Several important paintings by 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 work from his Egg Beater series, Egg Beater No. The ACMAA collection contains several examples of American Impressionism. 817-738 … Flags on the Waldorf (1916) is a signature New York work by Childe Hassam (1859–1935). The current museum building reopened to the public on October 21, 2001. The Amon Carter Museum of American Art is one of the country’s major repositories for historical and fine art photographs. When Carter died in 1955, in his will he mandated the creation of a museum… Nevelson’s Lunar Landscape is a large, painted-wood construction that dates to 1959-60 (see picture gallery below). The greatest concentration of works falls into the period from the 1820s through the 1940s. [62] Fort Worth philanthropist Ed Bass helped to fund a Gentling Study Center located in the Museum Library dedicated to the artwork of Fort Worth brothers, Stuart W. and Scott G. Gentling. Unlike the Kimbell, the Amon Carter Museum features American-art pieces exclusively. Stop by the Information Desk or Museum Shop during museum … [38] In February 1959, the City of Fort Worth and the Amon G. Carter Foundation entered into a contract for the creation of a museum of western art, with the city providing the remainder of the land needed to build the museum. They provide unique views of the western landscape, Indian life, natural history, ancient Spanish culture, and life in nineteenth-century American frontier communities. [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. 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). Moran, famous for his paintings of the Yellowstone region of Wyoming, is represented in the ACMAA collection by his 1874 oil Cliffs of Green River (see picture gallery below). The ACMAA library houses a number of rare illustrated books. [16] It was added to the ACMAA collection in 1966. Also, if you book your Amon Carter Museum vacation package in Fort Worth Cultural District with Travelocity, you’ll get access to our best travel discounts. 1897-closed 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. Complementing the museum’s art collection and international-style architecture, visitors may access an outstanding research library or shop for art-inspired products in the Museum Store. [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. Architecture critic, Mark Lamster singled out the Gentling Library for its "pleasingly midcentury gestalt." [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 quickly became inadequate. A major historical genre painting by William T. Ranney (1813–1857) is in the ACMAA collection. If … Lithographer unknown. 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. . The Amon Carter Museum of American Art by architect Philip Johnson was built in Fort Worth, Texas, United States in 1961. They are Jan Keene Muhlert (1980–95), Dr. Rick Stewart (1995–2005), Dr. Ron Tyler (2006–11), and Dr. Andrew J. Walker (2011–present). [18] Crossing the Pasture (1871–72) by Winslow Homer (acquired 1976) combines the artist’s skills as a figure painter with his gift for storytelling to create a charming image of rural New York life. 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]. It was then remodeled in 1964, 1977, 1999. (Dr. Tyler began his museum career at the museum from 1969 to 1986.) 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 work. They are Charles Demuth (1883–1935), Arthur G. Dove (1880–1946), Marsden Hartley (1877–1943), John Marin (1870–1953), and Georgia O'Keeffe (1887–1986). He has overseen additions to the permanent collection of works by Robert Seldon Duncanson (1821–1872), Raphaelle Peale (in memory 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 access to many of the museum’s previous art exhibitions.[49]. [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. 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 by John Mix Stanley (1814–1872) and Henry Warre (1819–1898); and early views of San Francisco by Thomas A. Ayres (1816–1858). Specific microform sets include the Knoedler Library on Microfiche (art auction and exhibition catalogs), New York Public Library Artists File, New York Public Library Print File, and America, 1935-1946 (photographs from the Farm Security Administration and the Office of War Information in the Prints and Photographs Division, Library of Congress). The experience is priceless. In these roles, artists were uniquely positioned to record the topography, animal and plant life, and diverse Indian culture of America and its frontiers. Two major oils by Thomas Cole (1801–1848) and one by Cole’s protégé Frederic Edwin Church (1826–1900) anchor the museum’s holdings of signature Hudson River School paintings. [21] Chimney and Water Tower entered the ACMAA collection in 1995. 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. The Texas sculptor James Surls's Seven and Seven Flower and Justin Favela's Puente Nuevo were among the first large scale artworks displayed in the downstairs hallway connecting the 1961 building with the 2001 expansion as part of the redesign. 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. Philip Johnson spearheaded the new design in collaboration with his partner Alan Ritchie. Trompe-l'œil ("fool the eye") paintings and classic still-life paintings make up a prominent component of the ACMAA collection. The purpose of the consortium was to explore new ways of sharing the resources of the three Fort Worth institutions via online public access. The Choosing of the Arrow (1849) by Henry Kirke Brown (1814–1886) is one of the earliest bronzes cast in America. The collection is particularly focused on portrayals of the Old West 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 art history. Come connect to the American experience through great works of art! During his tenure as director, Dr. Stewart added major works to the museum’s collection by Stuart Davis (1892–1964), Marsden Hartley (1877–1943), and John Singer Sargent (1856–1925). 1942), and Mark Klett (b. 1965), Katy Grannan (b. Each worked closely with Amon Carter’s daughter, Ruth Carter Stevenson (1923–2013), in determining the museum’s course. As such, the collection contains works created by leading individuals in both the nineteenth and twentieth centuries. (1878) by William M. Harnett (1848–1892) is the only known figural composition by this American master of trompe-l'œil ("fool the eye") painting.