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Home / Virginia Museum of Fine Arts 200 N Arthur Ashe Blvd Richmond Va 23220

Virginia Museum of Fine Arts 200 N Arthur Ashe Blvd Richmond Va 23220

Art museum in Richmond, VA

The Virginia Museum of Fine Arts
Virginia Museum of Fine Arts - entrance Fall2010.JPG

VFMA in 2010

Virginia Museum of Fine Arts is located in Virginia

Virginia Museum of Fine Arts

Location within Virginia
Established March 27, 1934 (1934-03-27)
Location 200 North. Arthur Ashe Blvd., Richmond, VA 23220
Type Art museum
Accreditation American Alliance of Museums
Primal holdings Fabergé eggs
Rumors of War by Kehinde Wiley
Collections Modern and Gimmicky art
Collection size 22,000 works (as of 2011)[1]
Managing director Alex Nyerges
Architect Rick Mather & SMBW (2010 improver)
Public transit access Greater Richmond Transit Company passenger vehicle route 16, stop at Grove Ave. between Thompson & Robinson.
Website vmfa.museum

Virginia Museum

U.South. Historic district
Contributing property
Coordinates 37°33′23″N 77°28′29″W  /  37.55639°North 77.47472°Due west  / 37.55639; -77.47472
Built 1936
Architect Peebles & Ferguson
Architectural style Georgian Revival; English Renaissance Revival
Part of Boulevard Celebrated Commune (ID86002887[two])
Designated CP September 18, 1986

The Virginia Museum of Fine Arts, or VMFA, is an art museum in Richmond, Virginia, United States, which opened in 1936. The museum is owned and operated by the Commonwealth of Virginia. Private donations, endowments, and funds are used for the support of specific programs and all conquering of artwork, as well as additional full general support.[3]

Considered among the largest art museums in North America for square footage of exhibition space,[4] the VMFA's comprehensive art collection includes African art, American art, British sporting fine art, Fabergé, and Himalayan fine art.[five] One of the first museums in the American S to exist operated by country funds, VMFA offers free access, except for special exhibits.

The Virginia Museum of Fine Arts, together with the next Virginia Historical Order, anchors the eponymous "Museum District" of Richmond, and area of the city known as "West of the Boulevard".[6]

The museum includes the Leslie Cheek Theater, a performing arts venue. For 50 years in that location was a theater company operating hither, known most recently as TheatreVirginia. Built in 1955 as a 500-seat theatre within the fine art museum, it started as a community theater and too hosted special programs in dance, movie, and music. In 1969 the managing director established an Actors' Equity/LORT company known every bit Virginia Museum Theatre, hiring both local actors and professionals from New York City or elsewhere. Some of its productions received national notice. In 1973 its production of Maxim Gorky'due south play Our Father transferred to New York, to the Manhattan Theater Lodge. Because of continuing financial problems, the non-profit theater closed in 2002. After renovation, it reopened in 2011 as part of the museum to host a range of live performance events.

History [edit]

Origins [edit]

The Virginia Museum of Fine Arts has its origins in a 1919 donation of l paintings to the Commonwealth of Virginia past Estimate John Barton Payne. During the Great Depression, Payne collaborated with Virginia Governor John Garland Pollard to proceeds funding from the Federal Works Projects Administration nether President Franklin D. Roosevelt, in guild to augment country funding and establish the state art museum in 1932.[7] Payne'southward gift had been made in memory of his late second wife Jennie Byrd Bryan Payne and his mother Elizabeth Barton Payne.[viii]

The site for the museum was chosen on Richmond's Boulevard, virtually the corner of a contiguous six-block tract of country used as a veterans' dwelling house for Confederate soldiers. Additional services were provided to their wives and daughters.[9]

The master building of the VMFA was designed by Peebles and Ferguson Architects of Norfolk. It has been described as Georgian Revival or English Renaissance. Commentators have said the architects expressed influence from Inigo Jones and Christopher Wren.[ten] Construction began in 1934.[11] Ii wings were originally planned, only only the central portion was then built.[xi] The museum opened on January 16, 1936.[eleven]

Major acquisitions and beginning add-on, 1940–1969 [edit]

