Arts Administration

Museums have played a central role in the cultural life of Latin American countries from independence to the present. Art museums in particular have featured prominently in civic, nation-building discourse throughout the region, with the opening of such museums often occurring concurrently with major economic and political changes. Museums, wherever they were founded, helped shape collective and social understanding; they were the institutions par excellence in which hegemonic cultural realities could be defined and reflected.

In the 19th century, countries across the Americas gained their independence from European colonial powers. The newly founded republics urgently felt the need to distance themselves from their colonial pasts and endeavored to establish and construct new national identities. Latin American artists and governments began a concerted effort to celebrate their independence through arts and culture. Both paintings (the preferred form) and cultural institutions aimed to create and promote a usable past: a history replete with heroes, founding myths, and “indigenous” symbols of patriotism. These founding myths favored large-scale history paintings, portraits of liberators, and romantic landscapes, housed in museums built by local elites and governments who understood cultural institutions (art museums as well as encyclopedic museums) to be ideal locations to enshrine the project of a cohesive national identity....

Art museum in Cleveland, OH, housing a comprehensive collection with significant holdings in areas including Pre-Columbian art, Chinese, Japanese, Indian, and Southeast Asian art from prehistory to the present, medieval European art, American art, and European painting and sculpture. The Cleveland Museum of Art (CMA) was established in 1913 when one of its four founders, Jeptha Homer Wade II (1857–1926), heir to the Western Union Telegraph fortune, donated the land for an art museum intended “for the benefit of all the people forever.” The other three founders, John P. Huntington (1832–1893), Horace Kelley (1819–1890), and Hinman B. Hurlbut (1819–1884), each made separate bequests in their wills for the founding of an art museum in Cleveland. When the museum first opened to the public in 1916, Cleveland was in the midst of a period of rapid industrial expansion. Wealth from the steel, oil, chemical, and automotive industries supported the museum in its early years....

(b Grasse, April 4, 1732; d Paris, Aug 22, 1806).

French painter, draughtsman, printmaker and museum official.

He was the only child of François Fragonard (1699–1781) and Françoise Petit, who both came from families of shopkeepers and glove-makers in Grasse. In 1738 the family moved to Paris, where, on the advice of François Boucher, Fragonard spent some time as a pupil of Jean-Siméon Chardin. He entered Boucher’s own studio c. 1749 and probably remained there for about a year. Boucher was then at the height of his fame, and Fragonard doubtless assisted the overworked master on important commissions, such as large tapestry designs. He also made numerous copies after paintings by Boucher, such as Hercules and Omphale (untraced; c L62), and by Rembrandt, such as Girl with Broom (untraced; c L19). In 1752 Fragonard entered the competition for the Prix de Rome, relying on Boucher’s influence to overcome the stipulation that all candidates had to be pupils at the Académie Royale. His winning entry, ...

See also France, Republic of

Jean-Baptiste Boisot, abbot of St Vincent in Besançon, is usually given credit for establishing the first museum in France by bequeathing his collection of coins, medals, books and works of art, assembled from the relics of the collection of Cardinal Antoine Perrenot de Granvelle (1530–86), to the Benedictine Order in St Vincent on condition that it be made available twice weekly to anyone who wished to study there. The museum was intended primarily as a place for scholarship, like the cabinets of curiosities associated with a number of early museums. Religious houses provided a good basis for scholarly collecting. The cabinet of antiquities preserved in Ste Geneviève Abbey since 1675 and based on the famous collection of Nicolas-Claude Fabri de Peiresc, was probably very similar to the museum in Besançon and might have a better claim than Granvelle’s cabinet as the earliest museum in France. Monastic collections and private cabinets were, however, sometimes very like museums in character, and it is probably unwise rigidly to insist on the differences between the institutional museums and the collections from which they developed in the 17th century....

(b Zurich, 1737; d Vienna, April 1806).

