Amon Carter Museum of American Art Fort Worth Texas

Museum in Fort Worth, Texas

Amon Carter Museum of American Art

Established	January 1961[1]
Location	3501 Camp Bowie Boulevard Fort Worth, Texas 76107-2695 (Us)
Executive director	Dr. Andrew J. Walker
Architect	Philip Johnson
Website	Amon Carter Museum of American Fine art

The Amon Carter Museum of American Fine art (ACMAA) is located in Fort Worth, Texas, in the metropolis'southward cultural commune. The museum's permanent collection features paintings, photography, sculpture, and works on paper past leading artists working in the United States and its North American territories in the nineteenth and twentieth centuries. The greatest concentration of works falls into the period from the 1820s through the 1940s. Photographs, prints, and other works on paper produced up to the present day are too an area of forcefulness in the museum's holdings.

The collection is particularly focused on portrayals of the Old Westward by Frederic Remington and Charles M. Russell, artworks depicting nineteenth-century exploration and settlement of the North American continent, and masterworks that are emblematic of major turning points in American fine art history. The "total spectrum" of American photography is documented past 45,000 exhibition-quality prints, dating from the earliest years of the medium to the nowadays.^[2] A rotating selection of works from the permanent collection is on view yr-round during regular museum hours, and several grand of these works can be studied online using the Collection tab on the ACMAA'southward official website. Museum admission for all exhibits, including special exhibits, is gratis.

The Amon Carter Museum of American Art opened in 1961 every bit the Amon Carter Museum of Western Art. The museum's original collection of more than 300 works of art by Frederic Remington and Charles Yard. Russell was assembled by Fort Worth newspaper publisher and philanthropist Amon Grand. Carter, Sr. (1879–1955).^[3] Carter spent the concluding ten years of his life laying the legal, financial, and philosophical groundwork for the museum's cosmos.^[4]

Collection [edit]

Western art by Frederic Remington and Charles M. Russell [edit]

Frederic Remington (1861–1909), An Indian Trapper, 1889

Portrait photograph of Charles Marion Russell, ca. 1900

Over 400 works of art past Frederic Remington (1861–1909) and Charles M. Russell (1864–1926) form the ACMAA'southward cadre collection of fine art of the Sometime West. These holdings include drawings, illustrated letters, prints, oil paintings, sculptures, and watercolors produced past Remington and Russell during their lifetimes. More than than sixty of the works past Remington and more than 250 of the works past Russell were purchased by the museum's namesake, Amon G. Carter, Sr., over a twenty-yr span beginning in 1935.^[iii] Additions to Amon Carter's original holdings past museum curators have resulted in a collection that contains multiple examples of Remington's and Russell'due south best work at every stage of their respective careers.^[five]

Frederic Remington and Charles Thousand. Russell were America's best known and most influential western illustrators. Working from his New York studio except when traveling, Remington produced colorful and masculine images of life in the Old West that shaped public perceptions of the American frontier experience for an eastern audition eager for data.^[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 Creative person in the eyes of the eastern printing.^[seven]

Remington and Russell Gallery in the Amon Carter Museum of American Fine art, 2019

Though neither creative person had lived on the frontier at the tiptop of America's westward expansion, their drawings, paintings, and sculptures were infused with the action and convincing realism of straight observation. Russell moved to Montana Territory in 1880, ix years earlier statehood, and had worked equally a cowboy for more than a decade earlier beginning his career as a professional artist.^[8] Remington toured Montana in 1881, later owned a sheep ranch in Kansas, and had traversed Arizona Territory in 1886 equally an illustrator for Harper's Weekly.^[9] These and other experiences enabled both artists to assuredly portray a vast variety of Old West subject field matter drawing on existent earth experiences, historical evidence, and their artistic imaginations.

Noteworthy artworks in the ACMAA collection by Remington and Russell include: 1) Frederic Remington, A Dash for the Timber (1889; see gallery beneath) -- a piece of work that established Remington as a serious painter when it was exhibited at the National University of Design in 1889.^[10] 2) Frederic Remington, The Broncho Buster (1895) -- Remington's get-go attempt to model in bronze and the work that started him on a long secondary career as a sculptor. iii) Frederic Remington, The Fall of the Cowboy (1895) -- an evocation of the fading of the mythic cowboy of fable, anticipating Owen Wister'due south celebrated novel, The Virginian (1902).^[11] 4) Charles 1000. Russell, Medicine Man (1908) -- a detailed portrait of a Blackfeet shaman, reflecting Russell's empathy with Native American culture.^[12] 5) Charles M. Russell, Meat for Wild Men (1924) -- a bronze sculpture that evokes the "k turmoil" resulting equally a band of mounted hunters descends upon a herd of grazing buffalo.^[thirteen]

Expeditionary fine art and depictions of Native American life [edit]

John Mix Stanley (1814–1872), Oregon City on the Willamette River, ca. 1852

The ACMAA houses a wide selection of maps and artworks by European and American documentary artists who, in the nineteenth and twentieth centuries, traveled the Due north American continent in search of new sights and discoveries. Some of these artists worked independently, focusing on subjects or areas of the country of their own choosing. Others served as documentarians on expeditions of continental discovery sent out by the U. Southward. government or by European sponsors. In these roles, artists were uniquely positioned to record the topography, beast and found life, and diverse Indian culture of America and its frontiers. Finding and collecting drawings, oil paintings, watercolors, and published lithographs by these European and American documentary artists was one of the museum's earliest goals.^[14] Documentary artists represented in the collection include John James Audubon (1785–1851), Karl Bodmer (1809–1893), George Catlin (1796–1872), Charles Deas (1818–1867), Seth Eastman (1808–1875), Edward Everett (1818–1903), Francis Blackwell Mayer (1827–1899), Alfred Jacob Miller (1810–1874), Peter Moran (1841–1914), Thomas Moran (1837–1926), Peter Rindisbacher (1806–1834), John Mix Stanley (1814–1872), William Guy Wall (1792–after 1864), Carl Wimar (1828–1862), and others. Run into Works on newspaper (below) for more than information on American expeditionary fine art.

Landscape paintings and littoral scenes [edit]

Fitz Henry Lane (1804–1865), Boston Harbor, 1856

The Hudson River School, i of the critical movements in nineteenth-century American landscape painting, is an of import focus of the ACMAA collection. Two major oils by Thomas Cole (1801–1848) and 1 past Cole's protégé Frederic Edwin Church (1826–1900) ballast the museum'due south holdings of signature Hudson River School paintings. The Narrows from Staten Island (1866–68), a panoramic depiction of Staten Isle and New York Harbor by Jasper Francis Cropsey (1823–1900), is a notable case of the Hudson River School's preoccupation with scenery along the Hudson River Valley and surrounding surface area (see picture gallery below).

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, To a higher place Catskill (1865) by Charles Herbert Moore (1840–1930). The Moore painting depicts an identifiable portion of the Hudson River adjacent to the domicile of Thomas Cole, making information technology likely that the painting was intended every bit a tribute to Cole.

