The upcoming special exhibition The Allure of Paper: Watercolors and Drawings from the Collection was organized in celebration of our 50th anniversary. The museum has been acquiring drawings and watercolors since its inception. Yet these one-of-a-kind works of art have never been displayed together on such an extensive scale. Because all of these works are on paper---which fades every time it is exposed to light---many of them have not been exhibited for over ten years!
Jane Myers, the museum’s former Senior Curator of Prints and Drawings, discusses seventy-three of these treasured artworks in the catalogue that will accompany the exhibition. Beginning July 9, closer to ninety artworks will be on view in the galleries allowing visitors a chance to see the depth and breadth of our collection.
These watercolors and drawings date from the late eighteenth century to the latter part of the twentieth century and include landscapes, still lifes, portraits, scenes of everyday life, and even avant-garde abstractions. Featured artists include Winslow Homer, Edward Hopper, Georgia O’Keeffe, John Singer Sargent, Ben Shahn, and Joseph Stella, among many others. With such a diversity of artists, subjects, and styles represented, there is literally something for everyone in this exhibition. Check out some of the featured artworks below and then keep checking the blog as we give you an inside look at this exhibition in posts through October.
John Rubens Smith (1775--1849)
Portrait of Frances Isabella Moore (Mrs. John Heffernan), 1814
Transparent and opaque watercolor over graphite on paper
William Constable (1783--1861)
The Great Falls of the Mohawk, ca. 1825--30
Watercolor over graphite on paper
Gift of Mr. J. A. Curran
John La Farge (1835--1910)
Still Life of Petunias in a Glass Vase, 1884
Pastel on paper
Acquisition in memory of Bartlett H. Hayes, Jr., Trustee, Amon Carter Museum of American Art, 1968--1976
Joseph Stella (1877--1946)
Untitled, ca. 1914--18
Transparent and opaque watercolor and graphite on watercolor paper
Post written by Shirley Reece-Hughes, assistant curator of paintings and sculpture
A recent study by Koenraad Cuypers of the Norwegian University of Science and Technology reveals that visiting a museum can be good for your health.
Scientists agree that leisure activities, including cultural events, reduce stress. Cuypers' study focused on two different ways of participating in a cultural activity: the “creative” culture where the person actually participates in the activity; and the “receptive” culture where the person simply views the event. Creative culture includes singing in a choir or dancing or creating art. Receptive culture includes watching a ballet or seeing a play - or visiting a museum.
I was very surprised to learn that men thought they benefited more from receptive cultural activities than women did. Cuypers added that the more activities the respondent participated in, the better their perceived health. So the next time you ask the guy in your life to come to the Amon Carter and he rolls his eyes, just tell him it’s good for him.
Ruth Orkin (1921-1985)
Woody Allen — Metropolitan Museum of Art, 1963
Gelatin silver print
On this date in 1883, the Brooklyn Bridge, linking Brooklyn and Manhattan, was opened to traffic. German emigrant John Augustus Roebling conceived the design but did not live to see it even begin. He died from injuries sustained in an accident while overlooking the building site. His son, Washington Roebling, saw the project to completion but not without enduring his own physical problems directly due to working on this project.
Roebling used a series of wooden boxes called caissons to build his foundation for what would become the largest suspension bridge in the world. The boxes, built like an upside down barge, would be sealed watertight, floated, then pushed into position by tugs. At the proper place it would be sunk then the water pumped out while air was pumped in for the workers who were digging down to the bedrock. At the same time huge stone towers were being built on top of the caissons, helping them to sink down. Once the towers were in place the anchorages were built. These would hold up the cables and keep the roadbed from sagging. Each anchorage weighed 120,000,000 pounds. Much of the cable work was done by sailors since they had experience doing work while hanging from high masts.
This incredible structure is also the source of inspiration for many artists. No fewer than seventy works of art that directly include this structure are in our permanent collection. Oscar award winning cinematographer and photographer Karl Struss was particularly captivated by this bridge. We have thirty two photographs by this artist devoted to this historic landmark.
