Princeton University Art Museum
Established | 1882 |
---|---|
Type | Nassau Street, Spring Street Parking Garage |
Website | artmuseum.princeton.edu |
McCormick Hall (1923) | |
Venetian Gothic | |
Part of | Princeton Historic District (ID75001143[2]) |
Designated CP | 27 June 1975 |
The Princeton University Art Museum (PUAM) is the Princeton University gallery of art, located in Princeton, New Jersey. With a collecting history that began in 1755, the museum was formally established in 1882, and now houses over 113,000 works of art ranging from antiquity to the contemporary period. The Princeton University Art Museum dedicates itself to supporting and enhancing the university's goals of teaching, research, and service in fields of art and culture, as well as to serving regional communities and visitors from around the world. Its collections concentrate on the Mediterranean region, Western Europe, Asia, the United States, and Latin America.
The museum has a large collection of Greek and Roman antiquities, including ceramics, marbles, bronzes, and Roman mosaics from Princeton University's excavations in
Admission is free and the museum is open Tuesday, Wednesday, Friday, and Saturday, 10:00 am to 5:00 pm, Thursday, 10:00 am to 9:00 pm, and Sunday 12:00 to 5:00 pm.[3]
A new building for the museum will be constructed on the same site over the course of three years starting in 2021 with David Adjaye serving as architect.[4] Demolition of the former facility began in June 2021; construction of the 145,000 square feet facility began late that year. Reopening is currently projected for late 2024.
The Princeton University Art Museum is part of the Monuments Men and Women Museum Network, launched in 2021 by the Monuments Men Foundation for the Preservation of Art.[5] Several "monuments men" are alumni of Princeton University.
History
Beginnings
The first art work owned and displayed by the College of New Jersey (renamed Princeton University in 1896) was a full-length portrait of Jonathan Belcher, the governor of the province of New Jersey who had promoted the establishment of the college. The portrait was a donation from Belcher himself, given shortly before the college moved in 1756 to the newly built Nassau Hall. It was joined by a portrait of King George II, who had issued the letters patent establishing the college. The two portraits hung in the central prayer hall, and were displayed alongside various antiquities and objects of natural history. The two paintings were destroyed during the 1777 Battle of Princeton and further objects were lost in the 1802 Nassau Hall fire, but the college continued its commitment to collecting and teaching from works of art and historical note.[6]
Establishment
The creation of the Art Museum in a more formal sense took place under the leadership of James McCosh, who served as president of the College of New Jersey from 1868–88. The Scottish McCosh brought with him from Europe new progressive academic disciplines, including the history of art. By 1882, McCosh charged William Cowper Prime, a Princeton alumnus and founding trustee of the Metropolitan Museum of Art, and George B. McClellan, the Civil War general and then governor of New Jersey, with creating a curriculum in the subject. They argued: "The foundation of any system of education in Historic Art must obviously be in object study. A museum of art objects is so necessary to the system that without it we are of [the] opinion it would be of small utility to introduce the proposed department.” The intention was to go beyond the fields of art and classics to include, “many other branches of the collegiate course.” They anticipated, “large future growth,” as the college could “look with confidence to her sons, in all parts of the world,” for future donations.[6]
Allan Marquand (1882–1922)
The museum, and what is now the Department of Art and Archaeology, were formally created in 1882, with Allan Marquand, of the Princeton Class of 1874, serving as the inaugural lecturer in the new department and director of the museum, a position he would hold until his retirement in 1922. Marquand was previously instructor in Latin and logic at the college and was the son of Henry Gurdon Marquand, a major benefactor of the college and one of the founders of the Metropolitan Museum of Art. The collections of the museum were initially held in Nassau Hall, along with the growing natural history collection of professor Arnold Henry Guyot, part of which is still on display in Guyot Hall. A new purpose-built fireproof Romanesque Revival Museum was designed by A. Page Brown and completed in 1890 on the site of the current museum.
