50th anniversary magazine

50 years into the vision

Contents &Features

5 Anniversary EventsCome celebrate with us!

6 Our HistoryFifty Years into the Vision

12 Anniversary ExhibitionsA year of great art

14 The Gift of ArtPlanned Giving moves The Westmoreland intothe future

17 Fifty Acquisitions Highlighted Over 50 Years

26 Imagine NationA whole new way for kids and grown-upsto experience art

28 Board of Trustees & Staff

31 Visiting TheWestmorelandPlan a trip to your Museum

This fiftieth anniversary magazinewas made possible by

Letter from theDirector/CEOThis 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 wasa graduate student at Penn State when Paul Chew wrote to meabout an acquisition he had just made. It was a painting by anartist on whom I was doing doctoral research, and he wantedto know if I would travel to Greensburg to see the canvas inquestion. I’m not sure what I expected when I arrived, but likemany first-time visitors I was amazed at the building, thecollection and the gracious staff. Severin Roesen’s Still Life withFruit was only one of the marvelous paintings I enjoyed that day.I had fallen in love with TheWestmoreland at first sight.

A decade later I received another invitation to Greensburg, thistime to interview for the position of Director/CEO.My secondvisit did not disappoint. The Museum was as compelling as ithad been on my first visit, and I hoped very much to be thesuccessful candidate. It is somewhat astonishing, in this day,that a museum 50 years old has had only two directors. It hasbeen my privilege to follow Paul Chew and my honor to helpguide TheWestmoreland into its next half century.

4

LETTER FROM THE DIRECTOR/CEO

Judith H.O’TooleDirector/CEO

EventsWestmoreland Museum ofAmerican Art Fiftieth AnniversaryCelebration and Activities

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

May 29 – 31, 2009Happy Birthday Westmoreland!

May 29, 2009 at 11 AMCome commemorate the WestmorelandMuseum of American Art’s opening to thepublic exactly 50 years ago on May 29, 1959,by attending our ribbon-cutting ceremony.Guided tours of the collection will be offeredbetween 11-3, plus refreshments and specialdiscounts in An American Marketplace –The Shop at The Westmoreland.

May 30, 2009Get ready for a night 50 years in the making!

The Women’sCommittee willrevive one of itsannual events withGolden Reflections:The FiftiethAnniversaryMuseum Ball.These lively galaswere held from themid-1960s through

the mid-1990s and the 2009 Ball will featurethe best of those decades.

May 31, 2009 from 1 – 4 PMCelebrate The Westmoreland’s 50th at afamily-friendly birthday party completewith cake and fun activities. Sponsoredby Highmark Blue Cross Blue Shield andSnee-Reinhardt Charitable Foundation.

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

July 4, 2009 from 12 – 3 PMThe Westmoreland celebrates our country’sbirthday and American art with a big picnicon our grounds for the whole community.

September 27, 2009Four Perspectives on Fifty Years opens tothe public.

October 2009Masterpieces of American Art, the second inthe Museum’s permanent collection catalogseries, featuring highlights from the permanentcollection, will be published. Sponsored bythe Richard King Mellon Foundation and theNational Endowment for the Arts.

October 24, 2009 from 12 – 4 PMThe Westmoreland celebrates its birthdayduring National Arts and Humanitiesmonth with fun activities and events forthe whole family! Family Day Sponsored bySnee-Reinhardt Charitable Foundation.

November 27, 2009 from 12 – 4 PMJoin us for this reception on the day afterThanksgiving for Imagine Nation Day eventsand the opening of the annual toy show.

December 4, 2009The Westmoreland Society gets in on thebirthday action with its annual black tie dinner,when the society will vote to acquire artworkfor the collection and award its prestigiousgold medal.

Ongoing throughout the year:· Free admission for those born or marriedin 1959.· Free admission on every second Thursdayfor all visitors throughout the year. Sponsoredby Snee-Reinhardt Charitable Foundation.· 50 free memberships – drawing takes placeeach week!

EVENTS5


HISTORY OF THE WESTMORELAND

TheWestmoreland’s story begins with the vision of one woman,Mary MarchandWoods. Like many great stories, the protagonistis unassuming. Local lore reveals that she was extremely thrifty, takingas her lunch each day a bowl of soup from the school cafeteria acrossthe street from her Greensburg home. It must have come as a surprisewhen in 1949,Mary announced her decision to leave her entire estatefor the creation of a museum. In that moment, the vision of onewoman 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 seeand learn about them.”–Mary Marchand Woods, quoted circa 1950 about the city of Greensburg’ssesquicentennial celebration Pittsburgh Sun-Telegraph, Feb. 1953

Mary had begun the process of organizing her estate as the Woods-MarchandFoundation after her husband, Cyrus E.Woods, passed away in 1938; andshe would dedicate the Museum in his memory. Cyrus had an impressivegovernment career serving as a state senator (1901-1908), secretary of theCommonwealth 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, enjoyingthe exposure to other cultures, before returning to their house positioned near where the Museum stands today.

