, and The Taxi Project, of , both by Emilio Ambasz, then curator of design. The latter exhibition presented five able environments directed new vehicles, needs of the designed to reduce pollution, operate Beaux-Arts, in by Arthur DrexJer and accompanied by great interest community.
The Beaux-Arts show seemed chantment with the International turi's as Style. Complexity and Contradiction an iconoclastic gesture directed done so much to establish. It at reasonable cost, and better serve the Beaux- Arts show movement in architectural growing postmodernist disen- Like the Museum's publication, Robert Ven- in Architecture, the the very tenets of much rationale of the International Style, later and a major factor on the part of the a signal of the Beaux-Arts exhibition was taken modernism that the Museum had should further be noted that Philip Johnson, whose scholar- ship and architectural practice did so ern at and passengers.
The Architecture of the Ecole des , and Transformations in Modern Architecture, in , were directed taxi industry, drivers, to establish the philosophical became a leader of the and technical postmodernist movement dismantling modernism's exclusionary aesthetic. Speaking of the Drexler said: "The philosophical principles of the in an interview, are not only due but overdue for such reexamination takes place, the movement critical reexamination.
Whether or not must itself mod- evolve, and that's beginning to happen. In the photography department, three unusual exhibitions of varied character in recent years were the retrospective of the photographs of Eggleston, the landmark exhibition Mirrors and Windows, in , and Before Photography: Painting and the Above: John Szarkowski Opposite, above: Mary Lea Bandy, below: Mrs.
Rockefeller 3rd and Richard E. The Eggleston exhibition was one of several shows of on the artist's personal vision of the rural and suburban and Windows John Szarkowski assembled a representation of American photography since Before Photography was divided into two sections, one focusing on paintings made within three decades before the invention of the medium. The painting color photography, focusing south.
In Mirrors selection suggested that certain types of composition considered inherent to photography had actually been anticipated by painters several decades before photography was discovered. The exhibition Ansel Adams and the West coincided with a gift from the photographer of eighteen photographs made between and The department's acquisitions in recent years have included photographs by Brancusi of his sculpture, important nineteenth-century works such as an untitled photograph of a young girl with attached drawings from an album by Lewis Carroll, George Barnard's From Lookout Mountain, twelve photographs by Maxime Du Camp, and the historically important album of collotypes by John Thompson in four volumes, Illustrations of China and Its People.
In addition, work by the following contemporary photographers was added to the collection, in some cases for the first time: Callahan, Coniff, Cumming, Eggleston, Iriedman, Groover, Meyerowitz, Nixon, Papageorge, Samaras, and Siskind. Some of the major donations of photographs H. White, Jr. Raymond C. The department's most challenging scholarly undertaking since Szarkowski became director has been the preservation and cataloguing of the Atget collection acquired by the Museum from Berenice Abbott and Julien Levy in The collection consists of more than five thousand prints plus negatives and duplicates, a single acquisition that almost doubled the cant pan ol size ol the Atget s photography collection.
Szarkowski organized the most oeuvre into four categories, which served exhibitions and tour volumes ot The Work of Atget, signifi- as the structure tor tour organized by the Museum beginning 38 Introduction in Old France, The Art of Old Paris, The Ancien Regime, and Modern Times.
Following Willard Van Dyke's retirement in , associate director Margareta Akermark supervised the film department's activities. Head of the work Circulating Film Library from the forties until , Akermark promoted the of young and experimental filmmakers, and oversaw the distribution of thousands of prints to schools throughout the country.
As cinema study programs increased rapidly in American schools, the Circulating Film Library provided coverage of the history of the film medium, particularly the classics of the silent period, avant-garde and experimental and documentary film from Ted Perry served chairmanship of as director of the Films series was created; and courses such at combined Aesthetic of Antonioni" filmmakers to Museum made his his "The Modernist many made audiences.
Perry oversaw the renovation of the auditorium, Mary Lea Bandy was appointed director in Looking direction the work of the periods. Roy V. Titus; a staff screening room, the gift of the Louis B. A new study center includes facilities made possible with a gift from the Gottesman Foundation and trustee Celeste Bartos. In addition to serving as a library, the has been an active resource for filmmakers to screen and study their as they prepare tion was made own and study center other films A major gift to the Museum of the David O.
From the mid-seventies, through grants from the Jerome Foundation and the Endowment for the Arts, the collection of American avant-garde cinema has National expanded with works from the forties to the present day, including films Noren, Peterson, Snow, Rappaport, Programming directed Pitt, and Griffin, among others. During with the British Film Institute.