In 1947, the VMFA was given the Lillian Thomas Pratt Collection of some 150 jeweled objects created past Peter Carl Fabergé and other Russian workshops, including the largest public collection of Fabergé eggs outside of Russia.[12] That year the Museum also received the "T. Catesby Jones Collection of Modern Fine art". Further donations in the 1950s came from Adolph D. Williams and Wilkins C. Williams, and from Arthur and Margaret Glasgow. They established the museum's oldest funds used for fine art acquisitions.[ citation needed ]

In 1948 Leslie Cheek, Jr. was selected as director of the museum, where he served until 1968.[xiii] During these decades, he introduced many innovations and was noted equally having had significant influence on the course of the institution. His obituary in the New York Times said that he "transformed [the VMFA] from a small local gallery to a nationally known cultural center."[13] [xiv] Cheek in 1953 introduced the globe'south commencement "Artmobile", a mobile tractor-trailer that carried exhibits to rural areas (prior to museum galleries being established in distant areas).[15] In 1960, he was the start in the United States to introduce night hours at an art museum.[16]

Cheek worked with his curators and designers to cultivate a degree of theatrical "showmanship" in exhibits, such as velvet drape for the Fabergé collection, a "tomb-similar" setting of the museum's Egyptian showroom, and using music to gear up the mood in the galleries.[7] [16] [17] [18] To enhance the museum as a cultural center, Cheek gained approval for construction of a theater, used for museum and outside societies' performing events in trip the light fantastic, music, and film.

During his tenure, Cheek oversaw construction of the first addition, built in 1954 by Merrill C. Lee, Architects, of Richmond, and supported financially by Paul Mellon. Cheek had gained board approving to construct a theater every bit part of this addition. The 500-seat theater was intended to provide space for a community theater, as well equally for annual programs of the Virginia societies for dance, music, and movie, all within a key cultural facility.[7]

Virginia Museum Theatre [edit]

What is at present known as the Leslie Cheek Theater, the 500-seat proscenium theater within VMFA, was originally built in 1955 and known as the Virginia Museum Theatre. Information technology was designed nether the supervision of director Cheek, a Harvard/Yale-educated architect. He consulted with Yale Drama theater engineers Donald Oenslager and George Izenour for the country-of-the-fine art facility.[19] Cheek envisioned a central role for a theater arts division in the museum.[20] The theater brought the arts of drama, acting, design, music, and dance to the art galleries. It also hosted programs of the Virginia Film Society.

Through the 1960s, the Virginia Museum Theater (VMT) hosted a museum-sponsored volunteer or "customs theater" company, under the management of Robert Telford.[21] The company presented subscription seasons of live drama to thousands annually. Local players and occasional invitee professionals offered musicals (Peter Pan, due east.g.), dramas (Peter Shaffer's The Imperial Hunt of the Dominicus), and classics (Shakespeare'due south Hamlet). VMT too served as a venue for annual programs of the Virginia Music Society, Virginia Trip the light fantastic toe Society, and Virginia Movie Club. Cheek retired from the museum in 1968 just was an adviser to the VMFA trustees nearly the side by side director of the theater arts division.

In 1969 Keith Fowler was appointed as creative director of VMT. Under Fowler, VMT continued to serve as the headquarters for the Dance, Moving picture and Music societies. He is known for having expanded and upgrading the live theater operations, establishing Richmond'due south first resident Actors Equity/LORT company. Both customs actors and New-York based professionals became role of this.[22] The troupe's core members included Marie Goodman Hunter, Janet Bell, Lynda Myles, Eastward.G. Marshall, Ken Letner, James Kirkland, Rachael Lindhart, and dramaturg M. Elizabeth Osborn.

