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American Art at the Virginia Museum of Fine Arts

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Art museum in Richmond, VA

The Virginia Museum of Fine Arts
Virginia Museum of Fine Arts - entrance Fall2010.JPG

VFMA in 2010

Virginia Museum of Fine Arts is located in Virginia

Virginia Museum of Fine Arts

Location inside Virginia
Established March 27, 1934 (1934-03-27)
Location 200 North. Arthur Ashe Blvd., Richmond, VA 23220
Type Art museum
Accreditation American Alliance of Museums
Key holdings Fabergé eggs
Rumors of War by Kehinde Wiley
Collections Modern and Gimmicky art
Collection size 22,000 works (as of 2011)[1]
Director Alex Nyerges
Architect Rick Mather & SMBW (2010 addition)
Public transit access Greater Richmond Transit Company bus route xvi, end at Grove Ave. between Thompson & Robinson.
Website vmfa.museum

Virginia Museum

U.Due south. Historic district
Contributing property
Coordinates 37°33′23″North 77°28′29″W  /  37.55639°N 77.47472°W  / 37.55639; -77.47472
Built 1936
Architect Peebles & Ferguson
Architectural style Georgian Revival; English Renaissance Revival
Part of Boulevard Celebrated District (ID86002887[2])
Designated CP September eighteen, 1986

The Virginia Museum of Fine Arts, or VMFA, is an art museum in Richmond, Virginia, United States, which opened in 1936. The museum is owned and operated by the Commonwealth of Virginia. Private donations, endowments, and funds are used for the support of specific programs and all conquering of artwork, every bit well as additional general support.[3]

Considered amid the largest art museums in North America for square footage of exhibition space,[4] the VMFA'southward comprehensive art collection includes African fine art, American art, British sporting art, Fabergé, and Himalayan fine art.[5] One of the offset museums in the American South to be operated past state funds, VMFA offers gratuitous access, except for special exhibits.

The Virginia Museum of Fine Arts, together with the adjacent Virginia Historical Guild, anchors the eponymous "Museum District" of Richmond, and area of the urban center known every bit "West of the Boulevard".[six]

The museum includes the Leslie Cheek Theater, a performing arts venue. For l years there was a theater visitor operating here, known virtually recently as TheatreVirginia. Built in 1955 as a 500-seat theatre within the fine art museum, it started as a customs theater and also hosted special programs in dance, moving-picture show, and music. In 1969 the manager established an Actors' Equity/LORT company known every bit Virginia Museum Theatre, hiring both local actors and professionals from New York Metropolis or elsewhere. Some of its productions received national notice. In 1973 its production of Saying Gorky's play Our Father transferred to New York, to the Manhattan Theater Club. Because of standing financial problems, the not-turn a profit theater closed in 2002. After renovation, it reopened in 2011 as part of the museum to host a range of live performance events.

History [edit]

Origins [edit]

The Virginia Museum of Fine Arts has its origins in a 1919 donation of fifty paintings to the Commonwealth of Virginia past Guess John Barton Payne. During the Great Depression, Payne collaborated with Virginia Governor John Garland Pollard to gain funding from the Federal Works Projects Administration under President Franklin D. Roosevelt, in order to augment country funding and establish the state art museum in 1932.[vii] Payne'due south souvenir had been made in memory of his late 2d wife Jennie Byrd Bryan Payne and his female parent Elizabeth Barton Payne.[8]

The site for the museum was chosen on Richmond's Boulevard, near the corner of a face-to-face six-cake tract of state used as a veterans' domicile for Amalgamated soldiers. Boosted services were provided to their wives and daughters.[9]

The main building of the VMFA was designed by Peebles and Ferguson Architects of Norfolk. Information technology has been described as Georgian Revival or English language Renaissance. Commentators accept said the architects expressed influence from Inigo Jones and Christopher Wren.[10] Construction began in 1934.[11] Two wings were originally planned, only only the primal portion was then congenital.[eleven] The museum opened on January sixteen, 1936.[eleven]

Major acquisitions and first addition, 1940–1969 [edit]

