Given its "dark, brooding mystery," the painting by Heade, Thunder Storm on Narragansett Bay (1868), is considered by many observers to be the artist’s masterpiece.[15]. Discover the nation’s rich cultural heritage at the Amon Carter Museum of American Art. This fascinating gallery displays a wide collection of American art from the 19th and 20th centuries. [5], Frederic Remington and Charles M. Russell were America's best known and most influential western illustrators. Additionally, twentieth-century documentary photographs by Russell Lee (1903–1986), Arthur Rothstein (1915–1985), Marion Post Wolcott (1910–1990), and many others are housed in the museum's collection. In 1961, the Amon Carter Museum of Western Art opened its doors in Fort Worth, Texas. The 1977 addition, which left the 1961 building and 1964 addition intact, expanded the museum's area by 36,600 square feet, more than doubling its original size. In 2011, on the occasion of the museum’s 50th anniversary, the museum was renamed the Amon Carter Museum of American Art. The Carter is open today, from 10 a.m. to 5 p.m. A renowned collection of American art in the heart of Fort Worth's Cultural District. The Amon Carter Museum of American Art by architect Philip Johnson was built in Fort Worth, Texas, United States in 1961. Five modern artists who were closely identified with Stieglitz's circle are represented in the ACMAA collection. [61], In addition to the redesigned galleries, the photography cold storage vaults were renovated to accommodate the growing and collection and to provide updated preservation technologies. 24,316 were here. By calling us … 817.989.5060. [39] Construction began in 1960, and the Amon Carter Museum of Western Art opened to the public on January 21, 1961 (see building history below). Though neither artist had lived on the frontier at the height of America’s westward expansion, their drawings, paintings, and sculptures were infused with the action and convincing realism of direct observation. [2] A rotating selection of works from the permanent collection is on view year-round during regular museum hours, and several thousand of these works can be studied online using the Collection tab on the ACMAA's official website. Fine art photographs by Alfred Stieglitz (1864–1946) are the collection's most significant works from the turn-of-the-twentieth-century Photo-Secession movement, a crusade which Stieglitz led. The Hudson River School, one of the critical movements in nineteenth-century American landscape painting, is an important focus of the ACMAA collection. 1965), Katy Grannan (b. 1979), Mark Ruwedel (b. Founded in 1961 by siblings Amon G. Carter Jr. and Ruth Carter Stevenson, the Amon Carter Museum of American Art (the Carter) was named for their late father, Amon G. Carter Sr., founder and publisher of the Fort Worth Star-Telegram and for many years prominent in the development of Fort Worth and West Texas. Other Hudson River School artists represented in the collection by major oil paintings are Robert Seldon Duncanson (1821–1872), David Johnson (1827–1908), and Worthington Whittredge (1820–1910). The Pre-Raphaelite movement, a British movement that was briefly influential among some artists of the Hudson River School in the mid-nineteenth century, is exemplified in Woodland Glade (1860) by William Trost Richards (1833–1905) and Hudson River, Above Catskill (1865) by Charles Herbert Moore (1840–1930). Russell moved to Montana Territory in 1880, nine years before statehood, and had worked as a cowboy for more than a decade before beginning his career as a professional artist. The Amon Carter Museum of American Art first engaged Schwartz/Silver to replace and expand the museum’s photography cool/cold storage vaults, and then to design a complete renovation of the museum galleries. Reaction by critics to Philip Johnson's design was generally favorable. The remaining three sides of the 20,000-square-foot building were also covered with shellstone cladding. Other trompe-l'œil paintings in the ACMAA collection were created by De Scott Evans (1847–1898) and John Haberle (1853–1933). Much of America’s aesthetic, economic, and social history is found in works on paper, a category that includes drawings, prints, and watercolors. Other features of Philip Johnson's 2001 expansion include a 160-seat auditorium, complete with distance-learning technology; climate-controlled vaults for both cool and cold photography storage; laboratory space for the conservation of photographs and works on paper; a research library and archives storage facility; and a museum bookstore.[59]. The Amon Carter Museum of American Art was established through the generosity of Amon G. Carter Sr. (1879–1955) to house his collection of paintings and sculpture by … [50] At the time Johnson won this commission he was also overseeing construction of the new Munson-Williams-Proctor Arts Institute Museum of Art in Utica, New York. The ACMAA library’s microform holdings include 14,000 microfilm reels of nineteenth-century newspapers, periodicals, books, and other primary material. Philip Johnson spearheaded the new design in collaboration with his partner Alan Ritchie. The ACMAA library houses a number of rare illustrated books. [57] In this new alignment, most of the galleries in the 1961 building, including the mezzanine area where the library and offices were once located, are used for rotating exhibitions of paintings and sculpture by Remington and Russell from Amon G. Carter's original collection. From parking tips to hours, start planning your visit now! [12] 5) Charles M. Russell, Meat for Wild Men (1924) -- a bronze sculpture that evokes the "grand turmoil" resulting as a band of mounted hunters descends upon a herd of grazing buffalo.