50th Anniversary Magazine

50 years into the vision

50 years into the vision

Contents & Features 5 Anniversary Events Come celebrate with us!

6 Our History

This fiftieth anniversary magazine was made possible by

Fifty Years into the Vision

12 Anniversary Exhibitions A year of great art

14 The Gift of Art Planned Giving moves The Westmoreland into the future

17 Fifty Acquisitions Highlighted Over 50 Years 26 Imagine Nation A whole new way for kids and grown-ups to experience art

28 Board of Trustees & Staff 31 Visiting The Westmoreland Plan a trip to your Museum

LETTER FROM THE DIRECTOR/CEO

Letter from the Director/CEO This anniversary year is about memory and anticipation. Celebrating our first 50 years and looking forward to the next. My own first memory of this museum is still very clear. I was a graduate student at Penn State when Paul Chew wrote to me about an acquisition he had just made. It was a painting by an artist on whom I was doing doctoral research, and he wanted to know if I would travel to Greensburg to see the canvas in question. I’m not sure what I expected when I arrived, but like many first-time visitors I was amazed at the building, the collection and the gracious staff. Severin Roesen’s Still Life with Fruit was only one of the marvelous paintings I enjoyed that day. I had fallen in love with The Westmoreland at first sight. A decade later I received another invitation to Greensburg, this time to interview for the position of Director/CEO. My second visit did not disappoint. The Museum was as compelling as it had been on my first visit, and I hoped very much to be the successful candidate. It is somewhat astonishing, in this day, that a museum 50 years old has had only two directors. It has been my privilege to follow Paul Chew and my honor to help guide The Westmoreland into its next half century.

Judith H. O’Toole Director/CEO

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50 years into the vision

Events Westmoreland Museum of American Art Fiftieth Anniversary Celebration and Activities

July 4, 2009 from 12 – 3 PM The Westmoreland celebrates our country’s birthday and American art with a big picnic on our grounds for the whole community.

September 27, 2009 February 22, 2009 The Gift of Art, an exhibition highlighting new, promised and prior gifts to the collection, opens to the public.

May 29 – 31, 2009 Happy Birthday Westmoreland!

May 29, 2009 at 11 AM Come commemorate the Westmoreland Museum of American Art’s opening to the public exactly 50 years ago on May 29, 1959, by attending our ribbon-cutting ceremony. Guided tours of the collection will be offered between 11-3, plus refreshments and special discounts in An American Marketplace – The Shop at The Westmoreland.

Four Perspectives on Fifty Years opens to the public.

October 2009 Masterpieces of American Art, the second in the Museum’s permanent collection catalog series, featuring highlights from the permanent collection, will be published. Sponsored by the Richard King Mellon Foundation and the National Endowment for the Arts.

October 24, 2009 from 12 – 4 PM The Westmoreland celebrates its birthday during National Arts and Humanities month with fun activities and events for the whole family! Family Day Sponsored by Snee-Reinhardt Charitable Foundation.

May 30, 2009

November 27, 2009 from 12 – 4 PM

Get ready for a night 50 years in the making! The Women’s Committee will revive one of its annual events with Golden Reflections: The Fiftieth Anniversary Museum Ball. These lively galas were held from the mid-1960s through the mid-1990s and the 2009 Ball will feature the best of those decades.

Join us for this reception on the day after Thanksgiving for Imagine Nation Day events and the opening of the annual toy show.

May 31, 2009 from 1 – 4 PM Celebrate The Westmoreland’s 50th at a family-friendly birthday party complete with cake and fun activities. Sponsored by Highmark Blue Cross Blue Shield and Snee-Reinhardt Charitable Foundation.

December 4, 2009 The Westmoreland Society gets in on the birthday action with its annual black tie dinner, when the society will vote to acquire artwork for the collection and award its prestigious gold medal.

Ongoing throughout the year: · Free admission for those born or married in 1959. · Free admission on every second Thursday for all visitors throughout the year. Sponsored by Snee-Reinhardt Charitable Foundation. · 50 free memberships – drawing takes place each week!

June 14, 2009 Modern Masters from the Smithsonian American Art Museum opens to the public.

EVENTS 5

HISTORY OF THE WESTMORELAND

History of The Westmoreland At the crest of a hill in Greensburg, Pennsylvania sits a structure of “Georgian architecture, built of brick, with stone trim,” as requested by Greensburg native, Mary Marchand Woods. Inside is an American art collection which rivals the finest in the nation. The Westmoreland Museum of American Art has stood at this site, with open doors, since May 29, 1959, as a cultural oasis nestled in the foothills of southwestern Pennsylvania. Fifty years have passed since The Westmoreland greeted her first visitor, which is cause for reflection and celebration. We are fifty years into the vision…

The Westmoreland’s story begins with the vision of one woman, Mary Marchand Woods. Like many great stories, the protagonist is unassuming. Local lore reveals that she was extremely thrifty, taking as her lunch each day a bowl of soup from the school cafeteria across the street from her Greensburg home. It must have come as a surprise when in 1949, Mary announced her decision to leave her entire estate for the creation of a museum. In that moment, the vision of one woman became the benefit of an entire community. “I am positively amazed at the many items of significance people turned up. It’s a shame not to have them collected together where our children can see and learn about them.” – Mary Marchand Woods, quoted circa 1950 about the city of Greensburg’s sesquicentennial celebration Pittsburgh Sun-Telegraph, Feb. 1953 Mary had begun the process of organizing her estate as the Woods-Marchand Foundation after her husband, Cyrus E. Woods, passed away in 1938; and she would dedicate the Museum in his memory. Cyrus had an impressive government career serving as a state senator (1901-1908), secretary of the Commonwealth of Pennsylvania, United States Minister to Portugal (1912-1913), and U.S. Ambassador to Spain (1921-1923) and Japan (1923-1924). Mary traveled with her husband, enjoying the exposure to other cultures, before returning to their house positioned near where the Museum stands today.

There’s Something about Mary Mary Marchand Woods descended from some of the earliest settlers of Westmoreland County. Daughter of John A. and Mary Todd Marchand, Mary was born in 1873, living in a house on the property where the Museum now stands. Marrying Cyrus E. Woods in 1898, Mary was offered the opportunity to travel extensively as Cyrus fulfilled his duties as a foreign ambassador. They returned permanently to Greensburg in 1930 once Cyrus retired. Widowed in 1938, Mary spent her later years saving money and was “devoted wholeheartedly” to establishing funds for a museum. She left nearly two million dollars towards building and endowing the Museum. So, who was Mary Marchand Woods? The information we have is minimal, but the legacy is undeniable: Mary was a visionary. 6

50 years into the vision

Mary lived there quietly until her death on January 28, 1953. In the years following her death, plans for the Museum began to take shape. After a series of proposed architectural designs were considered, including one by the young Phillip Johnson, the Board settled on the Georgian style presented by the Pittsburgh firm, Sorber & Hoone. The Museum’s cornerstone was laid in 1957. Mary left real estate and construction funds for the Museum, but no art collection. The Museum’s focus, under founding director and curator Dr. Paul A. Chew, became the collection and exhibition of American art with the Museum positioned to serve the people of rural Westmoreland County. “In my initial meeting with the Board of Directors, it was asked that I recommend a policy for forming a collection for this museum, at that time still under construction. There was no doubt in my mind that our policy should be to form a collection of American art. It is our aim to build towards an American art collection in general and specifically one of Pennsylvania art, with an emphasis on the western part of the state.” – Dr. Paul A. Chew, 1959 In 1958, Rembrandt Peale’s Portrait of George Washington became the first painting to enter the Museum’s collection followed that same year with works by Robert Henri, Theodore Robinson, David Gilmour Blythe, George Inness and Everett Shinn. A year later, ten years after its inception, the Museum opened its doors to the public as the Westmoreland County Museum of Art with the inaugural exhibition 250 Years of Art in Pennsylvania. “Let us make patriotism and the love of our country popular. We can then retain the greatness of this fine nation and the achievements of our ancestors.” – General Edward Martin, dedicating the Museum, Pittsburgh Post-Gazette, May 29, 1959 In the first twenty years of its existence, the Museum assembled a collection of works by significant American artists, concentrating on the mid-18th through the mid-20th centuries, including works by Mary Cassatt, John Singer Sargent and Winslow Homer. The Museum also became respected for its collection of works by southwestern Pennsylvania artists holding its first exhibition and publishing its first catalog on the subject in 1981. Years later, in his encyclopedic 1998 book, Art Across America, art historian William Gerdts would observe that the Museum “pioneered regional investigations.” In 1984, the Westmoreland County Museum of Art, as it had been called since 1959, changed its name by eliminating the word “county” in an effort to avoid any confusion regarding a non-existent county affiliation. The Museum would change its name once more, in 1996, to add the word “American” in order to define the Museum’s collection to the public.