In 1947, the VMFA was given the Lillian Thomas Pratt Collection of some 150 jeweled objects created by Peter Carl Fabergé and other Russian workshops, including the largest public collection of Fabergé eggs outside of Russia.[12] That twelvemonth the Museum also received the "T. Catesby Jones Collection of Modernistic Art". Further donations in the 1950s came from Adolph D. Williams and Wilkins C. Williams, and from Arthur and Margaret Glasgow. They established the museum's oldest funds used for fine art acquisitions.[ commendation needed ]

In 1948 Leslie Cheek, Jr. was selected as managing director of the museum, where he served until 1968.[thirteen] During these decades, he introduced many innovations and was noted as having had significant influence on the course of the establishment. His obituary in the New York Times said that he "transformed [the VMFA] from a pocket-sized local gallery to a nationally known cultural middle."[13] [fourteen] Cheek in 1953 introduced the globe'southward first "Artmobile", a mobile tractor-trailer that carried exhibits to rural areas (prior to museum galleries being established in afar areas).[xv] In 1960, he was the first in the United states of america to introduce night hours at an fine art museum.[16]

Cheek worked with his curators and designers to cultivate a degree of theatrical "showmanship" in exhibits, such as velvet drapery for the Fabergé collection, a "tomb-like" setting of the museum'southward Egyptian exhibit, and using music to set the mood in the galleries.[7] [xvi] [17] [18] To enhance the museum as a cultural center, Cheek gained approval for construction of a theater, used for museum and exterior societies' performing events in dance, music, and film.

During his tenure, Cheek oversaw construction of the first addition, built in 1954 past Merrill C. Lee, Architects, of Richmond, and supported financially by Paul Mellon. Cheek had gained lath approval to construct a theater equally part of this addition. The 500-seat theater was intended to provide space for a customs theater, as well equally for annual programs of the Virginia societies for trip the light fantastic toe, music, and flick, all within a fundamental cultural facility.[vii]

Virginia Museum Theatre [edit]

What is now known every bit the Leslie Cheek Theater, the 500-seat proscenium theater inside VMFA, was originally built in 1955 and known as the Virginia Museum Theatre. It was designed under the supervision of managing director Cheek, a Harvard/Yale-educated builder. He consulted with Yale Drama theater engineers Donald Oenslager and George Izenour for the state-of-the-fine art facility.[xix] Cheek envisioned a fundamental function for a theater arts partition in the museum.[20] The theater brought the arts of drama, acting, blueprint, music, and dance to the art galleries. Information technology also hosted programs of the Virginia Moving picture Society.

Through the 1960s, the Virginia Museum Theater (VMT) hosted a museum-sponsored volunteer or "community theater" company, under the direction of Robert Telford.[21] The company presented subscription seasons of live drama to thousands annually. Local players and occasional guest professionals offered musicals (Peter Pan, e.one thousand.), dramas (Peter Shaffer's The Majestic Hunt of the Sun), and classics (Shakespeare's Hamlet). VMT also served every bit a venue for annual programs of the Virginia Music Society, Virginia Dance Social club, and Virginia Film Order. Cheek retired from the museum in 1968 but was an adviser to the VMFA trustees about the next manager of the theater arts division.

In 1969 Keith Fowler was appointed as artistic managing director of VMT. Nether Fowler, VMT continued to serve every bit the headquarters for the Dance, Moving picture and Music societies. He is known for having expanded and upgrading the live theater operations, establishing Richmond's outset resident Actors Disinterestedness/LORT company. Both community actors and New-York based professionals became part of this.[22] The troupe's cadre members included Marie Goodman Hunter, Janet Bell, Lynda Myles, Eastward.Grand. Marshall, Ken Letner, James Kirkland, Rachael Lindhart, and dramaturg One thousand. Elizabeth Osborn.

