Әлемдік өнердің ғажайыптары: Детройт өнер институтының коллекциясы

The museum contains 100 galleries of art from around the world. Diego Rivera's Detroit Industry cycle of frescoes span the upper and lower levels to surround the central grand marble court of the museum. The armor collection of William Randolph Hearst lines the main hall entry way to the grand court. The collection of American art at the DIA is one of the most impressive, and officials at the DIA have ranked the American paintings collection third among museums in the United States. Works by American artists began to be collected immediately following the museum's founding in 1883. Today the collection is a strong survey of American history, with acknowledged masterpieces of painting, sculpture, furniture and decorative arts from the 18th century, 19th century, and 20th century, with contemporary American art in all media also being collected. The breadth of the collection includes American artists including John James Audubon, George Bellows, George Caleb Bingham, Alexander Calder, Mary Cassatt, Dale Chihuly, Frederic Edwin Church, Thomas Cole, John Singleton Copley, Robert Colescott, Leon Dabo, Thomas Wilmer Dewing, Thomas Eakins, Childe Hassam, Robert Henri, Winslow Homer, George Inness, Martin Lewis, Georgia O'Keeffe, Charles Willson Peale, Rembrandt Peale, Tom Phardel, Duncan Phyfe, Hiram Powers, Sharon Que, Frederic Remington, Paul Revere, Augustus Saint Gaudens, John Singer Sargent, John French Sloan, Tony Smith, Marylyn Dintenfass, Merton Simpson, Gilbert Stuart, Yves Tanguy, Henry Ossawa Tanner, Louis Comfort Tiffany, Andy Warhol, William T. Williams, Anne Wilson, Andrew Wyeth, and James McNeill Whistler. The early 20th century was a period of prolific collecting for the museum, which acquired such works as a dragon tile relief from the Ishtar Gate of Babylon, an Egyptian relief of Mourning Women and a statuette of a Seated Scribe, Pieter Bruegel the Elder's The Wedding Dance, Saint Jerome in His Study by Jan van Eyck and Giovanni Bellini's Madonna and Child. Early purchases included French paintings by Claude Monet, Odilon Redon, Eugène Boudin, and Edgar Degas, as well as Old Masters including Gerard ter Borch, Peter Paul Rubens, Albrecht Dürer and Rembrandt van Rijn. The museum includes works by Vincent van Gogh including a self portrait. The self portrait of Vincent van Gogh and The Window by Henri Matisse were purchased in 1922 and were the first paintings by these two artists to enter an American public collection. Later important acquisitions include Hans Holbein the Younger's Portrait of a Woman, James Abbott McNeill Whistler's Nocturne in Black and Gold: The Falling Rocket, and works by Paul Cézanne, Eugène Delacroix, Auguste Rodin, Jean Baptiste Carpeaux and François Rude. German Expressionism was embraced and collected early on by the DIA, with works by Heinrich Campendonk, Franz Marc, Karl Schmidt Rottluff, Max Beckmann, Karl Hofer, Emil Nolde, Lovis Corinth, Ernst Barlach, Georg Kolbe, Wilhelm Lehmbruck, Erich Heckel, Ernst Ludwig Kirchner, Paula Modersohn Becker, and Max Pechstein in the collection. Non German artists in the Expressionist movement include Oskar Kokoschka, Wassily Kandinsky, Chaïm Soutine and Edvard Munch. The Nut Gatherers by William Adolphe Bouguereau is, by some accounts, the most popular painting in the collection. In addition to the American and European works listed above, the collections of the Detroit Institute of Arts are generally encyclopedic and extensive, including ancient Greek, Roman, Etruscan, Mesopotamian, and Egyptian material, as well as a wide range of Islamic, African and Asian art of all media. In December 2010, the museum debuted a new permanent gallery with special collections of hand, shadow, and string puppets along with programmable lighting and original backgrounds. The museum plans to feature puppet related events and rotation of exhibits drawn from its puppet collections.