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HISTORY OF THE WESTMORELAND

The next chapter in the Museum’s history began in the 1990s. After making great strides in developing a unique collection and positioning itself as an important cultural resource, the Trustees acknowledged that the Museum was ready to move to the next level. The Museum’s second director, Judith Hansen O’Toole, was hired and a new long-range plan was established. “We were all very impressed with how Judy presented herself. Her eye for art was very good. She also had a way of communicating that we felt would truly open up the Museum to the whole community. It didn’t take very long to decide that she was the one.” – Harvey Childs, Jr., Director Emeritus, Member, Search Committee Within five years, the Museum reasserted itself as a vital, forward-thinking institution and in the process hired its first full-time curator and marketing director. The Campaign for Enriching the Public Experience, launched in 1997, surpassed its goal of $3.5 million and raised $4.7 million for a much-needed Museum renovation, which would provide for more effective galleries, allow for a reinstallation of the permanent collection, provide improved educational facilities and contribute to the Museum’s endowments. Following the renovation, the focus on enhancing the visitor experience began in earnest. A Visitor Services Department was established to demonstrate the commitment to providing the public with an exceptional experience, more resources were added to the education department and many new initiatives were begun. “My favorite thing is that although The Westmoreland is a first rate Museum, it is a very warm, comfortable atmosphere, not foreboding or austere. It is the kind of place I hope people feel relaxed and at home in.” – Sally Loughran, Museum Docent and Women’s Committee Member The new millennium brought many positive changes to The Westmoreland. The Museum launched Every Picture Tells A Story: Exploring Pennsylvania History Through Art, in 2001, a program that brings area fourth-grade students to the Museum to study Pennsylvania history through the collection, specifically the changing landscape from pastoral to industrial through two collections, Southwestern Pennsylvania Landscapes and Born of Fire: The Valley of Work. This program, which increased from one participating school in 2001 to over 20 in three counties, continues to grow in popularity among teachers, students and administrators because of its important link to the state-mandated fourth-grade curriculum. In 2004, the Museum received the Pennsylvania Federation of Museums and Historical Organizations’ Award of Excellence and the Westmoreland Historical Society’s St. Clair Award for this program. Since the inception of Every Picture Tells A Story, the Museum has created two additional curriculum-based programs for Middle School and Kindergarten students. The Westmoreland continues its commitment to education and to serving children and families through a new initiative – Imagine Nation: A fun, new way for kids and grown-ups to experience American art.

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50 years into the vision

“The Museum has recognized its capacity for excellence and individuality in certain focused areas of American art history. Undaunted by the difficulties of location and the competitiveness of great neighboring urban institutions, the Museum has used sound professional and business strategies to assess and correct its weaknesses, update its operation, and embrace the future with enthusiasm.” – Reviewer, Institute of Museum and Library Services In the tradition of its founder, The Westmoreland has never lacked innovation. In 2002, the Museum was accepted as one of the first three pilot ventures into the portfolio of the Pittsburgh Social Enterprise Accelerator (now Social Innovation Accelerator). Since then, the Museum has launched two successful social enterprise initiatives and has become known as a regional and national model in social enterprise for arts and cultural organizations. In February 2004, the Museum was selected to be the lead-off episode of the eleventh season of the public television series The Visionaries. The thirty-minute segment featured the Museum’s accessibility, commitment to regional partnerships and educational initiatives that made a difference in the region. Of the 103 nonprofit organizations profiled by The Visionaries, the Westmoreland was the first museum and only the second arts organization.

your _______v __ie __w ______ “The people, the art, the experience of being a member of the Women’s Committee, a docent, and a volunteer in the gift shop are memories I cherish!” – Dee Thomas – Museum patron

The Visionaries Invitation

Outstanding exhibitions and additions to the permanent collection continued during this period which coincided with a heightened international interest in American art. Partnerships with collectors, museums, art historians and donors from around the country brought greater visibility to the Museum, extending our geographic reach. By 2005 over half of the Museum’s visitors were coming from outside Westmoreland County.

After forging new paths in education, visitor experience and collections, the Museum built a transatlantic bridge through the large-scale exhibition and product development project Born of Fire. Born of Fire featured the first-ever exhibition of all of the Museum’s 144-plus industrial landscapes; a music CD with songs of the Big Steel Era; and a documentary DVD about the art, music and history of Big Steel in our region. “Under any circumstance, it would have been an excellent show and a fine educational opportunity, but what the museum has done goes far beyond the normal “pictures on a wall.” It has taken a theme show and made it a multimedia experience, both for those who see it live and those who will experience it in the future at home or in a classroom. The effort may indeed be a prototype for future art exhibits.” – Jim Weaver, Art Matters, on Born of Fire The exhibition traveled to the Rhineland Industrial Museum in Oberhausen, Germany for its European debut—connecting the Pittsburgh region with the world. It continues to travel in Germany, as well as to Poland and Spain, through 2010. HISTORY OF THE WESTMORELAND 9

HISTORY OF THE WESTMORELAND

“Born of Fire is not just about artists interpreting the visual spectacle that was the steel industry through their creative impulses. It is also about recognizing dreams, mental drive, a soul of fire, if you like, visions and what can become of them. In this case, naturally, the American dream. This dream is universal. Its vision surmounts borders and oceans. So let’s inhale the past and exhale the future in this sense: may Born of Fire bring us pride in our past and enthuse us about the future.” – Thomas Schleper, Leader, Rhineland Industrial Museum Schauplatz Oberhausen, Germany 2009 marks the Fiftieth Anniversary of The Westmoreland. Our year long celebration will not only look back on lessons and accomplishments of the first half-century, but will be a launching pad to the next fifty years. Fifty years into the vision, The Westmoreland is exceeding the expectations of visitors and is acknowledged across the state and throughout the nation as a new model for art museums. The Westmoreland is increasing awareness of American art and is committed to teaching Americans about the art of their own country. The Westmoreland is the place for American art. The Museum began as the idea of one, and has grown to inspire the lives of many. Over a half century ago Mary Marchand Woods had a dream to build a Museum. The rest is history. And the future is bright.

your _______v __ie __w ________________ “The Museum is a sanctuary for me. It not only provides a constant source of inspiration, it preserves and protects great American art for future generations. Also, this Museum has helped in my development as an artist. I am extremely grateful!” – Ron Donoughe – Artist

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50 years into the vision

Past Presidents The Westmoreland is a non-profit institution organized under the authority of a Board of Trustees whose appointed members volunteer their time, expertise and resources to the Museum. John A. Robertshaw, Jr. followed his father, a member of the founding Board, and served as Board president from 1983 until 1996. His second year as president coincided with the 25th anniversary, the same year the Museum removed “County” from its name. Under his leadership, The Westmoreland Society was formed (1986) to honor people who have made a significant contribution to American art and to purchase objects for the permanent collection. Board Presidents (left to right) Jack also oversaw the Bruce M. Wolf, John A. Robertshaw, Jr., Dr. Jack D. Smith establishment of an Education department in 1989 in order to better serve the region’s school children and life-long learners. In 1993 he led the transition from the administration of the Museum’s founding Director/Curator of 36 years to the appointment of a Director/CEO in 1993 and a Curator in 1995. That same year the Women’s Committee published their still successful cookbook, Art in the Kitchen. Three years into the new administration Jack stepped down and Dr. Jack D. Smith assumed the presidency in 1996. Following an intensive public assessment, the Museum established its first marketing department and “American” was added to our name to define our mission to the public. In 1997, the Westmoreland Jazz Society was formed, bringing into our galleries an American musical art form. Jack oversaw “The Campaign for Enriching the Public Experience,” also launched in 1997, ably assisted by his predecessor, Jack Robertshaw, along with Toby Biddle and Harvey Childs as campaign chairs. The Campaign resulted in a complete renovation of the Museum making for a more visitor friendly ambiance. It also added to a modest endowment begun by our founder. The Westmoreland’s current president, Bruce M. Wolf, took office in September 2007 and has the challenge of leading the Museum into its next half-century. He helped guide the current long-range plan, which focuses on three areas: Collection, Capacity and Destination. “At any time, but especially in tough economic times, we turn to the arts to find solace, inspiration and to be uplifted. This museum is one of the most significant cultural venues in the tri-state area. When one walks through the galleries, you cannot fail to be impressed by the quality and range of the collection housed within these walls. We should all be proud and forever grateful to our past, current and future benefactors for making The Westmoreland the special place that it is. Our careful guardianship and future support for this institution enriches us all," stated Wolf.