Fowler retained a focus on classics and musicals, but added an emphasis on new plays and U.S. premieres of foreign works. His debut production in 1969, Marat/Sade, written by Peter Weiss, was produced with the outset racially integrated company on the VMT stage.[23] While the production was praised by two Richmond newspapers, an editorial in the afternoon Richmond News Leader criticized Fowler for "latitudinarianism."[24]

The company became known as VMT Rep (for "repertory"). Fowler attracted national notice in 1973 with his production of Macbeth, starring E.Grand. Marshall. Critic Clive Barnes of The New York Times hailed it as the "'Fowler Macbeth'... "splendidly vigorous... probably the goriest Shakespearean production I have seen since Peter Beck's 'Titus Andronicus'."[25] Every bit Fowler heightened the professional quality of the theater, VMT led Richmond into what some recall equally a golden age of theater.[ when? ]

The company commissioned and produced eight American and World premieres, introducing new plays by Americans Romulus Linney and A.R. Gurney, as well as by major foreign authors, such as Harold Pinter, Joe Orton, Athol Fugard, and Peter Handke. In 1975 the Soviet Arts Delegate provided coverage on Moscow Television receiver for Fowler's U.S premiere of Maxim Gorky's Our Father (originally Poslednje in Russian).[26] [27] This VMT production transferred to New York Metropolis, where it premiered at the Manhattan Theater Social club.[28]

Over eight years, VMT's subscription audience increased from 4,300 to 10,000 patrons. Fowler resigned in 1977 after a dispute with VMFA administration over the content in VMT's premiere of Romulus Linney's Childe Byron.[29] [30]

Artistic directors Tom Markus (1978-1985) renamed the visitor and its playhouse "TheatreVirginia." As with all American professional not-for-profit performing arts organizations, TheatreVirginia ran mounting deficits for years.[31] [32] Despite this, artistic manager Terry Burgler (1986-1999), who succeeded him, had a successful performance. He later became a co-founder in 2004 of the Ohio Shakespeare Festival.

The museum Board of Trustees continued to underwrite the deficits to maintain the theater but their priority was the museum. There were tensions in this system, and the Board was increasingly concerned about the viability of the theater. A written report in 1987 showed that it was difficult for the theatre company to deal with a board that was essentially constituted to oversee the art museum. In addition, the metropolis of Richmond was nonetheless characterized equally having a "historical resistance" to the offerings of professional theatre.[32]

Problems continued into the early on 21st century, when at that place was a loss of some state funding because of budget issues. In addition, the museum wanted to regain the theater space for other uses. The theater was expected to relocate in 2003, and was projected to be an anchor tenant in a new Virginia Performing Arts Center. But that was not planned for completion until 2007 and, by belatedly 2002, the theater had not establish temporary relocation infinite. In 2002 a series of fatal sniper attacks in the metropolitan DC area and northern Virginia region killed five people in quick succession.[33] Residents were fearful of going out, and the theater suffered reduced audiences and boosted lost income. In December 2002, the board decided to close TheatreVirginia.[34] It struggled financially to operate in a state-supported museum.

VMFA Lewis Galleries in 2021

For viii years the theater was dormant. Renovation of the space and its revival as a live performance space was completed in 2011; that twelvemonth information technology was renamed as the Leslie Cheek Theater in award of its first director, who had too been manager of the museum for two decades. The theater's reopening has returned alive performing arts to the eye of the Virginia Museum.[35] The Leslie Cheek Theater does not back up a resident visitor, but is available for bookings of special theater, music, moving-picture show, and dance showings.[36]

Building expansions 1970–1990 [edit]

The second addition, the South Wing, was designed past Baskervill & Son Architects of Richmond and completed in 1970. It featured four new permanent galleries and a big gallery for loan exhibitions, besides as a new library, photography lab, art storage rooms, and staff offices. A gift of funds from Sydney and Frances Lewis of Richmond in 1971, provided for the conquering of Art Nouveau objects and piece of furniture.