On completion of the building the museum received the Trumball-Prime collection of pottery and porcelain from William Prime and his wife. Early additions included the purchase of a large collection of Cypriot pottery from the Metropolitan Museum in 1890, and purchases of Etruscan, Roman, and South Italian pottery. Marquand established an endowment from his own resources to enable further purchases and it was significantly augmented by a donation from Edward Harkness.[8]
Growth
Frank Jewett Mather Jr. (1922–46)
As Marquand had before him, Mather augmented the museum's collections through the use of his personal fortune, with contributions ranging from Classical and Pre-Columbian antiquities, to illuminated manuscripts, and what became one of the finest collections of American drawings in the country. Major gifts during the 1930s included a collection of more than 40 Italian paintings from Henry White Cannon, Jr., of the Class of 1910, and more than 500 snuff bottles, still one of the finest such collections in the country, from Colonel James A. Blair, Class of 1903. The decade also saw significant collections of Chinese and Japanese art added to support the courses of George Rowley, the first in those fields in an American university. The World War II years ushered in the first classes in American art.
Notable exhibitions during Mather's tenure included one of works by
Ernest DeWald (1946–60)
Mather was succeeded by Ernest DeWald, a graduate school alumnus of the Class of 1946, one of the
Patrick Joseph Kelleher (1960–73)
Patrick Joseph Kelleher, Class of 1947 and another Monuments Man, succeeded DeWald as director in 1960. He spearheaded the construction of a new home for the museum, made possible by the university's landmark $53 million
Perhaps the most visible art on the campus is the
Kelleher's directorship also saw an increasing focus on photography as an important element of the museum's collections. David Hunter McAlpin, Class of 1920, gave a major collection of photographs to the museum in 1971 as well as endowing a fund for further purchases and a professorship, the first endowed chair in the history of photography in the country. That professorship was occupied by Peter Bunnell, who would go on to succeed Kelleher as director in 1973.[13]
Further expansion
Peter Bunnell served as director until 1978, training a generation of leading scholars and curators of photography, and giving Princeton a preeminent place in the field with a collection in excess of 27,000 photographs, and significant archives of photographers including
Under Susan M. Taylor's directorship in the first decade of the 21st century, the museum established its first endowed curatorships. The current director, James Steward, has leadership over a collection of more than 112,000 objects, supplemented by notable collections on long-term loan, including the Impressionist and Post-Impressionist works of the Henry and Rose Pearlman Foundation, modern art from the Sonnabend Collection, and perhaps the finest collection of paintings by Jean-Michel Basquiat, on loan from Herbert Schorr, Graduate School Class of 1963, and his wife, Lenore.[14]
In 2015 the museum was listed by Fodor's on its list of the top 15 best museums in the United States that is located in a small-town (Princeton, New Jersey) and described as "one of the best university art museums in the world."[15]
In 2020, architect David Adjaye was commissioned to design 144,000 square feet (13,400 square metres) extension, which is set to double the museum in size.[16] The three-story museum will include nine connected pavilions that include visible storage space and spots where artworks can be inset into floors and walls.[17] In addition to the museum galleries, the building will incorporate a home for the university's department of art and archaeology and a triple-height grand hall, numerous classroom spaces, seminar rooms, creativity labs and a rooftop café.[16] Construction on the museum began in summer 2021, and is projected to finish by spring 2025.[18]
In anticipation of these disruptions, in September 2019 the museum opened Art@Bainbridge in historic Bainbridge House as a gallery space for experimental work. Two months later it opened a satellite museum store on Palmer Square in downtown Princeton.
Collections
African art
The collection of African art is designed to reveal the immense diversity of artistic work across the continent. Objects are on display from west, central, and South Africa, ranging from royal regalia and objects of prestige, to sculptures marking rites of passage, to those intended to facilitate interaction with spiritual entities.