[19]. [36], The museum and grounds opened to the public on January 21, 1961, as the Amon Carter Museum of Western Art. 1969), Todd Hido (b. There’s always something new in the Museum Store at the Amon Carter Museum of American Art. [8] Remington toured Montana in 1881, later owned a sheep ranch in Kansas, and had traversed Arizona Territory in 1886 as an illustrator for Harper's Weekly. Some of the popular local menu items include Chicken Fried Steak, Coconut Cream Pie, … [57] It is clad in dark Arabian granite so as to recede visually from the light-colored shellstone of the 1961 building. 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). A double stairway gives access from the atrium to a complex of second-floor galleries where selections from the museum's permanent collection, along with special exhibitions, are on display. Amon Carter Museum of American Art: So Much Great Art - See 542 traveler reviews, 147 candid photos, and great deals for Fort Worth, TX, at Tripadvisor. The Amon Carter Center is beautifully designed to serve as a meeting and event space for both public and private use. In 2011, on the occasion of the museum’s 50th anniversary, the museum was renamed the Amon Carter Museum of American Art. 24,314 were here. These holdings also include more than 50,000 microfiches of auction and exhibition catalogues, ephemera, and other material. [47] When Dr. Stewart stepped down as director, he was named the museum’s senior curator of western painting and sculpture. [58] Johnson's 1977 addition created an administrative wing, a 105-seat auditorium, a two-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. Portraitist John Singer Sargent (1856–1925) is represented in the museum’s collection by formal portraits of two American subjects, Alice Vanderbilt Shepard (1888), and Edwin Booth (1890; see picture gallery below). Much of America’s aesthetic, economic, and social history is found in works on paper, a category that includes drawings, prints, and watercolors. The Amon Carter Museum of American Art is supported, in part, by the generosity of Carter members and donors, the City of Fort Worth and Texas Commission on the Arts through the Arts Council of Fort Worth, and the Fort Worth Tourism Public Improvement District. The ACMAA’s nineteenth-century print collection also 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 Hill (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 North American Indian Portfolio (1844); and ornithological prints from John James Audubon’s landmark book The Birds of America (published 1827-38). Check out our videos, crafts, and art-inspired recipes. 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. Whatever time of year you choose to visit Amon Carter Museum in Fort Worth Cultural District, it’s always a good idea to reserve a package deal. Texas Bird’s-Eye Views is made possible by a generous grant from Burlington Northern Santa Fe Foundation representing BNSF Railway Company. [53], Johnson designed a two-story portico with five arches that faced east toward the city's skyline. 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. Bust of a Greek Slave (after 1846) by Hiram Powers (1805–1873) is an example of an American neoclassical work carved in marble. Under the direction of esteemed director, Dr. Anthony Walker, the Amon Carter Museum has taken an envirograted turn for the 21st century! The gallery spaces, which had previously been carpeted, were replaced with American white oak hardwood floors. More information is available under the Library tab on the ACMAA website. The museum's original collection of more than 300 works of art by Frederic Remington and Charles M. Russell was assembled by Fort Worth newspaper publisher and philanthropist Amon G. Carter, Sr. The Amon Carter is also home to nearly 400 works by Frederic Remington and Charles M. Russell, the two greatest artists of the American West. 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. Come connect to the American experience through great works of art! It’s light, it’s bright and on September 14, a refreshed Amon Carter Museum of American Art will reopen to the public after a year-long renovation. The ACMAA library’s microform holdings include 14,000 microfilm reels of nineteenth-century newspapers, periodicals, books, and other primary material. [35] Following Amon Carter’s death in June 1955, his last 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 among young people residing there."[36]. 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 audience eager for information. Carter and his wife, Nenetta Burton Carter, took a key step toward the museum’s creation in 1945 when the Amon G. Carter Foundation, a Texas non-profit foundation, was formed, and the Carters transferred much of their wealth into it for the purpose of providing seed money to support an array of civic causes. The installation of an automatic shading system enabled the display of artworks in the lobby. Noteworthy artworks in the ACMAA collection by Remington and Russell include: 1) Frederic Remington, A Dash for the Timber (1889; see gallery below) -- a work that established Remington as a serious painter when it was exhibited at the National Academy of Design in 1889. An admission-free museum of western art was conceived by Amon G. Carter, Sr. (1879–1955), publisher of the Fort Worth Star-Telegram, a large-circulation, daily newspaper in Fort Worth, Texas. [2] Finding aids and guides for these and other monographic collections are available online under the Collections/Photographs/Learn More tabs on the ACMAA website. In a March 1961 article, "Portico on a Plaza," the Architectural Forum called it "an exceedingly handsome building -- beautifully situated and beautifully illuminated. A bronze sculpture by Solon Borglum (1868–1922), who, like Remington and Russell, specialized in depictions of Old West subjects, and a two-piece bronze by Paul Manship (1885–1966), Indian Hunter and Pronghorn Antelope (1914), are in the collection as well. See Works on paper (below) for more information on American expeditionary art. We want you to enjoy a worry-free … 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 … This free, small museum is literally down the street from the Kimbell Art Museum in Fort Worth, Texas. Five modern artists who were closely identified with Stieglitz's circle are represented in the ACMAA collection. 