Before 1920, a commission was established to choose an architect to design a new building to house the DIA's expanding collections. The commission included DIA President Ralph H. Booth, William J. Gray, architect Albert Kahn and industrialist Edsel Ford. W. R. Valentiner, the museum director, acted as art director and Clyde H. Burroughs was the secretary. The group chose Philadelphia architect Paul Philippe Cret as the lead architect and the firm of Zantzinger, Borie and Medary as associated architects, with Detroit architectural firms of Albert Kahn and C. Howard Crane contributing "advice and suggestions". The cornerstone for a new Beaux Arts, Italian Renaissance–styled building was laid June 26, 1923, and the finished museum was dedicated October 7, 1927. In 1922, Horace Rackham donated a casting of Auguste Rodin's sculpture, The Thinker, acquired from a German collection, to the museum where it was exhibited while the new building was under construction. The work was placed in the Great Hall of the new museum building. Sometime in the subsequent years the work was moved out of the building and placed on a pedestal in front of the building, facing Woodward Avenue and the Detroit Public Library across the street which was also constructed of white marble in the Beaux Arts, Italian Renaissance style
The south and north wings were added in 1966 and 1971 respectively. Both were designed by Gunnar Birkerts and were originally faced in black granite to serve as a backdrop for the original white marble building. The south wing was later named in honor of museum benefactors Edsel and Eleanor Ford and the north wing for Jerome Cavanaugh who was Detroit Mayor during the expansion. William Edward Kapp, architect for the firm of Smith, Hinchman & Grylls has been credited with interior design work on the Detroit Institute of Art.

Edsel Ford commissioned murals by Diego Rivera for DIA in 1932. Composed in fresco style, the five sets of massive murals are known collectively as Detroit Industry, or Man and Machine. The murals were added to a large central courtyard; it was roofed over when the work was executed. The Diego Rivera murals are widely regarded as great works of art and a unique feature of the museum. Architect Henry Sheply, a close friend of Cret's would write: "These [murals] are harsh in color, scale and composition. They were designed without the slightest thought given to the delicate architecture and ornament. They are quite simply a travesty in the name of art." Their politically charged themes of proletariat struggle caused lasting friction between admirers and detractors. During the McCarthy era, the murals survived only by means of a prominent sign which identified them as legitimate art; the sign further asserted unambiguously that the political motivations of the artist were "detestable". The building also contains intricate iron work by Samuel Yellin, tile from Pewabic Pottery, and architectural sculpture by Leon Hermant. The project, labeled the Master Plan Project, included expansion and renovation of the north and south wings as well as restoration of the original Paul Cret building, and added 58,000 additional square feet, bringing the total to 658,000 square feet.

