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Содержание
Введение
Музей изобразительных искусств, Хьюстон (MFAH), — художественный музей, расположенный в музейном районе Хьюстона, штат Техас. После недавнего завершения восьмилетнего проекта реконструкции кампуса, включая открытие здания Нэнси и Рича Киндера в 2020 году, постоянная коллекция музея охватывает более 6000 лет истории и насчитывает около 70 000 произведений искусства с шести континентов. В 2023 году музей посетили более 900 000 человек, что делает его 20-м по посещаемости музеем в Соединенных Штатах.
The Museum of Fine Arts, Houston (MFAH), is an art museum located in the Houston Museum District of Houston, Texas. With the recent completion of an eight year campus redevelopment project, including the opening of the Nancy and Rich Kinder Building in 2020, The permanent collection of the museum spans more than 6,000 years of history with approximately 70,000 works from six continents. In 2023, the museum received over 900,000 visitors, making it the 20th most visited museum in the United States.
Объекты
Постоянная коллекция MFAH насчитывает почти 70 000 экспонатов, размещенных на площади более 100 000 квадратных футов выставочного пространства, что делает его одним из крупнейших художественных музеев в Соединенных Штатах. Коллекции и программы музея размещены в девяти зданиях. Кампус Сьюзан и Файеза С. Сарофима занимает 14 акров, включая семь зданий, а также два дополнительных объекта – Байю-Бенд и Риензи (домашние музеи), расположенные в других местах. Основные публичные коллекции и выставки находятся в зданиях Лоу, Бек и Киндер. Здания Лоу и Бек располагают площадью более 100 000 квадратных футов выставочного пространства.
The MFAH's permanent collection totals nearly 70,000 pieces in over of exhibition space, placing it among the larger art museums in the United States. The museum's collections and programs are housed in nine facilities. The Susan and Fayez S. Sarofim Campus encompasses 14 acres including seven of the facilities, with two additional facilities, Bayou Bend and Rienzi (house museums) at off site locations. The main public collections and exhibitions are in the Law, Beck, and Kinder buildings. The Law and Beck buildings have over of exhibition space.
Кампус Сьюзан и Файез С. Сарофим
Здание Каролина Висс Лоу – оригинальное неоклассическое здание было спроектировано поэтапно архитектором Уильямом Уордом Уоткином. Оригинальное здание Каролина Висс Лоу было построено в 1924 году, а восточное и западное крыло были добавлены в 1926 году. Мемориальное крыло Роберта Ли Блэффера было спроектировано Кеннетом Францхаймом и открыто для публики в 1953 году. Новое строительство включало в себя значительные структурные улучшения в нескольких существующих галереях, в частности, установку системы кондиционирования воздуха. Два последующих пристроя, Cullinan Hall и Brown Pavilion, спроектированные Людвигом Мисом ван дер Роэ, были построены в 1958 и 1974 годах соответственно. Этот комплекс Музея изобразительных искусств, кампус Хьюстона, является единственным музеем, спроектированным Мисом в Соединенных Штатах. Здание Каролина Висс Лоу предоставляет идеальное пространство для временных и передвижных выставок, а также для экспозиций исламского искусства, искусства Тихоокеанских островов и Австралии, азиатского искусства, индонезийских золотых изделий, мезоамериканского и африканского искусства стран Африки к югу от Сахары. Особый интерес представляет Коллекция африканского золота Гласселл – крупнейшее собрание такого рода в мире. Также здесь находится пространство Нидхики и Першанта Мехта, единственное в Хьюстоне место, посвященное индийскому искусству и культуре.
Caroline Wiess Law Building – the original neo classical building was designed in phases by architect William Ward Watkin. The original Caroline Wiess Law building was constructed in 1924 and the east and west wing were added in 1926. The Robert Lee Blaffer Memorial Wing was designed by Kenneth Franzheim and opened to the public in 1953. The new construction included significant structural improvements to several existing galleries—most notably, air conditioning. Two subsequent additions, Cullinan Hall and the Brown Pavilion, designed by Ludwig Mies van der Rohe were built in 1958 and 1974 respectively. This section of the Museum of Fine Arts, Houston campus is the only Mies designed museum in the United States. The Caroline Wiess Law building provides an ideal space in which to exhibit temporary and traveling exhibitions, as well as installations of Islamic art, Pacific Island and Australian art, Asian art, Indonesian gold artworks, and Mesoamerican and sub Saharan African art. Of special interest is the Glassell Collection of African Gold, the largest assemblage of its kind in the world. Also the Nidhika and Pershant Mehta Arts of India, the only space in Houston for Indian Arts Culture. Audrey Jones Beck Building – Opened to the public in 2000, the Beck Building was designed by Rafael Moneo, a Pritzker Architecture Prize Laureate. The museum Trustees elected to name the building after Audrey Jones Beck in honor of the large collection she had donated to the museum several decades prior. In addition to traveling exhibitions and rotating temporary shows of photography, prints and drawings on the lower levels, the building displays the permanent collections of antiquities, European, and American art up to 1900, including the Impressionist. Nancy and Rich Kinder Building – In 2012, the museum selected Steven Holl Architects to design a expansion that primarily holds galleries for art after 1900. Opened to the public in November 2020, the new building occupies a two acre site north of the Caroline Wiess Law Building. The new MFAH building is adjacent to Lillie and Hugh Roy Cullen Sculpture Garden and an expanded Glassell School of Art. In addition to a theater, restaurant, café, and seven small gardens and reflecting pools inset along the building's perimeter, the 237,213 square foot Kinder building increases the museums overall exhibition space by nearly 75 percent. In 2021, The Bastion Collection opened Le Jardinier, a contemporary French restaurant emphasizing the highest quality, seasonal ingredients from Michelin starred chef Alain Verzeroli, and Italian inspired Cafe Leonelli. The Lillie and Hugh Roy Cullen Sculpture Garden – was designed by US born artist and landscape architect Isamu Noguchi and opened in 1986. The Lillie and Hugh Roy Cullen Sculpture Garden houses more than twenty five works by artists from the nineteenth, twentieth, and twenty first centuries from the MFAH and other major collections. Glassell School of Art– was founded in 1979, with an original building, now demolished, designed by architect S. I. Morris. In 2014, a new L shaped building was designed by Steven Holl for the school, which features a ramped amphitheater leading up to a walkable rooftop garden. The Sarah Campbell Blaffer Foundation Center for Conservation – is a 37,864 square foot conservation center designed by Lake Flato Architects that was completed in 2018. It is home to conservation labs and studios located above the museum's parking garage. It is not open to the public.