6

There’s Something about Mary

Mary Marchand Woods descended from some of the earliest settlers ofWestmoreland County. Daughter of John A. and Mary Todd Marchand, Mary wasborn 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 travelextensively as Cyrus fulfilled his duties as a foreign ambassador. They returnedpermanently to Greensburg in 1930 once Cyrus retired.

Widowed in 1938, Mary spent her later years saving money and was “devotedwholeheartedly” to establishing funds for a museum. She left nearly two milliondollars towards building and endowing the Museum.

So, who was Mary Marchand Woods? The information we have is minimal, butthe legacy is undeniable: Mary was a visionary.

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 WestmorelandMuseum of American Art has stood at this site, with open doors, since May 29, 1959, asa cultural oasis nestled in the foothills of southwestern Pennsylvania. Fifty years havepassed since The Westmoreland greeted her first visitor, which is cause for reflectionand celebration. We are fifty years into the vision…

Mary lived there quietly until her death on January 28, 1953. In the years following her death, plans forthe 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 bythe Pittsburgh firm, Sorber & Hoone. The Museum’s cornerstone was laid in 1957.Mary left realestate and construction funds for the Museum, but no art collection. The Museum’s focus, underfounding director and curator Dr. Paul A. Chew, became the collection and exhibition ofAmerican 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 apolicy 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 collectionof American art. It is our aim to build towards an American art collection ingeneral and specifically one of Pennsylvania art, with an emphasis on thewestern part of the state.”– Dr. Paul A.Chew, 1959

In 1958, Rembrandt Peale’s Portrait of GeorgeWashington becamethe first painting to enter the Museum’s collection followed thatsame year with works by Robert Henri, Theodore Robinson,David Gilmour Blythe,George Inness and Everett Shinn. A yearlater, ten years after its inception, the Museum opened its doorsto the public as the Westmoreland County Museum of Art withthe inaugural exhibition 250Years 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 theachievements 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 ofworks by significant American artists, concentrating on the mid-18th through themid-20th centuries, including works by Mary Cassatt, John Singer Sargent andWinslow Homer. The Museum also became respected for its collection of worksby southwestern Pennsylvania artists holding its first exhibition and publishingits 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 confusionregarding a non-existent county affiliation. The Museum would change its name oncemore, in 1996, to add the word “American” in order to define the Museum’s collectionto the public.



7

The next chapter in the Museum’s history began in the 1990s. After making great strides in developing a uniquecollection 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, JudithHansen O’Toole, was hired and a new long-range plan was established.

“We were all very impressed with how Judy presented herself. Her eye forart was very good. She also had a way of communicating that we feltwould truly open up the Museum to the whole community. It didn’t takevery 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-thinkinginstitution and in the process hired its first full-time curator and marketingdirector.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 thepermanent 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 ServicesDepartment was established to demonstrate the commitment to providing the public with an exceptionalexperience,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 relaxedand at home in.”– Sally Loughran, Museum Docent and Women’s Committee Member

The new millennium brought many positive changes to TheWestmoreland. The Museum launched Every PictureTells A Story: Exploring Pennsylvania History Through Art, in 2001, a program that brings area fourth-grade studentsto the Museum to study Pennsylvania history through the collection, specifically the changing landscape from

pastoral to industrial through two collections, Southwestern PennsylvaniaLandscapes and Born of Fire: The Valley of Work. This program,which increasedfrom one participating school in 2001 to over 20 in three counties, continuesto grow in popularity among teachers, students and administrators becauseof its important link to the state-mandated fourth-grade curriculum.In 2004, the Museum received the Pennsylvania Federation of Museumsand Historical Organizations’ Award of Excellence and the WestmorelandHistorical Society’s St. Clair Award for this program. Since the inceptionof Every Picture Tells A Story, the Museum has created two additionalcurriculum-based programs for Middle School and Kindergarten students.The Westmoreland continues its commitment to education and to servingchildren and families through a new initiative – Imagine Nation: A fun, newway for kids and grown-ups to experience American art.

8


“The Museum has recognized its capacity for excellence and individuality in certain focused areasof American art history. Undaunted by the difficulties of location and the competitiveness of greatneighboring urban institutions, the Museum has used sound professional and business strategies toassess 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 lackedinnovation. In 2002, the Museum was accepted as one of the firstthree pilot ventures into the portfolio of the Pittsburgh SocialEnterprise Accelerator (now Social Innovation Accelerator). Since then,the Museum has launched two successful social enterprise initiativesand has become known as a regional and national model in socialenterprise for arts and cultural organizations.