The Museum had its genesis in an 1881 tour of Europe made by local newspaper magnate James E. Scripps. Scripps kept a journal of his family's five month tour of art and culture in Italy, France, Germany, and the Netherlands, portions of which were published in his newspaper The Detroit News. The series proved so popular that it was republished in book form called Five Months Abroad. The popularity inspired William H. Brearley, the manager of the newspaper's advertising department to organize an art exhibit in 1883, which was also extremely well received. Brearly convinced many leading Detroit citizens to contribute to establish a permanent museum. It was originally named the Detroit Museum of Art. Among the donors were James E. Scripps, his brother George H. Scripps, Dexter M. Ferry, Christian H. Buhl, Gen. Russell A. Alger, Moses W. Field, James McMillan and Hugh McMillan, George H. Hammond, James F. Joy, Francis Palms, Christopher R. Mabley, Simon J. Murphy, John S. Newberry, Cyrenius A. Newcomb, Sr., Thomas W. Palmer, Philo Parsons, George B. Remick, Allan Shelden, William C. Weber, David Whitney Jr., George V. N. Lothrop, and Hiram Walker. With much success from their first exhibit, Brearley then challenged 40 of Detroit's leading and prominent businessmen to contribute $1,000 each to help fund the building of a permanent museum. With $50,000 coming from Scripps alone, their goal was within reach. By 1888, Scripps and Brearley had incorporated Detroit Museum of Arts, filling it with over 70 pieces of artwork acquired by Scripps during his time in Europe. Lasting as a museum less than 40 years, the impact the museum had on the city of Detroit was tremendous. The Art Loan Exhibition's success in 1883 had led to the creation of a board. The purpose of the board was to raise and establish funds to build a permanent art museum in the city. Donating money to the cause were some of Detroit's biggest names, including James E. Scripps, George H. Scripps, Russell A. Alger, and Sen. Thomas Palmer. The old Detroit Museum of Art building opened in 1888 at 704 E. Jefferson Avenue (it was finally demolished in 1960). The Detroit Museum of Art board of trustees changed the name to the Detroit Institute of Arts in 1919 and a committee began raising funds to build a new location with Scripps still at the helm. The present DIA building on Woodward Avenue debuted on October 7, 1927. While not officially declared the founder of the Detroit Institute of Arts, Scripps and Brearley were indeed the founders of the DIA's predecessor, The Detroit Museum of Art. With the success of the arts, and the booming auto industry, families were flocking to the city; pushing for the need to expand the vision that Scripps had originally dreamed, a new building was raised and the DIA was born. Another decision in 1919 that would have a lasting impact on the future of the museum was transferring ownership to the City of Detroit with the museum becoming a city department and receiving operating funds. The board of trustees became the Founder's Society a private support group that provided additional money for acquisitions and other museum needs. The museum sought the leadership of German art scholar Wilhelm Valentiner. It as under Valentiner's leadership as director that, the museum flush with money from a booming city and wealthy patrons, the size and quality of the DIA's collections grew significantly. The DIA became the first U. S. museum to acquire a van Gogh and Matisse in 1922 and Valentiner's relationship with German expressionist led to significant holdings of early Modernist art. Valentiner also reorganized how art was displayed at the museum. Breaking with the tradition of organizing artworks by their type with, for example, painting grouped together in one gallery and sculpture in another. Valentiner organized them by nation and chronology, this was recognized as being so revolutionary that the 1929 Encyclopædia Britannica used an illustration of the main floor plan of the DIA as an example of the perfect modern art museum. The museum was expanded with a south and north wing in 1966 and 1971, respectively, giving space for the museum to receive two big gifts in 1970, the collection of Robert Tannahill and Anna Thompson Dodge bequeathed the 18th century French contents of the music room from her home, Rose Terrace, to the museum upon her death. By 1990, 70 percent of the DIA's funding was coming from the State of Michigan, that year the state facing a recession and budget deficit cut funding by more than 50 percent. This resulted in the museum having to close galleries and reduce hours, a fundraising campaign led by Joseph L. Hudson was able to restore operations. As part of the settlement of the City of Detroit's bankruptcy, ownership of the museum was transferred to Detroit Institute of Arts, Inc., in December 2014, returning the museum to its pre 1919 status as an independent non profit. Montiel de Shuman claimed the artworks' label did not address the possibility that the artist sexually abused her, gave her syphilis, and colonized her home. Montiel de Shuman, in an email to the Detroit Free Press, said "[I] asked how the DIA was preparing front line staff to handle conversations around power dynamics, colonial abuse, and sexual assault particularly of minors." The exhibition received widespread press coverage, with Forbes noting that with 74 Van Gogh works, the exhibition marked the largest Van Gogh exhibition in America in a generation.

The current director of the Detroit Institute of Arts, Salvador Salort Pons a native of Madrid was previously head of the European Art Department at the DIA. Before coming to the DIA he was senior curator at the Meadows Museum at SMU and prior to that an assistant professor of art history at the Complutense University of Madrid. Salort Pons holds a doctorate in art history from the Royal Spanish College at Italy's University of Bologna and an MBA from the Cox School of Business at Southern Methodist University in Dallas. On September 16, 2015, Salort Pons was named as director following the retirement of Graham Beal in June. Despite the increase in yearly visitors to the DIA, some have criticized Salort Pons in the belief that he is straying away from the "visitor centered" philosophy pioneered by predecessor Graham Beal. Under this philosophy, the museum would make the art and interpretations of art more accessible to the general public to help them learn and connect with the pieces on display. Salort Pons' Spanish origin has made critics believe he is unable to understand and tackle the complexity of issues surrounding race, inclusivity, and representation in the United States. The New York Times reported that Salort Pons was taking steps to improve diversity despite his limited understanding of the Black struggle in America. In an interview with Artnet News, Salort Pons said the commitment to improve diversity in the DIA included "implementing diversity and community engagement initiatives as well as hiring qualified POC candidates. However, Lucy Mensah, a POC candidate hired by Salort Pons, who served assistant curator of contemporary art in 2017, resigned due to a "toxic work environment" and believed that she and another former assistant curator were "token hires" because the DIA "premise some of their hires as a way of diversifying the voices of the institution, but at the same time they don't actually appreciate those voices." In response to criticisms of Salort Pons in 2020, some Detroit Black community activists and members of the art community in Detroit came to his defense. The Detroit News published an article in July 2020 in which Cledie Collins Taylor, a longtime Detroit art community figure stated, regarding Salort Pons, that "his outreach into the Black community is unprecedented." She noted further that "Having come from abroad, he was so ready to receive and know the Black community."