Здание Одри Джонс Бек – открытое для публики в 2000 году, здание Бек было спроектировано Рафаэлем Монео, лауреатом премии Прицкера по архитектуре. Попечители музея решили назвать здание в честь Одри Джонс Бек в знак признательности за обширную коллекцию, пожертвованную ею музею несколько десятилетий назад. Помимо передвижных выставок и временных показов фотографий, гравюр и рисунков на нижних этажах, в здании представлены постоянные коллекции древностей, европейского и американского искусства до 1900 года, включая произведения импрессионистов.
Caroline Wiess Law Building – the original neo classical building was designed in phases by architect William Ward Watkin. The original Caroline Wiess Law building was constructed in 1924 and the east and west wing were added in 1926. The Robert Lee Blaffer Memorial Wing was designed by Kenneth Franzheim and opened to the public in 1953. The new construction included significant structural improvements to several existing galleries—most notably, air conditioning. Two subsequent additions, Cullinan Hall and the Brown Pavilion, designed by Ludwig Mies van der Rohe were built in 1958 and 1974 respectively. This section of the Museum of Fine Arts, Houston campus is the only Mies designed museum in the United States. The Caroline Wiess Law building provides an ideal space in which to exhibit temporary and traveling exhibitions, as well as installations of Islamic art, Pacific Island and Australian art, Asian art, Indonesian gold artworks, and Mesoamerican and sub Saharan African art. Of special interest is the Glassell Collection of African Gold, the largest assemblage of its kind in the world. Also the Nidhika and Pershant Mehta Arts of India, the only space in Houston for Indian Arts Culture. Audrey Jones Beck Building – Opened to the public in 2000, the Beck Building was designed by Rafael Moneo, a Pritzker Architecture Prize Laureate. The museum Trustees elected to name the building after Audrey Jones Beck in honor of the large collection she had donated to the museum several decades prior. In addition to traveling exhibitions and rotating temporary shows of photography, prints and drawings on the lower levels, the building displays the permanent collections of antiquities, European, and American art up to 1900, including the Impressionist. Nancy and Rich Kinder Building – In 2012, the museum selected Steven Holl Architects to design a expansion that primarily holds galleries for art after 1900. Opened to the public in November 2020, the new building occupies a two acre site north of the Caroline Wiess Law Building. The new MFAH building is adjacent to Lillie and Hugh Roy Cullen Sculpture Garden and an expanded Glassell School of Art. In addition to a theater, restaurant, café, and seven small gardens and reflecting pools inset along the building's perimeter, the 237,213 square foot Kinder building increases the museums overall exhibition space by nearly 75 percent. In 2021, The Bastion Collection opened Le Jardinier, a contemporary French restaurant emphasizing the highest quality, seasonal ingredients from Michelin starred chef Alain Verzeroli, and Italian inspired Cafe Leonelli. The Lillie and Hugh Roy Cullen Sculpture Garden – was designed by US born artist and landscape architect Isamu Noguchi and opened in 1986. The Lillie and Hugh Roy Cullen Sculpture Garden houses more than twenty five works by artists from the nineteenth, twentieth, and twenty first centuries from the MFAH and other major collections. Glassell School of Art– was founded in 1979, with an original building, now demolished, designed by architect S. I. Morris. In 2014, a new L shaped building was designed by Steven Holl for the school, which features a ramped amphitheater leading up to a walkable rooftop garden. The Sarah Campbell Blaffer Foundation Center for Conservation – is a 37,864 square foot conservation center designed by Lake Flato Architects that was completed in 2018. It is home to conservation labs and studios located above the museum's parking garage. It is not open to the public.