In February 2004, the Museum was selected to be the lead-off episodeof 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 thatmade a difference in the region.Of the 103 nonprofit organizationsprofiled by The Visionaries, the Westmoreland was the first museumand only the second arts organization.

Outstanding exhibitions and additions to the permanentcollection continued during this period which coincidedwith a heightened international interest in American art.Partnerships with collectors,museums, art historians anddonors from around the country brought greater visibility tothe Museum, extending our geographic reach. By 2005 overhalf of the Museum’s visitors were coming fromoutside Westmoreland County.

After forging new paths in education, visitor experienceand collections, the Museum built a transatlantic bridge through the large-scale exhibition and productdevelopment project Born of Fire. Born of Fire featured the first-ever exhibition of all of the Museum’s 144-plusindustrial 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, butwhat the museum has done goes far beyond the normal “pictures on a wall.” It has taken a theme showand made it a multimedia experience, both for those who see it live and those who will experience it inthe 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 Europeandebut—connecting the Pittsburgh region with the world. It continues to travel in Germany, as well as toPoland and Spain, through 2010.

9



The Visionaries Invitation

yourvviieeww__________________________________

“The people, the art, the experience of being amember of the Women’s Committee, a docent,and a volunteer in the gift shop are memories I cherish!”

– Dee Thomas – Museum patron

10

“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 lessonsand accomplishments of the first half-century, but will be alaunching 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.


yourvviieeww______________________________________________________

“The Museum is a sanctuary for me. It not only provides a constant source of inspiration, it preserves and protectsgreat American art for future generations. Also, this Museum has helped in my development as an artist. I am extremely grateful!”

– Ron Donoughe – Artist

11


Past PresidentsThe 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 ofthe founding Board, and served as Board president from 1983 until 1996. His second year aspresident coincided with the 25th anniversary, the same year the Museum removed “County” fromits name. Under his leadership,The Westmoreland Society wasformed (1986) to honor peoplewho have made a significant contribution to American art and to purchase objects for the permanent collection. Jack also oversaw the 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 renovationof 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 bythe 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.


Board Presidents (left to right)Bruce M. Wolf, John A. Robertshaw, Jr., Dr. Jack D. Smith

In Celebration of the CollectionExhibition 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 contemporarysouthwestern Pennsylvania artists and changes in conjunction with each temporary exhibition shown in the Woods-Marchand-Mack Galleries.

Now through May 24, 2009The Gift of ArtThe 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 theFriedlander 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 firstglance Bowers’ work seems to take you back to periods of painting long gone, while at the same time, the artist incorporatesmodern themes and ideas. There is always a message in his workand symbolism is a main ingredient. For him the idea is the most challenging and rewarding part of the painting. According to theartist: “I’m so indebted to the paintings of the great Old Mastersof the past. The inspiration that I receive from viewing their work,makes the hair stand up on the back of my neck.”

12

IN CELEBRATION OF THE COLLECTION

June 14 – September 6, 2009Modern Masters from the Smithsonian American Art MuseumModern 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. 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 nowfound innocent of crimes for which they were imprisoned for many years.

September 27, 2009 – January 3, 2010

Four Perspectives on Fifty YearsFour Perspectives on Fifty Years is a collaborative exhibition to be curated by fourfriends 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 permanentcollection 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 therapid interpretation of visual art. His work isan exploration of the relationships betweenthe perception of paintings that are executedwith a contemplative intent, as well as a high degree of technical skill and compositionalconsciousness, to the often arbitrary content of exhibition environments, and an audiencethat, as studies have shown, spend only about three seconds viewing works of art in museums.

13


IN CELEBRATION OF THE COLLECTION

Adolph Gottlieb, THREE DISCS, 1960Oil on canvas, 72 x 89–7/8 inchesCourtesy of the Smithsonian American Art Museum

The Visionary Society was established in 2007, in the spirit of Mary Marchand Woods, to honor the philanthropic leadership and vision of the generousindividuals who have provided for the future of the Museum through a planned gift, the highest level ofinvestment one can make in The Westmoreland. A planned gift allows individuals to create a personallegacy 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 lotof people might not realize is that planned giving can also include gifts of art.

With the rising cost of American art, and just a modest endowment for art acquisition , many worksof 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 ofArt), we would not have been able tobuild the extraordinary collectionwe currently have. And we certainly will not be able to grow it further withoutthe continued generosity of donors.

14

To be a visionary, onemust not only see whatis, but what can be…

PLANNED GIVING

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

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 theart acquisition endowments? Or the roughly $30,000raised by the Westmoreland Society? Paintings byartists like John Singer Sargent and Georgia O’Keeffe,when they are available, are selling for prices in thehigh six and seven figures today. In 2001, The Westmoreland secured a bank loan to purchase the Lynch Tiffany Window for $400,000 to ensurethat the window returned to the city for which it was made. While the community rallied around uswith 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.