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IN CELEBRATION OF THE COLLECTION

In Celebration of the Collection Exhibition Schedule 2009 In recognition of the Museum’s Fiftieth Anniversary, we have planned a series of exhibitions that both celebrate the permanent collection and an area of collecting that falls outside the scope of our collection range of 1750 – 1950. The Walsh Gallery on the second floor is dedicated to the work of contemporary southwestern Pennsylvania artists and changes in conjunction with each temporary exhibition shown in the Woods-Marchand-Mack Galleries.

Now through May 24, 2009

The Gift of Art The Gift of Art brings together fifty plus gifts of art that have been donated or promised to The Westmoreland over the past fifty years. In addition, a selection of art that is currently for sale will be included in the exhibition; works that either fill a gap or would make a significant contribution to the collection. It is our hope that one or more of these works will be made “gifts of art” during the course of the exhibition. A selection of works on paper that came to the collection as gifts will also be highlighted in the Friedlander Gallery.

The Walsh Gallery: David Michael Bowers: Humanity Unveiled, is shown in the Walsh Gallery adjacent to The Gift of Art. His realistic paintings have been described as a blend of Renaissance master and figural surrealist, with a touch of fantasy mixed in. Upon first glance Bowers’ work seems to take you back to periods of painting long gone, while at the same time, the artist incorporates modern themes and ideas. There is always a message in his work and symbolism is a main ingredient. For him the idea is the most challenging and rewarding part of the painting. According to the artist: “I’m so indebted to the paintings of the great Old Masters of the past. The inspiration that I receive from viewing their work, makes the hair stand up on the back of my neck.”

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50 years into the vision

June 14 – September 6, 2009

Modern Masters from the Smithsonian American Art Museum Modern Masters examines the complex and heterogeneous nature of American art in the mid-twentieth century by featuring thirty-one of the most celebrated artists who came to maturity in the 1950s. Because this exhibition falls outside our collection date range of 1750 – 1950, it is a most relevant one for this Museum to show as it traces the history of this epochal period that is not available in our collection. Adolph Gottlieb, THREE DISCS, 1960 Oil on canvas, 72 x 89–7/8 inches Courtesy of the Smithsonian American Art Museum

The William R. Kenan, Jr. Endowment Fund, the C. F. Foundation in Atlanta, and members of the Smithsonian Council for American Art have generously contributed to Modern Masters from the Smithsonian American Art Museum.

The Walsh Gallery: Daniel Bolick: The Innocence Project. Bolick is the 2007 recipient of The Westmoreland Exhibition Award selected from the Associated Artists of Pittsburgh annual exhibition. His large and dramatic portraits depict individuals who have been now found innocent of crimes for which they were imprisoned for many years.

September 27, 2009 – January 3, 2010

Four Perspectives on Fifty Years Four Perspectives on Fifty Years is a collaborative exhibition to be curated by four friends of the Museum: an artist, Adrienne Heinrich; a collector, Martin O’Brien; an art critic, Graham Shearing; and a patron, Anne Robertshaw (shown as listed). Many of the objects on exhibition will be taken from the Museum’s permanent collection that is currently in storage, bringing together works of art that are seldom seen or seen together.

The Walsh Gallery: James Osher: Three Seconds with the Master is an exhibition of pairs of large format C-print digital photographs that focus on subject matter derived from paintings in The Westmoreland’s permanent collection. In this body of work Osher concentrates on transitory aesthetics and the rapid interpretation of visual art. His work is an exploration of the relationships between the perception of paintings that are executed with a contemplative intent, as well as a high degree of technical skill and compositional consciousness, to the often arbitrary content of exhibition environments, and an audience that, as studies have shown, spend only about three seconds viewing works of art in museums.

IN CELEBRATION OF THE COLLECTION 13

PLANNED GIVING

To be a visionary, one must not only see what is, but what can be… The Visionary Society was established in 2007, in the spirit of Mary Marchand Woods, to honor the philanthropic leadership and vision of the generous individuals who have provided for the future of the Museum through a planned gift, the highest level of investment one can make in The Westmoreland. A planned gift allows individuals to create a personal legacy and at the same time help preserve our Museum for the community and future generations. Planned giving can take many forms—bequests, endowments, retirement fund assets. But, what a lot of people might not realize is that planned giving can also include gifts of art.

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With the rising cost of American art, and just a modest endowment for art acquisition , many works of art that the Museum should acquire are, quite simply, out of our reach financially. Without the many generous gifts made over the past fifty years (which are highlighted in the exhibition The Gift of Art), we would not have been able to build the extraordinary collection we currently have. And we certainly will not be able to grow it further without the continued generosity of donors.

50 years into the vision

Imagine how little we would be able to add to the collection if we relied solely on the approximately $42,000 in annual income that we receive from the art acquisition endowments? Or the roughly $30,000 raised by the Westmoreland Society? Paintings by artists like John Singer Sargent and Georgia O’Keeffe, when they are available, are selling for prices in the high six and seven figures today. In 2001, The Westmoreland secured a bank loan to purchase the Lynch Tiffany Window for $400,000 to ensure that the window returned to the city for which it was made. While the community rallied around us with donations that allowed us to pay off the loan in a year and a half, we cannot take risks like that every year—or even every decade.

Imagine the collection of The Westmoreland without Mary Cassatt’s Mother and Two Children or Thomas Hovenden’s Death of Elaine, or Harriett Whitney Frishmuth’s Joy of the Waters. What would Born of Fire, our scenes of industry collection, be without Aaron Harry Gorson’s Industrial Scene, Pittsburgh or Otto Kuhler’s Steel Valley?

We rely on our generous friends and supporters like you for many things—operating support, program and exhibition support, endowment funds, and also for gifts of art to the collection. Without this generosity, there would be far fewer pictures on our walls. Just imagine what that would be like. For information about planned gifts of art, please contact: Judith H. O’Toole, Director/CEO at (724) 837-1500, ext. 25, or Barbara L. Jones, Curator at (724) 837-1500, ext. 20. For information about planned giving as it applies to cash, securities, retirement fund assets, insurance policies, or tangible personal property, please contact Amy Baldonieri, Director of Development and Finance at (724) 837-1500, ext. 30. More information on planned giving may also be found at: www.wmuseumaa.org/ involved/plannedgiving.cfm

your _______v __ie __w ______ “A place to go to make myself a better person— to know and love art.” – Annie Hapchuk – Museum visitor PLANNED GIVING 15

ON THE HORIZON

On the horizon: the next fifty... Much can change in fifty years. The cityscape of Greensburg and cultural landscape of western Pennsylvania were forever altered when the Museum opened its doors to the public in 1959. The upcoming fifty years will prove to be no different as The Westmoreland continues to enrich the region and beyond through the collection, interpretation, preservation and presentation of American art. With the help of community leaders, Museum volunteers and patrons, the staff at The Westmoreland worked together to write a new strategic plan focused on three areas: increasing capacity, focusing and growing the collection and becoming more of a destination for our community. The plan, which was implemented in September 2007, will guide the Museum through 2012 and includes expanding the Museum to create more galleries and more room for educational and other public activities. It also calls for us to increase our resources, both human and financial, to support an expanded Museum. As always, our goals are big but attainable, and we look forward to meeting them with your help. The mission of the Westmoreland Museum of American Art is to enrich a growing public through innovative and collaborative approaches to the collection, preservation and presentation of American art. The vision is to be a preeminent museum of American art.