Здание Нэнси и Рича Киндера – в 2012 году музей выбрал архитектурное бюро Steven Holl Architects для проектирования расширения, предназначенного главным образом для размещения галерей искусства после 1900 года. Открытое для публики в ноябре 2020 года, новое здание занимает участок площадью два акра к северу от здания Каролина Висс Лоу. Новое здание MFAH примыкает к Скульптурному саду Лилли и Хью Роя Каллена и расширенной Школе искусств Гласселл. Помимо театра, ресторана, кафе и семи небольших садов и отражающих бассейнов, расположенных по периметру здания, здание Kinder площадью 237 213 квадратных футов увеличивает общую выставочную площадь музея почти на 75 процентов. В 2021 году The Bastion Collection открыла Le Jardinier, современный французский ресторан, предлагающий высококачественные сезонные ингредиенты от шеф-повара Алена Верзероли, а также итальянское кафе Leonelli.
Caroline Wiess Law Building – the original neo classical building was designed in phases by architect William Ward Watkin. The original Caroline Wiess Law building was constructed in 1924 and the east and west wing were added in 1926. The Robert Lee Blaffer Memorial Wing was designed by Kenneth Franzheim and opened to the public in 1953. The new construction included significant structural improvements to several existing galleries—most notably, air conditioning. Two subsequent additions, Cullinan Hall and the Brown Pavilion, designed by Ludwig Mies van der Rohe were built in 1958 and 1974 respectively. This section of the Museum of Fine Arts, Houston campus is the only Mies designed museum in the United States. The Caroline Wiess Law building provides an ideal space in which to exhibit temporary and traveling exhibitions, as well as installations of Islamic art, Pacific Island and Australian art, Asian art, Indonesian gold artworks, and Mesoamerican and sub Saharan African art. Of special interest is the Glassell Collection of African Gold, the largest assemblage of its kind in the world. Also the Nidhika and Pershant Mehta Arts of India, the only space in Houston for Indian Arts Culture. Audrey Jones Beck Building – Opened to the public in 2000, the Beck Building was designed by Rafael Moneo, a Pritzker Architecture Prize Laureate. The museum Trustees elected to name the building after Audrey Jones Beck in honor of the large collection she had donated to the museum several decades prior. In addition to traveling exhibitions and rotating temporary shows of photography, prints and drawings on the lower levels, the building displays the permanent collections of antiquities, European, and American art up to 1900, including the Impressionist. Nancy and Rich Kinder Building – In 2012, the museum selected Steven Holl Architects to design a expansion that primarily holds galleries for art after 1900. Opened to the public in November 2020, the new building occupies a two acre site north of the Caroline Wiess Law Building. The new MFAH building is adjacent to Lillie and Hugh Roy Cullen Sculpture Garden and an expanded Glassell School of Art. In addition to a theater, restaurant, café, and seven small gardens and reflecting pools inset along the building's perimeter, the 237,213 square foot Kinder building increases the museums overall exhibition space by nearly 75 percent. In 2021, The Bastion Collection opened Le Jardinier, a contemporary French restaurant emphasizing the highest quality, seasonal ingredients from Michelin starred chef Alain Verzeroli, and Italian inspired Cafe Leonelli. The Lillie and Hugh Roy Cullen Sculpture Garden – was designed by US born artist and landscape architect Isamu Noguchi and opened in 1986. The Lillie and Hugh Roy Cullen Sculpture Garden houses more than twenty five works by artists from the nineteenth, twentieth, and twenty first centuries from the MFAH and other major collections. Glassell School of Art– was founded in 1979, with an original building, now demolished, designed by architect S. I. Morris. In 2014, a new L shaped building was designed by Steven Holl for the school, which features a ramped amphitheater leading up to a walkable rooftop garden. The Sarah Campbell Blaffer Foundation Center for Conservation – is a 37,864 square foot conservation center designed by Lake Flato Architects that was completed in 2018. It is home to conservation labs and studios located above the museum's parking garage. It is not open to the public.
Скульптурный сад Лилли и Хью Роя Каллена – был спроектирован американским художником и ландшафтным архитектором Исаму Ногучи и открыт в 1986 году. В Скульптурном саду Лилли и Хью Роя Каллена представлено более двадцати пяти работ художников девятнадцатого, двадцатого и двадцать первого веков из коллекции MFAH и других крупных собраний.
