Brooklyn Museum

1900s and 1910s

The Brooklyn Institute approved the construction of the central entrance pavilion in May 1899,^[29] and Hooper requested $600,000 for this addition the next month.^[30][31] The four-story structure was to measure 140 by 122 feet (43 by 37 m).^[32][33] The central pavilion was to include a 1,250-seat lecture hall in the basement (actually at ground level),^[29][34] as well as a hall of sculpture on the first floor, which would serve as the museum's main lobby.^[29][32] The second story was to contain natural-history exhibits, while the third story was to include paintings.^[32] The New York State Legislature needed to authorize $300,000 in bonds for the pavilion, but they had not done so by the end of 1899.^[35] Work on the central wing started in June 1900.^[33][36] The museum's central section was nearly completed by January 1903,^[37] but work proceeded slowly due to labor disputes.^[34]

New York City mayor Seth Low signed a bill in August 1902, approving $150,000 for the construction of the Brooklyn Institute's eastern wing and pavilion.^[38] The eastern wing cost $344,000 to construct,^[39] and it officially opened on December 14, 1907.^[40][41] With the opening of the eastern wing, the museum building had reached one-eighth of its total planned size.^[42] Although the museum's collections continued to grow, the New York City government was only willing to give the museum as little funding as necessary for essential maintenance.^[43] Several of the institute's donors proposed in 1905 to give $25,000 for the upkeep of an "astronomical observatory" at the Brooklyn Museum.^[44][45] City officials endorsed the creation of the observatory in 1907.^[46]

The Brooklyn Institute awarded a construction contract for wings F and G, extending south of the central pavilion, to Benedetto & Egan in May 1911.^[47] Extending 120 feet (37 m) south and measuring 200 feet (61 m) wide, this addition was to contain a central court with a glass roof.^[47][48] That July, McKim, Mead & White filed plans for wings F and G.^[49] The Brooklyn Institute converted the last remaining storage rooms in the eastern wing into galleries in October 1911.^[50][51] The next month, a temporary access road was built from Flatbush Avenue to the rear of the building.^[52] Wills & Martin, one of the firms that had been hired to erect the new wings, declared bankruptcy in November 1913.^[53] Work stopped completely in November 1914,^[54] and the incomplete structures started to deteriorate.^[55] Because of the lack of space in the building, the lobby and auditorium were being used to exhibit artwork. The Brooklyn Institute had been forced to decline some donations of artwork, as the works could not be displayed, while other works of art had to be placed in storage.^[55]

1920s to 1940s

By 1920, the New York City Subway's Institute Park station had opened outside the Brooklyn Museum, greatly improving access to the once-isolated museum from Manhattan and the other boroughs.^[56] In April 1922, governor Nathan L. Miller signed legislation authorizing the New York City government to issue bonds to fund wings F and G of the Brooklyn Museum.^[57] The New York City Board of Estimate refused to approve the Brooklyn Institute trustees' request for $875,000,^[58] and mayor John Francis Hylan also blocked the funding.^[59] Hylan changed his mind after visiting the museum, and the Board of Estimate appropriated $1.05 million for the new wings.^[60] McKim, Mead & White drew up new plans for wings F and G; by that September, New York City Department of Parks and Recreation (NYC Parks) was about to award contracts for the wings.^[61][62] A picture gallery opened at the museum in November 1925.^[63][64] The next month, museum officials dedicated the Ethnological Gallery, which was nicknamed "Rainbow House";^[65][66] the gallery was designed by curator Stewart Culin.^[67] A Japanese art gallery opened at the museum in April 1927,^[68] and the museum's Swiss Gothic, German, and Venetian galleries opened that May.^[69][70]

Construction of the Brooklyn Museum stalled in 1928 after years of attempts to complete it. At the time, only 28 of the 80 proposed statues atop the building's facade had been installed, and the main north–south corridor was not complete.^[7] Nineteen American period rooms opened at the museum at the end of 1929.^[71] In May 1934, NYC Parks approved plans for the removal of the main entrance steps,^[72] which were replaced by ground-level doors.^[72][73] The project also included the construction of two galleries next to the lobby,^[74] as well as new landscaping and parking lots.^[73] This work was carried out by Public Works Administration laborers.^[75] A gallery dedicated to living artists' work opened in February 1935,^[76] and a Persian art gallery opened two months later.^[77][78] The remodeled entrance was officially dedicated on October 5, 1935.^[74][79] That December, the museum's medieval art gallery opened.^[80][81] A gallery for industrial art was also proposed behind the western wing but was not built.^[82] The museum's remodeling was completed in October 1937. Several collections, including Egyptian and Assyrian art, Renaissance art, and textiles were displayed to the public for the first time.^[83]