The first bequest to the Museum of African art was made in 1953 by Mrs. Donald B. Doyle, in honor of her husband. That collection was accumulated before 1923 in what is now the Democratic Republic of the Congo, and includes a distinctively shaped Kuba box and a rare double caryatid headrest from the Chokwe people. More recent gifts have been made by Perry E.H. Smith, including a Chokwe chair, and by H. Kelly Rollings, among whose gifts is an emblem of the Leopard Society, a notable example of an accumulative object from the Cross River region. A 1998 bequest of John B. Elliot includes many objects of daily use and adornment, as well as Akan gold pieces, from a linguist's staff to a chief's bracelet. In 2003, a Yoruba stool was acquired, considered a sculptural masterpiece that served as the focus of devotion to the god Esu.
The African art collection is small in comparison to others in the museum, though it is an area of growing interest.[20]
Media related to African art in the Princeton University Art Museum at Wikimedia Commons
American art
The university received its first pieces of American art in the 1750s, but only started collecting in earnest under the directorship of Frank Jewett Mather Jr. (1922–46). Few museums accorded significance to American art at the time, allowing Princeton to amass a collection that is among the finest of any academic museum. The collection is particularly strong in painting and sculpture, greatly aided by the large number of portraits of figures affiliated with the university. The museum is strong in the area of landscape painting, especially from the Hudson River School.
The Boudinot Collection of primarily 18th century fine and decorative art were formerly on display in period rooms created in the museum facility constructed in the 1960s, and subsequently at the nearby Morven Museum and Garden, whose original owners, the Stockton family, were relatives of the Boudinots. Alumnus Edward Duff Balken's donation of Folk art led to a substantial collection in that area. New acquisitions, enabled by dedicated endowed funds, are focused on areas where the collection has been less strong, notably still life, genre painting, works by native makers, and African American art.[22]
Media related to American art in the Princeton University Art Museum at Wikimedia Commons
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John Singleton Copley, Elkanah Watson, 1782.[23] The ship in the background represents the departure to America of the acknowledgement of the independence of the United States.[24]
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William Merritt Chase, Landscape: Shinnecock, Long Island, ca. 1896
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Charles Rohlfs, Tall Back Chair, ca. 1898–99[26]
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Thomas Eakins, Portrait of Charles Percival Buck, 1904
Ancient, Byzantine, and Islamic art
Ancient art has played a central role in the museum's collection since its beginning. The first major addition to the collection included many Etruscan vases, as well as those from Egypt, Greece, and Rome. There are now more than 5,000 objects in the collection, documenting the early civilizations of Mesopotamia, Iran, Asia Minor, and the Levant. The great diversity of artifacts also covers the various eras of ancient Egypt, from pottery to stone reliefs, amulets, wall paintings, bronze statuettes, and mummies. The Greek collection includes significant works of both black-figure and red-figure pottery, including the vase used to identify the Princeton Painter. It spans the broad range of artistic work, from Archaic bronze statuettes to terracotta figurines, jewelry to funerary reliefs, pottery from Rhodes, Cyprus, and Corinth.
Ancient Italy is in particular well represented in the collection, from the Etruscan vases, metalwork, and sculptures to a great breadth of Roman antiquities. The Roman collection includes portraits, sculptures,
Byzantine and Islamic art are an equally esteemed focus of the collection, with icons and jewelry from Constantinople sharing a gallery with pottery, metalwork, and glazed tiles from Egypt, Syria, and Iran.
In addition to works on display in the museum, a study gallery with hundreds of additional works is open to students and visitors.[28]
Media related to Ancient, Byzantine, and Islamic art in the Princeton University Art Museum at Wikimedia Commons
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Greek,Hellenistic, Statuette of Hermaphrodite, 2nd century B.C.
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Roman,New Comedy, 1st century B.C. – early 1st century A.D.
