Museum of Fine Arts Kimball Art Museum Fort Worth

Art museum in Texas, United states

Art museum in Texas, U.s.

Kimbell Art Museum

The south wing of the museum showing a portico and five vaulted galleries. The tree-lined entry courtyard is at the far left.
Established	1972
Location	Fort Worth, Texas, United states of america
Type	Art museum
Collections	European Old Masters
Collection size	350
Director	Eric One thousand. Lee
Nearest motorcar park	On site (no charge)
Website	www.kimbellart.org

The Kimbell Art Museum in Fort Worth, Texas, hosts an art drove besides as traveling fine art exhibitions, educational programs and an extensive research library. Its initial artwork came from the private collection of Kay and Velma Kimbell, who also provided funds for a new building to firm information technology.

The building was designed by architect Louis I. Kahn and is widely recognized as ane of the most significant works of architecture of recent times. It is particularly noted for the launder of silvery natural light beyond its vaulted gallery ceilings.

History [edit]

Kay Kimbell was a wealthy Fort Worth businessman who built an empire of over lxx companies in a multifariousness of industries. He married Velma Fuller, who kindled his interest in art collecting by taking him to an fine art evidence in Fort Worth in 1931, where he bought a British painting. They prepare the Kimbell Fine art Foundation in 1935 to plant an fine art establish, and by the time of his death in 1964, the couple had clustered what was considered to be the best selection of old masters in the Southwest. Kay left much of his estate to the Kimbell Art Foundation, and Velma bequeathed her share of the manor to the foundation as well, with the key directive to "build a museum of the offset class."^{[i] [2] [iii]}

The Foundation'southward board of trustees hired Richard Fargo Brown, so managing director of the Los Angeles County Museum of Fine art, equally the founding manager of the museum with the task of constructing a building to firm the Kimbell's art collection. Upon accepting the post, Brown declared that the new building should itself be a work of fine art, "every bit much a jewel as ane of the Rembrandts or Van Dycks housed inside it."^[3] The proposed museum was given space in a nine.5 acre (3.8 hectare) site in Fort Worth's Cultural District, which was already domicile to three other museums, including the Fort Worth Art Museum-Center (now the Modern Art Museum of Fort Worth) and the Amon Carter Museum, specializing in art of the American West.^{[four] : 212}

Brown discussed the goals of the institution and its new building with the trustees and summarized them in a iv-page "Policy Argument" and a nineteen-folio "Pre-Architectural Program" in June 1966. Later interviewing a number of prominent architects, the museum hired Louis I. Kahn in October 1966.^{[4] : 211} Kahn's previous works included such acclaimed structures as the Salk Institute in California, and he had recently been honored by beingness chosen to design the National Assembly Edifice for what would become the capital of the new nation of Bangladesh. Construction for the Kimbell Fine art Museum began in the summer of 1969. The new building opened in October 1972 and speedily achieved an international reputation for architectural excellence.^{[5] : 353, 360}

Brownish also expanded the Kimbell collection by acquiring several works of significant quality by artists like Duccio, El Greco, Rubens, and Rembrandt.^[1]

Later Richard Fargo Dark-brown'southward decease in 1979, Edmund "Ted" Pillsbury was appointed managing director of the museum. Previously he had been the director of the newly opened Yale Heart for British Art, which, coincidentally, was also designed past Louis Kahn. He had also been a curator at the Yale Art Gallery, Kahn's get-go art museum. Pillsbury continued the art acquisition program in an ambitious only disciplined fashion. Richard Brettell, director of the Dallas Museum of Art, said, "He was, in some ways, single-handedly responsible for turning the Kimbell from an institution with a great building into one whose collection matched its architecture in quality".^[6]

In 1989, Pillsbury announced plans to aggrandize the museum's edifice to accommodate its enlarged drove, but the programme was dropped because of strong opposition to any major alteration of the original Louis Kahn structure.^[7] In 2007, the Kimbell solved that problem past announcing plans to construct an additional, separate building across the street from the original building. Designed by Renzo Piano, and relocated to the westward lawn, the new structure opened to the public in November 2013.^[8]