By early 1938, museum officials sought more than $300,000 for repairs to the museum building,^[84][85] and then-director Philip Newell Youtz said that parts of the building were crumbling.^[85] The Brooklyn Museum Art School, formerly a part of the Brooklyn Academy of Music, was moved to the Brooklyn Museum in 1941.^[86] An art distribution center sponsored by the Works Progress Administration opened on the museum's sixth floor the same year.^[87][88] The department store chain Abraham & Straus donated $50,000 in 1948 for the establishment of a "laboratory of industrial design" at the Brooklyn Museum.^[89][90] By the following year, Brooklyn Institute officials sought to expand the museum as part of a "vast cultural program".^[91][92] The plans involved an annex with a 2,500-seat auditorium behind the west wing, which was planned to cost $500,000, as well as a general renovation of existing facilities, which was to cost $1.5 million.^[92] A new 400-seat lecture hall opened at the museum that September, within space formerly occupied by two Egyptian galleries.^[93] To attract visitors, the museum expanded its educational programs greatly in the late 1940s.^[94]

1950s and 1960s

Brooklyn Institute officials announced plans in 1951 to repair the Brooklyn Museum as part of the institute's long-term plan to convert the museum into a cultural center.^[95] The museum's Egyptian galleries began undergoing renovations the same year.^[96][97] The renovation of the Egyptian galleries, the first phase of the museum's $3.5 million overhaul, was finished in November 1953.^[98][99] Brown, Lawford & Forbes designed a rear annex for the museum in 1955.^[7] The museum's furniture, sculpture, and watercolor galleries reopened in 1957 following the second stage of the renovation.^[100][101] The rear annex contained a new stairway,^[101] which led to new galleries on the fourth through sixth stories of the center section.^[102] By the late 1950s, the museum was running low on funds, with director Edgar C. Schenck blaming the museum's fiscal woes on Manhattan residents' unwillingness to cross the East River to visit Brooklyn.^[103] Due to a shortage of security guards, the museum was forced to close some galleries part-time.^[104]

Another Egyptian gallery opened in April 1959,^[105][106] and a "pattern library" for teaching opened that July.^[107][108] A continued shortage of security guards forced the Brooklyn Museum to close two days a week at the beginning of 1961;^[109] the museum went back to seven-day operations in June 1961 after the city provided money for additional guards.^[110] To attract visitors, the museum began providing a larger variety of programs and adding interactive exhibits and programming.^[111] The Brooklyn Museum announced in 1964 that it would build a special-exhibit gallery on the first floor and an open study/storage gallery on the fifth floor.^[112][113] The Hall of the Americas opened on the museum's first floor the following May.^[114][115] A sculpture garden, consisting of architectural details salvaged from demolished buildings across New York City, opened at the museum in April 1966.^[116][117] The Brooklyn Museum and the Metropolitan Museum of Art began coordinating joint programs and exhibitions in 1967.^[118]

By the late 1960s, the museum was again facing a funding shortage; several galleries had been temporarily closed due to a lack of money, and its director Thomas Buechner was considering closing the museum two days a week.^[119] Brooklyn Museum officials also wanted to hire additional security guards to deter crime.^[120] The Brooklyn Museum's Community Gallery, exhibiting black New Yorkers' art, opened in October 1968^[121][122] following advocacy from Federated Institutes of Cultural Enrichment (FICE), a coalition of Brooklyn-based arts organizations.^[123] The gallery occupied a narrow corridor at ground level.^[124] Henri Ghent, the director of the Community Gallery, estimated in 1970 that "perhaps 100,000" additional patrons had been attracted to the museum after the gallery opened,^[124][125] including black patrons who had never before visited a museum.^[125]