We rely on our generous friends and supporters likeyou for many things—operating support, programand exhibition support, endowment funds, and alsofor 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 Developmentand Finance at (724) 837-1500, ext. 30. More information on planned giving mayalso be found at: www.wmuseumaa.org/involved/plannedgiving.cfm

15

yourvviieeww__________________________________“A place to go to make myself a better person—to know and love art.”

– Annie Hapchuk – Museum visitor


PLANNED GIVING

On the horizon:the next fifty...Much can change in fifty years. The cityscape ofGreensburg 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 differentas 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 Westmorelandworked together to write a new strategic plan focusedon three areas: increasing capacity, focusing andgrowing 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 expandingthe Museum to create more galleries and more roomfor 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 welook 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 PermanentCollection Catalog:In honor of its Fiftieth Anniversary, The Westmoreland is publishing a new permanentcollection catalog that will contain highlights of theworks of art in the collection. One hundred works—paintings, sculpture, works on paper, decorative artsand 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 theyears 1750 – 1950, as America came into its own asthe 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.

16

yourvviieeww__________________________________

“I believe the Museum is atremendous asset to not onlythe City of Greensburg but wellbeyond 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

ON THE HORIZON

17

Fifty SignificantAcquisitions over50 yearsOur curator selected these examples to highlight thegrowth of the collection in our first half century.

Rembrandt Peale (1778-1860)Porthole Portrait of George Washington, c. 1824 oil on canvasGift of the William A. Coulter Fund, 1958

Theodore Robinson (1852-1896)In the Garden, c. 1889, oil on canvasGift of the William A. Coulter Fund, 1958

David Gilmour Blythe (1815-1865)The Young Musician, c. 1858-1860, oil on canvasGift of the William A. Coulter Fund, 1958

Robert Henri (1865-1929)Picnic at Meshoppen, 1902, oil on canvasGift 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 pineGift of the William A. Coulter Fund, 1960

Marsden Hartley (1877-1943)Still Life, 1918, pastel on paperGift of the William A. Coulter Fund, 1962

Childe Hassam (1859-1935) The Outer Harbour, 1909, oil on canvasMary Marchand Woods Memorial Fund, 1964

Winslow Homer (1836-1910) Sunset Fires, 1880, watercolor on paperGift 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 canvasGift of Mr. Michael Ross, Hewlett Bay Park, NY, 1975

Robert Brackman (1898-1980)Rochelle at Table with Flowers, 1926, oil on canvasGift of the Women’s Committee, 1976


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 canvasGift of the William A. Coulter Fund, 1977

Paul Cornoyer (1864-1923)A Rainy Day in the City, c. 1916, oil on canvasGift 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. 1906-1910watercolor 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 canvasAnonymous gift, 1979

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. CoulterFund, 1980

Ernest Lawson (1873-1939)Pittsburgh Mills, Monongahela River, 1930, oil on canvasGift of the William A. Coulter Fund, 1980

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, 1802-1814Made by Henry Wise, Greensburg, wood Gift of John Barclay, Jr., 1983

Thomas Hovenden (1840-1896)Death of Elaine, 1882, oil on canvasGift of the Mary Marchand Woods MemorialFund, 1985

Rubens Peale (1784-1865) Still Life with Watermelon, 1863, oil on canvasGift 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, 1880oil on canvasAnonymous gift, by Exchange, 1986

John Singleton Copley (1738-1815)Portrait of John Gardiner, c. 1758oil on canvasAnonymous gift, by Exchange, 1987

18

Chippendale Slant-Front Desk, c.1765, woodAnonymous 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 canvasGift in memory of Roy C. McKenna, 1994

William Merritt Chase (1849-1916)Lady in a Pink Dress, c. 1892, oil on canvasGift in Memory of G. Albert Shoemaker by his wife, Mercedes, 1995

Cecilia Beaux (1855-1942)Portrait of Mrs. John Wheeler Leavitt, 1885oil on canvasGift 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 canvasGift in memory of Alex G. McKenna, 1996

Paul Manship (1885-1966) Briseis, 1916, bronzeGift 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. 1885oil on canvasGift of the Westmoreland Society, 1997

Oscar Bluemner (1867-1938) Untitled (House Cluster), c. 1930, gouache on paperGift of the Westmoreland Society, 1998

Alfred Maurer (1868-1932)Two Sisters, c. 1925, oil on boardGift of the Westmoreland Society, 2000