Karl Struss (1886-1981)
Cables--New York Skyline through Brooklyn Bridge, ca. 1910-1912
FYI…John Roebling also designed a Texas landmark. The Waco suspension bridge opened in 1869 right next to the original site of the town.
Waco Suspension Bridge. 2 January 2007. Image by Georgi Petrov.
The Amon Carter recently joined with the Botanical Research Institute of Texas to work with area students on the Great Tree Essay Writing Contest, a project focusing on area trees. Area third-graders wrote stories about trees and submitted them and one of the prizes was to read their story during a live interactive videoconference in the special exhibition gallery here at the museum. Congratulations go out to Nina Williams from Tanglewood Elementary School and Karino Gibson from Daggett Montessori School for their winning insightful stories. All of the students in Karino and Nina’s classes were asked to study and prepare questions concerning works of art that featured trees, and several students shared their questions with 31 schools from across the nation during the broadcast.
Students from Tanglewood Elementary School and Daggett Montessori School in Fort Worth, Texas, participate in an interactive video broadcast from the special exhibition galleries.
A tip of the hat goes to our newest neighbor in the Cultural District! The Botanical Research Institute of Texas will soon open its doors to the public for the first time . The new facility is LEEDS certified and ready to be an important part of Fort Worth’s educational landscape.
We recently had one of many events celebrating our fiftieth anniversary. The weather was great and allowed us to end the evening on a high note: fireworks!
Mark your calendars for another fun event. Fifty Fest will be held August 13th. Dancing, food, and fun will await you after you have a great time in the galleries learning about and making art.
Julian Onderdonk, A Cloudy Day, Bluebonnets near San Antonio, Texas, oil on canvas, 1918, Amon Carter Museum of American Art, Fort Worth, Texas, Purchase with funds from the Ruth Carter Stevenson.
Although the wildflower show isn't as magnificent during our dry year, the bluebonnets are still popping up all over the state. Julian Onderdonk was a Texas artist who influenced the arts in the state through his work organizing art exhibitions for the State Fair of Texas. Enjoy this lovely nod to the Texas Hill Country and think spring!
Our recent "supermoon" event had a lot of folks out on the portico of the museum photographing the great view of downtown. Museum friend David Gunn shared his photo of Claudia Camp, TCU professor, with the moon rising majestically over the Henry Moore installation on our plaza.
We had a blast with all of our Family Fun Week visitors. Lots of looking at art, talking about art, and making great art. There's one more opportunity to get in on the fun...
Join us today from 10:30 to 12:00 for Super Sculptures! See how different sculpture can be, and then create your own 3D masterpiece!
From the beginning of the museum's history, the Carter Foundation and the Carter family intended this to be a vibrant institution. Not only would the collection grow, but the mission would evolve as well. Instead of serving only as a Remington and Russell repository, the museum would expand to encompass works by other artists who depicted the American West. Within a few years this vision was modified to include American art as a whole, for the museum’s first director, Mitchell A. Wilder, believed that the history of American art could be interpreted as the history of artists working on successive frontiers. As a result, the holdings grew in fascinating ways. Wilder and the museum’s trustees realized at the outset that it was nearly impossible to assemble a comprehensive collection of America art at such a late date, so they opted for quality over quantity. One trustee, RenÃ© d’Harnoncourt, explained that the desired works should represent “stepping stones” in the history of American art, major pieces that not only revealed the high points of an artist’s career but that also summarized the essential elements of a broader artistic style. Acquisitions were not limited to paintings and sculptures. Watercolors, drawings, prints, photographs, and books have been added yearly and now the number of objects in our collection number well over a quarter-million works of art. The photography collection itself has grown to become one of the nation’s most important collections.
Dorothea Lange (1895–1965), Charles M. Russell's hand, gelatin silver print, ca. 1924-1926.
This is the first photograph acquired for the museum’s collection