Caroline Wiess Law Building – the original neo classical building was designed in phases by architect William Ward Watkin. The original Caroline Wiess Law building was constructed in 1924 and the east and west wing were added in 1926. The Robert Lee Blaffer Memorial Wing was designed by Kenneth Franzheim and opened to the public in 1953. The new construction included significant structural improvements to several existing galleries—most notably, air conditioning. Two subsequent additions, Cullinan Hall and the Brown Pavilion, designed by Ludwig Mies van der Rohe were built in 1958 and 1974 respectively. This section of the Museum of Fine Arts, Houston campus is the only Mies designed museum in the United States. The Caroline Wiess Law building provides an ideal space in which to exhibit temporary and traveling exhibitions, as well as installations of Islamic art, Pacific Island and Australian art, Asian art, Indonesian gold artworks, and Mesoamerican and sub Saharan African art. Of special interest is the Glassell Collection of African Gold, the largest assemblage of its kind in the world. Also the Nidhika and Pershant Mehta Arts of India, the only space in Houston for Indian Arts Culture. Audrey Jones Beck Building – Opened to the public in 2000, the Beck Building was designed by Rafael Moneo, a Pritzker Architecture Prize Laureate. The museum Trustees elected to name the building after Audrey Jones Beck in honor of the large collection she had donated to the museum several decades prior. In addition to traveling exhibitions and rotating temporary shows of photography, prints and drawings on the lower levels, the building displays the permanent collections of antiquities, European, and American art up to 1900, including the Impressionist. Nancy and Rich Kinder Building – In 2012, the museum selected Steven Holl Architects to design a expansion that primarily holds galleries for art after 1900. Opened to the public in November 2020, the new building occupies a two acre site north of the Caroline Wiess Law Building. The new MFAH building is adjacent to Lillie and Hugh Roy Cullen Sculpture Garden and an expanded Glassell School of Art. In addition to a theater, restaurant, café, and seven small gardens and reflecting pools inset along the building's perimeter, the 237,213 square foot Kinder building increases the museums overall exhibition space by nearly 75 percent. In 2021, The Bastion Collection opened Le Jardinier, a contemporary French restaurant emphasizing the highest quality, seasonal ingredients from Michelin starred chef Alain Verzeroli, and Italian inspired Cafe Leonelli. The Lillie and Hugh Roy Cullen Sculpture Garden – was designed by US born artist and landscape architect Isamu Noguchi and opened in 1986. The Lillie and Hugh Roy Cullen Sculpture Garden houses more than twenty five works by artists from the nineteenth, twentieth, and twenty first centuries from the MFAH and other major collections. Glassell School of Art– was founded in 1979, with an original building, now demolished, designed by architect S. I. Morris. In 2014, a new L shaped building was designed by Steven Holl for the school, which features a ramped amphitheater leading up to a walkable rooftop garden. The Sarah Campbell Blaffer Foundation Center for Conservation – is a 37,864 square foot conservation center designed by Lake Flato Architects that was completed in 2018. It is home to conservation labs and studios located above the museum's parking garage. It is not open to the public.
Школа искусств Гласселл – была основана в 1979 году, с оригинальным зданием, которое было впоследствии снесено и спроектировано архитектором С. И. Моррисом. В 2014 году для школы было спроектировано новое L-образное здание архитектором Стивеном Холлом, которое включает в себя амфитеатр с пандусом, ведущий к саду на крыше.
Caroline Wiess Law Building – the original neo classical building was designed in phases by architect William Ward Watkin. The original Caroline Wiess Law building was constructed in 1924 and the east and west wing were added in 1926. The Robert Lee Blaffer Memorial Wing was designed by Kenneth Franzheim and opened to the public in 1953. The new construction included significant structural improvements to several existing galleries—most notably, air conditioning. Two subsequent additions, Cullinan Hall and the Brown Pavilion, designed by Ludwig Mies van der Rohe were built in 1958 and 1974 respectively. This section of the Museum of Fine Arts, Houston campus is the only Mies designed museum in the United States. The Caroline Wiess Law building provides an ideal space in which to exhibit temporary and traveling exhibitions, as well as installations of Islamic art, Pacific Island and Australian art, Asian art, Indonesian gold artworks, and Mesoamerican and sub Saharan African art. Of special interest is the Glassell Collection of African Gold, the largest assemblage of its kind in the world. Also the Nidhika and Pershant Mehta Arts of India, the only space in Houston for Indian Arts Culture. Audrey Jones Beck Building – Opened to the public in 2000, the Beck Building was designed by Rafael Moneo, a Pritzker Architecture Prize Laureate. The museum Trustees elected to name the building after Audrey Jones Beck in honor of the large collection she had donated to the museum several decades prior. In addition to traveling exhibitions and rotating temporary shows of photography, prints and drawings on the lower levels, the building displays the permanent collections of antiquities, European, and American art up to 1900, including the Impressionist. Nancy and Rich Kinder Building – In 2012, the museum selected Steven Holl Architects to design a expansion that primarily holds galleries for art after 1900. Opened to the public in November 2020, the new building occupies a two acre site north of the Caroline Wiess Law Building. The new MFAH building is adjacent to Lillie and Hugh Roy Cullen Sculpture Garden and an expanded Glassell School of Art. In addition to a theater, restaurant, café, and seven small gardens and reflecting pools inset along the building's perimeter, the 237,213 square foot Kinder building increases the museums overall exhibition space by nearly 75 percent. In 2021, The Bastion Collection opened Le Jardinier, a contemporary French restaurant emphasizing the highest quality, seasonal ingredients from Michelin starred chef Alain Verzeroli, and Italian inspired Cafe Leonelli. The Lillie and Hugh Roy Cullen Sculpture Garden – was designed by US born artist and landscape architect Isamu Noguchi and opened in 1986. The Lillie and Hugh Roy Cullen Sculpture Garden houses more than twenty five works by artists from the nineteenth, twentieth, and twenty first centuries from the MFAH and other major collections. Glassell School of Art– was founded in 1979, with an original building, now demolished, designed by architect S. I. Morris. In 2014, a new L shaped building was designed by Steven Holl for the school, which features a ramped amphitheater leading up to a walkable rooftop garden. The Sarah Campbell Blaffer Foundation Center for Conservation – is a 37,864 square foot conservation center designed by Lake Flato Architects that was completed in 2018. It is home to conservation labs and studios located above the museum's parking garage. It is not open to the public.