The Lynch Tiffany Window, c. 1905,copper foiled and plated glassMuseum 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 masoniteGift of Arline Rosenberg (Mrs. Murray), 2003

Otto Kuhler (1894-1976)Steel Valley, c. 1925, oil on canvasGift of Mr. Richard M. Scaife, 2004

Balcomb Greene (1904-1990)Organic Forms, 1939, oil on canvasAnonymous gift, 2005

19


Violet Oakley (1874-1961) Unity (Study for International Understanding and Unity Mural), 1906tempera and gold leaf on panelGift of Diana and Peter Jannetta, 2005

James Brade Sword (1839-1915)Silver Thread Falls, 1874, oil on canvasGift of the Westmoreland Society, the WilliamJamison 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. andMrs. Charles H. Booth Jr.; Mr. and Mrs. LawrenceS. Busch; Mr. and Mrs. Peter Cecconi, Jr.; Mr. andMrs. 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. andMrs. 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. BarbaraNakles; 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. KarlW. Salatka; Ms. Teruyo P. Seya; Mr. and Mrs. JackW. Shilling; Mrs. G. Albert Shoemaker; Mr. andMrs. 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

Ben Shahn (1898-1969), Byzantine Isometric, 1951, tempera on canvasmounted on masonite,Museum Purchase, 2007

Joy and R. David Brocklebank Fraktur Collectionthrough the William Jamison Art AcquisitionFund, 2008

William Coventry Wall (1810-1886), View Along the Allegheny, Near Aspinwall, 1867, oil on canvas, Gift of Jack and Suzanne Shillingand Family, 2008

20

FIFTY ACQUISITIONS OVER 50 YEARS

Fifty Years of Exhibitions

In May 1959, the new museum presented an ambitious inaugural exhibition to set the stagefor its future. 250 Years ofArt in Pennsylvaniacontained 136 paintings,10 sculptures, and 282decorative arts objects. The illustrated catalog was dedicated to “Mary Marchand Woods,Founder,” and in its introduction, Walter ReadHovey expressed his hopethat the objects in the exhibition would “form an incentive for the creation of a significantpermanent collection.”

Included, in fact, was the first painting acquired by the Museum, Rembrandt Peale’s Porthole Portrait ofGeorge 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 in1961; the first focused on American painting from theeighteenth through the twentieth centuries while thesecond highlighted European paintings from a similarera. During that year, director Paul A. Chew continuedto borrow from neighboring collections to fill the galleries, looking to the Butler Institute of AmericanArt and to local private collectors for exhibitions.

American Artists as Printmakers set the stage in 1963for the Museum’s outstanding collection of works on paper including works byGeorge Bellows, CharlesBurchfield, Mary Cassatt,Arthur B. Davies, MarsdenHartley, 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 byHudson River Schoolpainters Albert Bierstadt andFrederick Edwin Church wereshown with late nineteenthcentury realists William Merritt Chase and Thomas Eakins. Ashcan artistsWilliam 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 shownthrough several smaller exhibitions in previous years, the Museum produced Plain and Fancy: A Survey ofAmerican 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 theSnow Castle for children, a huge interactive play areaconstructed on the Museum’s second floor.

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 bothwhen the latter was his student and in the formativeyears 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 loanedby Dr. John J. McDonough of Youngstown, Ohio whohad assembled a stunning collection of American impressionist paintings. Later the same year, a surveyof 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 thatdocuments historic structures throughout the county, some of which are no longer standing.

Southwestern Pennsylvania Painters: 1800-1945was 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 tothe Pittsburgh region. With this exhibition, Dr. Chew and his associate, John Sakal, put these artists on the radar of American art historians and providedgroundbreaking research on the Scalp Level Schooland the artists who painted Pittsburgh during its Big Steel Era.

22


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 byartists 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 ofAmerican painting from 1750-1950, the period of concentration for the Museum’s permanent collection. The accompanying catalog listed 117 paintings byeighty 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 ofLandscape 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.

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

The following year he curated a survey exhibition titled Penn’s Promise: Still Life Painting in Pennsylvania1795-1930 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 onthe leader of the Scalp Level School. Published thesame year, his monograph onthe artist, George Hetzel and theScalp Level Tradition, also thetitle of the exhibition,remains to date themost important study on Hetzel and his associates.

An exhibition organizedby 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’swork 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 Homeand Abroad. 1995 closed with a unique exhibition highlighting the artistic merit of the many trophies won by golf legendArnold Palmer titled The Art of Winning:Prizes of Palmer. The British Open Trophy,a magnificent claret jug, traveled from theBritish Isles for its first, and only, visit tothe United States for this exhibition.