About a New Permanent Collection Catalog: In honor of its Fiftieth Anniversary, The Westmoreland is publishing a new permanent collection catalog that will contain highlights of the works of art in the collection. One hundred works— paintings, sculpture, works on paper, decorative arts and furniture—will be reproduced in color. The accompanying essay, written by curator Barbara L. Jones, will present a two hundred year history of American art, placing works of art from the collection in context with the time period in which each was created. Objects in the Museum’s collection will serve as examples to assist in telling the story of the styles that predominated during the years 1750 – 1950, as America came into its own as the cultural capital of the world. In addition, the catalog will contain a complete listing, to date, of all works of art in The Westmoreland’s permanent collection. To reserve your copy of the catalog, please contact An American Marketplace, the shop at The Westmoreland at 724-837-1500 extension 39, via email at [email protected], or on our website, www.wmuseumaa.org.

your _______v __ie __w ______ “I believe the Museum is a tremendous asset to not only the City of Greensburg but well beyond the boundaries thereof. It certainly for many years was a “secret” but now it is well established as a principal museum of American Art.” – Sandra L. Cole – Museum Patron 16

50 years into the vision

Fifty Significant Acquisitions over 50 years Our curator selected these examples to highlight the growth of the collection in our first half century. Rembrandt Peale (1778-1860) Porthole Portrait of George Washington, c. 1824 oil on canvas Gift of the William A. Coulter Fund, 1958 Theodore Robinson (1852-1896) In the Garden, c. 1889, oil on canvas Gift of the William A. Coulter Fund, 1958 David Gilmour Blythe (1815-1865) The Young Musician, c. 1858-1860, oil on canvas Gift of the William A. Coulter Fund, 1958

Robert Henri (1865-1929) Picnic at Meshoppen, 1902, oil on canvas Gift of the William A. Coulter Fund, 1958 George Inness (1825-1894) The Coming Shower, c. 1873, oil on canvas Gift of the William A. Coulter Fund, 1958 Dower Chest, c. 1775, Lebanon County Made by Christian Seltzer (1747-1831), painted pine Gift of the William A. Coulter Fund, 1960 Marsden Hartley (1877-1943) Still Life, 1918, pastel on paper Gift of the William A. Coulter Fund, 1962 Childe Hassam (1859-1935) The Outer Harbour, 1909, oil on canvas Mary Marchand Woods Memorial Fund, 1964 Winslow Homer (1836-1910) Sunset Fires, 1880, watercolor on paper Gift of the William A. Coulter Fund, 1964 Benjamin West (1738-1820) King Priam, 1808, oil on canvas, Gift of the William A. Coulter Fund, 1968 Milton Avery (1893-1965) Arrangement with Plants, 1948, oil on canvas Gift of Mr. Michael Ross, Hewlett Bay Park, NY, 1975 Robert Brackman (1898-1980) Rochelle at Table with Flowers, 1926, oil on canvas Gift of the Women’s Committee, 1976

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George Hetzel (1826-1899) Rocky Gorge, 1869, oil on canvas Museum purchase, 1980 Severin Roesen (1815-1872) Still Life with Fruit, Not Dated, oil on canvas, Museum Purchase and The William A. Coulter Fund, 1980 Ernest Lawson (1873-1939) Pittsburgh Mills, Monongahela River, 1930, oil on canvas Gift of the William A. Coulter Fund, 1980 George Frederick Bensell (1837-1879) Rip Van Winkle, Not Dated, oil on canvas Gift of the Western PA Conservancy, Pittsburgh, PA from the Dorothy Kantner Estate, in Memory of George and Lila B. Hetzel, 1977 Guy Pene duBois (1884-1958) Studio Window, 1928, oil on canvas Gift of the William A. Coulter Fund, 1977 Paul Cornoyer (1864-1923) A Rainy Day in the City, c. 1916, oil on canvas Gift of the Women’s Committee, 1977 Everett Shinn (1876-1953) Orchestra Pit, 1907, pastel on paper Gift of Dr. Walter Read Hovey, 1978 John Francis (1808-1886) Fruit and Wine, 1850, oil on canvas Anonymous gift, 1978 John Singer Sargent (1856-1925) Doorway of a Venetian Palace, c. 1906-1910 watercolor on paper, Anonymous gift, 1978 Maurice Prendergast (1859-1924) Bathers at St. Malo, c. 1907-1909, watercolor on paper Gift of Dr. Walter Read Hovey, 1978 Mary Cassatt (1844-1926) Mother and Two Children, 1901, oil on canvas Anonymous gift, 1979

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Susan MacDowell Eakins (1852-1938) Still Life with Figure, Not Dated, oil on canvas Gift of Mr. and Mrs. Stuart P. Feld, 1983 Chippendale Tall Case Clock, 1802-1814 Made by Henry Wise, Greensburg, wood Gift of John Barclay, Jr., 1983 Thomas Hovenden (1840-1896) Death of Elaine, 1882, oil on canvas Gift of the Mary Marchand Woods Memorial Fund, 1985 Rubens Peale (1784-1865) Still Life with Watermelon, 1863, oil on canvas Gift of the Mary Marchand Woods Memorial Foundation, 1986 Alfred S. Wall (1825-1896), Old Saw Mill, 1851, oil on canvas, Gift of the Woods-Marchand Foundation, 1986 William Michael Harnett (1848-1892) Philadelphia Public Ledger, 1880 oil on canvas Anonymous gift, by Exchange, 1986 John Singleton Copley (1738-1815) Portrait of John Gardiner, c. 1758 oil on canvas Anonymous gift, by Exchange, 1987

50 years into the vision

Chippendale Slant-Front Desk, c.1765, wood Anonymous gift, by Exchange, 1990 Harriett Whitney Frishmuth (1880-1980) Joy of the Waters, 1917, bronze Gift by Exchange, 1990 Aaron Harry Gorson (1872-1933) Industrial Scene, Pittsburgh, 1928, oil on canvas Gift in memory of Roy C. McKenna, 1994 William Merritt Chase (1849-1916) Lady in a Pink Dress, c. 1892, oil on canvas Gift in Memory of G. Albert Shoemaker by his wife, Mercedes, 1995 Cecilia Beaux (1855-1942) Portrait of Mrs. John Wheeler Leavitt, 1885 oil on canvas Gift from Mary Eliza Drinker Scudder and Thayer Scudder in honor of Philip Drinker and Susan Aldrich Drinker, 1996

Colin Campbell Cooper (1856-1937) Pittsburgh, PA, c. 1905, oil on canvas Gift in memory of Alex G. McKenna, 1996 Paul Manship (1885-1966) Briseis, 1916, bronze Gift of the Henry L. Hillman Foundation, Pittsburgh, PA,through the Westmoreland Society, 1996 Alfred Thompson Bricher (1837-1908) Point Judith, Narragansett Bay, Rhode Island, c. 1885 oil on canvas Gift of the Westmoreland Society, 1997 Oscar Bluemner (1867-1938) Untitled (House Cluster), c. 1930, gouache on paper Gift of the Westmoreland Society, 1998 Alfred Maurer (1868-1932) Two Sisters, c. 1925, oil on board Gift of the Westmoreland Society, 2000 The Lynch Tiffany Window, c. 1905, copper foiled and plated glass Museum Purchase, 2001 Attributed to Jeremiah Stahl (1830-1907), Soap Hollow Seven-drawer Chest, 1867, cherry and tulip poplar wood (painted and stenciled) Gift of the Westmoreland Society, 2002 Samuel Rosenberg (1896-1972) Sunday Morning, 1937, oil on masonite Gift of Arline Rosenberg (Mrs. Murray), 2003 Otto Kuhler (1894-1976) Steel Valley, c. 1925, oil on canvas Gift of Mr. Richard M. Scaife, 2004 Balcomb Greene (1904-1990) Organic Forms, 1939, oil on canvas Anonymous gift, 2005

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FIFTY ACQUISITIONS OVER 50 YEARS

Violet Oakley (1874-1961) Unity (Study for International Understanding and Unity Mural), 1906 tempera and gold leaf on panel Gift of Diana and Peter Jannetta, 2005 James Brade Sword (1839-1915) Silver Thread Falls, 1874, oil on canvas Gift of the Westmoreland Society, the William Jamison Art Acquisition Fund and additional contributions from Mr. and Mrs. David G. Assard; Mr. and Mrs. James S. Beckwith III; Mr. and Mrs. Alan Berk; Mr. and Mrs. Sam Berkovitz; Mr. and Mrs. Charles H. Booth Jr.; Mr. and Mrs. Lawrence S. Busch; Mr. and Mrs. Peter Cecconi, Jr.; Mr. and Mrs. B. Patrick Costello; Mr. and Mrs. John W. Douglas, Jr.; Mr. and Mrs. Paul J. Evanson; Mr. and Mrs. G. Joseph Frederick; Mr. and Mrs. Charles W. Gibbons III; Mr. and Mrs. Terence L. Graft; Mr. and Mrs. Richard Hendricks; Mr. and Mrs. John Howat; Mr. and Mrs. James Isbister; Dr. and Mrs. Peter Jannetta; Mrs. Robert Kilgore; Mr. and Mrs. D. Scott Kroh; Mrs. Rose Mack; Mr. and Mrs. Charles G. Manoli; Mr. David J. Millstein, Esq.; Mr. Thad Mosley; Mrs. Barbara Nakles; Mr. and Mrs. Kevin O’Toole; Mr. and Mrs. James L. Parker; Mr. and Mrs. John A. Robertshaw, Jr.; Mr. and Mrs. James F. Ross; Dr. and Mrs. Karl W. Salatka; Ms. Teruyo P. Seya; Mr. and Mrs. Jack W. Shilling; Mrs. G. Albert Shoemaker; Mr. and Mrs. Andrew J. Sordoni III; Mr. Rudolph Stanish; Mr. and Mrs. Harry A. Thompson II; Mr. and Mrs. John L. Wandrisco; Mr. Jeffry J. Williamson., 2007

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Ben Shahn (1898-1969), Byzantine Isometric, 1951, tempera on canvas mounted on masonite, Museum Purchase, 2007 Joy and R. David Brocklebank Fraktur Collection through the William Jamison Art Acquisition Fund, 2008 William Coventry Wall (1810-1886), View Along the Allegheny, Near Aspinwall, 1867, oil on canvas, Gift of Jack and Suzanne Shilling and Family, 2008

50 years into the vision

Fifty Years of Exhibitions In May 1959, the new museum presented an ambitious inaugural exhibition to set the stage for its future. 250 Years of Art in Pennsylvania contained 136 paintings, 10 sculptures, and 282 decorative arts objects. The illustrated catalog was dedicated to “Mary Marchand Woods, Founder,” and in its introduction, Walter Read Hovey expressed his hope that the objects in the exhibition would “form an incentive for the creation of a significant permanent collection.” Included, in fact, was the first painting acquired by the Museum, Rembrandt Peale’s Porthole Portrait of George Washington. 1960 saw the Museum’s early commitment to contemporary regional artists by hosting the Greensburg Art Club.

