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In 1922 Robert Allerton—described by the Chicago Tribune as the “richest bachelor in Chicago”—met a twenty-two-year-old University of Illinois architecture student named John Gregg, who was twenty-six years his junior. Virtually inseparable from then on, they began publicly referring to one another as father and son within a couple years of meeting. In 1960, after nearly four decades together, and with Robert Allerton nearing ninety, they embarked on a daringly nonconformist move: Allerton legally adopted the sixty-year-old Gregg as his son, the first such adoption of an adult in Illinois history. An Open Secret tells the striking story of these two iconoclasts, locating them among their queer contemporaries and exploring why becoming father and son made a surprising kind of sense for a twentieth-century couple who had every monetary advantage but one glaring problem: they wanted to be together publicly in a society that did not tolerate their love. Deftly exploring the nature of their design, domestic, and philanthropic projects, Nicholas L. Syrett illuminates how viewing the Allertons as both a same-sex couple and an adopted family is crucial to understanding their relationship’s profound queerness. By digging deep into the lives of two men who operated largely as ciphers in their own time, he opens up provocative new lanes to consider the diversity of kinship ties in modern US history.
This special issue of Museum Studies explores the broad history and practice of art education at the Art Institute, charting the museum's past, present, and future vision of what museum education can be and do. Drawing from a rich trove of archival, oral, and photographic resources, authors offer a lively account of museum education as an evolving profession, an outlet for aesthetic and political programs, and a crucial element of the Art Institute's public mission from the moment of its founding in 1879. The project, sponsored by the Woman's Board of The Art Institute of Chicago to commemorate its fiftieth anniversary, also explores that group's signal commitment to education and volunteerism at the museum, which has ranged from creating suburban community associations to sponsoring a corps of volunteer docents, from establishing a pioneering children's museum to planning celebrations that open the Art Institute's doors to the widest possible public. A pathbreaking effort, this publication constitutes an important, unique contribution to the history of education in American cultural institutions.
The Evolution of Taste in American Collecting is a new critical translation of René Brimo’s classic study of eighteenth- and nineteenth-century patronage and art collecting in the United States. Originally published in French in 1938, Brimo’s foundational text is a detailed examination of collecting in America from colonial times to the end of World War I, when American collectors came to dominate the European art market. This work helped shape the then-fledgling field of American art history by explaining larger cultural transformations as manifested in the collecting habits of American elites. It remains the most substantive account of the history of collecting in the United States. In his introduction, Kenneth Haltman provides a biographical study of the author and his social and intellectual milieu in France and the United States. He also explores how Brimo’s work formed a turning point and initiated a new area of academic study: the history of art collecting. Making accessible a text that has until now only been available in French, Haltman’s elegant translation of The Evolution of Taste in American Collecting sheds new critical light on the essential work of this extraordinary but overlooked scholar.
In Arthur Upham Pope and A New Survey of Persian Art, fourteen scholars explore the legacy of Arthur Upham Pope (1881–1969) by tracing the formation of Persian art scholarship and connoisseurship during the twentieth century. Widely considered as a self-made scholar, curator, and entrepreneur, Pope was credited for establishing the basis of what we now categorize broadly as Persian art. His unrivalled professional achievement, together with his personal charisma, influenced the way in which many scholars and collectors worldwide came to understand the art, architecture and material culture of the Persian world. This ultimately resulted in the establishment of the aesthetic criteria for assessing the importance of cultural remains from modern-day Iran. With contributions by Lindsay Allen, Sheila S. Blair, Jonathan M. Bloom, Talinn Grigor, Robert Hillenbrand, Yuka Kadoi, Sumru Belger Krody, Judith A. Lerner, Kimberly Masteller, Cornelia Montgomery, Bernard O’Kane, Keelan Overton, Laura Weinstein, and Donald Whitcomb.