23



In 1996, Greensburg became the only other venue for Cecilia Beaux and the Art of Portraiture when theNational Portrait Gallery permitted its exhibition totravel 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 RiverSchool, drawn from one important private collection, celebrated two very different schools of Americanpainting. From Westmoreland Glass to ContemporaryGlass, which celebrated the 200th anniversary of glass making in southwestern Pennsylvania, was also presented in 1997.

The Philadelphia Ten: A Women’s Artist Group 1917-1945 came to the Museum in 1998 with the works oftwenty-three painters and seven sculptors who at onetime or another belonged to this group. When CoalWas King: Paintings from the Steidle Collectioncontained selections from this special collection of theEarth and Mineral Sciences Department at PennsylvaniaState University, and included many Pittsburgh artists,among them Roy Hilton and Christian Walter.

In 1999 the Museum reopened after a seven-monthrenovation withMaking the Westmoreland Museum of American Art, which included architectural plansfor the original Phillip Johnson building and subsequent designs by Sorber & Hoone, DeeterRitchey 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 museumsshould host at one time or another, was followed by Face-to-Face: 20th Century Portraitsmarking 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 YorkTimes and NBC’s Weekend TODAY. This was

the first solo museum exhibition for Harris, a noted African-American photo-journalist from Pittsburgh’sHill 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 Americanpainting were highlighted in 2002 with Robert Henriand His Influence, paying homage to the leader of theAshcan School, followed by Scenes of American Life:Treasures from the Smithsonian American Art Museum, an impressive survey of regionalist painting from 1909 to 1980.

24


Samuel Rosenberg: Portrait of a Painter, a collaborationwith 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 hismany students was exhibited in two complimentary exhibitions. A retrospective exhibition of Rosenberg’swork was first mounted at the Museum in 1960, ayear after it opened.

The 2004 Holiday Toy and Train Exhibition: Playthingswas dedicated to the memory of Dr. Paul A.Chew, Director Emeritus of the Westmoreland whohad passed away earlier that year.

In 2005,Man-MadeQuilts revealed that

this medium was not only the domain of women andAmerican Scenery: Different Views in Hudson RiverSchool Painting, a sequel to All that is Glorious AroundUs, opened here before traveling to other museumsaround the country.

Artists of the Commonwealth: Realism and its Response in Pennsylvania Painting, 1900-1950 was a collaboration with the Pennsylvania Council on theArts 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 theentire collection relating to Pittsburgh’s Big Steel Era

on view at one time. A selection of them would thentravel 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.

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 exhibitionstook place led by Seeing the City: Sloan’s New York organized by theDelaware Art Museum. Painting in the United States,many years in themaking, was organized to coincidewith the Carnegie International andbrought back to western Pennsylvaniaactual works that had been exhibited at Carnegie Institute between 1943 and 1949. Only American art wasshown because international art wasno longer accessible due to World War II. From the Ruhr Valley to the Steel City: Industrial Scenes from the Rhineland Industrial Museum, an exchange withour partners in Oberhausen, Germany, was followedby 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.

25



On Friday, November 28, 2008, The Westmorelandlaunched Imagine Nation – a fun, new way for kids and grown-ups to experience American art.What Imagine Nation will do is unite all the greatstuff the Museum does for kids and make surethat 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 inKidSpace or special art projects in our studio.

Make sure all the kids you know sign up for theNEW Imagine Nation Kids Club – a membershipgroup especially for kids. Members receive a special gift and we’ll make sure they get all theinfo about the Museum’s many programs – fromart classes and camps to Family Day and otherspecial 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-friendly50th anniversary birthday celebration on May 31!

26

IMAGINE NATION


27IMAGINE NATION

28

BOARD OF TRUSTEES AND STAFF

WestmorelandMuseum ofAmerican ArtBoard of Trusteesand StaffBoard of Trustees

OfficersBruce M. Wolf, PresidentGeorge C. Greer, Vice-PresidentDiana Jannetta, Chair, Governance CommitteeDonald C. Korb, Secretary/TreasurerJohn A. Robertshaw, Jr., Past President

Carol R. BrownHarvey Childs IIIArmour MellonJudith A. MorrowJudith H. O’TooleJames L. ParkerFriedrich TeroerdeHarry A. Thompson IIHarley N. TriceMolly WaltonLaura T. Widing

Directors EmeritusLivingston L. Biddle IIHarvey Childs, Jr.David S. DahlmannThe Honorable Charles H. LoughranRichard W. Morford

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

StaffRow 1: (left to right): Amy B. Baldonieri, Judy Linsz Ross, PJ Zimmerlink, Cindy WillifordRow 2: Pat Erdelsky, Barbara L. Jones, Judith H. O’Toole, Laura Zorch, Katie BarnardRow 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