Now the film collection can boast a virtually exhaustive catalogue of the great achievements of world cinema in all genres, from the rigorously formal and abstract to social documentary and popular narrative films. The mid-sixties saw the advent of a new of portable video equipment. The collection is eclectic, ranging from independently produced documentaries to the most abstract computer-synthesized works.
The scope of the collection has begun to broaden with the addition of more conventional television of high quality and expansion of a fledgling cirinstallation culating program.
Investigation into this new medium has been facilitated by study center and by continuing programs and lecture series with which the Associates a new video Museum covers yet another aspect of contemporary creative endeavor. Questions are therefore raised concerning the role of the Museum at a time when the word modern is used synonymously with a circumscribed historical episode, with the past rather than the future, and of contemporary architects and a working artists liferation of institutions activities as postmodern.
Broad taste. In addition, — Earthworks, Conceptual and Performance videotape — no longer aurally distracting art, much sculpture of easily exhibitable, is state which the most resourceful inventively, — interpret its the new and artists feel that art modernism have also diminished monumental if is changes and the pro- art of the past two decades scale, or the at all, in traditional "crisis" of architects today, nevertheless, and without necessarily repudiating the basic Museum contemporary art.
After three extraordinary modernism seem able has energetically and responsibly continued to document and brilliant exhibition record, take group of the pluralistic art scene, and the attendant confusions in contemporary standards, and despite the loudly proclaimed ernism identifiable galleries.
Despite the volatile come and social devoted to modern and contemporary and diffused the Museum's impact on museum a distinct and performance genres in narrative, decorative, exhausted and describe their when obvious but equally aggressive group of avant-garde less all, establishment backgrounds did not limit their interests on the contrary, enabled them to embark on a pioneering experiment which directly challenged the prevailing conservative beliefs that had shaped their lives. With the example of the three founders before them, and the profound commitment of its founding director, Alfred Barr, visible on all sides, it seems unlikely that those who to traditional art, but, guide Museum policy can ever relax into complacency regarding contemporary art.
Perhaps more than any other high-minded declaration from the Museum's legendary past, Paul J. Sachs's statement to the trustees at the formal has, through the years, and its experimental spirit, come to symbolize the even for those who collection and discriminating connoisseurship.
The Museum should "The chances in continuing sense of mission admire primarily continue to be a pioneer: bold and uncompromising. Earlier periods of art history were usually dominated by variants of or of two polar styles a single style, Romantic and Neo- e. In twentieth-century art, there are virtually as many and original distinct styles as there are great artists. In the face of this historically unique situa- tion the curator has to deal with special problems and cannot function simply as a connoisseur, as did many curators in the past.
Alfred Barr lection for the art of modern times, understood that in order to build one would have to adopt a a new kind comprehensive museum col- of approach: a position of systematic catholicity. But he was convinced that this could be done without slighting the demands of quality. Barr understood that modernist variety was not the gestures, as it seemed to many, but that fruit of sporadic anarchic or revolutionary constituted a series of clearly interrelated and ultimately it explainable developments.
His view formed the basis for shaping both the collection and exhibition programs of the Department of Painting and Sculpture.
Barr saw the nineteenth century as having modernism in relation to which twentieth-century developments understood, and on this basis presented a selection of works from to as a established certain basic tenets of could be better kind of introduction to the collection. Unlike many critics about contemporary art; and writers on modern art, Barr did not believe in choosing sides in disputes such controversy as he created was the inadvertent result of the universality of his approach.
They saw the task new than to move at a discreet distance behind developing at not art, trying to be tastemakers, not creating "instant art history," but putting things together as their contours began to clarify. These principles continue to be followed today realistic guide rule for the acquisition of recent remedied than mistakes of omission. In authoritative indication of that the Museum These less art: that — as this view, the exhibited collection what the Museum stands is Barr's straightforward, mistakes of commission are for.
The ratio of historical Then, to contemporary acquisitions has inevitably shifted since the early in the effort to build the collection, the acquisition of importance. Now, however, major thanks largely to the success of that historical effort, the years.
To be sure, the department continues, through acquisitions, exchanges, and gifts, to fill lacunae in the historical collection and to increase overwhelming majority of its acquisitions representation of only a handful of the in its are of its depth where contemporary work.