Fowler retained a focus on classics and musicals, but added an emphasis on new plays and U.S. premieres of foreign works. His debut production in 1969, Marat/Sade, written by Peter Weiss, was produced with the first racially integrated company on the VMT stage.[23] While the production was praised by two Richmond newspapers, an editorial in the afternoon Richmond News Leader criticized Fowler for "latitudinarianism."[24]

The visitor became known as VMT Rep (for "repertory"). Fowler attracted national find in 1973 with his production of Macbeth, starring Due east.G. Marshall. Critic Clive Barnes of The New York Times hailed information technology as the "'Fowler Macbeth'... "splendidly vigorous... probably the goriest Shakespearean production I have seen since Peter Brook's 'Titus Andronicus'."[25] As Fowler heightened the professional person quality of the theater, VMT led Richmond into what some remember as a golden age of theater.[ when? ]

The company commissioned and produced viii American and Earth premieres, introducing new plays past Americans Romulus Linney and A.R. Gurney, as well as past major foreign authors, such as Harold Pinter, Joe Orton, Athol Fugard, and Peter Handke. In 1975 the Soviet Arts Delegate provided coverage on Moscow Boob tube for Fowler's U.Southward premiere of Maxim Gorky's Our Male parent (originally Poslednje in Russian).[26] [27] This VMT production transferred to New York City, where it premiered at the Manhattan Theater Social club.[28]

Over 8 years, VMT's subscription audition increased from 4,300 to 10,000 patrons. Fowler resigned in 1977 afterward a dispute with VMFA administration over the content in VMT'south premiere of Romulus Linney's Childe Byron.[29] [30]

Creative directors Tom Markus (1978-1985) renamed the company and its playhouse "TheatreVirginia." As with all American professional non-for-profit performing arts organizations, TheatreVirginia ran mounting deficits for years.[31] [32] Despite this, artistic manager Terry Burgler (1986-1999), who succeeded him, had a successful operation. He later on became a co-founder in 2004 of the Ohio Shakespeare Festival.

The museum Lath of Trustees connected to underwrite the deficits to maintain the theater merely their priority was the museum. There were tensions in this system, and the Lath was increasingly concerned nigh the viability of the theater. A study in 1987 showed that it was difficult for the theatre company to deal with a board that was essentially constituted to oversee the art museum. In addition, the city of Richmond was notwithstanding characterized as having a "historical resistance" to the offerings of professional theatre.[32]

Problems continued into the early 21st century, when in that location was a loss of some state funding because of budget problems. In improver, the museum wanted to regain the theater space for other uses. The theater was expected to relocate in 2003, and was projected to be an anchor tenant in a new Virginia Performing Arts Center. But that was non planned for completion until 2007 and, by late 2002, the theater had not found temporary relocation space. In 2002 a series of fatal sniper attacks in the metropolitan DC area and northern Virginia region killed five people in quick succession.[33] Residents were fearful of going out, and the theater suffered reduced audiences and additional lost income. In December 2002, the board decided to close TheatreVirginia.[34] It struggled financially to operate in a state-supported museum.

VMFA Lewis Galleries in 2021

For 8 years the theater was dormant. Renovation of the infinite and its revival equally a alive performance space was completed in 2011; that twelvemonth it was renamed as the Leslie Cheek Theater in honor of its beginning managing director, who had also been managing director of the museum for two decades. The theater's reopening has returned live performing arts to the heart of the Virginia Museum.[35] The Leslie Cheek Theater does not support a resident company, but is bachelor for bookings of special theater, music, film, and dance showings.[36]

Edifice expansions 1970–1990 [edit]

The second improver, the South Wing, was designed past Baskervill & Son Architects of Richmond and completed in 1970. It featured iv new permanent galleries and a large gallery for loan exhibitions, as well every bit a new library, photography lab, fine art storage rooms, and staff offices. A souvenir of funds from Sydney and Frances Lewis of Richmond in 1971, provided for the acquisition of Art Nouveau objects and article of furniture.