Hudson River School paintings that reverberate the influence of Luminism are too found in the ACMAA drove. These include works by Sanford Robinson Gifford (1823–1880), Martin Johnson Heade (1819–1904), John Frederick Kensett (1816–1872), and Fitz Henry Lane (1804–1865). Given its "nighttime, brooding mystery," the painting by Heade, Thunder Tempest on Narragansett Bay (1868), is considered by many observers to be the artist's masterpiece.^[15]

Other Hudson River School artists represented in the collection past major oil paintings are Robert Seldon Duncanson (1821–1872), David Johnson (1827–1908), and Worthington Whittredge (1820–1910). William Stanley Haseltine (1835–1900) is represented by a preliminary study of rocky coastline along Narragansett Bay, Rhode Island.

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. This grandiose case of the artist'southward piece of work was completed later on Bierstadt's third trip to the American west.^[16] It was added to the ACMAA collection in 1966. Another Hudson River School painter who headed west was Thomas Moran (1837–1926). Moran, famous for his paintings of the Yellowstone region of Wyoming, is represented in the ACMAA collection past his 1874 oil Cliffs of Dark-green River (run across picture gallery below).

Figure paintings, portraits, and images of everyday life [edit]

Winslow Homer (1836–1910), Crossing the Pasture, 1871–72

Nineteenth-century figure paintings, portraits, and genre pictures (portrayals of everyday life) represent an of import chapter in the history of American art development, and several examples of these types of paintings are found in the ACMAA collection. Pond (1885) past Thomas Eakins (1844–1916) is one of the best-known realist figure paintings in the history of American art.^[17] A summation of Eakins' painting technique and belief system, Pond was acquired for the ACMAA collection in 1990.^[18] Crossing the Pasture (1871–72) by Winslow Homer (acquired 1976) combines the artist'due south skills as a figure painter with his gift for storytelling to create a charming image of rural New York life.

Indian Group (1845) past Charles Deas (1818–1867) explores the concrete appearance of Deas' Native American subjects and the perils associated with their nomadic lifestyle (run into picture gallery below). The Potter (1889) by George de Forest Brush (1855–1941) is another example in the ACMAA collection of an artist's exacting and nuanced method of depicting an indigenous American sitter. Attention Company! (1878) by William K. Harnett (1848–1892) is the only known figural composition past this American master of trompe-l'œil ("fool the eye") painting.^[19]

A major historical genre painting past William T. Ranney (1813–1857) is in the ACMAA drove. Ranney's Marion Crossing the Pedee (1850) exhibits the artist'due south great skill as a figure painter and employ of that skill to entertain and brainwash his nineteenth-century audience. Notable genre paintings by Conrad Wise Chapman (1842–1910), Francis William Edmonds (1806–1863), Thomas Hovenden (1840–1895), and Eastman Johnson (1824–1906) are also housed in the ACMAA collection.

Portraitist John Singer Sargent (1856–1925) is represented in the museum'due south collection by formal portraits of ii American subjects, Alice Vanderbilt Shepard (1888), and Edwin Booth (1890; see picture gallery below).

Nevertheless-life paintings and sculpture [edit]

William J. McCloskey (1859–1941), Wrapped Oranges, 1889

Henry Kirke Brown (1814–1886), The Choosing of the Pointer, modeled 1848, cast 1849

Trompe-l'œil ("fool the eye") paintings and classic yet-life paintings make up a prominent component of the ACMAA collection. Ease (1887) by William Thousand. Harnett (1848–1892) is a large and eloquent example of the trompe-50'œil genre and one that handsomely demonstrates the allure of Harnett'south trompe-l'œil illusions for his nineteenth-century patrons.^[20] John Frederick Peto (1854–1907), a William Harnett contemporary who worked in relative obscurity, is represented in the collection past two highly accomplished trompe-l'œil compositions, Lamps of Other Days (1888) and A Cupboard Door (1904-06). Other trompe-l'œil paintings in the ACMAA drove were created past De Scott Evans (1847–1898) and John Haberle (1853–1933).

America's first recognized still-life painter, Raphaelle Peale (1774–1825), is represented in the ACMAA drove by an 1813 composition Peaches and Grapes in a Chinese Consign Basket. Other classic American notwithstanding lifes featuring fruit or flowers include Wrapped Oranges (1889) by William J. McCloskey (1859–1941) and Abundance (afterwards 1848) by Severin Roesen (1815–after 1872).

The ACMAA sculpture drove provides historical context for the museum'due south deep holdings of bronze sculpture by Frederic Remington and Charles M. Russell, as well as acknowledging the importance of sculpture in the wider history of American art. As such, the collection contains works created by leading individuals in both the nineteenth and twentieth centuries. The Choosing of the Arrow (1849) by Henry Kirke Brown (1814–1886) is 1 of the earliest bronzes bandage in America. Slightly later bronze sculptures, The Indian Hunter (1857–59) and The Freedman (1863), both past John Quincy Adams Ward (1830–1910), are also in the collection. Bust of a Greek Slave (after 1846) by Hiram Powers (1805–1873) is an example of an American neoclassical work carved in marble.

Two American sculptors who enjoyed great success during their lifetimes, Frederick MacMonnies (1863–1937) and Augustus Saint-Gaudens (1848–1907), are represented in the ACMAA collection by bandage bronze works created in the late nineteenth century. Alexander Phimister Proctor (1860–1950) and Anna Hyatt Huntington (1876–1973) are represented past bronzes created in the late nineteenth and early twentieth centuries respectively. A bronze sculpture by Solon Borglum (1868–1922), who, similar Remington and Russell, specialized in depictions of One-time Westward subjects, and a ii-slice bronze past Paul Manship (1885–1966), Indian Hunter and Pronghorn Antelope (1914), are in the collection as well.

The experimentation of early twentieth-century artists with nature-based brainchild 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). Signature works by Alexander Calder (1898–1976) and Louise Nevelson (1899–1988) are among the mid-twentieth century sculptural pieces in the collection. Nevelson'southward Lunar Landscape is a large, painted-wood construction that dates to 1959-60 (run into picture gallery below).

American Impressionist paintings and 20th-century modernist works [edit]

Childe Hassam (1859–1935), Flags on the Waldorf, 1916

Charles Demuth (1883–1935), Chimney and H2o Tower, 1931

The ACMAA collection contains several examples of American Impressionism.

Idle Hours (about 1894) by William Merritt Chase (1849–1916) anchors the ACMAA holdings of American Impressionist paintings. Hunt's student and protégé Julian Onderdonk (1882–1922) is represented by a Texas scene, A Cloudy 24-hour interval, Bluebonnets nearly San Antonio, Texas (1918). Flags on the Waldorf (1916) is a signature New York piece of work by Childe Hassam (1859–1935). Other well-known American Impressionist painters who have pieces in the collection are Mary Cassatt (1844–1926), Willard Metcalf (1858–1925), and Dennis Miller Bunker (1861–1890; meet moving picture gallery below).