A third add-on, known equally the Due north Fly, was designed by Hardwicke Assembly, Inc. of Richmond and completed in 1976. Information technology included an adjacent sculpture garden with a cascading fountain, designed by mural architect Lawrence Halprin.[37] The Northward Fly was designed as the new main entrance for the museum, with a separate dedicated archway added for the theater. It provided three more gallery areas – two for temporary exhibitions and one for the Lewis Family's Fine art Nouveau Collection while too housing a gift shop, members' dining room, and other visitor functions. Yet, the curved walls of the North Wing'southward "kidney-shaped" design proved to exist functionally bad-mannered and impractical, and information technology was subsequently replaced.[vii] [10] The 1976 wing and sculpture garden were later demolished to brand room for the 2010 McGlothlin Wing.[ citation needed ]

In the following years, the Lewis and Mellon families proposed major donations from their all-encompassing individual collections, and helped provide the funds to house them. In December 1985, the museum opened its 4th add-on, the 90,000 square feet (8,400 one thousand2) square human foot West Fly.[38] The architects, Hardy Holzman Pfeiffer Assembly of New York, were chosen by the Lewises based on their appreciation of the firm'southward 1981 design for the Best Products headquarters edifice northward of Richmond.[7] The wing at present houses the collections of these two families.

Redesigned campus and McGlothlin wing expansion 1991–2010 [edit]

United states of america historic place

Home For Confederate Women

U.S. National Register of Historic Places

Virginia Landmarks Annals
Pauley Center (Home for Confederate Women) v1.JPG
Location 301 Northward. Sheppard St., Richmond, Virginia
Area 2 acres (0.81 ha)
Built 1932
Architect Lee, Merrill
Architectural way Federal, Federal Revival
NRHP referenceNo. 85002767[ii]
VLRNo. 127-0380
Significant dates
Added to NRHP November 7, 1985
Designated VLR April 16, 1985[39]

In 1993, the Commonwealth of Virginia transferred the care of the Robinson House from the Department of General Services to VMFA.[forty] The near fourteen acre property of Robinson House, a former veterans camp, was transferred between state agencies to the museum. Beginning in 2001, the VMFA created a primary plan for development of this land in what was otherwise a congenital-out residential part of the city.[7]

By the 1990s, the functions of the adjacent Confederate Home for Women had ceased, and its last residents moved out.[41] In 1999, the former dwelling was adapted for utilize as the Centre for Education and Outreach (at present the Pauley Centre), housing the museum's Role of Statewide Partnerships.

The VMFA undertook a $150-million[42] building expansion to increase the museum'due south gallery infinite by fifty percent, adding 165,000 foursquare feet (15,300 one thousand2). The new wing opened in 2010 and was named in award of patrons James W. and Frances Grand. McGlothlin. The museum reoriented the McGlothlin Fly by reinstating the archway on the Boulevard, the same as with the original 1936 entrance.

The design includes a 3-story atrium named for Louise B. and J. Harwood Cochrane,[43] with a 40-foot (12 m)-tall glass wall to the due east and broad expanses of glass walls to the w, and a partially glazed roof.[44] The London-based architect Rick Mather collaborated with Richmond-based SMBW Architects in the design of the edifice,[45] while landscape architecture was handled by OLIN.[42] Landscaping included a new 4-acre (16,000 mtwo) sculpture garden, named for philanthropists E. Claiborne and Lora Robins.[42]

American art is the major focus of exhibitions in the McGlothlin Wing. In 2008 the museum received a $200,000 grant from the Luce Foundation to support the installation and estimation of its American collections.[46] Mather's blueprint for the VMFA expansion earned a 2011 RIBA International Honor for architectural excellence.[47]

Permanent collection [edit]

The Virginia Museum of Fine Arts has divided its encyclopedic collections into several broad curatorial departments, which largely correspond to the galleries:[48] [49]