1970s and early 1980s

The Brooklyn Museum continued to experience financial shortfalls in the early 1970s.^[125] Due to a shortage of security guards, in mid-1971, museum officials announced that they would close the museum two days per week, allowing all galleries to remain open even with limited security.^[126][127] The museum also reopened its 23 period rooms that October after a yearlong closure,^[128] and they also opened a new period room, themed to a private study.^[128][129] Officials planned to move the Community Gallery to a dedicated space adjoining the museum;^[130] the gallery was popular among guests but did not have enough funding from the museum itself.^[131] By late 1973, twenty percent of the museum's staff professionals had resigned amid a dispute involving director Duncan F. Cameron's firing of another employee,^[132] eventually prompting Cameron's own resignation that year.^[133][134] Further staff disputes complicated the search for a replacement director,^[135] and many employees went on strike in 1974 because they wanted to form a labor union.^[136][137]

By the mid-1970s, there were plans to split the Brooklyn Children's Museum and the Brooklyn Museum Art School from the Brooklyn Museum.^[138] At the time, the museum received $1.5 million per year from the city.^[139] Four galleries for Korean and Japanese art opened at the museum in October 1974,^[140][141] and the African art galleries reopened in December 1976 following an expansion and renovation.^[142][143] The Brooklyn Museum also began renovating 21 American period rooms in 1976.^[144] Following a 1978 investigation into some of the museum's acquisitions, state attorney general Louis J. Lefkowitz recommended that the museum implement "a comprehensive code of ethics".^[145] The same year, the Brooklyn Museum partnered with Designgroup and the Egyptian government to restore the Cairo Museum's collection.^[146] Due to budget cuts, the Brooklyn Museum eliminated its Middle Eastern art division in 1979,^[147] despite the fact that the museum had frequently applied for federal grants in the preceding years, most of which had been approved from 1976 to 1978.^[148]

Two of the museum's period rooms reopened in 1980 following a renovation.^[149] By then, director Michael Botwinick was considering several measures to reduce the museum's budgetary shortfalls, including halving the number of art classes, closing the museum during the workweek, and hosting fewer exhibits per year.^[150] At the time, the museum received 31 percent of its funds from the city, a higher percentage than other New York City museums;^[150] the city still owned the building itself.^[151] After Robert Buck became director in 1983, he began hosting additional art classes, attracting members, and raising money for the museum,^[152] which struggled to compete with more famous institutions in Manhattan.^[153] In 1984, the museum completed the renovations of its last period rooms^[144][154] and opened a gallery for "early-19th-century decorative arts".^[154] The unprofitable Brooklyn Museum Art School was closed the same year,^[86] and the museum obtained $14 million in city funding to upgrade the climate-control systems.^[152] The museum resumed Monday operations in late 1984 after receiving additional city funding,^[155] and it started running TV advertisements in 1985.^[156]

Mid-1980s and 1990s

The Brooklyn Museum announced a master plan in March 1986.^[157][158] The plan involved doubling the amount of exhibition space in the building from 450,000 to 830,000 square feet (42,000 to 77,000 m²).^[157] At the time, the museum could only exhibit about five percent of its collection simultaneously,^[157] as its building was one-sixth as large as originally planned.^[159] The museum was to expand its storage, classroom, and conservation facilities and add an auditorium.^[157] Buck met with the heads of all of the museum's departments to determine how much exhibit and storage space they needed.^[159] The museum also planned a new entrance from the Brooklyn Botanic Garden, which had twice as many annual visitors;^[158][159] the Botanic Garden entrance had been planned by McKim, Mead & White but never executed.^[157] The project was expected to cost $50 million to $100 million,^[159][158] which was to be funded by the city's capital budget.^[160]

Museum officials held an architectural design competition to redesign the west wing,^[161][162] attracting 103 competitors;^[163] they hired Arata Isozaki of James Stewart Polshek Partners that October.^[164][165] Isozaki's design retained much of McKim, Mead & White's original plan but included a "great hall" and trapezoidal courtyards,^[165] as well as an angled rear wall and an obelisk.^[163] Buck expressed optimism that media coverage of the design competition would attract additional visitors, even if the master plan was never completely carried out.^[166] The scope of the renovation grew quickly, with estimated costs reaching $200 million by early 1988.^[167] Iris and B. Gerald Cantor donated $3.5 million for the museum's auditorium in 1989,^[168] and the city gave another $2 million for other work.^[169] The Brooklyn Museum announced in 1990 that it would begin the first phase of renovation, which was to cost $31 million. This involved converting the offices in the west wing to about 64,000 square feet (5,900 m²) of gallery space for its Egyptian collection, as well as building storage space and an auditorium.^[170] The same year, budget cuts prompted museum officials to lay off employees^[171] and close its doors on Mondays.^[172]