Two exhibitions borrowed from the Carnegie Institute (now Carnegie Museum of Art) were mounted in 1961; the first focused on American painting from the eighteenth through the twentieth centuries while the second highlighted European paintings from a similar era. During that year, director Paul A. Chew continued to borrow from neighboring collections to fill the galleries, looking to the Butler Institute of American Art and to local private collectors for exhibitions. American Artists as Printmakers set the stage in 1963 for the Museum’s outstanding collection of works on paper including works by George Bellows, Charles Burchfield, Mary Cassatt, Arthur B. Davies, Marsden Hartley, Childe Hassam, Winslow Homer and John Sloan. A special exhibition called “The Christmas Exhibition” was initiated in 1959 and in 1966 was titled The American Scene. Works by Hudson River School painters Albert Bierstadt and Frederick Edwin Church were shown with late nineteenth century realists William Merritt Chase and Thomas Eakins. Ashcan artists William Glackens and John Sloan brought the exhibition into the 20th century. 1968 saw the first Holiday Toy Exhibition, initiated by Dr. Chew’s interest in tin and antique toys. In 1970, due to interest in American folk art shown through several smaller exhibitions in previous years, the Museum produced Plain and Fancy: A Survey of American Folk Art with an impressive catalog documenting many objects from southwestern Pennsylvania for the first time in a formal museum exhibition. This year’s toy exhibition introduced the Snow Castle for children, a huge interactive play area constructed on the Museum’s second floor.

FIFTY YEARS OF EXHIBITIONS 21

FIFTY YEARS OF EXHIBITIONS

Paintings and Graphics from the Walter Read Hovey Collection paid homage to Hovey’s connoisseurship in 1973. A professor at the University of Pittsburgh, Hovey had served as a mentor to Paul Chew both when the latter was his student and in the formative years of Chew’s directorship at the Museum. Hovey collected American and European masters including Robert Henri, George Luks, John Marin, Henri Matisse, Pablo Picasso, Odilon Redon, Max Ernst, Georges Rouault, Joseph Woodwell, and Andrew Wyeth.

Our country’s Bicentennial year saw selections loaned by Dr. John J. McDonough of Youngstown, Ohio who had assembled a stunning collection of American impressionist paintings. Later the same year, a survey of painters from southwestern Pennsylvania from the nineteenth and early twentieth centuries was assembled including David Gilmour Blythe, Alex Fletcher, Aaron Harry Gorson, Johanna Hailman, George Hetzel, Lila Hetzel, John Kane, A.F. King, Jasper Lawman, Martin B. Leisser, Eugene Poole, Samuel Rosenberg, Russell Smith, A. Bryan Wall, Alfred S. Wall, William Coventry Wall, Christian J. Walter and Joseph Woodwell. In 1979, regional photographer Richard Stoner was commissioned to make a survey of Westmoreland County architecture, which was shown in two installments. The Museum still owns this important photographic collection that documents historic structures throughout the county, some of which are no longer standing. Southwestern Pennsylvania Painters: 1800-1945 was organized in 1981 with a catalog that has become known to collectors as “the bible” because it documents for the first time in one volume the contributions of some sixty-nine artists with ties to the Pittsburgh region. With this exhibition, Dr. Chew and his associate, John Sakal, put these artists on the radar of American art historians and provided groundbreaking research on the Scalp Level School and the artists who painted Pittsburgh during its Big Steel Era.

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50 years into the vision

In 1982, Dr. Paul Chew’s 25th anniversary as Director was celebrated with The Armchair Collector, an exhibition of small oils, watercolors, drawings, prints, and sculptures by eighty four artists. The following year a survey of American impressionism brought works to the Museum by artists such as Mary Cassatt, William Merritt Chase, William Glackens, Childe Hassam, Robert Henri, George Luks, Maurice Prendergast, John Singer Sargent, Everett Shinn, and John Twachtman. The 25th anniversary exhibition in 1984 was another impressive loan exhibition and a survey of American painting from 1750-1950, the period of concentration for the Museum’s permanent collection. The accompanying catalog listed 117 paintings by eighty four artists. Later that year, eleven artists including John Fulton Folinsbee, Robert Spencer, Rae Sloan Bredin, Edward Redfield, and Daniel Garber were highlighted in The Pennsylvania School of Landscape Painting: An Original American Impression. In 1987 the Gimbel Pennsylvania Art Collection, owned by the University of Pittsburgh, was exhibited as part of the bicentennial celebrations of the University.

The following year he curated a survey exhibition titled Penn’s Promise: Still Life Painting in Pennsylvania 1795-1930 and published a catalog to document it. This exhibition was followed in 1989 by another ambitious survey Folk Art: A Sampler of American Folk Art from Pennsylvania Collections. Dr. Chew’s last exhibition at the Museum occurred in 1994 and was the culmination of his life’s work on the leader of the Scalp Level School. Published the same year, his monograph on the artist, George Hetzel and the Scalp Level Tradition, also the title of the exhibition, remains to date the most important study on Hetzel and his associates. An exhibition organized by Chew’s successor, Judith Hansen O’Toole, prior to her arrival at the Museum came to Greensburg in 1995 from the Canton Art Institute. George Luks: Expressionist Master of Color: The Watercolors was the first exhibition dedicated to this Ashcan painter’s work in the lighter medium and travelled to three museums. O’Toole also served as author for the exhibition’s catalog. Later that year an exhibition by another artist of the early twentieth century was Guy Pene duBois: The Twenties at Home and Abroad. 1995 closed with a unique exhibition highlighting the artistic merit of the many trophies won by golf legend Arnold Palmer titled The Art of Winning: Prizes of Palmer. The British Open Trophy, a magnificent claret jug, traveled from the British Isles for its first, and only, visit to the United States for this exhibition.

Dr. Chew’s 30th anniversary as Director in 1987 was celebrated with a selection of paintings from the collection he built.

FIFTY YEARS OF EXHIBITIONS 23

FIFTY YEARS OF EXHIBITIONS

In 1996, Greensburg became the only other venue for Cecilia Beaux and the Art of Portraiture when the National Portrait Gallery permitted its exhibition to travel to her home state of Pennsylvania setting a new standard for exhibitions at the Museum. Two exhibitions the following year: An American Tradition: The Pennsylvania Impressionists, from both public and private collections, and All That is Glorious Around Us: Paintings from the Hudson River School, drawn from one important private collection, celebrated two very different schools of American painting. From Westmoreland Glass to Contemporary Glass, which celebrated the 200th anniversary of glass making in southwestern Pennsylvania, was also presented in 1997.

In 1999 the Museum reopened after a seven-month renovation with Making the Westmoreland Museum of American Art, which included architectural plans for the original Phillip Johnson building and subsequent designs by Sorber & Hoone, Deeter Ritchey Sippel, and Jay Labarthe of The Design Alliance. We also helped mark the City of Greensburg’s bicentennial with Celebrating Greensburg: 1799-1999. The Frame in America: 1860-1960, an exhibition that art critic Graham Shearing said all museums should host at one time or another, was followed by Face-to-Face: 20th Century Portraits marking the beginning of a new millennium. Spirit of a Community: The Photographs of Charles “Teenie” Harris brought national media attention to the Museum in 2001 including The New York Times and NBC’s Weekend TODAY. This was

The Philadelphia Ten: A Women’s Artist Group 19171945 came to the Museum in 1998 with the works of twenty-three painters and seven sculptors who at one time or another belonged to this group. When Coal Was King: Paintings from the Steidle Collection contained selections from this special collection of the Earth and Mineral Sciences Department at Pennsylvania State University, and included many Pittsburgh artists, among them Roy Hilton and Christian Walter.