New York photographer Alfred Stieglitz (1864–1946) befriended and championed several of the most visionary modern painters to sally in early twentieth-century America. 5 mod artists who were closely identified with Stieglitz's circle are represented in the ACMAA collection. They are Charles Demuth (1883–1935), Arthur Chiliad. Dove (1880–1946), Marsden Hartley (1877–1943), John Marin (1870–1953), and Georgia O'Keeffe (1887–1986). The drove houses early works by Demuth, Pigeon, Hartley, and O'Keeffe, produced between 1908 and 1918, and a focused group of later paintings by Dove, Hartley, Marin, and O'Keeffe that capture their response to the lite and colour of the New Mexican mural near Taos. Charles Demuth's Chimney and Water Tower (1931), painted in the artist's hometown of Lancaster, Pennsylvania, depicts a local linoleum factory as a filigree of austere, monumental forms and passages of steel gray, blue, and deep red.^[21] Chimney and Water Tower entered the ACMAA drove in 1995.

Several important paintings past American modernist Stuart Davis (1892–1964) are housed in the Amon Carter Museum of American Art, including an early self-portrait painted in 1912 and a piece of work from his Egg Beater series, Egg Beater No. 2 (1928). American modernists represented in the AMCAA collection also include Josef Albers (1888–1976), Will Barnet (1911–2012), Oscar Bluemner (1867–1938), Morton Schamberg (1881–1918), Ben Shahn (1898–1969), Charles Sheeler (1883–1965), Joseph Stella (1877–1946), and others (see picture gallery below).

Photography [edit]

Laura Gilpin (1891–1979), The Church at Picuris Pueblo, New United mexican states, 1963

The Amon Carter Museum of American Art is one of the state'southward major repositories for historical and art photographs.^[22] The ACMAA has over 350,000 photographic works in its collection, including 45,000 exhibition-quality prints. These holdings bridge the consummate history of photographic processes used in America from daguerreotypes to digital. Photography's central role in documenting American culture and history, and the medium'due south evolution as a significant and influential fine art form in the twentieth-century to the nowadays, are the themes around which the ACMAA photography collection is organized.

The personal archives of photographers Carlotta Corpron (1901–1988), Nell Dorr (1893–1988), Laura Gilpin (1891–1979), Eliot Porter (1901–1990), Erwin Due east. Smith (1886–1947), and Karl Struss (1886–1981) are prominent collection resources.^[2] Finding aids and guides for these and other monographic collections are available online under the Collections/Photographs/Learn More than tabs on the ACMAA website.

William Henry Jackson (1843–1942), Cañon of the Rio Las Animas, 1882

The ACMAA photography drove contains early images of Americans at war, anchored past 55 Mexican–American War (1847–1848) daguerreotypes. The drove houses a re-create of Alexander Gardner's two-volume work, Gardner'due south Photographic Sketch Book of the Civil State of war and a copy of Photographic Views of Sherman's Campaign (1865) by George Barnard. A group of more than ane,400 nineteenth and early twentieth-century portraits of Native Americans that originated with the Bureau of American Ethnology is another of the drove'south highlights, along with a consummate set of Edward Curtis's The North American Indian.

The ACMAA's drove of nineteenth-century landscape photographs includes images past John K. Hillers (1843–1925), William Henry Jackson (1843–1942), Timothy H. O'Sullivan (1840–1882), Andrew J. Russell (1830–1902), and Carleton E. Watkins (1829–1916). Twentieth-century chief images by Ansel Adams (1902–1984) are complemented past subsequently twentieth-century landscapes from the studios of William Clift (born 1944), Frank Gohlke (born 1942), and Mark Klett (born 1952).

Fine fine art photographs by Alfred Stieglitz (1864–1946) are the collection's most significant works from the plow-of-the-twentieth-century Photo-Secession movement, a cause which Stieglitz led. The work of the Photograph-Secessionists and other leading photographers of the period is also documented in complete runs of Camera Notes (published 1897–1903), Camera Work (published 1903–1917), and 291 (published 1915–1916).

Noun holdings of twentieth-century documentary photographs include works by Berenice Abbott (1898–1991); prints produced over xx-5 years in connection with Dorothea Lange's The American Country Woman photographic essay; Texas images from the Standard Oil of New Jersey Collection; and projection photographs from the 1986 statewide survey Contemporary Texas: A Photographic Portrait. 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.

Other noun groups of twentieth-century photographs in the ACMAA collection are organized around the careers of Robert Adams (born 1937), Barbara Crane (born 1928), Frank Gohlke (born 1942), Robert Glenn Ketchum (born 1947), Clara Sipprell (1885–1975), Brett Weston (1911–1993), and Edward Weston (1886–1958).

The ACMAA owns a consummate gear up of prints from Richard Avedon's In the American Due west series, a project commissioned by the ACMAA in 1979. In recent years the museum has largely focused on acquiring and displaying photographs past contemporary artists including Dawoud Bey (born 1953), Sharon Core (born 1965), Katy Grannan (born 1969), Todd Hido (born 1968), Alex Prager (born 1979), Marking Ruwedel (built-in 1954), and Larry Sultan (1946–2009).

Works on newspaper [edit]

John Mix Stanley (1814–1872), The Young Chief Uncas, 1869

Much of America's aesthetic, economical, and social history is found in works on paper, a category that includes drawings, prints, and watercolors.^[23] The ACMAA began to actively collect works on paper in 1967.^[24] The collection today numbers several yard items by noted artists of the nineteenth and twentieth centuries to the present.^[25] Drawings and paintings range from preliminary studies to fully realized compositions. Nigh nineteenth-century prints originated every bit reproductions intended for dissemination to the public and depict subjects relevant to the American experience. Twentieth-century and after prints are fine art prints made by a variety of processes as a ways of creative cocky-expression.

Prints that stalk from early western surveys conducted past the The states War Department and the United States Department of the Interior are of import components of the works on paper collection. These prints were typically based on field sketches by artists who accompanied the expeditions. They provide unique views of the western mural, Indian life, natural history, aboriginal Spanish culture, and life in nineteenth-century American borderland communities. The Frémont Expeditions (1842–44), Emory Expedition (1846–47), Abert Expedition (1846–47), and Simpson Expedition (1849) are among the sources of western survey prints collected past the ACMAA.

The ACMAA's nineteenth-century print collection likewise includes a copy of the landmark Hudson River Portfolio (1821–25) based on the work of painter William Guy Wall (1792–after 1864) and engraver John Loma (1770–1850); original copper plate etchings of Native Americans as depicted in field studies by Karl Bodmer (1809–1893); a complete set of planographic prints from George Catlin's N American Indian Portfolio (1844); and ornithological prints from John James Audubon's landmark book The Birds of America (published 1827–38).

Henry Roderick Newman (1843–1917), Anemones, 1876

Examples of work in the collection by other noted expeditionary artists include rare nineteenth-century field studies by Edward Everett (1818–1903), Richard H. Kern (1821–1853), John H. B. Latrobe (1803–1891), Alfred Jacob Miller (1810–1874), and Peter Rindisbacher (1806–1834); nineteenth-century views of the American West past John Mix Stanley (1814–1872) and Henry Warre (1819–1898); and early on views of San Francisco by Thomas A. Ayres (1816–1858). See Expeditionary art and depictions of Native American life (above) for more than information on American expeditionary art and artists.