Staff Judith H. O’Toole Director/CEO

Kimberly KiserAssistant to the Director

Senior TeamAmy B. BaldonieriDirector of Development and Finance

Barbara L. JonesCurator

Judy Linsz RossDirector of Marketing & Visitor Services

Art & Education TeamBarbara L. JonesTeam Leader

Katie Barnard Curator of Education for School and Community Programs

Douglas W. EvansCollections 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 & DevelopmentTeamAmy B. Baldonieri Team Leader

Frances Browning Accounts Manager

Pat Erdelsky Assistant for Public and Financial Development

Amy IsaacShop Sales Associate

Virginia LeinerMuseum Shop Manager

Kimberly MurtlandAccounting Clerk

Laura ZorchMarketing & Development Assistant

Marketing & VisitorServices TeamJudy Linsz RossTeam Leader

John AckermanFacilities Manager

Aileen BarnardGreeter

Robert IsaacVisitor Services Representative

Tim JonesCustodian

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

AnniversarySponsors and Donorsas of February 23, 2009

Mr. Richard M. Scaife

Eden Hall FoundationKatherine Mabis McKenna Foundation, Inc.

Allegheny EnergyHighmark Blue Cross Blue ShieldLatrobe Specialty Steel CompanySnee-Reinhardt Charitable Foundation

Roy A. Hunt FoundationMr. and Mrs. D. Scott Kroh

Anonymous

Mr. and Mrs. Richard P. Mellon

84 Lumber Company/Ms. Maggie Hardy MajerkoMr. and Mrs. Dwayne AmorosoMr. and Mrs. Henry ArmstrongMr. Ken BaldonieriDr. Richard C. Barnes In Memory of Mrs. Geraldine Abel BarnesMrs. Johanna (Janie) BeldenMr. and Mrs. Fiore BeneventoMr. and Mrs. Alan K. BerkMr. and Mrs. Sam BerkovitzMr. Charles A. BlackburnMr. and Mrs. Eric BononiMr. and Mrs. Robert BrandegeeMs. Carol R. BrownMr. and Mrs. Pete BuchanMr. and Mrs. Peter Cecconi, Jr.Mr. and Mrs. Harvey Childs, Jr.Mr. and Mrs. Harvey Childs IIIMr. James Clayton and Ms. Mary Catherine MotcharMr. and Mrs. Michael ClussMr. and Mrs. George ConteCopier Corporation of AmericaMr. and Mrs. B. Patrick CostelloDr. and Mrs. William B. CourtneyMs. Edith A. CurryMr. and Mrs. Raymond L. DeFazioMs. Bonita Del DucaMr. Ron Donoughe

John and Lucy DouglasMr. and Mrs. Karl EisamanMr. and Mrs. H. Gervase Fajt, Jr.First National Insurance Agency Inc./Mr. Will BrownFotorecord Print Center/Mr. Paul NickoloffMrs. E. Jeanne GleasonMr. and Mrs. Thomas GodlewskiMr. John GoettlicherMr. and Mrs. Terrence L. GraftMr. and Mrs. Charles B. GreenbergMr. and Mrs. Irving Gruber and Irving and Aaronel deRoy Gruber CharitableFoundationMs. Adrienne HeinrichMr. and Mrs. Richard HendricksMr. and Mrs. Edgar HighbergerMs. Ruth K. HillDr. and Mrs. Peter JannettaMr. and Mrs. Kenneth JonesKattan-Ferretti InsuranceMs. Wilda K. KaylorMr. and Mrs. Robert KendraMr. Constantine J. KermesMr. and Mrs. William KirenMr. and Mrs. Donald KorbMs. Florie Krell and Mr. Donald SharapanMr. Arthur LambertMrs. Mary M. LevyMr. and Mrs. William K. LiebermanMr. Gary LutherMrs. Rose D. MackCharles and Anita ManoliMr. and Mrs. Warren MarvinMrs. Loretta McBroomMs. Ruth E. McDonaldMr. and Mrs. James O. McKiernan, Jr.Mr. and Mrs. John MickinakMr. and Mrs. Richard A. MillerMr. and Mrs. Edward MullerDr. and Mrs. Martin A. MurcekMrs. Barbara NaklesDr. and Mrs. Michael L. NielandDr. Maeve NolanMr. and Mrs. Barry NumerickMr. and Mrs. Kevin O’TooleMr. Bennard PerlmanMr. and Mrs. John R. PorterMr. and Mrs. Jim RatnerMr. Michael RendulichMs. Donna RepkaMr. and Mrs. John A. Robertshaw, Jr.Mrs. Arline Rosenberg