The museum is part of the Monuments Men and Women Museum Network, launched in 2021 by the Monuments Men Foundation for the Preservation of Fine art.^[ix]

The collection [edit]

Joan Miró, 1918, Portrait of Heriberto Casany, oil on canvas, 70.2 x 62 cm

In 1966, earlier the museum fifty-fifty had a building, founding director Chocolate-brown included this directive in his Policy Statement: "The goal shall be definitive excellence, not size of collection." Accordingly, the museum's drove today consists of only about 350 works of art, but they are of notably high quality.^[ten]

The European collection is the most extensive in the museum and includes Michelangelo's first known painting, The Torment of Saint Anthony, the just painting by Michelangelo on exhibit in the Americas.^[6] It also includes works by Duccio, Fra Angelico, Mantegna, El Greco, Carracci, Caravaggio, Rubens, Guercino, La Tour, Poussin, Velázquez, Rembrandt, Boucher, Gainsborough, Vigée-Lebrun, Friedrich (the kickoff painting by the artist caused by a public drove outside of Europe),^[eleven] Cézanne, Monet, Caillebotte, Matisse, Bonnard,^[12] Mondrian, Braque, Miró and Picasso. Works from the classical period include antiquities from Ancient Arab republic of egypt, Assyria, Greece and Rome. The Asian collection comprises sculptures, paintings, bronzes, ceramics, and works of decorative art from People's republic of china, Korea, Japan, India, Nepal, Tibet, Cambodia, and Thailand. Precolumbian art is represented by Maya works in ceramic, stone, crush, and jade, Olmec, Zapotec, and Aztec sculpture, every bit well as pieces from the Conte and Huari cultures. The African collection consists primarily of bronze, wood, and terracotta sculpture from West and Central Africa, including examples from Nigeria, Angola, and the Congo-kinshasa, and Oceanic art is represented by a Maori figure.

The museum owns merely a few pieces created after the mid-20th century (believing that era to be the province of its neighbor, the Mod Art Museum of Fort Worth) and no American art (believing that to be the province of its other neighbor, the Amon Carter Museum).^[10]

The museum also houses a substantial library with over 59,000 books, periodicals and auction catalogs that are available as a resources to art historians and to faculty and graduate students from surrounding universities.^[13]

The building [edit]

Grooming [edit]

Dark-brown's "Policy Statement" set a clear architectural management past calling for the new building to be "a piece of work of art", It was augmented by his "Pre-Architectural Programme", which specified that "natural low-cal should play a vital part" in the design and that "the form of the building should be so consummate in its beauty that additions would spoil that class." Brown called for a building of small scale that would non overwhelm either the artwork or the viewer.^{[4] : 210}

After an extensive search that included interviews with such noted architects as Marcel Breuer, Mies van der Rohe, Pier Luigi Nervi, Gordon Bunshaft and Edward Larrabee Barnes, the commission was awarded to Louis Kahn in October 1966. From Kahn's point of view, Brown was an platonic client. Chocolate-brown had been an admirer of Kahn'south work for some fourth dimension, and the approach he specified for the building was very much in line with Kahn's, especially its emphasis on natural light.^{[four] : 210–212}

Considering Kahn had a reputation for significant time and cost overruns, a local engineering and architectural firm owned by Preston M. Geren was made associate architect, a practice followed in Fort Worth for out-of-state architects. Frank Sherwood served as their projection coordinator. The Geren organization had a solid reputation for bringing in projects on fourth dimension and within budget, but by their own admission they were non especially innovative.^{[14] : 181, 196} The contract chosen for control over structure to exist turned over to Geren when Kahn had finished the design, a provision that eventually led to disharmonize because Kahn felt that a design was never finished until the edifice was constructed. Kahn once said, "the building gives you answers equally it grows and becomes itself." The museum trustees settled the issue by deciding that Geren would study directly to them instead of to Kahn, but that Kahn would take final say over the design, except that any changes would have to be approved by Brown.^{[4] : 226}