Центр сохранения фонда Сары Кэмпбелл Блаффер – это центр сохранения площадью 37 864 квадратных фута, спроектированный Lake Flato Architects и завершенный в 2018 году. Здесь расположены консервационные лаборатории и студии, расположенные над парковкой музея. Центр не открыт для публики.
Caroline Wiess Law Building – the original neo classical building was designed in phases by architect William Ward Watkin. The original Caroline Wiess Law building was constructed in 1924 and the east and west wing were added in 1926. The Robert Lee Blaffer Memorial Wing was designed by Kenneth Franzheim and opened to the public in 1953. The new construction included significant structural improvements to several existing galleries—most notably, air conditioning. Two subsequent additions, Cullinan Hall and the Brown Pavilion, designed by Ludwig Mies van der Rohe were built in 1958 and 1974 respectively. This section of the Museum of Fine Arts, Houston campus is the only Mies designed museum in the United States. The Caroline Wiess Law building provides an ideal space in which to exhibit temporary and traveling exhibitions, as well as installations of Islamic art, Pacific Island and Australian art, Asian art, Indonesian gold artworks, and Mesoamerican and sub Saharan African art. Of special interest is the Glassell Collection of African Gold, the largest assemblage of its kind in the world. Also the Nidhika and Pershant Mehta Arts of India, the only space in Houston for Indian Arts Culture. Audrey Jones Beck Building – Opened to the public in 2000, the Beck Building was designed by Rafael Moneo, a Pritzker Architecture Prize Laureate. The museum Trustees elected to name the building after Audrey Jones Beck in honor of the large collection she had donated to the museum several decades prior. In addition to traveling exhibitions and rotating temporary shows of photography, prints and drawings on the lower levels, the building displays the permanent collections of antiquities, European, and American art up to 1900, including the Impressionist. Nancy and Rich Kinder Building – In 2012, the museum selected Steven Holl Architects to design a expansion that primarily holds galleries for art after 1900. Opened to the public in November 2020, the new building occupies a two acre site north of the Caroline Wiess Law Building. The new MFAH building is adjacent to Lillie and Hugh Roy Cullen Sculpture Garden and an expanded Glassell School of Art. In addition to a theater, restaurant, café, and seven small gardens and reflecting pools inset along the building's perimeter, the 237,213 square foot Kinder building increases the museums overall exhibition space by nearly 75 percent. In 2021, The Bastion Collection opened Le Jardinier, a contemporary French restaurant emphasizing the highest quality, seasonal ingredients from Michelin starred chef Alain Verzeroli, and Italian inspired Cafe Leonelli. The Lillie and Hugh Roy Cullen Sculpture Garden – was designed by US born artist and landscape architect Isamu Noguchi and opened in 1986. The Lillie and Hugh Roy Cullen Sculpture Garden houses more than twenty five works by artists from the nineteenth, twentieth, and twenty first centuries from the MFAH and other major collections. Glassell School of Art– was founded in 1979, with an original building, now demolished, designed by architect S. I. Morris. In 2014, a new L shaped building was designed by Steven Holl for the school, which features a ramped amphitheater leading up to a walkable rooftop garden. The Sarah Campbell Blaffer Foundation Center for Conservation – is a 37,864 square foot conservation center designed by Lake Flato Architects that was completed in 2018. It is home to conservation labs and studios located above the museum's parking garage. It is not open to the public.
Другие объекты
Коллекция и сады Байоу-Бенд – демонстрируют коллекцию американского декоративного искусства и мебели. Коллекция и сады Байоу-Бенд, бывший дом попечителя пожизненно Имы Хогг, были спроектированы архитектором Джоном Ф. Стаубом в 1927 году. Мисс Хогг передала собственность МФАХ в 1957 году, а в 1962 году – коллекцию картин, мебели, керамики, стекла, металла и текстиля. Байоу-Бенд был официально открыт для публики в 1966 году. Расположенный на территории формальных и лесных садов в пяти милях (8 км) от главного кампуса музея, этот исторический дом-музей представляет американское декоративное и изобразительное искусство с XVII по середину XIX века. Риенци – дом-музей MFAH, посвященный европейским декоративным искусствам, был подарен MFAH Кэрроллом Стерлингом Мастерсоном и Харрисом Мастерсоном III в 1991 году. Резиденция, названная в честь Риензи Джонстона, деда мистера Мастерсона, расположена в районе Хомуд Аддишн, в окружении района Ривер Оукс в Хьюстоне. Здание было спроектировано в 1952 году Джоном Ф. Стаубом, тем же архитектором, который спроектировал Байоу-Бенд. Завершенный в 1954 году, Риенци служил одновременно семейным домом и центром общественной и благотворительной деятельности Хьюстона с 1950-х до середины 1990-х годов. После смерти мистера Мастерсона МФАХ превратил дом в музей и впоследствии открыл его для публики в 1999 году.