Moreover, despite the Depression, one needed considerable funds even then to purchase the key nineteenth-century works still available. The bulk of collecting activity had, necessarily, to focus on the pioneering movements of the twentieth century. Barr's occasional trading acquisition, permitting the hope of getting pieces run to is many its collection established a mobile pattern for collection by obtaining key works that it had no employed and guided by the mul- judgments required for its use, continues to be one of the when early millions of dollars.
Sometimes only pictures can needed Kandinskys As works from the to balance out refined and extended, especially in a period The Solomon R. Guggenheim Museum recent exchange with intended by the selling of as gifts. This "tool" of collection building, carefully tiplicity of professional the collection and Museum that crucial ways which in twentieth-century master- buy pictures brought to the — as instanced Museum two by the highly could not conceivably have purchased, thus completing the ensemble of four it artist.
Museum's painting and sculpture collection shifted further and further into on works closer to the Museum's own moment in time, the radicality of the new work became too much for certain trustees.
The differences between Barr and Stephen C. Clark were not simply related to judgments as to Barr's ability to fulfill at once the fulcrum of the the twentieth century and the acquisitions focused the duties of an administrative director and a chief curator of the growing institution; they had to with the self-proclaimed limits of Clark's group of works by Nor was it Max at get radical Johnson had to come twentieth-century art what seem today almost laughable always easy in those days and even Johnson Sweeney to Museum Ernst taste in later for work approved by — do Barr's purchase of a superb prices particularly incensed him.
Barr and colleagues such the acquisitions committee. The collection that they bequeathed to their successors was remarkable for its richness, range, and sheer quality. They had done the hardest thing; they had overcome inertial resistance and had established what was at Barr's retirement by far the world's greatest and most complete collection of twentiethcentury art.
To the extent that the most difficult work was done, the task of the present generation of curators is easier. They have, as well, the advantage of that additional perspective, fruit of the passage of years, which enables them to make some necessary changes in the editing, adjustment, refinement, Barr was a years, and equilibration of the collection.
Despite the accomplishments of the first generation, some gaps necessarily remained in the collection's historical panorama at the time of Barr's retirement. These were due to many factors, among them lack of money, the impossibility of obtaining objects such as IV asso's Cubist constructions , and the first generation would have had to be gods rather than men were otherwise historical misjudgments. The primary instance ot the latter was certainly the measure of the Museum's commitment to the major Abstract Expressionist painters.
The Abstract Museum Expressionists hotly criticized the and to a certain for this, extent they were right. While this imbalance had to be redressed by subsequent curators dominant concern of collection building generation of curators nevertheless made remarkably Abstract Expressionists as Johns and As one surveys teens, twenties, thirties.
But every great new work of art, as T S. Eliot observed, changes the art of the past, as well as our monuments. Moreover, the standing between Barr and the directors of these other would concentrate fifties weak — not wholly wrongheaded, extremely limited and that the Whitney — prescient acquisitions of such successors to the is essentially provincial in relation to the painting — was the the Museum's first it much less a result of misjudgment than of historical and conAlthough the Museum exhibited and purchased a number of American artists from and textual conditions.
Regrettably, the masterpieces of such painters as Demuth could stand, in their own terms, on an equal footing with the masterpieces of the relevance to earlier and Hartley that European modernists the Museum possesses, have long been spoken for. But it has been possible, nevertheless, to strengthen the Museum's representation in that area of the collection by acquiring, for example, additional works by such artists as O'Keeffe, and by obtaining works of unrepresented in the collection, such as Patrick Henry heretofore artists Bruce, Augustus Vincent Tack, and John Storrs.
The glory of the painting and sculpture collection as it now stands is located in the quality and its holdings in the European modernist movements beginning with Cubism and, again, in American Abstract Expressionism. In these areas the depth can be absolutely staggering. The Cubist holdings, if all shown together, could constitute an almost complete survey of the movement in itself.
The same would be true on a smaller scale with the Museum's group of Futurist paintings, sculptures, and works on paper; from the minuscule mature oeuvre of its leading figure, Umberto Boccioni, a youthful casualty of World War I, the collection includes a unique group of six oils, two sculptures, and several drawings.
Its twenty-one paintings and sculptures by Miro, its sixteen works by Mondrian, sixteen by de Chirico, seven by Malevich, and eighteen by Pollock to say nothing of the depth of sixty-three Picassos and thirty-six Matisses that the areas where its combination of quality and depth "historical" aspect of the acquisitions — — suggest form the spine of the collection is program becomes necessarily precise.
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