Over the last twenty years, new technologies in fine arts publishing expanded creative options and changed the way journals could be issued. Whereas traditional journals consist of text and/or reproductions, contemporary journals may also have a unique physical shape, include added materials, or have significant web content and interaction. Both individual artists and publishers have taken advantage of the new possibilities and cleverly used creativity and technology with stimulating results.
Four Clevelanders are considered the founders of the Cleveland Museum of Art: John Huntington, Horace Kelley, Hinman Hurlbut and Jeptha Wade II. Over the course of nine years Huntington, Kelley and Hurlbut each separately left bequests for the establishment of an art gallery. Fortunately all three estates had a common trustee, Henry Clay Ranney, who was able to reconcile the three bequests to create a single art museum which was eventually incorporated as The Cleveland Museum of Art on June 25, 1913. Wade donated the land on which the museum was built.
All told there are, twenty-five 72" enlarged versions of Auguste Rodin's The Thinker. Of these, fewer than ten were cast and patinated during his lifetime. One of the last Rodin supervised casts can be found in Cleveland, Ohio, where it sits directly in front of the Cleveland Museum of Art. This cast was acquired in 1916, and given to the Cleveland Museum of Art early in 1917.
About The Thinker
Cleveland architects Benjamin Hubbell and W. Dominick Benes were engaged to design and construct the new museum. After a study of museum buildings nationally and worldwide, Hubbell and Benes designed a Beaux Arts style building with two wings flanking a central rotunda. Construction began in 1913 and was completed for the June 1916 opening. The gallery level housed the main entrance on the south side of the building facing Wade Park. Fifteen galleries plus the Armor Court and Interior Garden Court surrounded the Rotunda.
At 9:00am on Wednesday June 7, 1916, the "building and its contents were thrown open to the general public" (Inaugural catalog). The first visitors to the museum were greeted with an exhibition of objects loaned from private collections, museums and dealers from all over the country which filled every gallery.
"It is my anxious desire to promote among nations the cultivation of all those arts which are fostered by peace, and which in their turn contribute to maintain the peace of the world." –Queen Victoria
"It is all a matter of education, and we shall never have good art in our homes until the people learn to distinguish the beautiful from the ugly." — Louis Comfort Tiffany
The astounding success of Parisian goldsmith René Lalique was the result of a perfect storm of tragedienne, a rave for all things Japanese, and a world's fair. Lalique's luscious jewelry adorned the stage in Sarah Bernhardt's melodramatic roles of Théodora and Gismonde in the mid 1890's. In Paris Samuel Bing's new house of decoration, "La Maison de l'Art Nouveau," offered for sale both striking Lalique creations and Japanese decorative works of intense simplicity.
The Cleveland Museum of Art's fabled India Early Minshall Fabergé collection almost missed becoming part of the museum's permanent collection! In 1958, Director William M. Milliken, declined India Early Minshall's invitation to view her Fabergé collection as a possible gift to the Museum.1
The Museum Archives houses the documentary history of the museum. Much of this history consists of the written word. However, it also includes documentary evidence in the form of images. Pictures provide unique information that cannot be found in other types of documents. They are created to serve a number of purposes including augmenting the written record. In some instances, however, the only evidence of an historical event is photographic. Much can be deduced from images of people, places, and events.