  • African Art: In 1994 and 1995, the museum exhibited its unabridged 250-object African art collection in Spirit of the Motherland: African Art at the Virginia Museum of Fine Arts. As of 2011, the collection has grown to around 500 objects, with particular strengths in the art of the Kuba, the Akan, the Yoruba, and the Kongo peoples, and the art of Mali.[50]
  • American Art: The American art collection began with twenty works of the John Barton Payne donation.[51] Since the 1980s, the museum has begun to systematically build its holdings in American art, aided in 1988 by the creation of an endowment by patrons Harwood and Louise Cochrane to support such acquisitions.[51]
In 2005, the McGlothlin family promised a bequest of their drove of American art and financial support, valued at well in a higher place $100 million.[ citation needed ]
  • Ancient American art
  • Aboriginal art: Begun in 1936, the Ancient drove expanded under Director Leslie Cheek, with the advice of the Brooklyn Museum and other institutions.[52] The collection consists of works from the Ancient Egyptian, Ancient Greek, Phrygian, Etruscan, Ancient Roman, and Byzantine civilizations.[53] It includes one of two ancient Egyptian mummies in the city of Richmond, "Tjeby" (the other is at the University of Richmond).[52] [54]
  • Fine art Nouveau & Art Deco: Begun from the core collection of piece of furniture and decorative arts the Lewis family began assembling in 1971; today it includes Fine art Nouveau works by Hector Guimard, Emile Galle, Louis Majorelle, Louis Comfort Tiffany, works by the Vienna Secession and Peter Behrens, Arts & Crafts works past Charles Rennie Mackintosh, Frank Lloyd Wright, Stickley, and Greene & Greene, and Parisian Art Deco pieces past Eileen Gray and Émile-Jacques Ruhlmann.[18]
  • East Asian art: Begun in 1941, the East Asian drove consists of Chinese, Japanese and Korean art. The collection includes Chinese jade, bronzes and Buddhist sculpture; Japanese sculpture, and paintings from Kyoto; as well as Korean ceramics and bronzes from two private collections. In 2004, the drove added two imperial Buddhist paintings from the Qing dynasty, dating from 1740. The drove includes the Rene and Carolyn Balcer Collection of works past the Japanese woodblock artist Kawase Hasui. That drove consists of some 800 works, woodblock prints, screens, watercolors and other works by Hasui, including rarely seen prints made by Hasui prior to the 1923 earthquake that destroyed half of Tokyo.[55]

Miniature watercolor painting from Rajasthan, in the South Asian collection

  • European art: The European drove began with the original 1919 Payne donation, and now includes works by Bacchiacca, Murillo, Poussin, Rosa, Gentileschi, Goya, and Bouguereau.[18]
In 1970, Ailsa Mellon Bruce donated some 450 European decorative objects, including a group of 18th- and 19th-century gold, porcelain and enamel boxes.
Pinkney L. Near (1927 - 1990)[56] was curator of the Virginia Museum of Fine Arts for xxx years. He was responsible for the museum's acquisition of many works of European fine art,[57] including arranging for the museum to purchase the Francisco Goya portrait of General Nicolas Guye (long believed to exist the near valuable work of art in the museum's collections) from John Lee Pratt.[58] The Guye portrait by Goya is now on view in the posthumously created Pinkney Near Gallery at the VMFA. In 1989 Pinkney Near was named to the newly created mail service of Paul Mellon Curator and senior enquiry curator, a post in which he continued to work closely with the Mellon Collection and Paul Mellon. Malcolm Cormack succeeded Pinkney Near every bit Paul Mellon Curator of European Art, from 1991 until his retirement in 2003. Mitchell Merling became Cormack'due south successor as curator of the Mellon Collection.
Paul Mellon'due south donations added to the French Impressionist and Postal service-Impressionist works and a collection of British Sporting Fine art, given to the museum in 1983. At his decease in 1999, Mellon bequeathed boosted French and British works, including five paintings by George Stubbs. The Mellon Galleries closed January 2, 2018 for renovations, with a scheduled reopening in 2020. Curator Mitchell Merling selected 70 major works from the VMFA Mellon Drove to bout during this period on loan to museums, such as the Frick Art and Historical Center in Pittsburgh, the Frist Center for the Visual Arts in Nashville, and the Musee de la Chasse et de la Nature in Paris. Works sent on loan during renovations of the galleries included paintings by Vincent van Gogh, Henri Rousseau, and George Stubbs.[59]
  • English silver: In 1997 a drove of 18th and 19th-century English silver was given to the museum by Jerome and Rita Gans.
  • Fabergé The Pratt Fabergé collection, the largest drove of Fabergé eggs outside Russian federation, includes 5 Regal Easter Eggs: the Rock Crystal Egg of 1896, the Pelican Egg of 1898, the Peter the Corking Egg of 1903, the Tsarevich Egg of 1912, and the Red Cantankerous with Imperial Portraits Egg of 1915.[12]
  • The Due south Asian collection comprises works from what are today India, Pakistan, Bangladesh, Sri Lanka, Nepal and Tibet. The collection began in the late 1960s, with the initial cadre of the Himalayan collection beingness acquired in 1968.[threescore]