1947), Clara Sipprell (1885–1975), Brett Weston (1911–1993), and Edward Weston (1886–1958). [5], Frederic Remington and Charles M. Russell were America's best known and most influential western illustrators. [35] Johnson identified Florence's Loggia dei Lanzi and Munich's Felderrnhalle as precedents for the "boxes with fronts" style portico. [57] Johnson's solution was to demolish both the 1964 and 1977 additions and create a new, much larger structure behind the 1961 building. Four other directors have headed the museum in the years since. Hotel in Fort Worth Cultural District, Fort Worth (0.4 miles from Amon Carter Museum) Located within a 13-minute walk of Dickies Arena and 2 miles of Fort Worth Convention Center, Home2 Suites By … 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. Free admission. [45] Mitchell Wilder’s embrace of the museum’s collecting mandate led to two building expansions during his tenure, including a major addition in 1977 that doubled the size of the museum (see building history below). [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). The Amon Carter Museum of American Art … 1953), Sharon Core (b. [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. 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. Amon G. Carter, the man behind the Star-Telegram, loved Western artists Charles Russell and Frederic Remington, much like fellow collector Sid Richardson. The ACMAA photography collection contains early images of Americans at war, anchored by 55 Mexican–American War (1847–1848) daguerreotypes. William Stanley Haseltine (1835–1900) is represented by a preliminary study of rocky coastline along Narragansett Bay, Rhode Island. [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]. 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 by the acquisition in 1990 of Swimming by Thomas Eakins (1844–1916). [41], The museum’s articles of incorporation and bylaws were adopted in the fall of 1961, and a Board of Trustees was appointed. 1968), Alex Prager (b. 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. [27] In this role, the ACMAA library offers access to 7,500 microfilm reels of unrestricted material from the Archives of American Art representing about fifteen-million primary, unpublished documents related to American artists, galleries, and collectors.[28]. 1975). [40] Mitchell A. Wilder (1913-1979), a seasoned museum director working in Los Angeles, arrived in August 1961 to begin work as the museum’s director. Museum admission for all exhibits, including special exhibits, is free. [25] Drawings and paintings range from preliminary studies to fully realized compositions. The Amon Carter Museum of American Art (ACMAA) is located in Fort Worth, Texas, in the city's cultural district. Dr. Ron Tyler returned to the Amon Carter in 2006 as director. Alexander Phimister Proctor (1860–1950) and Anna Hyatt Huntington (1876–1973) are represented by bronzes created in the late nineteenth and early twentieth centuries respectively. 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. Ease (1887) by William M. Harnett (1848–1892) is a large and eloquent example of the trompe-l'œil genre and one that amply demonstrates the allure of Harnett’s trompe-l'œil illusions for his nineteenth-century patrons. Lewis, 1835–36), the first color plate book published on the North American Indian. 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. Our goal is simple. 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). The personal archives of photographers Carlotta Corpron (1901–1988), Nell Dorr (1893–1988), Laura Gilpin (1891–1979), Eliot Porter (1901–1990), Erwin E. Smith (1886–1947), and Karl Struss (1886–1981) are prominent collection resources. [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]. [17] A summation of Eakins’ painting technique and belief system, Swimming was acquired for the ACMAA collection in 1990. On November 17, 1998, museum trustees announced plans to expand the museum yet again. It would be one of the last projects on which Johnson worked. Other substantive groups of twentieth-century photographs in the ACMAA collection are organized around the careers of Robert Adams (b. Restaurants near Amon Carter Museum Restaurants in this area are known for American, Contemporary American, Steakhouse, Steak and Brazilian Steakhouse cuisines. 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). [20] John Frederick Peto (1854–1907), a William Harnett contemporary who worked in relative obscurity, is represented in the collection by two highly accomplished trompe-l'œil compositions, Lamps of Other Days (1888) and A Closet Door (1904-06). [52] Amon G. Carter, Sr. had personally chosen the site in 1951. The Amon Carter Museum of American Art is supported, in part, by the generosity of Carter members and donors, the City of Fort Worth and Texas Commission on the Arts through the Arts Council of Fort … Others served as documentarians on expeditions of continental discovery sent out by the U. S. government or by European sponsors. Lithograph (hand-colored), 23.2 x 28.5 in. 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. [23] The ACMAA began to actively collect works on paper in 1967. 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. those more intimate galleries," but overall considered the renovated galleries "a big improvement." The arches and their tapered support columns were clad in creamy Texas shellstone. Carter and his wife, Nenetta Burton Carter, took a key step toward the museum’s creation in 1945 when the Amon G. Carter Foundation, a Texas non-profit foundation, was formed, and the Carters transferred much of their wealth into it for the purpose of providing seed money to support an array of civic causes. See Expeditionary art and depictions of Native American life (above) for more information on American expeditionary art and artists. The Carter collection celebrates the breadth and depth of American art.