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Greek, Late , second half of the 15th century
Pre-Columbian art
The collection of
The collection of Pre-Columbian works began in the 19th century through the efforts of the Reverend Sheldon Jackson, an 1855 graduate of the Princeton Theological Seminary. He donated a collection of Native American ethnographic objects to the Seminary, which transferred them to the university's E. M. Museum of Geology and Archaeology, then in 1909 to the Guyot Hall Museum, which, after its closure in 2000, gave them to the Art Museum. As with the art of Africa and Oceania, Indigenous American art was not a focus of the museum's historic collecting. Nonetheless, objects were steadily donated during the early decades of the museum, including in the Trumbull-Prime Collection and the donations of Frank Jewett Mather Jr. The collection of ancient American art received its proper attention following the 1967 appointment of Gillett G. Griffin as faculty curator, a position he held until 2004. The current collection is largely the result of his efforts, both through his own collections and his influence on donors.[29]
Media related to Art of the Ancient Americas in the Princeton University Art Museum at Wikimedia Commons
Asian art
The collection of Asian art began with the foundation of the museum, with the primary focus for the early decades being Japanese art. Major collections of Chinese art were incorporated in the 1930s and 40s, including the snuff bottle collection of James A. Blair and paintings from Dubois Schanck Morris. The late 1950s brought significant additions of Chinese ritual bronzes and archaeological artifacts from J. Lionberger Davis, Class of 1900, as well as acquisitions from the Chester Dale and Dolly Carter Collection.
The primary strengths of the museum's collection are in Chinese and Japanese art, including
Media related to Asian art in the Princeton University Art Museum at Wikimedia Commons
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Ni Zan(倪瓚), Twin Trees by the South Bank (Annan shuangshu), 1353
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Hon'ami Kōetsu, Selections from the New Collection of Japanese Poems from Ancient and Modern Times (Shinkokin wakashū) with Printed Designs of Plants and Animals, before 1615
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Japanese, Messenger of Love (Fumitsukai byōbu-e), 1624 - 1644
Campus Collections
The Campus Collections comprise the multitude of paintings, sculptures, memorials, and monuments significant to the university's history and traditions. Central to the collection are the Princeton Portraits, numbering more than 600 paintings and sculptures which depict figures prominent in the history of the university. The portraits span the breadth of American history, including the landmark portrait, George Washington at the Battle of Princeton, by Charles Willson Peale. Washington himself provided the funds for the work. Another highlight is the series of paintings by renowned sculpture and natural history artist Benjamin Waterhouse Hawkins which depict dinosaurs and other prehistoric fauna. The series was commissioned by Princeton president James McCosh in 1876 as a progressive response to Charles Darwin's theories.
The collection is also home to the celebrated Putnam Collection, which comprises 22 works by master artists of the 20th and 21st centuries. The collection was the result of an anonymous donation in honor of a Princeton alumnus who died in World War II. It is commonly regarded as one of the greatest collections of public art, providing a plein-air lesson in art history. Among the highlights of the collection are Oval with Points by Henry Moore and Five Disks: One Empty by Alexander Calder,[34] whose father, A. Stirling Calder, had previously created a statue of Saint George and the Dragon on Princeton's Henry Hall.[35] Calder's work was responsible for an accident during its installation where two men were killed after the sculpture was dropped on them due to a crane collapse. Another highlight of the Putnam collection is Pablo Picasso's Head of a Woman, which was designed by Picasso in 1962, though assembled by Carl Nesjar in 1971.[36]
Media related to Campus Collections of Princeton University at Wikimedia Commons
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Caspar Netscher, William III, King of England, Prince of Orange and Nassau (1650–1702), ca. 1672–89, after whom the name Nassau Hall and the color orange to represent Princeton were chosen[37]
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After Sir Godfrey Kneller, George II, King of England (1683-1760), ca. 1727–32, the monarch who issued the letters patent establishing the College of New Jersey, now Princeton University[38]