Preeminent American artists of the belatedly nineteenth and early twentieth centuries like Winslow Homer (1836–1910), George Inness (1825–1894), John La Farge (1835–1910), and famed expatriates John Singer Sargent (1856–1925) and James Abbott McNeill Whistler (1834–1903) are each represented past high-quality drawings and/or paintings in the ACMAA works on paper drove.^[24]

Other artists in the works on paper collection who are associated with major movements in American art include American Pre-Raphaelites Fidelia Bridges (1834–1923), Henry Farrer (1844–1903), John Henry Hill (1839–1922), Henry Roderick Newman (1833–1918), and William Trost Richards (1833–1905); Ashcan Schoolhouse illustrator John Sloan (1871–1951); and leading twentieth-century modernists Charles Demuth (1883–1935), Arthur Dove (1880–1946), John Marin (1870–1953), Georgia O'Keeffe (1887–1986), Morton Livingston Schamberg (1881–1918), and Abraham Walkowitz (1878–1965).^[26]

A master set of over 200 lithographs past American realist painter George Wesley Bellows (1882–1925) is one of the highlights of the ACMAA's works on paper collection. Leading American printmakers Martin Lewis (1881–1962), Louis Lozowick (1892–1973), and Reginald Marsh (1898–1954) are each represented by multiple examples of their graphic piece of work. Also housed in the collection are early works by Edward Hopper (1882–1967) and a consummate set of prints by modernist Stuart Davis (1892–1964). An early on watercolor past Jacob Lawrence (1917–2000), acquired in 1987, marks the ascension of this important artist's career.

The ACMAA drove houses nigh two,500 fine art lithographs made at the Tamarind Lithography Workshop in Los Angeles, California between 1960 and 1978. The museum also houses an important drove of drawings, watercolors, and prints by early on Texas creative person Bror Utter (1913–1993), including Utter'southward 1957-58 studies of vanishing Fort Worth architecture. Most recently, the ACMAA added two important series of lithographs to these holdings, one by Glenn Ligon (built-in 1960) and some other by Sedrick Huckaby (born 1975).

Library and athenaeum [edit]

Amon Carter Museum of American Fine art Library Reading Room

The ACMAA library is a 150,000 particular fine art reference library available for use by museum curators, researchers, and interested members of the public. The library provides access to a 50,000 book collection, augmented by related collections of microform, periodicals and journals, sale catalogs, and ephemera.^[27] The library's holdings are non-circulating and organized around the written report of American fine art, photography, and culture from Colonial times to the present, with an emphasis on materials that enhance understanding of objects in the museum'due south permanent art collection and the milieu in which these objects were created.

The ACMAA library's microform holdings include 14,000 microfilm reels of nineteenth-century newspapers, periodicals, books, and other primary textile. These holdings also include more than 50,000 microfiches of sale and exhibition catalogues, ephemera, and other material. Specific microform sets include the Knoedler Library on Microfiche (art sale and exhibition catalogs), New York Public Library Artists File, New York Public Library Print File, and America, 1935–1946 (photographs from the Subcontract Security Administration and the Office of War Information in the Prints and Photographs Division, Library of Congress).^[27] The Amon Carter Museum of American Art is the mid-state research affiliate of the Athenaeum of American Art, Smithsonian Institution.^[27] In this part, the ACMAA library offers access to vii,500 microfilm reels of unrestricted material from the Archives of American Fine art representing about fifteen-million primary, unpublished documents related to American artists, galleries, and collectors.^[28]

Alexander Wilson (1766–1813), Blue Jay, Yellow Bird or Goldfinch, Baltimore Bird, American Ornithology - Plate i, published 1809–14

The library's Vertical File/Ephemera collection contains a wide variety of loose material and small publications on artists, museums, commercial galleries, and other art organizations. Included in this drove are biographical files, arranged past name, with coverage of most 9,000 artists, photographers, and collectors.^[27] These biographical files offering researchers a wealth of newspaper clippings, modest exhibition catalogs, resumes, periodical and periodical articles, reproductions, event invitations and announcements, portfolios, bibliographies, and similar material from which to draw.

The ACMAA library houses a number of rare illustrated books. These titles are useful for their textual information and valuable as works of art for their original prints. Among the illustrated books in the library collection are American Ornithology, or, the Natural History of the Birds of the United states (Philadelphia: Bradford and Inskeep, 1809–14), the first bird volume published in the Usa and the first outstanding American color plate book; and The Aboriginal Port-folio (Philadelphia: J.O. Lewis, 1835–36), the get-go color plate volume published on the Northward American Indian. Other illustrated books owned by the library are highlighted under the Drove tab on the ACMAA website, and many of the illustrations inside these books are digitized and searchable.^[29]

The museum archives contain private papers and records originating from individuals, usually artists or photographers, that are oftentimes integrally connected to the museum'south art collection. Among these records are the personal archives of photographers Laura Gilpin (1891–1979), Eliot Porter (1901–1990), and Karl Struss (1886–1981).^[30] The archives also business firm the business concern records of the Roman Bronze Works (est. 1897-airtight 1988) of Queens, New York, long one of America's premier art bronze foundries, and a range of documents related to the ACMAA's institutional history.

In 1996, the ACMAA library partnered with the libraries of the Kimbell Art Museum and the Modern Fine art Museum of Fort Worth to create the Cultural Commune Library Consortium (CDLC). The purpose of the consortium was to explore new ways of sharing the resources of the three Fort Worth institutions via online public access. 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.^[31] Today, the CDLC itemize besides gives access to the libraries of the National Cowgirl Museum and Hall of Fame, and the Botanical Research Institute of Texas (BRIT). To search the ACMAA library holdings, click Search the ACMAA Library Catalog in the External links section (below).

Professional aid and access to items in the Amon Carter Museum of American Art library is provided in the library reading room during the stated hours of operation. More information is available under the Library tab on the ACMAA website.