The auditorium opened in 1991; at the time, there had not been an auditorium at the museum for over half a century.^[173] About 33,000 square feet (3,100 m²) in the museum's west wing reopened as gallery space in November 1993.^[174][175] The renovation retained the original layout of the west-wing spaces.^[176] The New York Times described Isozaki and Polshek's renovation as aiming for "clean, serene spaces"; the rooms had rooms with maple floors, white walls, horizontal lighting strips, and granite baseboards.^[177] The west wing was renamed for investor Morris A. Schapiro and his brother, art historian Meyer Schapiro, in early 1994 after Morris Schapiro donated $5 million.^[178][179]

The Brooklyn Museum changed its name to Brooklyn Museum of Art in 1997.^[180] According to acting director Linda S. Ferber, the renaming was necessary because "there was more confusion about the museum's identity than we supposed"; for instance, many visitors still believed the museum had natural-history exhibits, which had not been the case since 1934.^[181]

Main facade

The primary elevation of the facade, facing north along Eastern Parkway, is 510 feet (160 m) wide and consists of the west and east wings, which flank a projecting pavilion with a portico. Additional pavilions project from the facade at either end. The center portico contains six Ionic columns that support a pediment with sculptures in its tympanum.^[222]: 2 The portico was originally accessed by a staircase that was removed in 1936–1937.^{[222]: 3 [223]} Daniel Chester French was responsible for the pediment sculptures. French also designed the two allegorical figures Brooklyn and Manhattan flanking the museum's entrance; they were created in 1916 for the Brooklyn approach to the Manhattan Bridge and relocated to the museum in 1963.^{[222]: 3 [224]} Above the pediment is a copper cresting with anthemia, as well as a low saucer dome.^{[222]: 2 [223]} The modern main entrance, dating to Polshek's 2004 renovation, consists of a glass pavilion with four metal pylons, as well as a semicircular plaza just outside.^[189][184] A set of brick piers, which had supported the original entrance staircase, was repurposed into a brick arch in 2004.^[225]

The pavilions at either end of the Eastern Parkway facade protrude only slightly from the facade and contain engaged columns in the Ionic order. The west and east wings are divided vertically by pilasters; between each set of pilasters are windows with architraves. The entablature above the pilasters contains a frieze with inscribed names of figures who represent knowledge.^[222]: 2

The Eastern Parkway facade is topped by 20 monolithic figures on the cornice: one above each pilaster on the west and east wings, and four above the pavilions.^[222]: 2 An additional ten figures, five each on the western and eastern elevations of the outermost pavilions, were sculpted.^[226] The sculptures were carved by the Piccirilli Brothers, who sculpted a total of 30 figures on the museum's facade.^[227][228] Fourteen sculptors were hired to design the sculptures, which each measure 12 feet (3.7 m) high. Had the full building been completed, there would have been 80 sculptures in total, with 20 each depicting classical subjects, medieval and Renaissance subjects, modern European and American subjects, and Asian subjects. The 30 extant sculptures consist of the 20 classical sculptures (10 Greek and 10 Roman) on the northern elevation, as well as five Persian and five Chinese sculptures on the side elevations.^[226]

Other facades

The eastern elevation of the facade faces Washington Avenue, where only the pavilion at the northern end was built. The rest of the eastern elevation is similar to that on Eastern Parkway, with pilasters dividing it vertically into seven bays. Unlike on Eastern Parkway, the pilasters are topped by shorter pilasters rather than sculptures.^[222]: 2 The southern elevation faces a parking lot and contains a masonry facade and some windows.^[222]: 3 There is also an annex to the south, designed by Brown, Lawford & Forbes, which contains a secondary entrance and a stairway.^{[7][222]: 3}

Selections from the Egyptian collection

• 
  The "Bird Lady" sculpture, Predynastic female figurine
• 
  Book of the Dead of the Goldworker of Amun, Sobekmose, 31.1777e
• 
  Brooklyn Papyrus, 664–332 BCE
• 
  Painting of Lady Tjepu, New Kingdom Dynasty 18, Reign of Amunhotep III, c. 1390–1352 BCE, from tomb no. 181 at Thebes, 65.197
• 
  Pair statue of husband and wife Nebsen and Nebet-ta. New Kingdom, Dynasty XVIII, reign of Thutmose IV or Amenhotep III, c. 1400–1352 BCE.