A third addition, known every bit the N Wing, was designed by Hardwicke Associates, Inc. of Richmond and completed in 1976. It included an adjacent sculpture garden with a cascading fountain, designed past landscape builder Lawrence Halprin.[37] The North Wing was designed as the new main archway for the museum, with a split up dedicated archway added for the theater. It provided iii more gallery areas – 2 for temporary exhibitions and i for the Lewis Family unit's Art Nouveau Drove while also housing a souvenir shop, members' dining room, and other company functions. However, the curved walls of the Due north Wing'south "kidney-shaped" design proved to exist functionally bad-mannered and impractical, and it was later replaced.[7] [ten] The 1976 wing and sculpture garden were subsequently demolished to make room for the 2010 McGlothlin Wing.[ citation needed ]

In the following years, the Lewis and Mellon families proposed major donations from their extensive private collections, and helped provide the funds to house them. In Dec 1985, the museum opened its 4th add-on, the 90,000 square feet (8,400 yardtwo) square foot West Wing.[38] The architects, Hardy Holzman Pfeiffer Assembly of New York, were chosen by the Lewises based on their appreciation of the firm's 1981 design for the All-time Products headquarters edifice north of Richmond.[7] The wing now houses the collections of these two families.

Redesigned campus and McGlothlin wing expansion 1991–2010 [edit]

U.s.a. historic place

Habitation For Confederate Women

U.S. National Register of Historic Places

Virginia Landmarks Register
Pauley Center (Home for Confederate Women) v1.JPG
Location 301 N. Sheppard St., Richmond, Virginia
Area 2 acres (0.81 ha)
Congenital 1932
Architect Lee, Merrill
Architectural fashion Federal, Federal Revival
NRHP referenceNo. 85002767[2]
VLRNo. 127-0380
Meaning dates
Added to NRHP Nov 7, 1985
Designated VLR April 16, 1985[39]

In 1993, the Commonwealth of Virginia transferred the care of the Robinson Business firm from the Department of General Services to VMFA.[forty] The nearly 14 acre property of Robinson Firm, a former veterans army camp, was transferred between land agencies to the museum. Beginning in 2001, the VMFA created a main plan for evolution of this land in what was otherwise a built-out residential part of the city.[vii]

By the 1990s, the functions of the adjacent Confederate Home for Women had ceased, and its last residents moved out.[41] In 1999, the one-time home was adjusted for employ as the Center for Teaching and Outreach (now the Pauley Center), housing the museum's Office of Statewide Partnerships.

The VMFA undertook a $150-million[42] building expansion to increase the museum'southward gallery space by 50 percent, calculation 165,000 square anxiety (15,300 m2). The new wing opened in 2010 and was named in honor of patrons James W. and Frances G. McGlothlin. The museum reoriented the McGlothlin Wing past reinstating the archway on the Boulevard, the aforementioned as with the original 1936 archway.

The blueprint includes a three-story atrium named for Louise B. and J. Harwood Cochrane,[43] with a twoscore-human foot (12 m)-alpine glass wall to the east and broad expanses of glass walls to the west, and a partially glazed roof.[44] The London-based architect Rick Mather collaborated with Richmond-based SMBW Architects in the blueprint of the edifice,[45] while landscape architecture was handled by OLIN.[42] Landscaping included a new 4-acre (16,000 mii) sculpture garden, named for philanthropists Eastward. Claiborne and Lora Robins.[42]

American fine art is the major focus of exhibitions in the McGlothlin Wing. In 2008 the museum received a $200,000 grant from the Luce Foundation to support the installation and interpretation of its American collections.[46] Mather's design for the VMFA expansion earned a 2011 RIBA International Award for architectural excellence.[47]

Permanent drove [edit]

The Virginia Museum of Fine Arts has divided its encyclopedic collections into several wide curatorial departments, which largely represent to the galleries:[48] [49]