VFMA Cochrane Atrium in 2021

When the 2010 fly was completed, a 27-ton marble tardily-Mughal garden pavilion from Rajasthan was installed inside the galleries.[61]

  • Modern & Contemporary: The cadre of the Modern & Contemporary collection was assembled by Sydney and Frances Lewis in the mid- to late-20th century. Much of the more than one,200 works in their collection were acquired by trading products (such every bit appliances and electronics) from their company, Best Products, to artists in exchange for works, while at the same time befriending many of them.[38] [62]

In 2019, the Virginia Museum of Fine Fine art deputed a large-scale monumental sculpture from creative person Kehinde Wiley that was installed in front of the museum.[63] The work in bronze, which Wiley had titled Rumors of War, was modeled after one of Monument Avenue's Confederate statues later he visited Richmond for a retrospective exhibition of his artwork held at the museum in 2016.[64] [63]

Gallery [edit]

  • Henri Rousseau, Tropical Landscape: American Indian Struggling with a Gorilla, 1910

Special exhibitions [edit]

In improver to the galleries that brandish selections of the permanent collection, the Virginia Museum of Fine Arts presents special exhibitions of artwork drawn from its own and others' collections, too as piece of work of active artists.

In 1941, the museum presented an exhibition of Modernist works by artists of the School of Paris from the drove of Walter P. Chrysler Jr. (which after became the footing for the Chrysler Museum of Art).

In the 1950s, VMFA originated shows such as "Furniture of the One-time South" (1952), "Blueprint of Scandinavia" (1954) and "Masterpieces of Chinese Art" (1955). In the 1960s, there were "Masterpieces of American Silverish", followed by "Painting in England, 1700–1850," which drew from the private collections of Mr. and Mrs. Paul Mellon. At the time, it was the most comprehensive exhibition of British painting ever presented in the United states. In 1967, the museum also mounted a major exhibition of the work of the English social satirist William Hogarth.

In 1978, the museum presented an exhibition on Colonial cabinetmaking in early Virginia, "Furniture of Williamsburg and Eastern Virginia, 1710–1790." Another kickoff, and one that received widespread international attention, was the 1983 exhibition "Painting in the South: 1564–1980."

In the fall of 1996, VMFA was one of five major American museums to present "Fabergé in America" and "The Lillian Thomas Pratt Collection of Fabergé." These two exhibitions, featuring more than 400 objects and 15 imperial Easter eggs, drew more than 130,000 visitors to Richmond.

In 1997, the VMFA showed "William Blake: Illustrations of the Volume of Job," an exhibition that featured a complete set of 21 engravings by English language Romantic creative person William Blake, created in 1825 and purchased by the museum in 1973. In addition to the engravings, the exhibit included 6 of the 1805 watercolors upon which Blake based them, on view and on loan from New York's Pierpont Morgan Library. Besides on view were a complete prepare of the creative person's preliminary drawings from the Fitzwilliam Museum at Cambridge Academy and the "New Zealand" set of copies of Blake's engravings from the Yale Eye for British Art.[65]

In 1999, the museum presented "Splendors of Ancient Egypt," an exhibition assembled from the renowned collection of the Pelizaeus Museum in Hildesheim, Germany. Most a quarter of a meg people saw the show in Richmond. It was one of the largest exhibitions of Egyptian art e'er to bout the The states.[ citation needed ]

In 2011, VMFA was one of seven museums worldwide chosen to showroom one hundred 70-six paintings from the personal collection of Pablo Picasso. The showroom was held from Feb 19 – May fifteen, 2011 in 10 galleries of the newly renovated museum. Director Alex Nyerges noted: "An exhibition this awe-inspiring is extremely rare, especially one that spans the entire career of a figure who many consider the most influential, innovative and creative artist of the 20th century." The collection of paintings was from a permanent collection housed in the Musée Picasso, then under renovation.[66]

The VMFA is a member of the French Regional & American Museums Exchange (FRAME).