[13]. . Signature works by Alexander Calder (1898–1976) and Louise Nevelson (1899–1988) are among the mid-twentieth century sculptural pieces in the collection. Others served as documentarians on expeditions of continental discovery sent out by the U. S. government or by European sponsors. Toned lithograph, 17.8 x 28.3 in. Philip Johnson designed the Amon … These titles are useful for their textual information and valuable as works of art for their original prints. Stop by the Information Desk or Museum Shop during museum … Some of the popular local menu items include Chicken Fried Steak, Coconut Cream Pie, … The collection houses a copy of Alexander Gardner’s two-volume work, Gardner's Photographic Sketch Book of the Civil War and a copy of Photographic Views of Sherman’s Campaign (1865) by George Barnard. Dr. Rick Stewart, Muhlert’s successor, is a nationally recognized scholar on the work of Frederic Remington and Charles M. Russell. Some of these artists worked independently, focusing on subjects or areas of the country of their own choosing. The ACMAA library is a 150,000 item art reference library available for use by museum curators, researchers, and interested members of the public. Charles M. Russell: paintings, drawings, and sculpture in the Amon G. Carter Collection;: A descriptive catalogue, by Amon Carter Museum of Western Art | Jan 1, 1972 5.0 out of 5 stars 1 Included in this collection are biographical files, arranged by name, with coverage of about 9,000 artists, photographers, and collectors. [6] Montana resident Charles Russell, with his cowboy dress, laconic manner, and storytelling prowess, epitomized, in the early twentieth-century, the image of the Cowboy Artist in the eyes of the eastern press.[7]. The influence of the Hudson River School and Luminism was focused on a western United States location about 1870 when Albert Bierstadt (1830–1902) produced Sunrise, Yosemite Valley. On the mezzanine level were five similar galleries, each with a balcony that overlooked the main hall. The museum also houses an important collection of drawings, watercolors, and prints by early Texas artist Bror Utter (1913–1993), including Utter’s 1957-58 studies of vanishing Fort Worth architecture. Also housed in the collection are early works by Edward Hopper (1882–1967) and a complete set of prints by modernist Stuart Davis (1892–1964). 1944), Frank Gohlke (b. These holdings also include more than 50,000 microfiches of auction and exhibition catalogues, ephemera, and other material. Under Dr. Walker's leadership, the ACMAA has hosted major exhibitions of work by George Caleb Bingham (1811–1879), Will Barnet (1911–2012), and the circle of New York modernists led by artist John Graham (1886–1961). 1954), and Larry Sultan (1946–2009). [57] It is clad in dark Arabian granite so as to recede visually from the light-colored shellstone of the 1961 building. The Amon Carter Museum of American Art is one of the country’s major repositories for historical and fine art photographs. Museum visitors can peruse the Amon Carter’s permanent collection, temporary exhibitions, and newly updated gallery spaces for free every Tuesday through Sunday. The experimentation of early twentieth-century artists with nature-based abstraction and direct carving techniques from natural materials is seen in works by John Flannagan (1895–1942), Robert Laurent (1890–1970), and Elie Nadelman (1882–1946). [57] The atrium's interior walls are clad in the signature shellstone. Other classic American still lifes featuring fruit or flowers include Wrapped Oranges (1889) by William J. McCloskey (1859–1941) and Abundance (after 1848) by Severin Roesen (1815–after 1872). . 1975). * The funding focus is directed to those organizations that are involved in preventive or rehabilitative programs that benefit the critical needs of at risk women and children located in the State of Texas. See Expeditionary art and depictions of Native American life (above) for more information on American expeditionary art and artists. [57] The expansion's most arresting feature is a centrally located atrium, rising fifty-five feet above the floor and topped by a curved roof with side windows, referred to as the Lantern. Instead, the museum redesigned parts of the interior arranging its collection display thematically rather than chronologically. Some … The Amon Carter Center is beautifully designed to serve as your wedding venue on your special day! As such, the collection contains works created by leading individuals in both the nineteenth and twentieth centuries. Indian Group (1845) by Charles Deas (1818–1867) explores the physical appearance of Deas' Native American subjects and the perils associated with their nomadic lifestyle (see picture gallery below). [57] In 1964, three years after the museum first opened, a 14,250-square-foot addition was completed on the west side of the original building to provide room for offices, a bookstore, a research library, and an art-storage vault. The estimating staff … Photographs, prints, and other works on paper produced up to the present day are also an area of strength in the museum's holdings. The Amon Carter Museum of American Art was established through the generosity of Amon G. Carter Sr. (1879–1955) to house his collection of paintings and sculpture by Frederic Remington and Charles M. Russell. The Amon Carter Center offers a main hall that can be divided into three separate