  • African Fine art: In 1994 and 1995, the museum exhibited its entire 250-object African art collection in Spirit of the Motherland: African Art at the Virginia Museum of Fine Arts. Equally of 2011, the collection has grown to around 500 objects, with particular strengths in the art of the Kuba, the Akan, the Yoruba, and the Kongo peoples, and the fine art of Mali.[fifty]
  • American Art: The American art collection began with twenty works of the John Barton Payne donation.[51] Since the 1980s, the museum has begun to systematically build its holdings in American art, aided in 1988 by the creation of an endowment past patrons Harwood and Louise Cochrane to support such acquisitions.[51]
In 2005, the McGlothlin family promised a bequest of their collection of American art and fiscal support, valued at well above $100 million.[ citation needed ]
  • Ancient American art
  • Ancient art: Begun in 1936, the Ancient collection expanded nether Director Leslie Cheek, with the advice of the Brooklyn Museum and other institutions.[52] The collection consists of works from the Ancient Egyptian, Ancient Greek, Phrygian, Etruscan, Ancient Roman, and Byzantine civilizations.[53] It includes one of ii ancient Egyptian mummies in the city of Richmond, "Tjeby" (the other is at the University of Richmond).[52] [54]
  • Art Nouveau & Art Deco: Begun from the cadre collection of furniture and decorative arts the Lewis family unit began assembling in 1971; today it includes Art Nouveau works by Hector Guimard, Emile Galle, Louis Majorelle, Louis Condolement Tiffany, works by the Vienna Secession and Peter Behrens, Arts & Crafts works by Charles Rennie Mackintosh, Frank Lloyd Wright, Stickley, and Greene & Greene, and Parisian Art Deco pieces by Eileen Grayness and Émile-Jacques Ruhlmann.[18]
  • East Asian art: Begun in 1941, the Eastward Asian collection consists of Chinese, Japanese and Korean art. The collection includes Chinese jade, bronzes and Buddhist sculpture; Japanese sculpture, and paintings from Kyoto; equally well as Korean ceramics and bronzes from two individual collections. In 2004, the collection added ii imperial Buddhist paintings from the Qing dynasty, dating from 1740. The collection includes the Rene and Carolyn Balcer Collection of works past the Japanese woodblock artist Kawase Hasui. That collection consists of some 800 works, woodblock prints, screens, watercolors and other works by Hasui, including rarely seen prints made by Hasui prior to the 1923 earthquake that destroyed half of Tokyo.[55]

Miniature watercolor painting from Rajasthan, in the South Asian collection

  • European art: The European collection began with the original 1919 Payne donation, and at present includes works by Bacchiacca, Murillo, Poussin, Rosa, Gentileschi, Goya, and Bouguereau.[eighteen]
In 1970, Ailsa Mellon Bruce donated some 450 European decorative objects, including a group of 18th- and 19th-century gold, porcelain and enamel boxes.
Pinkney L. Near (1927 - 1990)[56] was curator of the Virginia Museum of Fine Arts for thirty years. He was responsible for the museum'due south conquering of many works of European art,[57] including arranging for the museum to purchase the Francisco Goya portrait of General Nicolas Guye (long believed to be the near valuable work of art in the museum'due south collections) from John Lee Pratt.[58] The Guye portrait by Goya is at present on view in the posthumously created Pinkney Near Gallery at the VMFA. In 1989 Pinkney Near was named to the newly created mail service of Paul Mellon Curator and senior enquiry curator, a post in which he connected to work closely with the Mellon Collection and Paul Mellon. Malcolm Cormack succeeded Pinkney Near equally Paul Mellon Curator of European Art, from 1991 until his retirement in 2003. Mitchell Merling became Cormack's successor every bit curator of the Mellon Drove.
Paul Mellon's donations added to the French Impressionist and Mail service-Impressionist works and a collection of British Sporting Art, given to the museum in 1983. At his death in 1999, Mellon bequeathed additional French and British works, including five paintings by George Stubbs. The Mellon Galleries closed January two, 2018 for renovations, with a scheduled reopening in 2020. Curator Mitchell Merling selected 70 major works from the VMFA Mellon Drove to tour during this period on loan to museums, such equally the Frick Art and Historical Center in Pittsburgh, the Frist Center for the Visual Arts in Nashville, and the Musee de la Chasse et de la Nature in Paris. Works sent on loan during renovations of the galleries included paintings by Vincent van Gogh, Henri Rousseau, and George Stubbs.[59]
  • English silver: In 1997 a collection of 18th and 19th-century English silver was given to the museum by Jerome and Rita Gans.
  • Fabergé The Pratt Fabergé collection, the largest collection of Fabergé eggs outside Russia, includes five Purple Easter Eggs: the Rock Crystal Egg of 1896, the Pelican Egg of 1898, the Peter the Great Egg of 1903, the Tsarevich Egg of 1912, and the Red Cross with Imperial Portraits Egg of 1915.[12]
  • The South Asian drove comprises works from what are today India, Pakistan, People's republic of bangladesh, Sri Lanka, Nepal and Tibet. The collection began in the late 1960s, with the initial core of the Himalayan collection existence acquired in 1968.[60]