Selections from the American collection

• 
  Charles Willson Peale, George Washington, c. 1776
• 
  Samuel Morse, Portrait of John Adams, 1816
• 
  Edward Hicks, The Peaceable Kingdom, c. 1830–1840
• 
  John J. Audubon, Wild Turkey, lithograph, c. 1861
• 
  Eastman Johnson, A Ride for Liberty – The Fugitive Slaves, c. 1862
• 
  Albert Pinkham Ryder, Evening Glow The Old Red Cow, 1870–1875
• 
  Albert Pinkham Ryder, The Waste of Waters is Their Field, 1880
• 
  Winslow Homer, The Northeaster, c. 1883
• 
  Ralph Albert Blakelock, Moonlight, 1885
• 
  George Inness, Sunrise, 1887
• 
  Thomas Eakins, Letitia Wilson Jordan, 1888
• 
  John Singer Sargent, Paul César Helleu Sketching with His Wife, 1889
• 
  Mary Cassatt, La Toilette, c. 1889–1894
• 
  Childe Hassam, Late Afternoon, New York, Winter, c. 1900
• 
  Thomas Eakins, William Rush Carving his Allegorical Figure of the Schuylkill River, 1908
• 
  William Glackens, Nude with Apple, 1909–1910
• 
  George Bellows, A Morning Snow – Hudson River, 1910
• 
  Adolph Weinman, Night, c. 1910
• 
  Henry Ossawa Tanner, The Arch, c. 1914
• 
  Georgia O'Keeffe, Blue 1, 1916
• 
  Marsden Hartley, Landscape, New Mexico, 1916–1920
• 
  Joseph Rusling Meeker, The Acadians in the Achafalaya, "Evangeline", 1871

Selections from the African collection

• 
  Kuba Ndop portrait
• 
  Golden rider of the Ashanti region culture in Ghana

Selections from the Islamic world collection

• 
  Bahram Gur and Courtiers Entertained by Barbad the Musician, page from Shahnama of Ferdowsi
• 
  Zumurrud Shah Takes Refuge in the Mountains, ca. 1570
• 
  Mihr 'Ali (Iranian, active ca. 1800–1830). Portrait of Fath-Ali Shah Qajar, 1815.
• 
  Muhammad Hasan (Persian, active 1808–1840). Prince Yahya, ca. 1830s.
• 
  Bowl with Kufic inscription, 10th century

Selections from the European collection

• 
  Lorenzo di Niccolò, Saint Lawrence Buried in Saint Stephen's Tomb, 1410–1414, tempera and tooled gold on poplar, 33 × 36 cm
• 
  Sano di Pietro, Triptych of Madonna with Child, St. James and St. John the Evangelist, c. 1460 and 1462
• 
  William Blake (British, 1757–1827) The Great Red Dragon and the Woman Clothed with the Sun (Rev. 12: 1–4), ca. 1803–1805
• 
  Eugène Delacroix, Desdemona Cursed by her Father (Desdemona maudite par son père), c. 1850–1854
• 
  Honoré Daumier, The Two Colleagues (Lawyers) (Les deux confrères Avocats), between 1865 and 1870
• 
  Gustave Courbet, The Edge of the Pool, 1867
• 
  Edgar Degas, Portrait de Mlle Eugénie Fiocre, 1867–1868
• 
  Alfred Sisley, Flood at Moret (Inondation à Moret), 1879
• 
  Gustave Caillebotte, Apple Tree in Bloom (Pommier en fleurs), c. 1885
• 
  Jules Breton, Fin du travail (The End of the Working Day), c. 1886–1887
• 
  Vincent van Gogh, Cypresses (Les Cyprès), 1889, reed pen, graphite, quill, brown ink and black ink on white wove latune et cie balcons paper
• 
  Henri de Toulouse-Lautrec, At the Moulin Rouge (Au Moulin Rouge), c. 1892
• 
  Claude Monet, The Church at Vernon, 1894
• 
  Claude Monet, Houses of Parliament Sunlight Effect (Le Parlement effet de soleil), 1903
• 
  Claude Monet, The Doge's Palace (Le Palais ducal), 1908
• 
  Pierre-Auguste Renoir, Les Vignes à Cagnes, 1908
• 
  André Derain, Landscape in Provence (Paysage de Provence), c. 1908