Instruction and programs [edit]

The Office of Statewide Partnerships delivered programs and exhibitions throughout the democracy via a voluntary network of more than than 350 nonprofit institutions (museums, galleries, art organizations, schools, community colleges, colleges and universities).[ when? ] Through this program, the museum offered crated exhibitions, arts-related audiovisual programs, symposia, lectures, conferences and workshops by visual and performing artists. The traveling artmobile program, tailored to help students meet the land's Standards of Learning, was also included.[67]

VMFA has offered in-firm educational programs that are supported by multiple specialized studios and on-site exhibition space.[68] These have included courses in drawing, painting, sculpture, photography, fashion, digital arts, and mixed media.[69]

Group highlights tours are offered daily. Yard-12 group tours are also offered, incorporating the Virginia Standards of Learning. All college pupil tours of VMFA's permanent drove — guided and self-directed — are costless. Tours can be requested online.[70]

VMFA's ARTshare is a multiyear digital initiative to expand the museum's digital outreach and brand its collection more accessible.[71]

VMFA established a Fellowship Program in 1940 which, past 2011, had delivered grants in backlog of $five million with 1,250 awards to Virginia artists since the program's inception. The fellowship funds come up from a privately endowed fund administered by VMFA. The Fellowship Program was initially funded by the late John Lee Pratt of Fredericksburg (the husband of Lillian Pratt, donor of the museum'southward Fabergé collection). By 2011, fellowships were primarily funded through the Pratt endowment and supplemented by gifts from the Lettie Pate Whitehead Foundation and the J. Warwick McClintic Jr. Scholarship Fund.[72] Notable recipients of VMFA fellowship grants include Vince Gilligan,[73] Emmet Gowin, David Freed, Laura Pharis, Richard Carlyon, and Nell Blaine.[74]

References [edit]