Bayou Bend Collection and Gardens – features a collection of American decorative art and furniture. The Bayou Bend Collection and Gardens, former home of Life Trustee Ima Hogg, was designed by architect John F. Staub in 1927. Miss Hogg donated the property to the MFAH in 1957, followed, in 1962, by the donation of its collection of paintings, furniture, ceramics, glass, metals, and textiles. Bayou Bend was officially dedicated and opened to the public in 1966. Situated on of formal and woodland gardens five miles (8 km) from the main museum campus, the historic house museum documents American decorative and fine arts from the seventeenth to the mid nineteenth centuries. Rienzi – the MFAH house museum for European decorative arts, Rienzi was donated to the MFAH by Carroll Sterling Masterson and Harris Masterson III in 1991. The residence, named for Rienzi Johnston, Mr. Masterson's grandfather, is situated on in Homewood Addition, surrounded by Houston's River Oaks neighborhood. The structure was designed in 1952 by John F. Staub, the same architect who designed Bayou Bend. Completed in 1954, Rienzi served as both a family home and a center for Houston civic and philanthropic activity from the 1950s through the mid 1990s. After Mr. Masterson's death, the MFAH transformed the home into a museum and subsequently opened it to the public in 1999.
История
Музей изобразительных искусств, Хьюстон (MFAH) – старейший художественный музей в Техасе. В 1917 году участок земли для музея был освящен Лигой искусств публичных школ Хьюстона (впоследствии Лигой искусств Хьюстона) с намерением создать общественный художественный музей. Первое здание музея открылось для публики в 1924 году. Оригинальное здание, спроектированное архитектором Хьюстона Уильямом Уордом Уоткином в греческом неоклассическом стиле, стало первым художественным музеем, построенным в Техасе. Сегодня MFAH включает в себя три здания – Каролина Висс Лоу, Одри Джонс Бек и Нэнси и Рич Киндер – в которых размещены основные коллекции и временные выставки, два музея декоративно-прикладного искусства, студию изобразительного искусства Glassell, скульптурный сад, комплекс для консервации, хранения и архивов, а также административное здание со школой искусств Glassell Junior. До открытия постоянного здания музея в 1924 году Джордж М. Диксон завещал коллекции свои первые значимые произведения американской и европейской живописи маслом. В 1930-х годах жительница Хьюстона Аннет Финниган начала передавать антиквариат, а техасский филантроп Има Хогг подарила коллекцию авангардных европейских гравюр и рисунков. За подарком Имы Хогг последовали пожертвования ее коллекций индейского искусства юго-запада Америки и произведений Фредерика Ремингтона в 1940-х годах. В том же десятилетии, в 1944 году, было завещано 83 картины, скульптуры и работы на бумаге эпохи Возрождения от известных нью-йоркских коллекционеров Эдит и Перси Страус. В течение следующих двух десятилетий дары от видных семей и фондов Хьюстона были сосредоточены на европейском искусстве XV–XX веков, современной живописи и скульптуре, а также на африканском, океаническом и доколумбовом искусстве. Среди них – дары пожизненных попечителей Сары Кэмпбелл Блаффер, Доминик де Менил и Элис Н. Ханцсен, а также Фонда Сэмюэля Х. Кресса. Благодаря приобретениям музея, к 1970 году постоянная коллекция насчитывала 12 000 экспонатов. Коллекция MFAH почти удвоилась с 1970 по 1989 год благодаря продолжающимся пожертвованиям произведений искусства, а также появлению финансирования для пополнения коллекции и корпоративных пожертвований. В 1974 году Джон и Одри Джонс Бек предоставили на долгосрочную аренду пятьдесят шедевров импрессионизма и постимпрессионизма, дополнив уже сильную коллекцию музея в этой области. Эта коллекция так и не покинула MFAH, официально войдя в ее состав в 1998 году в качестве подарка пожизненного попечителя Одри Джонс Бек. Коллекция постоянно экспонируется в здании, носящем ее имя. После финансирования Фондом Каллена первого фонда пополнения коллекции MFAH в 1970 году, Фонд Брауна, Inc., в 1976 году запустил программу грантов, которая действовала в течение двадцати лет, привлекая средства как для пополнения коллекции, так и для операционных расходов в значительных суммах и стимулируя дополнительную поддержку со стороны общества. Также в 1976 году была создана коллекция фотографий благодаря первому корпоративному гранту от Target Stores. Сегодня музей занимает шестое место по величине в стране. В 2001 году MFAH основал Международный центр искусств Америки (ICAA) – ведущий исследовательский институт латиноамериканского и латиноамериканского искусства XX века. ICAA стал пионером в сборе, экспонировании и исследовании разнообразного художественного творчества латиноамериканских и латиноамериканских сообществ, включая художников из Мексики, Центральной и Южной Америки, Карибского бассейна, а также художников латиноамериканского происхождения, живущих и работающих в Соединенных Штатах. Благодаря ICAA, MFAH внес значительный вклад в повышение признания и понимания латиноамериканского и латиноамериканского изобразительного искусства в Соединенных Штатах и за рубежом. Музей изобразительных искусств, Хьюстон, известен разнообразием и инклюзивностью своей коллекции и выставок. Он стремится продвигать произведения искусства, которые объединяют людей и с которыми они могут соотнести себя и понять их, несмотря на различия. В контексте афроамериканского искусства в коллекции музея представлено множество работ, посвященных истории, наследию и образу жизни этих художников и их сообщества. Большинство этих работ входит в коллекцию современного и новейшего искусства и затрагивают многие темы, важные для афроамериканского сообщества, такие как расовая дискриминация, гражданские права и расовая несправедливость, а также поколенческие последствия рабства и расизма. В 2020 году музей представил выставку «Душа нации: искусство в эпоху Черной власти», на которой были представлены работы многих афроамериканских художников, отражающие революционные достижения афроамериканского сообщества и формирование его идентичности в 1960-х и 1980-х годах. Работы, представленные в галереях, такие как «Иудифь и Олоферн» Кехинде Уайли и «Избиение младенцев» (Они могут быть виновны в чем-то) Кары Уокер, рассказывают об аналогичных темах угнетения и его проявлениях, а также о влиянии на афроамериканское сообщество с точки зрения нескольких поколений. В различных галереях Хьюстона часто выставляются работы местных художников, заказанные или нанятых музеем. В частности, это делается в районах с более высокой долей афроамериканского населения. Эти галереи обычно создаются для продвижения художественного и исторического образования среди членов афроамериканского сообщества с объяснениями от самих художников. Независимо от содержания и целевой аудитории, все желающие могут присоединиться и узнать что-то новое.