History [edit]

Amon 1000. Carter, Sr. as a young newspaperman and entrepreneur in Fort Worth, ca. 1910

An admission-free museum of western art was conceived by Amon Grand. Carter, Sr. (1879–1955), publisher of the Fort Worth Star-Telegram, a large-circulation, daily newspaper in Fort Worth, Texas. Carter and his wife, Nenetta Burton Carter, took a key step toward the museum's creation in 1945 when the Amon Thou. Carter Foundation, a Texas not-profit foundation, was formed, and the Carters transferred much of their wealth into it for the purpose of providing seed money to support an assortment of civic causes.^[32] At the fourth dimension the foundation was incorporated, Amon Carter had been actively collecting art by Frederic Remington and Charles Thou. Russell for a decade.^[33]

On October 3, 1950, Carter informed the City of Fort Worth of his intention to "erect and equip" a museum and present it to the city.^[34] In 1951, the Amon 1000. Carter Foundation purchased a portion of the museum'south future site to protect the land from commercial encroachment.^[35] Following Amon Carter'south death in June 1955, his terminal will and testament empowered the foundation to provide for a museum to house his art collection and "be operated as a nonprofit artistic enterprise for the benefit of the public and to aid in the promotion of the cultural spirit in the city of Fort Worth and vicinity, to stimulate the artistic imagination amongst young people residing there."^[36]

A chance meeting betwixt Amon Carter's girl 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.^[37] Ruth Carter Stevenson (who was Ruth Carter Johnson at the time and no relation to the architect) had causeless the office of project director for the new museum and was in a position to offer Philip Johnson the job.^[38] In February 1959, the City of Fort Worth and the Amon One thousand. Carter Foundation entered into a contract for the creation of a museum of western fine art, with the urban center providing the remainder of the land needed to build the museum.^[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).

Raymond T. Entenmann, manager of the Fort Worth Art Center, served as the Amon Carter's acting administrator during the museum'south early months.^[40] Mitchell A. Wilder (1913–1979), a seasoned museum director working in Los Angeles, arrived in August 1961 to begin work every bit the museum's director.^[41]

The museum's articles of incorporation and bylaws were adopted in the autumn of 1961, and a Board of Trustees was appointed.^[42] In their early discussions, Wilder and the board decided that the museum's programs and permanent drove should reverberate many aspects of American culture, both celebrated and contemporary.^[42] This conclusion paved the way for an expansion of the permanent drove that first focused on acquiring American art from the nineteenth-century and, later, the twentieth. Under Wilder's guidance, the museum collected heavily in the areas of nineteenth-century American art and photography. Wilder also established an academic publishing presence and built a record of organizing groundbreaking exhibitions. The museum published Paper Talk: The Illustrated Letters of Charles Thou. Russell in 1962, the first of many books on the fine art of the American West to originate from the Amon Carter.^[43] In 1966, Wilder reintroduced the paintings of Georgia O'Keeffe (1887–1986) to the nation by organizing a 90-5 slice retrospective of her piece of work.^[44]

The following year, 1967, American Fine art–20th Century: Image to Abstraction brought more than one hundred paintings by America's leading early on modernists to Fort Worth from New York. Blips and Ifs (1963–64), the last painting by Stuart Davis (1892–1964), was acquired for the museum from this exhibition, signaling a fundamental redefinition of the museum'southward collecting scope.^[45] Mitchell Wilder's embrace of the museum's collecting mandate led to two edifice expansions during his tenure, including a major addition in 1977 that doubled the size of the museum (come across edifice history below).

Chief entrance to the Amon Carter Museum of American Art, constructed 1961. Drinking glass panels and museum entry doors renovated 2015.

Mitchell Wilder died in 1979 after a brief illness. Four other directors have headed the museum in the years since. They are January Keene Muhlert (1980–95), Dr. Rick Stewart (1995–2005), Dr. Ron Tyler (2006–eleven), and Dr. Andrew J. Walker (2011–present). Each worked closely with Amon Carter's daughter, Ruth Carter Stevenson (1923–2013), in determining the museum's course. Stevenson had spent the concluding years of her father's life in conversation with him well-nigh his concepts for a museum and the role it should play in Fort Worth civic life.^[38] It was this familiarity with his vision, and her extraordinarily high standards, that would bring Stevenson into a leading role in the museum's development.

Jan Keene Muhlert oversaw an aggressive acquisitions program that brought works by William Merritt Chase (1849–1916), Thomas Cole (1801–1848), Arthur Dove (1880–1946), Childe Hassam (1859–1935), and David Johnson (1827–1908) into the collection, crowned past the acquisition in 1990 of Pond past Thomas Eakins (1844–1916).^[46] The purchase of the Eakins masterpiece required a capital campaign to raise x million dollars and drew on every resource available to Muhlert. Dr. Rick Stewart, Muhlert's successor, is a nationally recognized scholar on the piece of work of Frederic Remington and Charles K. Russell. During his tenure every bit director, Dr. Stewart added major works to the museum's collection by Stuart Davis (1892–1964), Marsden Hartley (1877–1943), and John Vocalist Sargent (1856–1925). Stewart oversaw the challenging, two-year closure during which two previous expansions and the museum'due south physical plant were demolished. In their place a much larger facility was erected, culminating in a grand reopening in 2001.^[47] When Dr. Stewart stepped down as director, he was named the museum'southward senior curator of western painting and sculpture.

Dr. Ron Tyler returned to the Amon Carter in 2006 equally manager. (Dr. Tyler began his museum career at the museum from 1969 to 1986.) During his tenure as director, the museum presented major exhibitions of the piece of work of Alfred Jacob Miller (1810–1874) and William Ranney (1813–1857), and an important exhibition of African-American art from the private drove of Harmon and Harriet Kelley. Paintings by George de Forest Brush (1855–1941) and Charles Sheeler (1883–1965), as well equally a complete, 20-volume set of Edward Sheriff Curtis' The North American Indian (1907–1930), were added to the museum's permanent collection during Dr. Tyler'southward administration.^[48] Dr. Andrew J. Walker has led the Amon Carter since 2011. Under Dr. Walker's leadership, the ACMAA has hosted major exhibitions of piece of work by George Caleb Bingham (1811–1879), Volition Barnet (1911–2012), and the circle of New York modernists led past artist John Graham (1886–1961). He has overseen additions to the permanent collection of works past Robert Seldon Duncanson (1821–1872), Raphaelle Peale (in retentivity of Ruth Carter Stevenson), and John Singer Sargent (1856–1925), and he initiated major upgrades to the museum's digital presence, including the Connecting to Exhibitions digitization project, a two-year initiative that will allow online admission to many of the museum's previous art exhibitions.^[49]

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. In 2011, on the occasion of the museum's 50th anniversary, the museum was renamed the Amon Carter Museum of American Fine art.

Building [edit]

Amon Carter Museum of American Art, chief entry hall, constructed 1961

Shellstone used to clad the outside of the 1961 building and portions of the museum's present-mean solar day interior

Builder Philip C. Johnson (1906–2005) maintained a forty-year clan with the Amon Carter Museum of American Art as the designer of the institution'due south original building and two major expansions. The Amon G. Carter Foundation get-go deputed Johnson in 1958 to devise a museum building that would showcase a core drove of western art and also serve as a memorial to the museum's founder.^[50] At the fourth dimension Johnson won this committee he was also overseeing construction of the new Munson-Williams-Proctor Arts Institute Museum of Art in Utica, New York.^[51] Johnson found the Carter museum project particularly inspiring considering of the spectacular view from the proposed museum's building site on a gently sloping hillside overlooking downtown Fort Worth.^[52] Amon 1000. Carter, Sr. had personally called the site in 1951.^[35] Johnson placed the museum building equally far up the hillside as possible in order to maximize this panoramic view to the east.^[53]