VFMA Cochrane Atrium in 2021

When the 2010 fly was completed, a 27-ton marble late-Mughal garden pavilion from Rajasthan was installed inside the galleries.[61]

  • Modern & Gimmicky: The core of the Modern & Contemporary collection was assembled by Sydney and Frances Lewis in the mid- to late-20th century. Much of the more than one,200 works in their collection were caused by trading products (such equally appliances and electronics) from their company, Best Products, to artists in exchange for works, while at the same time befriending many of them.[38] [62]

In 2019, the Virginia Museum of Art deputed a large-scale monumental sculpture from creative person Kehinde Wiley that was installed in front of the museum.[63] The work in bronze, which Wiley had titled Rumors of War, was modeled after one of Monument Avenue's Confederate statues after he visited Richmond for a retrospective exhibition of his artwork held at the museum in 2016.[64] [63]

Gallery [edit]

  • Henri Rousseau, Tropical Mural: American Indian Struggling with a Gorilla, 1910

Special exhibitions [edit]

In add-on to the galleries that display selections of the permanent collection, the Virginia Museum of Fine Arts presents special exhibitions of artwork fatigued from its ain and others' collections, as well as piece of work of active artists.

In 1941, the museum presented an exhibition of Modernist works by artists of the Schoolhouse of Paris from the collection of Walter P. Chrysler Jr. (which later became the basis for the Chrysler Museum of Art).

In the 1950s, VMFA originated shows such equally "Piece of furniture of the Old South" (1952), "Design of Scandinavia" (1954) and "Masterpieces of Chinese Fine art" (1955). In the 1960s, in that location were "Masterpieces of American Silvery", followed past "Painting in England, 1700–1850," which drew from the private collections of Mr. and Mrs. Paul Mellon. At the time, it was the nigh comprehensive exhibition of British painting ever presented in the U.s.a.. In 1967, the museum also mounted a major exhibition of the piece of work of the English social satirist William Hogarth.

In 1978, the museum presented an exhibition on Colonial cabinetmaking in early on Virginia, "Furniture of Williamsburg and Eastern Virginia, 1710–1790." Another showtime, and i that received widespread international attending, was the 1983 exhibition "Painting in the South: 1564–1980."

In the fall of 1996, VMFA was one of five major American museums to present "Fabergé in America" and "The Lillian Thomas Pratt Drove of Fabergé." These 2 exhibitions, featuring more than 400 objects and xv imperial Easter eggs, drew more than 130,000 visitors to Richmond.

In 1997, the VMFA showed "William Blake: Illustrations of the Book of Job," an exhibition that featured a complete set up of 21 engravings past English Romantic artist William Blake, created in 1825 and purchased by the museum in 1973. In addition to the engravings, the showroom included six of the 1805 watercolors upon which Blake based them, on view and on loan from New York's Pierpont Morgan Library. Likewise on view were a complete gear up of the creative person's preliminary drawings from the Fitzwilliam Museum at Cambridge University and the "New Zealand" set of copies of Blake's engravings from the Yale Center for British Art.[65]

In 1999, the museum presented "Splendors of Aboriginal Arab republic of egypt," an exhibition assembled from the renowned collection of the Pelizaeus Museum in Hildesheim, Federal republic of germany. Nearly a quarter of a million people saw the prove in Richmond. It was one of the largest exhibitions of Egyptian art ever to tour the United States.[ citation needed ]

In 2011, VMFA was one of seven museums worldwide chosen to exhibit one hundred seventy-half-dozen paintings from the personal collection of Pablo Picasso. The exhibit was held from February 19 РMay 15, 2011 in ten galleries of the newly renovated museum. Director Alex Nyerges noted: "An exhibition this monumental is extremely rare, especially one that spans the entire career of a effigy who many consider the well-nigh influential, innovative and creative artist of the 20th century." The collection of paintings was from a permanent collection housed in the Mus̩e Picasso, and so under renovation.[66]

The VMFA is a fellow member of the French Regional & American Museums Exchange (FRAME).

