Charles Demuth’s Chimney and Water Tower (1931), painted in the artist’s hometown of Lancaster, Pennsylvania, depicts a local linoleum factory as a grid of austere, monumental forms and passages of steel gray, blue, and deep red. Unknown photographer, [Chess against myself], 1880s, albumen silver print, Amon Carter Museum of American Art, Fort Worth, Texas, P2016.101 Eventually people were using photography to … A collection of 124 photography journals, published from 1850 to 1904, drawn from the holdings of the International Museum of Photography at George Eastman House, the New York Public Library, Columbia University’s Epstean Collection, and the Research Library of the Eastman Kodak Company. A fantastic, free thing to do in Fort Worth. The "full spectrum" of American photography is documented by 45,000 exhibition-quality prints, dating from the earliest years of the medium to the present.

The ACMAA library is a 150,000 item art reference library available for use by museum curators, researchers, and interested members of the public. Restaurants near Amon Carter Museum of American Art: Things to do near Amon Carter Museum of American Art. [4], Over 400 works of art by Frederic Remington (1861–1909) and Charles M. Russell (1864–1926) form the ACMAA's core collection of art of the Old West. Beyond the main hall were five small galleries of equal size for the display of art. [27] In this role, the ACMAA library offers access to 7,500 microfilm reels of unrestricted material from the Archives of American Art representing about fifteen-million primary, unpublished documents related to American artists, galleries, and collectors.[28]. [17] A summation of Eakins’ painting technique and belief system, Swimming was acquired for the ACMAA collection in 1990.

Fine art photographs by Alfred Stieglitz (1864–1946) are the collection's most significant works from the turn-of-the-twentieth-century Photo-Secession movement, a crusade which Stieglitz led. The Narrows from Staten Island (1866–68), a panoramic depiction of Staten Island and New York Harbor by Jasper Francis Cropsey (1823–1900), is a notable example of the Hudson River School‘s preoccupation with scenery along the Hudson River Valley and surrounding area (see picture gallery below). The gallery spaces, which had previously been carpeted, were replaced with American white oak hardwood floors. [6] Montana resident Charles Russell, with his cowboy dress, laconic manner, and storytelling prowess, epitomized, in the early twentieth-century, the image of the Cowboy Artist in the eyes of the eastern press.[7]. [10] 2) Frederic Remington, The Broncho Buster (1895) -- Remington's first attempt to model in bronze and the work that started him on a long secondary career as a sculptor. These holdings span the complete history of photographic processes used in America from daguerreotypes to digital. Among the illustrated books in the library collection are American Ornithology, or, the Natural History of the Birds of the United States (Philadelphia: Bradford and Inskeep, 1809–14), the first bird book published in the United States and the first outstanding American color plate book; and The Aboriginal Port-folio (Philadelphia: J.O. [43] In 1966, Wilder reintroduced the paintings of Georgia O’Keeffe (1887–1986) to the nation by organizing a ninety-five piece retrospective of her work.[44]. Most of our material can be found in the Cultural District Library Consortium (CDLC) catalog, which also includes the collections of the Botanical Research Institute of Texas, the Kimbell Art Museum, the Modern Art Museum of Fort Worth, and the National Cowgirl Museum and Hall of Fame. [24], Other artists in the works on paper collection who are associated with major movements in American art include American Pre-Raphaelites Fidelia Bridges (1834–1923), Henry Farrer (1844–1903), John Henry Hill (1839–1922), Henry Roderick Newman (1833–1918), and William Trost Richards (1833–1905); Ashcan School illustrator John Sloan (1871–1951); and leading twentieth-century modernists Charles Demuth (1883–1935), Arthur Dove (1880–1946), John Marin (1870–1953), Georgia O’Keeffe (1887–1986), Morton Livingston Schamberg (1881–1918), and Abraham Walkowitz (1878–1965).[26]. Carter and his wife, Nenetta Burton Carter, took a key step toward the museum’s creation in 1945 when the Amon G. Carter Foundation, a Texas non-profit foundation, was formed, and the Carters transferred much of their wealth into it for the purpose of providing seed money to support an array of civic causes. The museum also houses an important collection of drawings, watercolors, and prints by early Texas artist Bror Utter (1913–1993), including Utter’s 1957-58 studies of vanishing Fort Worth architecture. Research section links. [34] In 1951, the Amon G. Carter Foundation purchased a portion of the museum’s future site to protect the land from commercial encroachment. Photographs, prints, and other works on paper produced up to the present day are also an area of strength in the museum's holdings. Under Dr. Walker's leadership, the ACMAA has hosted major exhibitions of work by George Caleb Bingham (1811–1879), Will Barnet (1911–2012), and the circle of New York modernists led by artist John Graham (1886–1961).


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