The Museum of Fine Arts, Houston (MFAH) is the oldest art museum in Texas. In 1917, the museum site was dedicated by the Houston Public School Art League (later the Houston Art League) with the intention of becoming a public art museum. The first museum building was opened to the public in 1924. The original building, designed by Houston architect William Ward Watkin in the Greek Neoclassical style, is the first art museum built in Texas. Today the MFAH encompasses three buildings, the Caroline Wiess Law, Audrey Jones Beck, and Nancy and Rich Kinder buildings, that house its primary collections and temporary exhibitions; two decorative arts house museums; The Glassell studio art school; a sculpture garden; a facility for conservation, storage and archives; and an administrative building with the Glassell Junior school of Art. Prior to the opening of the permanent museum building in 1924, George M. Dickson bequeathed to the collection its first important American and European oil paintings. In the 1930s, Houstonian Annette Finnigan began her donation of antiquities and Texas philanthropist Ima Hogg gave her collection of avant garde European prints and drawings. Ima Hogg's gift was followed by the subsequent donations of her Southwest Native American and Frederic Remington collections during the 1940s. The same decade witnessed the 1944 bequest of eighty three Renaissance paintings, sculptures and works on paper from renowned New York collectors Edith and Percy Straus. Over the next two decades, gifts from prominent Houston families and foundations concentrated on European art from the fifteenth to twentieth centuries, contemporary painting and sculpture, and African, Oceanic and Pre Columbian art. Among these are the gifts of Life Trustees Sarah Campbell Blaffer, Dominique de Menil and Alice N. Hanzsen as well as that of the Samuel H. Kress Foundation. Augmented by museum purchases, the permanent collection numbered 12,000 objects by 1970. The MFAH collection nearly doubled from 1970 to 1989, fueled by continued donations of art along with the advent of both accession endowment funding and corporate giving. In 1974, John and Audrey Jones Beck placed on long term loan fifty Impressionist and Post Impressionist masterpieces, augmenting the museum's already strong Impressionist collection. This collection would never leave the MFAH, formally entering its holdings in 1998 as a gift of Life Trustee Audrey Jones Beck. The collection is permanently displayed in the building that bears her name. On the heels of the Cullen Foundation's funding of the MFAH's first accessions endowment in 1970, the Brown Foundation, Inc., launched a challenge grant in 1976 that would stay in effect for twenty years raising funds for both accessions and operational costs in landmark amounts and providing incentive for additional community support. Also in 1976, the photography collection was established with Target Stores’ first corporate grant to the museum. Today the museum is the sixth largest in the country. In 2001, the MFAH, established the International Center for the Arts of the Americas (ICAA), the leading research institute for 20th century Latin American and Latino art. The ICAA has been a pioneer in collecting, exhibiting and researching the diverse artistic production of Latin American and Latinx communities, including artists from Mexico, Central and South America, the Caribbean, and artists of Latin American descent living and working in the United States. Through the ICAA, the MFAH brought a long term transformation in the appreciation and understanding of Latin American and Latinx visual arts in the United States and abroad. The Museum of Fine Arts, Houston is known for the diversity and inclusivity of their collection and exhibitions. They tend to promote more art pieces that bring people together and that they can relate to and understand, despite their differences. In the context of African American art, they have numerous pieces dedicated to telling the stories, heritage, and lifestyles of these artists and their community within their collection. The majority of these works are part of their Modern and Contemporary Art collection and engage in many themes prominent to the African American community such as racial discrimination, civil rights and racial injustice, and the generational impacts of slavery and racism. In 2020, the museum presented the exhibition, Soul of a Nation: Art in the Age of Black Power, which featured the works of numerous black artists expressing the revolutionary achievements of the black community and establishing their identity in the 1960s and 1980s. Work currently displayed in the galleries, such as Kehinde Wiley’s Judith and Holofernes and Kara Walker’s Slaughter of the Innocents (They Might Be Guilty of Something), educate on similar themes of oppression and its layers, as well as the impact on the African American community from multiple generations’ perspective. On many occasions, local artists commissioned or employed by the museum will showcase their work outside of the museum in various gallery locations in Houston. Specifically, these are conducted in areas with higher rates of African American residency. These galleries are typically established to promote the artistic and historical education to members of the Black community with explanations from the artists themselves. Regardless of the contents and target audience, all are welcome to join and learn.