Didactics and programs [edit]

The Office of Statewide Partnerships delivered programs and exhibitions throughout the democracy via a voluntary network of more than than 350 nonprofit institutions (museums, galleries, fine art organizations, schools, community colleges, colleges and universities).[ when? ] Through this program, the museum offered crated exhibitions, arts-related audiovisual programs, symposia, lectures, conferences and workshops past visual and performing artists. The traveling artmobile programme, tailored to help students see the state's Standards of Learning, was besides included.[67]

VMFA has offered in-house educational programs that are supported past multiple specialized studios and on-site exhibition space.[68] These have included courses in drawing, painting, sculpture, photography, mode, digital arts, and mixed media.[69]

Group highlights tours are offered daily. Thou-12 group tours are too offered, incorporating the Virginia Standards of Learning. All college student tours of VMFA's permanent collection — guided and self-directed — are free. Tours tin be requested online.[lxx]

VMFA'due south ARTshare is a multiyear digital initiative to expand the museum'due south digital outreach and make its collection more attainable.[71]

VMFA established a Fellowship Plan in 1940 which, by 2011, had delivered grants in excess of $5 meg with 1,250 awards to Virginia artists since the program's inception. The fellowship funds come up from a privately endowed fund administered by VMFA. The Fellowship Plan was initially funded by the belatedly John Lee Pratt of Fredericksburg (the husband of Lillian Pratt, donor of the museum'due south Fabergé collection). By 2011, fellowships were primarily funded through the Pratt endowment and supplemented by gifts from the Lettie Pate Whitehead Foundation and the J. Warwick McClintic Jr. Scholarship Fund.[72] Notable recipients of VMFA fellowship grants include Vince Gilligan,[73] Emmet Gowin, David Freed, Laura Pharis, Richard Carlyon, and Nell Blaine.[74]

References [edit]