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Benjamin Waterhouse Hawkins, Pleistocene Fauna of Asia, 1876, part of the series commissioned by James McCosh in response to the new theory of evolution
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John Singer Sargent, Elizabeth Allen Marquand, 1887, mother of the museum's first director, Allan Marquand[39]
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Jacob Adolphus Holzer, Homeric Story, 1894, center detail of the mosaic in Alexander Hall, depicting Homer seated at center with Mentor, Helen, and Paris on the right and Telemachus, Penelope, Odysseus, and Achilles on the left
European art
The collection of
The collection of
Notable in the early modern collection are the rare thirteenth- and fourteenth-century Italian
The nineteenth-century collection consists of works from the Age of Revolution and Industrial Age which trace academic traditions and preparatory processes. Themes represented include the rise of Landscape painting, the human figure, the collecting of small sculpture, and the successive cultural and stylistic waves—revival styles, Orientalism, Impressionism, and the Arts and Crafts movement.[41] Among the major artists represented are Jean-Léon Gérôme, Gustave Courbet, Claude Monet, and Édouard Manet.[42]
Early-twentieth-century modernist movements are represented by works by Odilon Redon, Gabriele Münter, and Russian master Ilya Repin, whose paintings are rare outside his homeland. The museum continues to expand its collection of twentieth-century art, allowing visitors and students to assess the European contribution to Modernism.[41]
The
Media related to European art in the Princeton University Art Museum at Wikimedia Commons
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Guido da Siena, Annunciation, 1262-1279[44]
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Abraham Bloemaert, The Four Evangelists, ca. 1612-1615[45]
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Angelica Kauffmann, Portrait of Sarah Harrop(Mrs. Bates) as a Muse, ca. 1780–81
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Francisco de Goya, Monk Talking to an Old Woman, 1824-25[46]
Modern and contemporary art
The Department of Modern and Contemporary Art encompasses works created throughout the world between 1870 and the present, including painting, sculpture, video, and performance. The systematic collection of modern works began in the late 1940s, with many key pieces received as alumni gifts or bequests. The collection includes an important group of late landscapes by
One of the most important works in the museum's postwar collection is Willem de Kooning's Black Friday, from his breakthrough exhibition in 1948. Other artists represented in the strong collection of postwar art include Romare Bearden, Lee Bontecou, Dan Flavin, Yayoi Kusama, Sol LeWitt, Morris Louis, Ad Reinhardt, Martha Rosler, David Smith, Robert Smithson, Frank Stella, and Hannah Wilke, among others. The museum's holding in Pop art are particularly strong, including works by George Segal, Tom Wesselmann, and Andy Warhol. The museum renewed its commitment to contemporary art in 2008, with priority given to works that make significant contributions to the field and exemplify the pressing cultural, social, and philosophical issues of their day. Recent acquisitions include artwork by Doug Aitken, Jennifer Allora & Guillermo Calzadilla, Polly Apfelbaum, Sanford Biggers, Ellen Gallagher, Wade Guyton, Matthew Day Jackson, Wangechi Mutu, and Javier Téllez.[49]
Media related to Modern art in the Princeton University Art Museum at Wikimedia Commons
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Édouard Manet, Gypsy with a Cigarette, before 1883[50]
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Paul Gauguin, Figures in an interior, ca. 1890
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Odilon Redon, Apparition, 1905–10
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Robert Henri, Mildred Clarke von Kienbusch, 1914
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George Bellows, California Headlands, 1917
Photography
Princeton's photography collection is one of the leading museum collections in the United States. The start of the collection was the 1949 gift by retired director Frank Jewett Mather Jr. of
In 1972, Peter C. Bunnell, later museum director, was hired as the David H. McAlpin Professor of the History of Photography and Modern Art, making Princeton the first American university, and one of only a few worldwide, where photography was taught within the art history curriculum. In his nearly thirty years at Princeton, he went on to build one of the foremost graduate programs in the field and to build one of the most notable teaching collections of historical photographs. The construction of the McAlpin Study Center during the expansion of the museum in 1989 created a space for seminars to be taught using original works from the collection.