Johnson designed a two-story portico with five arches that faced due east toward the city'southward skyline. The arches and their tapered back up columns were clad in flossy Texas shellstone. The remaining three sides of the 20,000-square-pes building were also covered with shellstone cladding. Sheltered by the arched portico, the museum's front end wall consisted of a two-story curtain of glass windows with bronze mullions.^[35] Johnson identified Florence'south Loggia dei Lanzi and Munich's Felderrnhalle as precedents for the "boxes with fronts" style portico.^[54] The main entrance atomic number 82 direct into a ii-story hall adorned with the same type of shellstone used on the exterior, teak wall coverings, and a floor of pinkish and grayness granite. Beyond the main hall were five modest galleries of equal size for the display of fine art. On the mezzanine level were five similar galleries, each with a balcony that overlooked the main hall. These mezzanine galleries served as library and office spaces.^[35] To take advantage of the expanse between the two-story portico and the site's eastern boundary, Johnson designed a serial of wide steps and terraces extending away from the building, with an expansive sunken, grassy plaza as the centerpiece, pointing toward the city'southward middle.^[36]

The museum and grounds opened to the public on January 21, 1961, as the Amon Carter Museum of Western Fine art. Reaction by critics to Philip Johnson'southward design was generally favorable. In a March 1961 article, "Portico on a Plaza," the Architectural Forum called it "an exceedingly handsome building -- beautifully situated and beautifully illuminated."^[55] Russell Lynes, writing in the May 1961 Harper'south, summed upwards his reaction by calling it "Mr. Johnson's gem box."^[56]

Although the museum was conceived as a small memorial institution, it almost immediately became a collecting museum, and the space afforded by the existing facility chop-chop became inadequate.^[57] In 1964, three years later on the museum outset opened, a 14,250-square-foot add-on was completed on the w side of the original building to provide room for offices, a bookstore, a research library, and an art-storage vault.^[35] Joseph R. Pelich (1894–1968) of Fort Worth, an associate builder of the original building, carried out the work after Philip Johnson expressed picayune involvement in taking on the project.^[58]

The museum opened a second major addition, this one designed by Philip Johnson and his partner, John Burgee, in 1977. The 1977 improver, which left the 1961 building and 1964 add-on intact, expanded the museum's area by 36,600 square anxiety, more doubling its original size.^[35] The expansion, which included a 3-story section, enclosed the triangular space at the far western end of the building site, thus bringing the physical found to its westernmost limit.^[58] Johnson'southward 1977 improver created an administrative wing, a 105-seat auditorium, a 2-story storage vault, a spacious library, and two interior grassed courts that insulated occupants of the library and administrative offices from heavy traffic passing nearby.

Amon Carter Museum of American Art, primal atrium (the Lantern), constructed 2001

On November 17, 1998, museum trustees announced plans to aggrandize the museum yet again. Museum personnel had been in word with Philip Johnson for some time regarding the need to alter Johnson's 1977 addition.^[57] Johnson'southward solution was to demolish both the 1964 and 1977 additions and create a new, much larger structure backside the 1961 building. Philip Johnson spearheaded the new pattern in collaboration with his partner Alan Ritchie. It would be one of the final projects on which Johnson worked.^[57] In Baronial 1999 the museum was airtight to the public for an extended period while the 1961 building was refurbished, the 1964 and 1977 additions were removed, and the new addition synthetic.

The electric current museum building reopened to the public on October 21, 2001. The 2001 expansion, which increased the museum's available infinite past 50,000 square feet, rests on the same footprint as the earlier additions.^[57] Information technology is clad in dark Arabian granite so equally to recede visually from the low-cal-colored shellstone of the 1961 building.^[57] The expansion's most absorbing feature is a centrally located atrium, rising fifty-five feet in a higher place the flooring and topped by a curved roof with side windows, referred to every bit the Lantern.^[57] The atrium'southward interior walls are clad in the signature shellstone. A double stairway gives access from the atrium to a complex of 2d-floor galleries where selections from the museum's permanent collection, along with special exhibitions, are on display.^[57] In this new alignment, nearly of the galleries in the 1961 edifice, including the mezzanine expanse where the library and offices were in one case located, are used for rotating exhibitions of paintings and sculpture by Remington and Russell from Amon G. Carter's original collection.

Other features of Philip Johnson's 2001 expansion include a 160-seat auditorium, complete with altitude-learning technology; climate-controlled vaults for both cool and cold photography storage; laboratory space for the conservation of photographs and works on newspaper; a research library and athenaeum storage facility; and a museum bookstore.^[59]

In the summertime of 2019, the museum edifice was closed for a renovation of the edifice and the galleries. The Boston-based architecture house Schwartz/Silvery Architects oversaw the renovations; unlike the 1977 and 2001 closures, at that place was little alteration to the museum building's structure. Instead, the museum redesigned parts of the interior arranging its collection display thematically rather than chronologically. The renovation expanded the display area by the installation of movable, modular walls. The gallery spaces, which had previously been carpeted, were replaced with American white oak hardwood floors. Following Johnson'southward original vision for expansive natural lighting, new LED and skylights were installed in the galleries. The installation of an automatic shading system enabled the display of artworks in the foyer. The Texas sculptor James Surls's Seven and Seven Flower and Justin Favela's Puente Nuevo were among the offset big scale artworks displayed in the downstairs hallway connecting the 1961 edifice with the 2001 expansion as part of the redesign.

The 2019 renovations received positive feedback from the local press. James Russell praised the redesigned galleries in the Fort Worth Weekly, noting that they created "an temper for exploration."^[sixty] Dallas Morning News architecture critic, Marker Lamster lamented that the redesign upended the original design's " juxtaposition of the grand formal entry with . . . those more intimate galleries," but overall considered the renovated galleries "a big improvement."^[61]

In add-on to the redesigned galleries, the photography common cold storage vaults were renovated to arrange the growing and collection and to provide updated preservation technologies.^[62] Fort Worth philanthropist Ed Bass helped to fund a Gentling Study Heart located in the Museum Library dedicated to the artwork of Fort Worth brothers, Stuart W. and Scott G. Gentling. The cosmos of the Gentling Study Center complements the Amon Carter Museum's planned exhibitions and publications on the Gentling brothers.^[63] The Study Middle'southward interior pattern mirrors the teak wall coverings and mid-century article of furniture that characterize Johnson's original pattern. Architecture critic, Mark Lamster singled out the Gentling Library for its "pleasingly midcentury gestalt."^[61]

More American fine art from the drove [edit]

• 

  Plate 10 from The art of colouring and painting landscapes in h2o colours, Baltimore: Fielding Lucas, 1815

• 

  Charles Deas (1818–1867), Indian Grouping, 1845

• 

  Albert Sands Southworth (1811–1894) and Josiah Hawes (1818–1901), [Ii women posed with a chair], ca. 1850