  1. ^ "Nigh the Collection". VMFA Website. Archived from the original on Feb 10, 2011. Retrieved Feb 28, 2011.
  2. ^ a b "National Register Information Organization". National Annals of Historic Places. National Park Service. March 13, 2009.
  3. ^ "Agency Strategic Programme 2010–2012". Virginia Performs. Archived from the original on January 5, 2011. Retrieved March 10, 2011.
  4. ^ Tyler Green (May 24, 2010). "Ane of America's quietest museums quietly expands". blogs.artinfo.com. Archived from the original on May 2010. Retrieved November 21, 2016.
  5. ^ "Fodor's Expert Review: Virginia Museum of Fine Arts". Fodor'southward Travel.
  6. ^ "History of the Museum Commune". Museum District Website. Museum District Association. Archived from the original on July 11, 2011.
  7. ^ a b c d e f Slipek Jr., Edwin (March 30, 2010). "Open Indulgence". Mode Weekly . Retrieved Feb 27, 2011.
  8. ^ Holmes, Elizabeth (January 1, 1993). "The Virginia Museum of Fine Arts: its Founding, 1930-1936". Dissertations, Theses, and Masters Projects. doi:ten.21220/s2-xr1t-4536. Retrieved November nine, 2021.
  9. ^ "About the Robert E. Lee Camp Confederate Soldiers' Habitation". Library of Virginia Website. Library of Virginia. Retrieved February 28, 2011.
  10. ^ a b Wilson, Richard Guy (2002). Buildings of Virginia: Tidewater and Piedmont. Oxford University Press. pp. 262, 270. ISBN0-19-515206-nine.
  11. ^ a b c Brownell, Charles East.; et al. (1992). The Making of Virginia Compages. Virginia Museum of Fine Arts / University Press of Virginia. p. 382. ISBN0-917046-33-1.
  12. ^ a b "Faberge Factsheet". VMFA Website. VMFA. Archived from the original on April 4, 2011.
  13. ^ a b "Leslie Cheek Jr., 84; Led Virginia Museum". New York Times. December 8, 1992. Retrieved February 27, 2011.
  14. ^ "Leslie Cheek, Jr". Dictionary of Art Historians . Retrieved Feb 27, 2011.
  15. ^ "VMFA'southward Artmobile: Past and Nowadays - VMFA Connect". www.vmfa.museum . Retrieved Nov 1, 2018.
  16. ^ a b "Art: Cheek's Changes". Fourth dimension Magazine. December 7, 1959. Archived from the original on Feb 1, 2011. Retrieved Feb 27, 2011.
  17. ^ O' Leary, Elizabeth; et al. (2010). American Art at the Virginia Museum of Fine Arts. University of Virginia Press. pp. 1–ix. ISBN978-0-917046-93-iii.
  18. ^ a b c Barriault, Anne (April 24, 2010). "Enriched Collections". Apollo.
  19. ^ "Leslie Cheek Jr., 84 - Led Virginia Museum". The New York Times. December 8, 1992. Retrieved Nov 21, 2016.
  20. ^ NY Times, Ibid.
  21. ^ "Managing director of theatre tells of plays here in 1752". The Free Lance-Star. Fredericksburg, Virginia. November 17, 1960.
  22. ^ "League of resident theaters". lort.web.officelive.com. Archived from the original on Apr 23, 2012. Retrieved November 21, 2016.
  23. ^ During state segregation, some casting of blackness actors had occurred for race-specific roles, such as maids and other servants, only Marat/Sade was the showtime VMT evidence to include African-American performers in roles non defined by race.
  24. ^ Editorial, "The Thing at the Museum," Richmond News Leader, October 10, 1969
  25. ^ Barnes, Clive (February 12, 1973). "Stage: Fowler 'Macbeth'; A Vigorous Production Staged in Richmond The Cast" (PDF). The New York Times.
  26. ^ Plan of the Virginia Museum Theater Repertory Company, Our Father, February 7–22, 1975
  27. ^ Translated by William Stancil, VMT's Music manager.
  28. ^ Gussow, Mel (May ten, 1975). "Stage - Gorky'due south Difficult 'Our Father' - A Family unit Divide in Two Is Under Scrutiny". New York Times. Select.nytimes.com. Retrieved April 27, 2013.
  29. ^ Rosenfeld, Megan, The Washington Post, Thursday, March 24, 1977
  30. ^ Pahnelas, William, "Fowler Resigns, Cites Artistic Differences," The Commonwealth Times, March 29-Apr 4, 1977
  31. ^ "Commercial theaters versus not-for-profit theaters" (PDF). world wide web.sc.edu . Retrieved November 21, 2016.
  32. ^ a b Houser, Patricia G.; American University (1987). "VIRGINIA MUSEUM THEATRE: A CASE STUDY". Retrieved February 22, 2021.
  33. ^ Getter, Lisa, Vicki Kemper and Jonathan Peterson (2002-10-04). "5 Shot Expressionless in Suburban D.C. as Fear Spreads," Los Angeles Times
  34. ^ Kenneth Jones (April 9, 2003). "TheatreVirginia Closes Its Doors After 50 Years, Citing Money Woes, Loss of Home, Sniper". www.playbillcom. Archived from the original on July xix, 2014. Retrieved November 21, 2016.
  35. ^ Matthew Miller (May 22, 2011). ""Art" at VMFA's Leslie Cheek Theater". Retrieved November 21, 2016.
  36. ^ "Archived copy". Archived from the original on February 4, 2013. Retrieved February 28, 2012. {{cite spider web}}: CS1 maint: archived copy as championship (link)
  37. ^ "Virginia Museum of Fine Arts Sculpture Garden". Historic American Buildings Survey. Library of Congress. Retrieved Feb 27, 2011.
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  • source information on Payne donation

External links [edit]

  • Virginia Museum of Fine Arts official website
  • Virginia Museum of Fine Arts at Google Cultural Found
  • Architectural images of the museum, prior to the 2005–2010 expansion, including the at present-demolished 1976 wing

Coordinates: 37°33′25″Due north 77°28′26″W  /  37.55698°N 77.47396°West  / 37.55698; -77.47396

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Source: https://en.wikipedia.org/wiki/Virginia_Museum_of_Fine_Arts