The collection includes work covering all major movements and historical trends. Particular strengths include nineteenth-century British photography, French photographs of the 1850s-1870s, and Japanese and American postwar photography. The museum has major holdings in
Media related to Photographs in the Princeton University Art Museum at Wikimedia Commons
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Gustave Le Gray, Brig on the Water, 1856[54]
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Lewis W. Hine, Adolescent Girl, a Spinner, in a Carolina Cotton Mill, 1908[56]
Prints and drawings
The collection of Prints and Drawings includes 15,000 works on paper as well as a small number of Illuminated manuscripts, by artists from the fourteenth century to the present. Notable areas of strength include old master and nineteenth-century European prints, Italian and Spanish Renaissance and Baroque drawings, eighteenth- and nineteenth-century American and British drawings, watercolors, and sketchbooks, a selection of Indian and Persian miniature painting, and a large collection of modern and contemporary Latin American works on paper.
The print collection began with the large bequest of
Professor Felton Gibbons, following Hall's example, endowed a fund for acquiring works on paper that has allowed gaps in the collection to be filled, including Northern and Central European drawings, and to add to other areas of significance, such as
Media related to Prints in the Princeton University Art Museum at Wikimedia Commons
Media related to Drawings in the Princeton University Art Museum at Wikimedia Commons
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Rembrandt van Rijn, Christ Crucified between the Two Thieves (The Three Crosses), 1653–1655, drypoint and burin, fourth of five states plate[60]
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Paul Gauguin, The Universe is Created, from the Noa Noa suite, 1893–4, woodcut printed in black on thin rose-colored wove paper sheet trimmed to block[61]
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Henri de Toulouse-Lautrec, The Jockey, 1899, color lithograph
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Michelangelo Buonarroti, Bust of a Youth and Caricature Head of an Old Man, Both in Left Profile, ca. 1530, black chalk on tan laid paper
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Winslow Homer, Eastern Point Light, 1880, watercolor over graphite on wove paper (cream-colored wove paper)
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Mary Cassatt, Young Woman in a Black and Green Bonnet, 1890, pastel on tan wove paper[64]
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Edward Hopper, Universalist Church, 1926[65]
Private Collections on long-term loan
Henry and Rose Pearlman Collection
Henry Pearlman started his collection with the 1945 purchase, for $825, of Chaïm Soutine's View of Céret, seen in the window of the Parke-Bernet auction house while walking down Park Avenue. Pearlman had made his fortune through founding the Eastern Cold Storage Insulation Corporation in 1919 and knew little of Soutine or contemporary art at the time he started collecting.[67] He would go on to amass more than fifty masterworks of late 19th- to mid-20th-century avant-garde European art, one of the most distinguished private collections of modern art in the United States. Among the most notable works are Paul Cézanne's Mont Sainte-Victoire, Vincent van Gogh's Tarascon Stagecoach, and Amedeo Modigliani's portrait of Jean Cocteau.[68]
The heart of the collection is the finest and best preserved collection of
The collection has been much exhibited, including an international tour in 2014-16 which included the
Media related to the Henry and Rose Pearlman Collection at Wikimedia Commons
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Paul Cézanne, Three Pears, ca. 1888-90[72]
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Vincent van Gogh, The Stagecoach to Tarascon, 1888[73]
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Edgar Degas, After the Bath, Woman Drying Herself, 1890s[74]
Looted art controversies
,On March 22 2023, the Office of the Manhattan District Attorney was authorized to seize from the museum eleven items suspected of having been stolen and smuggled before the university acquired them.[76] In 2024, 16 additional artifacts linked to alleged art smuggler and Princeton alumnus Edoardo Almagià were identified in the museum collection.[77]
References
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- ^ "Visit". Princeton University Art Museum.
- ^ Ting, Isabel (September 18, 2018). "Architect selected for new University Art Museum". Daily Princetonian.