  1. ^ "Nigh the Collection". VMFA Website. Archived from the original on February ten, 2011. Retrieved February 28, 2011.
  2. ^ a b "National Register Information System". National Register of Historic Places. National Park Service. March 13, 2009.
  3. ^ "Agency Strategic Plan 2010–2012". Virginia Performs. Archived from the original on January 5, 2011. Retrieved March 10, 2011.
  4. ^ Tyler Green (May 24, 2010). "1 of America'due south quietest museums quietly expands". blogs.artinfo.com. Archived from the original on May 2010. Retrieved November 21, 2016.
  5. ^ "Fodor'due south Expert Review: Virginia Museum of Fine Arts". Fodor'southward Travel.
  6. ^ "History of the Museum District". Museum Commune Website. Museum District Association. Archived from the original on July eleven, 2011.
  7. ^ a b c d e f Slipek Jr., Edwin (March xxx, 2010). "Open Indulgence". Manner Weekly . Retrieved Feb 27, 2011.
  8. ^ Holmes, Elizabeth (January 1, 1993). "The Virginia Museum of Fine Arts: its Founding, 1930-1936". Dissertations, Theses, and Masters Projects. doi:10.21220/s2-xr1t-4536. Retrieved November nine, 2021.
  9. ^ "Nearly the Robert Due east. Lee Army camp Amalgamated Soldiers' Home". Library of Virginia Website. Library of Virginia. Retrieved Feb 28, 2011.
  10. ^ a b Wilson, Richard Guy (2002). Buildings of Virginia: Tidewater and Piedmont. Oxford Academy Press. pp. 262, 270. ISBN0-19-515206-9.
  11. ^ a b c Brownell, Charles Eastward.; et al. (1992). The Making of Virginia Architecture. Virginia Museum of Fine Arts / Academy Press of Virginia. p. 382. ISBN0-917046-33-i.
  12. ^ a b "Faberge Factsheet". VMFA Website. VMFA. Archived from the original on Apr 4, 2011.
  13. ^ a b "Leslie Cheek Jr., 84; Led Virginia Museum". New York Times. December viii, 1992. Retrieved February 27, 2011.
  14. ^ "Leslie Cheek, Jr". Dictionary of Fine art Historians . Retrieved Feb 27, 2011.
  15. ^ "VMFA'due south Artmobile: Past and Present - VMFA Connect". www.vmfa.museum . Retrieved Nov ane, 2018.
  16. ^ a b "Art: Cheek's Changes". Time Magazine. December 7, 1959. Archived from the original on Feb 1, 2011. Retrieved Feb 27, 2011.
  17. ^ O' Leary, Elizabeth; et al. (2010). American Art at the Virginia Museum of Fine Arts. Academy of Virginia Printing. pp. 1–nine. ISBN978-0-917046-93-iii.
  18. ^ a b c Barriault, Anne (April 24, 2010). "Enriched Collections". Apollo.
  19. ^ "Leslie Cheek Jr., 84 - Led Virginia Museum". The New York Times. December 8, 1992. Retrieved Nov 21, 2016.
  20. ^ NY Times, Ibid.
  21. ^ "Manager of theatre tells of plays hither in 1752". The Free Lance-Star. Fredericksburg, Virginia. November 17, 1960.
  22. ^ "League of resident theaters". lort.web.officelive.com. Archived from the original on April 23, 2012. Retrieved Nov 21, 2016.
  23. ^ During state segregation, some casting of black actors had occurred for race-specific roles, such every bit maids and other servants, simply Marat/Sade was the first VMT show to include African-American performers in roles non defined past race.
  24. ^ Editorial, "The Thing at the Museum," Richmond News Leader, October x, 1969
  25. ^ Barnes, Clive (February 12, 1973). "Stage: Fowler 'Macbeth'; A Vigorous Production Staged in Richmond The Cast" (PDF). The New York Times.
  26. ^ Plan of the Virginia Museum Theater Repertory Company, Our Father, February 7–22, 1975
  27. ^ Translated past William Stancil, VMT's Music managing director.
  28. ^ Gussow, Mel (May x, 1975). "Stage - Gorky's Hard 'Our Father' - A Family Split in Two Is Under Scrutiny". New York Times. Select.nytimes.com. Retrieved April 27, 2013.
  29. ^ Rosenfeld, Megan, The Washington Post, Thursday, March 24, 1977
  30. ^ Pahnelas, William, "Fowler Resigns, Cites Artistic Differences," The Commonwealth Times, March 29-April 4, 1977
  31. ^ "Commercial theaters versus not-for-turn a profit theaters" (PDF). www.sc.edu . Retrieved Nov 21, 2016.
  32. ^ a b Houser, Patricia Yard.; American University (1987). "VIRGINIA MUSEUM THEATRE: A Example Study". Retrieved Feb 22, 2021.
  33. ^ Getter, Lisa, Vicki Kemper and Jonathan Peterson (2002-x-04). "5 Shot Dead in Suburban D.C. as Fear Spreads," Los Angeles Times
  34. ^ Kenneth Jones (April ix, 2003). "TheatreVirginia Closes Its Doors Later on 50 Years, Citing Coin Woes, Loss of Habitation, Sniper". world wide web.playbillcom. Archived from the original on July 19, 2014. Retrieved November 21, 2016.
  35. ^ Matthew Miller (May 22, 2011). ""Fine art" at VMFA'south Leslie Cheek Theater". Retrieved November 21, 2016.
  36. ^ "Archived re-create". Archived from the original on February four, 2013. Retrieved February 28, 2012. {{cite web}}: CS1 maint: archived copy as title (link)
  37. ^ "Virginia Museum of Fine Arts Sculpture Garden". Historic American Buildings Survey. Library of Congress. Retrieved Feb 27, 2011.
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  • source information on Payne donation

External links [edit]

  • Virginia Museum of Fine Arts official website
  • Virginia Museum of Fine Arts at Google Cultural Institute
  • Architectural images of the museum, prior to the 2005–2010 expansion, including the at present-demolished 1976 wing

Coordinates: 37°33′25″N 77°28′26″W  /  37.55698°N 77.47396°W  / 37.55698; -77.47396

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

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