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the first solo museum exhibition for Harris, a noted African-American photo-journalist from Pittsburgh’s Hill District. It was followed by Nature’s Bounty: Still Life Painting in Southwestern Pennsylvania (1860-1910), the Museum’s first survey of this type. Two great periods in early twentieth century American painting were highlighted in 2002 with Robert Henri and His Influence, paying homage to the leader of the Ashcan School, followed by Scenes of American Life: Treasures from the Smithsonian American Art Museum, an impressive survey of regionalist painting from 1909 to 1980.

50 years into the vision

on view at one time. A selection of them would then travel to Germany for the first of five stops on a European tour. The accompanying catalog became the first in a series of permanent collection catalogs to be published since 1978.

Samuel Rosenberg: Portrait of a Painter, a collaboration with Carnegie Museum of Art and the University of Pittsburgh Press, was the culmination of years of research by curator Barbara L. Jones and the second major exhibition and only monograph on this important Pittsburgh artist. The work of his many students was exhibited in two complimentary exhibitions. A retrospective exhibition of Rosenberg’s work was first mounted at the Museum in 1960, a year after it opened. The 2004 Holiday Toy and Train Exhibition: Playthings was dedicated to the memory of Dr. Paul A. Chew, Director Emeritus of the Westmoreland who had passed away earlier that year. In 2005, Man-Made Quilts revealed that this medium was not only the domain of women and American Scenery: Different Views in Hudson River School Painting, a sequel to All that is Glorious Around Us, opened here before traveling to other museums around the country. Artists of the Commonwealth: Realism and its Response in Pennsylvania Painting, 1900-1950 was a collaboration with the Pennsylvania Council on the Arts and traveled to three other museums within the Commonwealth in 2006. But the year’s sensation was Born of Fire: The Valley of Work, which saw the entire collection relating to Pittsburgh’s Big Steel Era

2007 was highlighted by Made in Pennsylvania: A Folk Art Tradition, drawn from numerous private and public collections of furniture, fraktur, textiles and stoneware. This exhibition motivated the Museum’s purchase the following year of the Joy and R. David Brocklebank Collection of western Pennsylvania fraktur. In 2008, four noteworthy exhibitions took place led by Seeing the City: Sloan’s New York organized by the Delaware Art Museum. Painting in the United States, many years in the making, was organized to coincide with the Carnegie International and brought back to western Pennsylvania actual works that had been exhibited at Carnegie Institute between 1943 and 1949. Only American art was shown because international art was no longer accessible due to World War II. From the Ruhr Valley to the Steel City: Industrial Scenes from the Rhineland Industrial Museum, an exchange with our partners in Oberhausen, Germany, was followed by Scenic Views: Painters of The Scalp Level School Revisited in homage to Paul Chew’s work on the subject, and a kick-off to the Museum’s anniversary year. This exhibition brought more weekly visitors to the museum than any other.

FIFTY YEARS OF EXHIBITIONS 25

IMAGINE NATION

On Friday, November 28, 2008, The Westmoreland launched Imagine Nation – a fun, new way for kids and grown-ups to experience American art. What Imagine Nation will do is unite all the great stuff the Museum does for kids and make sure that everybody knows that they can come here to have fun with art – both by looking at it with scavenger hunts and our Discover Backpacks and by making it with our hands-on activities in KidSpace or special art projects in our studio. Make sure all the kids you know sign up for the NEW Imagine Nation Kids Club – a membership group especially for kids. Members receive a special gift and we’ll make sure they get all the info about the Museum’s many programs – from art classes and camps to Family Day and other special activities. And membership in the Club is free! The Westmoreland has long been a DESTINATION for kids and families: Imagine Nation and our new mascots will make sure everybody knows that. Plus – coming in July – Imagine American Art, a children’s book that includes fun activities based on the Museum’s portraits, landscapes and still life paintings, will be published. We look forward to seeing you at an Imagine Nation event soon! Don’t miss our family-friendly 50th anniversary birthday celebration on May 31!

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50 years into the vision

IMAGINE NATION 27

BOARD OF TRUSTEES AND STAFF

Staff Row 1: (left to right): Amy B. Baldonieri, Judy Linsz Ross, PJ Zimmerlink, Cindy Williford Row 2: Pat Erdelsky, Barbara L. Jones, Judith H. O’Toole, Laura Zorch, Katie Barnard Row 3: Darlene Konvalinka, Kim Kiser, Virginia Leiner, Audrey Wright, Douglas W. Evans, Kimberly Murtland, Frances Browning, George Weisel, Nan Loncharich Row 4: Maureen Zang, Tim Jones, John Ackerman

Westmoreland Museum of American Art Board of Trustees and Staff Board of Trustees

Staff

Officers

Judith H. O’Toole Director/CEO Kimberly Kiser Assistant to the Director

Bruce M. Wolf, President George C. Greer, Vice-President Diana Jannetta, Chair, Governance Committee Donald C. Korb, Secretary/Treasurer John A. Robertshaw, Jr., Past President Carol R. Brown Harvey Childs III Armour Mellon Judith A. Morrow Judith H. O’Toole James L. Parker Friedrich Teroerde Harry A. Thompson II Harley N. Trice Molly Walton Laura T. Widing Directors Emeritus Livingston L. Biddle II Harvey Childs, Jr. David S. Dahlmann The Honorable Charles H. Loughran Richard W. Morford

Senior Team Amy B. Baldonieri Director of Development and Finance Barbara L. Jones Curator Judy Linsz Ross Director of Marketing & Visitor Services

Art & Education Team Barbara L. Jones Team Leader Katie Barnard Curator of Education for School and Community Programs Douglas W. Evans Collections Manager Darlene Konvalinka Administrative Assistant to the Curator Cynthia Williford Assistant to the Collections Manager Maureen Zang Public Programs Coordinator P.J. Zimmerlink Preparator

Finance & Development Team

Board of Trustees

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First row: Harry A. Thompson, II, John A. Robertshaw Jr., Judith H. O’Toole, Bruce M. Wolf, James L. Parker, Judith A. Morrow Second row: Friedrich Teroerde, Harvey Childs, III, Jack D. Smith, Laura T. Widing, Molly Walton, Donald C. Korb, Armour Mellon

Amy B. Baldonieri Team Leader Frances Browning Accounts Manager Pat Erdelsky Assistant for Public and Financial Development Amy Isaac Shop Sales Associate

Virginia Leiner Museum Shop Manager Kimberly Murtland Accounting Clerk Laura Zorch Marketing & Development Assistant

Marketing & Visitor Services Team Judy Linsz Ross Team Leader John Ackerman Facilities Manager Aileen Barnard Greeter Robert Isaac Visitor Services Representative Tim Jones Custodian Jacqueline LeBron Visitor Services Representative Nan Loncharich Greeter Mary Lou Merola Visitor Services Representative John Petersen Visitor Services Representative Donna Roscoe Visitor Services Representative Tyesa Simpson Visitor Services Representative Karen Truxal Greeter Amanda Jane Washburn Visitor Services Representative George Weisel Lead Visitor Services Representative Audrey Wright Housekeeper Laura Zorch Marketing & Development Assistant

50 years into the vision

Anniversary Sponsors and Donors as of February 23, 2009 Mr. Richard M. Scaife Eden Hall Foundation Katherine Mabis McKenna Foundation, Inc. Allegheny Energy Highmark Blue Cross Blue Shield Latrobe Specialty Steel Company Snee-Reinhardt Charitable Foundation Roy A. Hunt Foundation Mr. and Mrs. D. Scott Kroh Anonymous Mr. and Mrs. Richard P. Mellon 84 Lumber Company/Ms. Maggie Hardy Majerko Mr. and Mrs. Dwayne Amoroso Mr. and Mrs. Henry Armstrong Mr. Ken Baldonieri Dr. Richard C. Barnes In Memory of Mrs. Geraldine Abel Barnes Mrs. Johanna (Janie) Belden Mr. and Mrs. Fiore Benevento Mr. and Mrs. Alan K. Berk Mr. and Mrs. Sam Berkovitz Mr. Charles A. Blackburn Mr. and Mrs. Eric Bononi Mr. and Mrs. Robert Brandegee Ms. Carol R. Brown Mr. and Mrs. Pete Buchan Mr. and Mrs. Peter Cecconi, Jr. Mr. and Mrs. Harvey Childs, Jr. Mr. and Mrs. Harvey Childs III Mr. James Clayton and Ms. Mary Catherine Motchar Mr. and Mrs. Michael Cluss Mr. and Mrs. George Conte Copier Corporation of America Mr. and Mrs. B. Patrick Costello Dr. and Mrs. William B. Courtney Ms. Edith A. Curry Mr. and Mrs. Raymond L. DeFazio Ms. Bonita Del Duca Mr. Ron Donoughe