Коллекция
Собрание музея насчитывает около 70 000 произведений искусства, большая часть которых представлена итальянской живописью эпохи Возрождения, французским импрессионизмом, фотографией, американским и европейским декоративно-прикладным искусством, африканским и доколумбовым золотом, американским искусством, а также европейской и американской живописью и скульптурой, созданной после 1945 года. В коллекцию также входят произведения афроамериканского искусства и техасской живописи. Музей активно пополняет собрание современным и актуальным латиноамериканским искусством, включая работы всех художников латиноамериканского происхождения из Техаса, а также произведениями азиатского и исламского искусства, что способствует увеличению разнообразия коллекции. Благодаря своей энциклопедической природе, музей входит в число десяти самых посещаемых художественных музеев страны. С 2019 года в МФАХ находится в долгосрочной аренде коллекция Хоссейна Афшара – одна из наиболее значимых частных коллекций персидского искусства в мире. Музей организовал две выставки из этой коллекции.
With approximately 70,000 works of art, the largest part of the museum's collection lie in the areas of Italian Renaissance painting, French Impressionism, photography, American and European decorative arts, African and pre Columbian gold, American art, and post 1945 European and American painting and sculpture. Other facets of the collection include African American art and Texas painting. Emerging collection interests of modern and contemporary Latin American art, including the artwork of all Texas Latino artists, Asian art, and Islamic art continue to strengthen the museum's collection diversity. As a result of its encyclopedic collection, the museum ranks nationally among the top ten art museums in attendance. Since 2019 Hossein Afshar Collection, one of the world's most distinguished private collections of Persian art, is on loan to MFAH. The museum has organised two exhibitions of this collection.
Требование о реституции
В 2021 году Фонд "Мужчины-памятники" объявил об обнаружении картины из коллекции Макса Эмдена в Музее изящных искусств в Хьюстоне (MFAH). По данным фонда, картина Бернардо Беллотто под названием «Рыночная площадь в Пирне» имела неточно установленное происхождение, скрывавшее историю картины. После того, как MFAH отказался вернуть картину, наследники Эмдена подали иск в Южный округ Техаса. Музей, отклонявший претензии наследников Эмдена с 2007 года, не согласился с тем, что картина была продана принудительно или под давлением в результате нацистских преследований. Директор MFAH Гэри Тинтероу заявил, что Эмден продал картину добровольно, и после консультаций с экспертами по провенансу и юристами, «мы пришли к выводу, что обладаем законным правом собственности». Музей также утверждает, что картина Беллотто – одна из нескольких почти идентичных версий, созданных художником, и была приобретена Сэмюэлем Х. Крессом в 1952 году, а затем передана в дар музею в 1961 году.
In 2021 the Monuments Men Foundation announced that it had located a painting from the collection of Max Emden in the Museum of Fine Arts, Houston (MFAH). According to the foundation, the painting by Bernardo Bellotto, called The Marketplace at Pirna, had an inaccurate provenance that concealed the history of the painting. After the MFAH refused to restitute the painting the Emden heirs filed a lawsuit in the Southern District of Texas. The museum, which had rejected the Emden heirs’ claims since 2007, disagreed with the characterization of the painting as having been subject to a forced or duress sale due to Nazi persecution. MFAH director Gary Tinterow stated that Emden sold the painting voluntarily and, that after consulting provenance and legal experts, “we concluded that we had good title.” The museum also states that the Bellotto is one of multiple nearly identical versions by the artist, and was bought by Samuel H. Kress in 1952 and later donated to the museum in 1961.
Управление
Филипп де Монтебелло руководил музеем с 1969 по 1974 год. За 28-летний период работы Питера Марцио с 1982 по 2010 год ежегодная посещаемость Музея изобразительных искусств выросла примерно с 300 000 до двух миллионов человек; его операционный бюджет увеличился с 5 до 52 миллионов долларов, а пожертвования достигли 1 миллиарда долларов. В 2010 году Марцио был шестым по уровню оплаты исполнительным директором благотворительной организации в стране, получив в 2008 году компенсацию в размере 1 054 939 долларов. Мари Кармен Рамирес – куратор пуэрториканского искусства и куратор латиноамериканского искусства имени Wortham в Музее изобразительных искусств Хьюстона.
Philippe de Montebello directed the museum from 1969 to 1974. During the 28 year tenure of Peter Marzio between 1982 and 2010, the Museum of Fine Arts’ yearly attendance increased to roughly two million from 300,000; its operating budget climbed to $52 million from $5 million, and its endowment reached $1 billion In 2010, Marzio was the sixth highest paid charity chief executive in the country, with compensation in 2008 of $1,054,939. Mari Carmen Ramírez is a Puerto Rican Art curator and the Wortham Curator of Latin American Art at the Museum of Fine Arts, Houston.