• 

  William Sharp (1803–1875), Victoria Regia - Intermediate Stages of Flower, 1854

• 

  Heinrich Möllhausen (1825–1905), Canadian River Near Camp 38, 1855

• 

  David Johnson (1827–1908), Hawkeye Cliff, Franconia Notch, New Hampshire, 1864

• 

  Martin Johnson Heade (1818–1904), Marshfield Meadows, Massachusetts, 1866–76

• 

  Jasper Francis Cropsey (1823–1900), The Narrows from Staten Island, 1868

• 

  Robert Seldon Duncanson (1821–1872), The Caves, 1869

• 

  George Caleb Bingham (1811–1879), View of Pike's Peak, 1872

• 

  Thomas Moran (1837–1926), Cliffs of Green River, 1874

• 

  Mary Cassatt (1844–1926), Woman Continuing, Holding a Fan, 1878–79

• 

  Thomas Eakins (1844–1916), Swimming, 1885

• 

  Dennis Miller Bunker (1861–1890), In the Greenhouse, 1888

• 

  John Vocalist Sargent (1856–1925), Alice Vanderbilt Shepard, 1888

• 

  John Singer Sargent (1856–1925), Edwin Booth, 1890

• 

  Frederic Remington (1861–1909), A Nuance for the Timber, 1889

• 

  Frederic Remington (1861–1909), His First Lesson, 1903

• 

  Charles M. Russell (1864–1926), In Without Knocking, 1909

• 

  Erwin E. Smith (1886–1947), A wrangler keeping an middle on the remuda grazing below in an arroyo, 1910

• 

  Morton Livingston Schamberg (1881–1918), Figure, 1913

• 

  Gaston Lachaise (1882–1935), Woman Seated, modeled 1918, bandage 1925

• 

  Charles Sheeler (1883–1965), Conversation - Sky and Earth, 1940

• 

  Louise Nevelson (1899–1988), Lunar Landscape, 1959–threescore

Run across also [edit]

• American Fine art Collaborative
• List of museums in N Texas

References [edit]