Mrs. Kay RoweDr. John C. RyanDr. and Mrs. Karl W. SalatkaMr. Bruce A. SamsonMr. and Mrs. Norman L. SamwaysMr.* and Mrs. G. Albert ShoemakerMrs. George S. SimonMr. and Mrs. Lowell SmithMr. Paul SmithMiss Charlotte M. SpicherHonorable and Mrs. William L. StandishMr. and Mrs. Louis SteinerDr. and Mrs. James H. ThomasMr. and Mrs. Harry A. Thompson IIMr. Harley TriceMr. and Mrs. Jim UmmerDr. and Mrs. Anthony J. Van NormanMr. David J. VaterMs. Sybil P. VeederMr. and Mrs. Stephen VeyoWagner Family Charitable TrustMr. and Mrs. Patrick Ryan WallaceMs. CoraBelle WalterMr. and Mrs. Jon WaltonMr. and Mrs. Joseph WaltonMr. and Mrs. William WatmanMr. and Mrs. John WestMr. Allen WilliamsMr. and Mrs. Bruce M. WolfMrs. Lee W. Wood Mr. and Mrs. Jay WoodwardDr. and Mrs. Michael J. Zorch*deceased

Fifty-year membersMr. and Mrs. Thomas P. Cole II Mr. and Mrs. Robert Davis (Phyllis)Miss Joan EvansMiss Frances FryeMrs. Virginia GrosscupMr. Charles HenryMiss Rebecca HumphreyMrs. Kathryn JamisonMrs. Sally LevinMrs. Helen C. MillerMr. and Mrs. John A. Robertshaw, Jr.Miss Pauline Shermar

29


ANNIVERSARY SPONSORS AND DONORS

30

CREDITS

CreditsCOVER 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; FromNature’s Bounty: Still Life Painting in Southwestern Pennsylvania, 1860-1910 (2001), Albert F. King (1954-1945), WATERMELON WITH PLUG (detail), Oil oncanvas, Courtesy: D. Wigmore Fine Art, Inc., New York; Artist Unknown, PORTRAIT OF HARRIET KELLY (detail), c. 1875, Oil on canvas, Gift of FrankKelly; 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: StanMabry. ROW 2: From Along the Lincoln Highway (2004), Rob Evans, MIGRATION (detail), 1997, Mixed media on paper, Collection: Mr. and Mrs. GeorgeA. 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; GiffordBeal (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 Dayat the Museum, 2008; Otto August Kuhler (1894-1976), INTERIOR VIEW OF THE OLD DUFF-NORTON PLANT (detail), 1925, Oil on canvas, Gift ofMarguerite D. Dougherty; Rembrandt Peale (1778-1860), PORTHOLE PORTRAIT OF GEORGE WASHINGTON (detail), c. 1824, Oil on canvas, Gift ofthe 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), THETHOMAS 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 OFTHE 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 oncanvas, 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 HELENGALLAGHER (detail), c. 1928, Oil on canvas, Gift of the Estate of Malcolm Parcell. PAGE 14:William Merritt Chase (1849-1916), LADY IN A PINKDRESS, 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 VENETIANPALACE (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 theWoods-Marchand Foundation; Guy Pene duBois (1884-1958), STUDIO WINDOW (detail), 1928. PAGE 20: Ben Shahn (1898-1969), BYZANTINEISOMETRICS (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: FromSamuel Rosenberg: Portrait of a Painter, Samuel Rosenberg, AFTRERGLOW, 1958-64, oil on canvas, collection: Jane and Ed Haskell; John French Sloan (1871-1951), PORTRAIT OF MARY REGENSBURG, 1939, Oil on canvas, Gift of Mary Regensburg Feist.

To Rt. 70 WestExit #8PA Turnpike

Pittsburgh St.

Pittsburgh St.

Otterman St.Ligonier20 mi.

New Stanton8 mi.

IrwinExit #7PA Turnpike8 mi.

Rt. 2210 mi.

N

College Ave.

Main St.

Main St.

119

819130

119

30

30

30

66

WMAA

Planning Your Visit Stop for a moment and think about words like “freedom,” “opportunity,” “diversity.” They are words that paint a picture inyour mind…”Equality,” “justice,” “prosperity”… They are wordsthat describe the American experience.

But words can’t tell the whole story. So we invite you to come seethe art that gives those words meaning. We invite you to see howthe American experience is brought to life through the inspiredeyes of artists at the Westmoreland Museum of American Art in Greensburg. Located only 35 miles east of Pittsburgh, it’s theonly museum of American art in western Pennsylvania.

Visit our web site for detailed directions and mapping.www.wmuseumaa.org

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

Admission$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.

Contact UsThe Westmoreland Museum of American Art221 North Main StreetGreensburg, PA 15601724-837-1500: Phone724-837-2921: Faxwww.wmuseumaa.org · [email protected]

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 schoolage students and their favorite adults, this activity guides familiesthrough 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.


31PLANNING YOUR VISIT

50th anniversary magazine

Documents