Swiss administrator, painter, draughtsman and etcher, son of Johann Caspar Füssli. While training in his father’s workshop he etched 37 vignettes for the Geschichte und Abbildung der besten Mahler in der Schweiz (1755–7). He tried to continue his education in Vienna from 1759 but was unsuccessful and so became a secretary to the counts of Pallasch in Pressburg (now Bratislava). After a brief revisit to Zurich, he worked in Hungary from 1770, eventually becoming president of the tax commission for the Syrmier district in 1786. The death of Emperor Joseph II in 1790 left him without a job, but he was shortly afterwards summoned to Vienna to become court draughtsman. The knowledge of art shown in the writings he then produced led to his being appointed to set up and direct the Kupferstichkabinett and library of the Akademie der bildenden Kunste in 1800.

See also Füssli family [Fuseli]...

Germany played an important role in the origin and development of museums in Western culture that was paralleled and variously influenced by similar developments in Renaissance Italy, Napoleonic France, and post-war Europe. While the concept of the art museum as an institution for the preservation, interpretation, and public display of cultural artefacts did not develop until the 19th century, several of Germany’s modern museums can claim descent in part or whole from earlier ecclesiastical and, more importantly, princely treasuries dating from the late Middle Ages (see Museum, §I). In the course of this evolution, Germany produced the first known printed catalogue (Munich, 1567) and autonomous museum structure (Kassel, 1769–79). (See also Germany: Patronage)

See also Germany, Federal Republic of

Prior to the Renaissance, collecting and storing valuable objects were haphazard and restricted to the Church and nobility. As collections grew, they became too large to be housed in strong-rooms or treasuries and overflowed into semi-public places such as castle armouries. ...

(b Queens, New York, Sept 22, 1965).

American curator of visual art and museum director. She received her BA in 1987 in Art History and African American studies from Smith College, Northampton, MA, where she was a student of James Baldwin. Early in her career, Golden was a curatorial fellow at the Studio Museum in Harlem. In 1988 Golden was appointed as a curatorial assistant at the Whitney Museum of American Art, New York.

In 1989 Golden was named Visual Arts Director at Jamaica Arts Center in Queens (now Jamaica Center for Arts and Learning), working under Dr. Kellie Jones. In 1991 Golden returned to the Whitney Museum, where she remained until 1997, becoming the first African American to hold a curatorial position at the institution. This appointment launched her preeminent career as a curator of modern and contemporary art and, in particular, as a champion for Black visual artists globally. During her tenure, she was one of four curators of the landmark ...

See also Korea

The first museum in Korea, the Museum of the Government-general of Korea, was established in Seoul in 1915 by the Japanese government. Branch museums were eventually established in Kyŏngju, North Kyŏngsang Province (1926), Puyŏ, South Ch’ungchŏng Province (1939) and Kongju, South Ch’ungchŏng Province (1940), and city museums were established in P’yŏngyang and Kaesŏng, Kyŏnggi Province (1930), now in North Korea. In 1945, after the end of the Japanese occupation, the network of national museums was reorganized as the National Museum of Korea under the Ministry of Education. With the division of the country after the Korean War (1950–53), jurisdiction of the National Museum in South Korea was invested in the Ministry of Culture and Information in 1968. The following year, the Tŏksu Palace Museum, which included the royal collection of the Chosŏn dynasty (1392–1910), was incorporated into the National Museum’s holdings. In ...

In the USA the development of the art museum has led to the existence of a museum in almost every major town. It has also grown from being a repository of an eclectic collection of curiosities to a specifically designed building, its commission often offering a prestigious opportunity for national and international architects (see Museum, §II). The general organizational patterns of museums in the USA were laid down in the 19th century and changed little over time. There are two basic kinds of museums, both effectively created by the wish of prominent citizens to commemorate civic and personal pride. The first is the institution initially organized by a committee of prominent and wealthy citizens and/or collectors and run by a board of trustees. A variant on this is the museum that was founded by an art association, which might have been stimulated by a local art exhibition, for example the ...