John and Lucy Douglas Mr. and Mrs. Karl Eisaman Mr. and Mrs. H. Gervase Fajt, Jr. First National Insurance Agency Inc./ Mr. Will Brown Fotorecord Print Center/Mr. Paul Nickoloff Mrs. E. Jeanne Gleason Mr. and Mrs. Thomas Godlewski Mr. John Goettlicher Mr. and Mrs. Terrence L. Graft Mr. and Mrs. Charles B. Greenberg Mr. and Mrs. Irving Gruber and Irving and Aaronel deRoy Gruber Charitable Foundation Ms. Adrienne Heinrich Mr. and Mrs. Richard Hendricks Mr. and Mrs. Edgar Highberger Ms. Ruth K. Hill Dr. and Mrs. Peter Jannetta Mr. and Mrs. Kenneth Jones Kattan-Ferretti Insurance Ms. Wilda K. Kaylor Mr. and Mrs. Robert Kendra Mr. Constantine J. Kermes Mr. and Mrs. William Kiren Mr. and Mrs. Donald Korb Ms. Florie Krell and Mr. Donald Sharapan Mr. Arthur Lambert Mrs. Mary M. Levy Mr. and Mrs. William K. Lieberman Mr. Gary Luther Mrs. Rose D. Mack Charles and Anita Manoli Mr. and Mrs. Warren Marvin Mrs. Loretta McBroom Ms. Ruth E. McDonald Mr. and Mrs. James O. McKiernan, Jr. Mr. and Mrs. John Mickinak Mr. and Mrs. Richard A. Miller Mr. and Mrs. Edward Muller Dr. and Mrs. Martin A. Murcek Mrs. Barbara Nakles Dr. and Mrs. Michael L. Nieland Dr. Maeve Nolan Mr. and Mrs. Barry Numerick Mr. and Mrs. Kevin O’Toole Mr. Bennard Perlman Mr. and Mrs. John R. Porter Mr. and Mrs. Jim Ratner Mr. Michael Rendulich Ms. Donna Repka Mr. and Mrs. John A. Robertshaw, Jr. Mrs. Arline Rosenberg

Mrs. Kay Rowe Dr. John C. Ryan Dr. and Mrs. Karl W. Salatka Mr. Bruce A. Samson Mr. and Mrs. Norman L. Samways Mr.* and Mrs. G. Albert Shoemaker Mrs. George S. Simon Mr. and Mrs. Lowell Smith Mr. Paul Smith Miss Charlotte M. Spicher Honorable and Mrs. William L. Standish Mr. and Mrs. Louis Steiner Dr. and Mrs. James H. Thomas Mr. and Mrs. Harry A. Thompson II Mr. Harley Trice Mr. and Mrs. Jim Ummer Dr. and Mrs. Anthony J. Van Norman Mr. David J. Vater Ms. Sybil P. Veeder Mr. and Mrs. Stephen Veyo Wagner Family Charitable Trust Mr. and Mrs. Patrick Ryan Wallace Ms. CoraBelle Walter Mr. and Mrs. Jon Walton Mr. and Mrs. Joseph Walton Mr. and Mrs. William Watman Mr. and Mrs. John West Mr. Allen Williams Mr. and Mrs. Bruce M. Wolf Mrs. Lee W. Wood Mr. and Mrs. Jay Woodward Dr. and Mrs. Michael J. Zorch *deceased

Fifty-year members Mr. and Mrs. Thomas P. Cole II Mr. and Mrs. Robert Davis (Phyllis) Miss Joan Evans Miss Frances Frye Mrs. Virginia Grosscup Mr. Charles Henry Miss Rebecca Humphrey Mrs. Kathryn Jamison Mrs. Sally Levin Mrs. Helen C. Miller Mr. and Mrs. John A. Robertshaw, Jr. Miss Pauline Shermar