rooms, and two … In 1977, on the occasion of the opening of the Philip Johnson-designed expansion, the Amon Carter Museum of Western Art became the Amon Carter Museum. [37] Ruth Carter Stevenson (who was Ruth Carter Johnson at the time and no relation to the architect) had assumed the role of project manager for the new museum and was in a position to offer Philip Johnson the job. [27] The library’s holdings are non-circulating and organized around the study of American art, photography, and culture from Colonial times to the present, with an emphasis on materials that enhance understanding of objects in the museum’s permanent art collection and the milieu in which these objects were created. During his tenure as director, the museum presented major exhibitions of the work of Alfred Jacob Miller (1810–1874) and William Ranney (1813–1857), and an important exhibition of African-American art from the private collection of Harmon and Harriet Kelley. 1947), Clara Sipprell (1885–1975), Brett Weston (1911–1993), and Edward Weston (1886–1958). The Amon Carter Center offers a main hall that can be divided into three separate rooms, and two smaller conference rooms with full audio-visual capabilities. Following Johnson's original vision for expansive natural lighting, new LED and skylights were installed in the galleries. Flags on the Waldorf (1916) is a signature New York work by Childe Hassam (1859–1935). Museum admission for all exhibits, including special exhibits, is free. The museum archives contain private papers and records originating from individuals, usually artists or photographers, that are often integrally connected to the museum's art collection. [23] The ACMAA began to actively collect works on paper in 1967. Prints that stem from early western surveys conducted by the United States War Department and the United States Department of the Interior are important components of the works on paper collection. The Amon Carter Museum of American Art (ACMAA) is located in Fort Worth, Texas, in the city's cultural district. Wilder also established an academic publishing presence and built a record of organizing groundbreaking exhibitions. Photography’s central role in documenting American culture and history, and the medium's evolution as a significant and influential art form in the twentieth-century to the present, are the themes around which the ACMAA photography collection is organized. A major historical genre painting by William T. Ranney (1813–1857) is in the ACMAA collection. 2 (1928). The Moore painting depicts an identifiable portion of the Hudson River adjacent to the home of Thomas Cole, making it likely that the painting was intended as a tribute to Cole. The … Trompe-l'œil ("fool the eye") paintings and classic still-life paintings make up a prominent component of the ACMAA collection. In 1998, with technical assistance from the library at Texas Christian University, the three museums launched an online CDLC catalog that allows website visitors access to the combined collections of all three art museum libraries. Amon Carter Museum of Art: Not Your Usual Western Art Museum! [53], Johnson designed a two-story portico with five arches that faced east toward the city's skyline. These prints were typically based on field sketches by artists who accompanied the expeditions. It is quiet and … [51] Johnson found the Carter museum project particularly inspiring because of the spectacular view from the proposed museum's building site on a gently sloping hillside overlooking downtown Fort Worth. Blips and Ifs (1963–64), the final painting by Stuart Davis (1892–1964), was acquired for the museum from this exhibition, signaling a fundamental redefinition of the museum’s collecting scope. Hudson River School paintings that reflect the influence of Luminism are also found in the ACMAA collection. View Project. At the time th… 3) Frederic Remington, The Fall of the Cowboy (1895) -- an evocation of the fading of the mythic cowboy of legend, anticipating Owen Wister's celebrated novel, The Virginian (1902). Attention Company! The ACMAA collection contains several examples of American Impressionism. On November 17, 1998, museum trustees announced plans to expand the museum yet again. Texas Bird’s-Eye Views is made possible by a generous grant from Burlington Northern Santa Fe Foundation representing BNSF Railway Company. Our goal is simple. The following year, 1967, American Art–20th Century: Image to Abstraction brought more than one hundred paintings by America’s leading early modernists to Fort Worth from New York. The Boston-based architecture firm Schwartz/Silver Architects oversaw the renovations; unlike the 1977 and 2001 closures, there was little alteration to the museum building's structure. A chance meeting between Amon Carter’s daughter and New Yorker Philip C. Johnson (1906-2005) at a Houston dinner party led to the commissioning of Johnson as the future museum’s lead architect. [16] It was added to the ACMAA collection in 1966. The current museum building reopened to the public on October 21, 2001. Mitchell Wilder died in 1979 after a brief illness. These holdings span the complete history of photographic processes used in America from daguerreotypes to digital. It would be one of the last projects on which Johnson worked. [27] The Amon Carter Museum of American Art is the mid-country research affiliate of the Archives of American Art, Smithsonian Institution. Most recently, the ACMAA added two important series of lithographs to these holdings, one by Glenn Ligon (b.
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