The new museum was to be built on a gentle slope below the Amon Carter Museum, whose entrance and terrace faced the Fort Worth skyline. Kahn was asked to build the Kimbell museum no more than 40 feet (12 m) high so it would non interfere with the view from the Carter Museum. Kahn initially proposed a low merely very spacious building 450 feet (137 thou) square, merely Brown rejected that proposal and insisted that Kahn design a much smaller structure, a decision that would have repercussions several years subsequently when a proposal to expand the edifice created a storm of controversy.^{[15] : 396}

Architecture [edit]

Kimbell Art Museum at dusk

The museum is composed of 16 parallel vaults that are each 100 anxiety (30.half-dozen thousand) long, 20 feet (6 yard) loftier and 20 feet (6 m) broad (internal measurements).^{[15] : 398} Intervening low channels separate the vaults. The vaults are grouped into iii wings. The n and south wings each have vi vaults, with the western ane open as a portico. The central space has four vaults, with the western ane open as an entry porch facing a courtyard partially enclosed by the 2 outside wings.

With 1 exception, the art galleries are located on the upper floor of the museum to allow access to natural light. Service and curatorial spaces as well as an boosted gallery occupy the ground floor.^{[5] : 342} Each interior vault has a slot along its apex to allow natural calorie-free into the galleries. Air ducts and other mechanical services are located in the apartment channels betwixt the vaults.^{[5] : 347}

Kahn used several techniques to requite the galleries an inviting atmosphere. The ends of the vaults, which are made of concrete block, are faced with travertine inside and out.^{[five] : 348} The steel handrails were "blasted" with footing pecan shells to create a matte surface texture.^{[v] : 350} The museum has iii glass-walled courtyards that bring natural light to the gallery spaces. One of them penetrates the gallery flooring to bring natural low-cal to the conservation studio on the ground floor.^{[4] : 219}

The landscape has been described as "Kahn's near elegant built case of landscape planning" by Philadelphia landscape builder George Patton.^[16] Approaching the primary entrance by a lawn edged past pools with running water, the company enters a courtyard through a grove of Yaupon Holly copse. The audio of footsteps on the gravel walkway echoes from the walls on either side of the courtyard and is magnified under the curved ceiling of the entry porch. Later on that subtle preparation, the visitor enters the hushful museum with argent light spread across its ceiling.^{[5] : 354} Harriet Pattison played the pb part in the mural design and is besides the person who suggested that open up porches flanking the entrance would create a proficient transition from the lawn and courtyard to the galleries inside. Pattison, who had also worked with Kahn on other projects, was an employee of Patton.^{[4] : 227} She is the mother of motion picture director Nathaniel Kahn, Louis Kahn's son who made the film "My Architect" virtually his father.^{[four] : 259}

Vaults [edit]

Kahn's get-go design for the galleries called for angular vaults of folded physical plates with light slots at the tiptop. Brown liked the light slots but rejected this item design considering information technology had the ceilings 30 feet (9 thousand) loftier, likewise loftier for the museum he envisioned. Further research by Marshall Meyers, Kahn'southward project architect for the Kimbell museum, revealed that using a cycloid curve for the gallery vaults would reduce the ceiling height and provide other benefits as well. The relatively flat cycloid curve would produce elegant galleries that were broad in proportion to their height, allowing the ceiling to be lowered to twenty feet (half-dozen k).^{[4] : 214–216} More chiefly, that curve could also be used to produce a cute distribution of natural light from a slot in the top of the gallery beyond the entire gallery ceiling.^[17]

Kahn was pleased with this evolution because it allowed him to design the museum with galleries that resembled the ancient Roman vaults he had ever admired. The thin, curved shells needed for the roof were challenging to build, however, then Kahn called in a leading authority on concrete construction, August Komendant, with whom he had worked before (and who, like Kahn, was built-in in Republic of estonia^{[four] : 96} ). Kahn more often than not referred to the museum'south roof grade as a vault, just Komendant explained that it was actually a crush playing the part of a beam.^{[4] : 216} More precisely, as professor Steven Fleming points out, the shells that form the gallery roofs are "postal service-tensioned curved concrete beams, spanning an incredible 100 feet" (30.5 1000), which "happened to take been the maximum distance that concrete walls or vaults could be produced without requiring expansion control joints."^[18] Both terms, vault and beat out, are used in professional literature describing the museum.