1. ^ Amon Carter Museum: About, ARTINFO, 2008, archived from the original on 2009-01-13, retrieved 2008-07-28
2. ^ ^{a b} Roark, Carol; et al. (1993). Catalogue of the Amon Carter Museum Photography Collection. Fort Worth, Texas: Amon Carter Museum. pp. Introduction xi. ISBN0-88360-063-3.
3. ^ ^{a b} Stewart, Rick (2001). The 1000 Borderland: Remington and Russell in the Amon Carter Museum. Fort Worth: Amon Carter Museum. p. three. ISBN0-88360-095-1.
4. ^ Junker, Patricia; et al. (2001). An American Collection: Works from the Amon Carter Museum. New York: Hudson Hills Press in association with the Amon Carter Museum. pp. 12–fourteen. ISBN1-55595-198-8.
5. ^ Shaw, Punch (14 October 2001). "Wonders of the Western World: The Masterworks of Remington and Russell volition now be more than visible than always". annal. Fort Worth Star-Telegram. pp. 3D. Retrieved 30 May 2016.
6. ^ Dippie, Brian (1982). Remington and Russell: The Sid Richardson Collection. Austin, Texas: University of Texas Press Austin. p. ix. ISBN0-292-77027-eight.
7. ^ Dippie, Brian (1982). Remington and Russell: The Sid Richardson Collection. Austin, Texas: University of Texas Printing Austin. p. 12. ISBN0-292-77027-viii.
8. ^ Dippie, Brian (1982). Remington and Russell: The Sid Richardson Drove. Austin, Texas: University of Texas Press Austin. p. 11. ISBN0-292-77027-viii.
9. ^ Dippie, Brian (1982). Remington and Russell:The Sid Richardson Collection. Austin, Texas: Academy of Texas Press Austin. pp. 8–nine. ISBN0-292-77027-eight.
10. ^ Stewart, Rick (2005). The 1000 Borderland. Fort Worth: Amon Carter Museum. pp. 8–9. ISBN0-88360-098-six.
11. ^ Stewart, Rick (2005). The 1000 Frontier. Fort Worth: Amon Carter Museum. p. 19. ISBN0-88360-098-6.
12. ^ Stewart, Rick (2005). The Grand Frontier. Fort Worth: Amon Carter Museum. p. 42. ISBN0-88360-098-6.
13. ^ Stewart, Rick (1994). "Charles M. Russell:Sculptor". Fort Worth: Amon Carter Museum. pp. 286–290.
14. ^ Ayres, Linda; et al. (1986). American Paintings: Selections from the Amon Carter Museum. Birmingham, AL: Oxmoor House. pp. vii–x. ISBN0-8487-0694-3.
15. ^ Ayres, Linda; et al. (1986). American Paintings: Selections from the Amon Carter Museum. Birmingham, AL: Oxmoor House. p. 10. ISBN0-8487-0694-3.
16. ^ Ayres, Linda; et al. (1986). American Paintings: Selections from the Amon Carter Museum. Birmingham, AL: Oxmoor House. p. 20. ISBN0-8487-0694-iii.
17. ^ Bolger, Doreen, ed. (1996). Thomas Eakins and the Swimming Picture. Fort Worth: Amon Carter Museum. pp. Introduction vii. ISBN0-88360-085-4.
18. ^ Junker, Patricia; et al. (2001). An American Collection: Works from the Amon Carter Museum. New York: Hudson Hills Press in association with the Amon Carter Museum. pp. 112–113. ISBNane-55595-198-8.
19. ^ Junker, Patricia; et al. (2001). An American Collection: Works from the Amon Carter Museum. New York: Hudson Hills Printing in association with the Amon Carter Museum. pp. 96–97. ISBN1-55595-198-viii.
20. ^ Junker, Patricia; et al. (2001). An American Drove: Works from the Amon Carter Museum. New York: Hudson Hills Printing in association with the Amon Carter Museum. pp. 116–117. ISBNone-55595-198-8.
21. ^ Junker, Patricia; et al. (2001). An American Collection: Works from the Amon Carter Museum. New York: Hudson Hills Press in clan with the Amon Carter Museum. p. 220. ISBNone-55595-198-8.
22. ^ Junker, Patricia; et al. (2001). An American Collection: Works from the Amon Carter Museum. New York: Hudson Hills Press in Association with the Amon Carter Museum. p. 15. ISBN1-55595-198-8.
23. ^ Myers, Jane (2011). The Attraction of Paper: Watercolors and Drawings from the Amon Carter Museum of American Art. Fort Worth: Amon Carter Museum of American Art. p. 9. ISBN978-1-4507-6353-0.
24. ^ ^{a b} Myers, Jane (2011). The Allure of Newspaper: Watercolors and Drawings from the Amon Carter Museum of American Art. Fort Worth: Amon Carter Museum of American Fine art. p. 10. ISBN978-ane-4507-6353-0.
25. ^ "Works on Paper Amon Carter Museum". Amon Carter Museum of American Art. 2006-09-21. Retrieved 29 May 2016.
26. ^ Myers, Jane (2011). The Allure of Newspaper: Watercolors and Drawings from the Amon Carter Museum of American Fine art. Fort Worth: Amon Carter Museum of American Art. p. xi. ISBN978-i-4507-6353-0.
27. ^ ^{a b c d} "Library Collections". Amon Carter Museum of American Art. 2009-03-12. Retrieved 29 May 2016.
28. ^ "Archives of American Fine art". Smithsonian Institution. Retrieved 29 May 2016.
29. ^ "ACMAA Illustrated Books". Amon Carter Museum of American Art. 2011-06-08. Retrieved 29 May 2016.
30. ^ "Museum Archives". Amon Carter Museum of American Art. 2009-03-12. Retrieved 29 May 2016.
31. ^ "CDLC Basic Search". Texas Christian University library. Retrieved 29 May 2016.
32. ^ "Amon G Carter Foundation". Amon K Carter Foundation. Retrieved 2 June 2016.
33. ^ Junker, Patricia; et al. (2001). An American Drove: Works from the Amon Carter Museum. New York: Hudson Hills Press in association with the Amon Carter Museum. p. 11. ISBN1-55595-198-eight.
34. ^ Junker, Patricia; et al. (2001). An American Drove: Works from the Amon Carter Museum. New York: Hudson Hills Press in association with the Amon Carter Museum. p. xiii. ISBNi-55595-198-8.
35. ^ ^{a b c d e f} Martin, Carter (1996). 150 Years of American Art: Amon Carter Museum Collection. Fort Worth: Amon Carter Museum. pp. v. ISBN0-88360-087-0.
36. ^ ^{a b} Junker, Patricia; et al. (2001). An American Collection: Works from the Amon Carter Museum. New York: Hudson Hill Press in association with the Amon Carter Museum. p. 14. ISBN1-55595-198-viii.
37. ^ Wright, George (1997). Monument for a City: Philip Johnson's Pattern for the Amon Carter Museum. Amon Carter Museum. p. 25. ISBN0-88360-088-9.
38. ^ ^{a b} Martin, Carter (1996). 150 Years of American Art: Amon Carter Museum Collection. Fort Worth: Amon Carter Museum. pp. 3. ISBN0-88360-087-0.
39. ^ "Urban center Council Approves Art Museum Contract". Fort Worth Star-Telegram. 28 February 1959. pp. 1 and 6. Retrieved 2 June 2016.
40. ^ "Museum Dedicated, Will Open Tuesday". Fort Worth Star-Telegram. 23 January 1961. p. ane. Retrieved 2 June 2016.
41. ^ "2 Leaders Join Art Community". Fort Worth Star-Telegram. 6 August 1961. pp. Department 3 pp. 14. Retrieved 2 June 2016.
42. ^ ^{a b} Ayres, Linda; et al. (1986). American Paintings: Selections from the Amon Carter Museum. Birmingham, Alabama: Oxmoor Firm. pp. Intro. vii. ISBN0-8487-0694-3.
43. ^ "Amon Carter Museum of American Art: Institutional Timeline" (PDF). Amon Carter Museum of American Art. p. 3. Archived from the original (PDF) on 24 June 2016. Retrieved two June 2016.
44. ^ "Amon Carter Museum of American Fine art: Institutional Timeline" (PDF). Amon Carter Museum of American Fine art. p. 4. Archived from the original (PDF) on 24 June 2016. Retrieved 2 June 2016.
45. ^ "Amon Carter Museum of American Art: Institutional Timeline" (PDF). Amon Carter Museum of American Art. p. v. Archived from the original (PDF) on 24 June 2016. Retrieved ii June 2016.
46. ^ "Amon Carter Museum of American Art: Institutional Timeline" (PDF). Amon Carter Museum of American Art. pp. 9–12. Archived from the original (PDF) on 24 June 2016. Retrieved two June 2016.
47. ^ "Amon Carter Museum of American Art: Institutional Timeline" (PDF). Amon Carter Museum of American Art. pp. 13–xv. Archived from the original (PDF) on 24 June 2016. Retrieved 2 June 2016.
48. ^ "Welcome to the Amon Carter Press Room". Amon Carter Museum of American Art. pp. 4–half dozen. Retrieved 2 June 2016.
49. ^ "Welcome to the Amon Carter Press Room". Amon Carter Museum of American Art. pp. 1–iii. Retrieved two June 2016.
50. ^ Murray, Mary; et al. (2010). Look for Beauty: Philip Johnson and Art Museum Design. Utica, New York: Munson-Williams-Proctor Arts Institute. p. 29. ISBN978-0-915895-37-3.
51. ^ Murray, Mary; et al. (2010). Look for Beauty: Philip Johnson and Art Museum Design. Utica, New York: Munson-Williams-Proctor Arts Institute. pp. 7–16. ISBN978-0-915895-37-3.
52. ^ Wright, George (1997). Monument for a Metropolis: Philip Johnson's Design for the Amon Carter Museum. Fort Worth: Amon Carter Museum. p. 5. ISBN0-88360-088-nine.
53. ^ Wright, George (1997). Monument for a City: Philip Johnson'southward Design for the Amon Carter Museum. Fort Worth: Amon Carter Museum. p. 8. ISBN0-88360-088-9.
54. ^ Moorhead, Gerald (2019). Buildings of Texas: Due east, North Central, Panhandle and Southward Plains, and West. Charlottesville and London: Academy of Virginia Printing. p. 214. ISBN9780813942346.
55. ^ "Portico on a Plaza". Architectural Forum. March 1961.
56. ^ "Everything'southward Up to Date in Texas...But Me". Harper's. May 1961.
57. ^ ^{a b c d e f g} Murray, Mary; et al. (2010). Look for Beauty: Philip Johnson and Art Museum Blueprint. Utica, New York: Munson-Williams-Proctor Arts Constitute. p. 33. ISBN978-0-915895-37-three.
58. ^ ^{a b} Wright, George (1997). Monument for a City: Philip Johnson's Design for the Amon Carter Museum. Fort Worth: Amon Carter Museum. p. xvi. ISBN0-88360-088-9.
59. ^ Junker Patricia; et al. (2001). An American Collection: Works from the Amon Carter Museum. New York: Hudson Hills Press in association with the Amon Carter Museum. p. 18. ISBNone-55595-198-eight.
60. ^ Russell, James (September eleven, 2019). "Amon Carter'southward Facelift". Fort Worth Weekly . Retrieved November 21, 2019.
61. ^ ^{a b} "Fort Worth'due south Amon Carter museum gets a face-lift, an architecture critic and art critic respond". Dallas Morn News. Oct 10, 2019. Retrieved Nov 21, 2019.
62. ^ "Photography Preservation Campaign". Amon Carter Museum of Art: Photography Preservation Campaign. 2017.
63. ^ "Amon Carter Museum of American Fine art Establishes Gentling Study Center". Amon Carter Museum of American Art. August seven, 2019. Retrieved Nov 21, 2019.

External links [edit]

Coordinates: 32°44′53″North 97°22′08″W  /  32.748°N 97.369°Westward  / 32.748; -97.369

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Source: https://en.wikipedia.org/wiki/Amon_Carter_Museum_of_American_Art

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