- ^ "Monuments Men Foundation I World War II I Art Preservation I Museum Network Connections". MonumentsMenFdn.
- ^ a b Steward & p. ix.
- ^ Steward, p. 184.
- ^ Steward & p. x.
- ^ Steward & p. x-xii.
- ^ Steward & p. xii-xiii.
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- ^ Steward & p. xiii-xiv.
- ^ Steward & p. xv-xvii.
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- ^ a b Nancy Kenney (September 23, 2020), Stone, bronze, glass, pathways: Princeton University Art Museum unveils David Adjaye's design The Art Newspaper.
- ^ Alex Greenberger (September 23, 2020), David Adjaye Reveals Elegant Designs for Princeton University’s Art Museum: ‘A Campus Within a Campus’ ARTnews.
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- ^ Steward, p. 169.
- ^ Steward, p. 147.
- ^ Steward, p. 248.
- ^ Steward, p. 225.
- ^ Steward, p. 228.
- ^ Bayley, Frank William; Perkins, Augustus Thorndike (1915). The Life and Works of John Singleton Copley: Founded on the Work of Augustus Thorndike Perkins. Taylor Press. pp. 254–5.
- ^ Steward, p. 239.
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- ^ Steward, p. 256.
- ^ Steward, p. 61.
- ^ Steward, p. 107.
- ^ Steward, pp. 20–21.
- ^ Patton, Andy J. (2013). ""A Painter's Brush That Also Makes Poems": Contemporary Painting After Northern Song Calligraphy". Electronic Thesis and Dissertation Repository, Paper 1302.
- ^ Steward, p. 3.
- ^ Steward, pp. 226–7.
- ^ "Campus Collections". Princeton University Art Museum.
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- ^ "William III, King of England, Prince of Orange and Nassau (1650–1702) (PP1)". Princeton University Art Museum.
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- ^ Steward, p. 252.
- ^ Steward, pp. 196–7.
- ^ a b c Steward, p. 173.
- ^ a b c d "European Art". Princeton University Art Museum. Princeton University.
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- ^ a b "Photography". Princeton University Art Museum. Princeton University.
- ^ a b Steward, p. 363.
- ^ Steward, p. 369.
- ^ Steward, p. 375.
- ^ Steward, p. 381.
- ^ Steward, pp. 344–5.
- ^ Steward, p. 313.
- ^ Steward, p. 315.
- ^ Steward, p. 321.
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- ^ Steward, p. 314.
- ^ Steward, pp. 324–35.
- ^ Steward, p. 342.
- ^ Steward & p. 350.
- ^ "Mont Sainte-Victoire (La Montagne Sainte-Victoire)". Henry and Rose Pearlman Collection.
- ^ a b Wullschlager, Jackie (March 14, 2014). "Cézanne and modern masterpieces from the Pearlman Collection". Financial Times.
- ^ a b DeLue, Rachael Z. "Cézanne and the Modern: Masterpieces of European Art from the Pearlman Collection". Yale University Press.
- ^ "Artists". Henry and Rose Pearlman Collection.
- ^ Pleming, Clemency. "Last chance to see the Ashmolean's most popular exhibition ever". University of Oxford.
- ^ "Henry and Rose Pearlman Collection". Princeton University Art Museum.
- ^ "Three Pears (Trois Poires)". Henry and Rose Pearlman Collection.
- ^ "Vincent van Gogh". The Pearlman Foundation.
- ^ "After the Bath, Woman Drying Herself (Après le bain, femme s'essuyant)". Henry and Rose Pearlman Collection.
- ^ "Jean Cocteau". Henry and Rose Pearlman Collection.
- ^ "Five artifacts linked to alum under investigation for art smuggling will remain at University Art Museum". The Princetonian. Retrieved January 25, 2024.
- ^ "16 additional Art Museum objects connected to alleged art smuggler alumnus". The Princetonian. Retrieved January 25, 2024.
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