ANNIVERSARY SPONSORS AND DONORS 29

CREDITS

Credits COVER ROW 1: Visitor experiences Born of Fire: The Valley of Work; John Singer Sargent (1856-1925), DOORWAY TO A VENETIAN PALACE (detail), c. 1906 –1910, Oil on canvas, Anonymous Gift; 1968 West wing construction; Jeremiah Stahl (1830-1907), SOAP HOLLOW SEVEN DRAWER CHEST, 1867, Cherry and tulip poplar, Gift of the Westmoreland Society, 2002; John F. Francis (1808-1886), STILL LIFE WITH FRUIT (detail), 1850, Oil on canvas, Anonymous Gift; Winslow Homer (1836-1910), SUNSET FIRES (detail), 1880, Watercolor on paper, Gift of the William A. Coulter Fund; From Nature’s Bounty: Still Life Painting in Southwestern Pennsylvania, 1860-1910 (2001), Albert F. King (1954-1945), WATERMELON WITH PLUG (detail), Oil on canvas, Courtesy: D. Wigmore Fine Art, Inc., New York; Artist Unknown, PORTRAIT OF HARRIET KELLY (detail), c. 1875, Oil on canvas, Gift of Frank Kelly; Otto August Kuhler (1894-1976), STEEL VALLEY, PITTSBURGH (detail), c. 1925, Oil on canvas, Gift of Richard M. Scaife; From Nature’s Bounty: Still Life Painting in Southwestern Pennsylvania, 1860-1910 (2001), Alfred S. Wall (1825-1896), HANGING GRAPES (detail), Oil on canvas, Collection: Stan Mabry. ROW 2: From Along the Lincoln Highway (2004), Rob Evans, MIGRATION (detail), 1997, Mixed media on paper, Collection: Mr. and Mrs. George A. Long III, York, PA; William Zorach (1887-1966), RECLINING CAT, 1941, Bronze, Gift of the Westmoreland Society, 1999; Daniel Bolick, BLUE (detail), 2008, Courtesy of the Artist; Robert Brackman (1898-1980), ROCHELLE AT THE TABLE (detail), 1926, Oil on canvas, Gift of the Women’s Committee; Summer art camp class; Mary Stevenson Cassatt (1844-1926), MOTHER AND TWO CHILDREN (detail), 1901, Oil on canvas, Anonymous Gift; Gifford Beal (1879-1956), SEA BASS FISHERMAN (detail), 1940, Oil on board, Anonymous Gift through the Westmoreland Society, 1995; Newspaper clipping, 1958; Otto August Kuhler (1894-1976), WABASH RAILROAD BRIDGE (detail), c. 1926, Watercolor on paper, Gift of Harley N. Trice II, Pittsburgh, PA; Paul Howard Manship (1885-1966), BRISEIS, 1916, Bronze, Gift of the Henry L. Hillman Foundation, Pittsburgh, PA, through the Westmoreland Society, 1996. ROW 3: William Coventry Wall (1810-1886), VIEW ALONG THE ALLEGHENY NEAR ASPINWALL, PA (TRACKS ALONG THE RIVER) (detail), 1867, Oil on canvas, Gift of Jack and Suzanne Schilling and Family; Judith Hansen O’Toole, Director/ CEO, 1994 to present; Imagine Nation Day at the Museum, 2008; Otto August Kuhler (1894-1976), INTERIOR VIEW OF THE OLD DUFF-NORTON PLANT (detail), 1925, Oil on canvas, Gift of Marguerite D. Dougherty; Rembrandt Peale (1778-1860), PORTHOLE PORTRAIT OF GEORGE WASHINGTON (detail), c. 1824, Oil on canvas, Gift of the William A. Coulter Fund; Dorothy Laurer Davids (1905-1980), CLOSED FOR THE DURATION (detail), c. 1941, Oil on canvas, Gift of Paul Davids; John French Sloan (1871-1951), PORTRAIT OF MARY REGENSBURG (detail), 1939, Oil on canvas, Gift of Mary Regensburg Feist; DOUBLE EAGLE 12-GALLON JAR, 19th Century, Salt-glazed stoneware, Gift of Henry Hild; Newspaper clipping, 1959; Louis Comfort Tiffany (1848-1933), THE THOMAS LYNCH TIFFANY WINDOW (detail), c. 1905, Copper foiled and plated glass, Museum Purchase. ROW 4: Guy Pene duBois (1884-1958), STUDIO WINDOW (detail), 1928, Oil on canvas, Gift of the William A. Coulter Fund; Michael J. Gallagher (1898-1965), LAST SHIFT (detail), 1937, Lithograph on paper, Gift of the Thomas Lynch Fund; From Spirit of a Community: The Photographs of Charles “Teenie” Harris (2001), Charles “Teenie” Harris (1908-1998), JACKIE ROBINSON FORBES FIELD (detail), 1947; Experience Discovering Backpacks; Alfred Henry Maurer (1868-1932), TWO SISTERS (detail), c. 1925, Oil on board, Gift of the Westmoreland Society, 2000; Museum Rendering; Mildred Young Olmes (b. 1906), MADONNA OF THE MINES (detail), 1949, Gouache on paper, Museum Purchase; Samuel Rosenberg (1896-1972), SUNDAY MORNING (detail), 1937, Oil on masonite, Gift of Arline Rosenberg (Mrs. Murray); From All That Is Glorious Around Us (1997), Victor DeGrailley (1804-1899), ANTHONY’S NOSE ON THE HUDSON (detail), c. 1845, Oil on canvas, Private Collection; Westmoreland Museum under construction/ ROW 5: Gallery view of Diane Samuels: Alphabet and Golem Projects, 1994; Emma Fordyce MacRae (1887-1974), DOGWOOD (detail), 1929, Oil on canvas, Museum Purchase; Maurice Prendergast (1859-1924), BATHERS, ST. MALO (detail), c. 1907 – 1909, Watercolor on paper, Gift of Dr. Walter Read Hovey; Aaron Harry Gorson (1872-1933), INDUSTRIAL SCENE, PITTSBURGH (detail), 1928, Oil on canvas, Gift in memory of Roy C. McKenna; Agnes Weinrich (1873-1946), LADY SLIPPERS IN A VASE (detail), n.d., Oil on board, Museum Purchase; Balcomb Greene (1904-1990), ORGANIC FORMS (detail), 1939, Oil on canvas, Anonymous Gift; George Hetzel (1826-1899), ROCKY GORGE (detail), 1869, Oil on canvas, Museum Purchase; Founding Director Dr. Paul A. Chew; Johann Karl Scheibeler, Attributed (active c. 1769-1798), TAUFSCHEIN FOR JACOB EISEMANN (detail), 1796, Ink and watercolor on paper, The Joy and R. David Brocklebank Collection through the William Jamison Art Acquisition Fund; Malcolm Parcell (1896-1987), PORTRAIT OF HELEN GALLAGHER (detail), c. 1928, Oil on canvas, Gift of the Estate of Malcolm Parcell. PAGE 14: William Merritt Chase (1849-1916), LADY IN A PINK DRESS, c. 1892, Oil on canvas, Gift in Memory of G. Albert Shoemaker by his wife, Mercedes; Samuel Rosenberg (1896-1972), MAN BY THE SEA NO.1, 1965, Oil on canvas, Gift of Mr. and Mrs. Henry L. Hillman; Thomas Moran (1837-1926), TOWER FALLS AND SULPHER MOUNTAIN, YELLOWSTONE NATIONAL PARK, 1874, Watercolor on paper, Gift of Dr. Walter Read Hovey; William Zorach (1887-1966), RECLINING CAT, 1941. PAGE 15: Aaron Harry Gorson (1872-1933), INDUSTRIAL SCENE, PITTSBURGH,1928, Oil on canvas, Gift in memory of Roy C. McKenna; Aaronel deRoy Gruber (b.1918), SECOND LIFE, HOMESTEAD WORKS II, 2000, Gelatin silver print, Gift of Jamie deRoy; Mary Stevenson Cassatt (1844-1926), MOTHER AND TWO CHILDREN, 1901. PAGE 17: George Inness (1825-1894), THE COMING SHOWER (detail), c.1873, Oil on canvas, Gift of the William A. Coulter Fund; Benjamin West (1738-1820), KING PRIAM (detail), 1808, Oil on canvas, Gift of the William A. Coulter Fund; Childe Hassam (1859-1935), THE OUTER HARBOUR (detail), 1909, Oil on canvas, Mary Marchand Woods Memorial Fund; Louis Comfort Tiffany (1848-1933), THE THOMAS LYNCH TIFFANY WINDOW (detail), c. 1905. PAGE 18: John Singer Sargent (1856-1925), DOORWAY TO A VENETIAN PALACE (detail), c. 1906 –1910; Paul Howard Manship (1885-1966), BRISEIS, 1916; Severin Roesen (1815-1872), STILL LIFE WITH FRUIT (detail), n.d., Oil on canvas, Museum Purchase and the William A. Coulter Fund; Alfred Thompson Bricher (1837-1908), POINT JUDITH, NARRAGANSETT BAY, RHODE ISLAND, c. 1885, Gift of the Westmoreland Society, 1997. PAGE 19: Alfred S. Wall (1825-1896), OLD SAW MILL (detail), 1851, Gift of the Woods-Marchand Foundation; Guy Pene duBois (1884-1958), STUDIO WINDOW (detail), 1928. PAGE 20: Ben Shahn (1898-1969), BYZANTINE ISOMETRICS (detail), 1951, Tempera on canvas mounted on masonite, Museum Purchase; James Brade Sword (1839-1915), SILVER THREAD FALLS, PENNSYLVANIA (detail), 1874, Oil on canvas, Gift of the Westmoreland Society, the William Jamison Art Acquisition Fund, and additional contributions, 2007; William Coventry Wall (1810-1886), VIEW ALONG THE ALLEGHENY NEAR ASPINWALL, PA (TRACKS ALONG THE RIVER), 1867. PAGE 21: Charles Ephraim Burchfield (1893-1967), COKE OVEN HOMES (detail), 1918, Watercolor on paper, Gift of the Women’s Committee; Charles Ephraim Burchfield (1893-1967), SUMMER BENEDICTION, 1951, Lithograph on paper, Gift of Victor D. Spark. PAGE 22: William C. Wall (1810-1886), ON THE MONONGAHELA, 1860, Oil on canvas, Gift of Dr. and Mrs. Robert J. Hudson. Maurice Prendergast (1859-1924), BATHERS, ST. MALO, c. 1907 – 1909; From Scenic Views: Painters of The Scalp Level School Revisited (2008-2009), A. Bryan Wall (1861-1935), SUNSET, n.d., Oil on canvas, Private Collection. PAGE 23: George Luks (1867-1933), HIGHBRIDGE PARK, n.d., Watercolor on paper, Gift of Dr. Walter Read Hovey. PAGE 25: From Samuel Rosenberg: Portrait of a Painter, Samuel Rosenberg, AFTRERGLOW, 1958-64, oil on canvas, collection: Jane and Ed Haskell; John French Sloan (18711951), PORTRAIT OF MARY REGENSBURG, 1939, Oil on canvas, Gift of Mary Regensburg Feist. 30

50 years into the vision

Planning Your Visit Stop for a moment and think about words like “freedom,” “opportunity,” “diversity.” They are words that paint a picture in your mind…”Equality,” “justice,” “prosperity”… They are words that describe the American experience. But words can’t tell the whole story. So we invite you to come see the art that gives those words meaning. We invite you to see how the American experience is brought to life through the inspired eyes of artists at the Westmoreland Museum of American Art in Greensburg. Located only 35 miles east of Pittsburgh, it’s the only museum of American art in western Pennsylvania. Visit our web site for detailed directions and mapping. www.wmuseumaa.org

Hours Wednesday through Sunday 11 AM to 5 PM, Thursday 11 AM to 9 PM Closed Monday, Tuesday and most holidays

30 Otterman St.

819 119

WMAA

Ligonier 20 mi.

30 Pittsburgh St. Pittsburgh St.

N

Mai n St.

Contact Us The Westmoreland Museum of American Art 221 North Main Street Greensburg, PA 15601 724-837-1500: Phone 724-837-2921: Fax www.wmuseumaa.org · [email protected]

St. Main

$5 suggested donation for adults, children under 12 and students with valid ID are free. Members never pay admission. We have plenty of free parking.

Rt. 22 10 mi.

66 e. ge Av Colle

Admission

130

Irwin Exit #7 PA Turnpike 8 mi.

To Rt. 70 West Exit #8 PA Turnpike

119

30

New Stanton 8 mi.

Shop, Tour & Explore The Museum offers guided group tours. To schedule, call 724/837-1500 ext. 10 or email [email protected] Visit our cozy KidSpace, a wonderful hands-on place for families to read about and explore art. Explore with Discover Backpacks! Designed for elementary school age students and their favorite adults, this activity guides families through the Museum in a fun and engaging way. Stop by An American Marketplace—the Shop at The Westmoreland — open during regular hours. Featuring books, posters and notecards, children’s books and activities, unique gifts, art, and jewelry inspired by The Westmoreland’s collection and American art.

PLANNING YOUR VISIT 31