1 of the porticos at the front of the museum. This shell, like all the others, is supported only at its four corners, minimizing obstruction at floor level.

True vaults, such as the Roman vaults that Kahn admired, will collapse if not supported forth the entire lengths of each side. Not fully agreement the capabilities of mod physical shells, Kahn initially planned to include many more support columns than were necessary for the gallery roofs.^{[14] : 185} Komendant was able to use mail-tensioned concrete that was only five inches thick to create gallery "vaults" that need support columns only at their four corners.^{[xiv] : 194}

The Geren firm, which had been asked to look for means to keep costs low, objected that the cycloid vaults would be as well expensive and urged a apartment roof instead. Kahn, however, insisted on a vaulted roof, which would enable him to create galleries with a comforting, room-similar atmosphere nonetheless with minimal demand for columns or other internal structures that would reduce the museum's flexibility. Eventually a deal was struck whereby Geren would exist responsible for the foundation and basement while Komendant would exist responsible for the upper floors and cycloid shells.^{[iv] : 218} Kahn placed one of these shells at the front of each of the 3 wings as a porch or portico to illustrate how the building was synthetic. The effect was, in his words, "like a piece of sculpture exterior the building."^{[14] : 204}

Thos. S. Byrne, Ltd. was the contractor for the projection, with A. T. Seymour as project manager. Virgil Earp and L. Thou. Shaw, Byrne's project superintendents, designed forms with a cycloid shape that were made from hinged plywood and lined with an oily coating and so they could be reused to pour concrete for multiple sections of the vaults, helping to ensure consistency.^{[14] : 204–206} The long, straight channels at the bottoms of the shells were cast first so they could exist used equally platforms to support the workmen pouring concrete for the cycloid curves. After all the concrete had been poured and strengthened with internal post-tensioning cables, however, the curved parts of the shells carried the weight of their lower straight edges instead of the other way effectually.^[17]

To foreclose the shells from collapsing at the long low-cal slots at their apexes, concrete struts were inserted at ten-human foot (3 m) intervals. A relatively thick concrete curvation was added to each stop of the shells to stiffen them farther. To go far clear that the curved shells are supported only at their four corners and not past the walls at the ends of the vaults, thin arcs of transparent material were inserted between the curve of the shells and the end walls. Because the stiffening arches of the shells are thicker at the pinnacle, the transparent strips are tapered, thinner at the top than at the bottom. In addition, a linear transparent strip was placed between the straight bottoms of the shells and the long outside walls to show that the shells aren't supported by those walls either. In improver to revealing the building's construction, these features bring additional natural light into the galleries in a style that is rubber for the paintings.^{[4] : 217}

The vault roofs, which are visible to budgeted visitors, were covered with lead capsule inspired past the lead covering of the complexly curved roofs of the Doge's Palace and St. Mark'due south Basilica in Venice, Italy.^{[five] : 353}

Skylights [edit]

Reflectors spread sunlight across the gallery ceilings. Kahn showed that the curved ceiling shells are supported simply at their corners past allowing a thin strip of outside light to enter along the tops of the long gallery walls and a thicker arc of low-cal to enter at the finish of each gallery.

David Brownlee and David DeLong, authors of Louis I. Kahn: In The Realm of Architecture, declare that "in Fort Worth, Kahn created a skylight arrangement without peer in the history of compages."^{[fifteen] : 132} Robert McCarter, author of Louis I. Kahn, says the entry gallery is "one of the almost beautiful spaces ever congenital", with its "astonishing, ethereal, silvery-colored light."^{[5] : 355} Carter Wiseman, author of Louis I. Kahn: Beyond Time and Fashion, said that "the low-cal in the Kimbell gallery causeless an almost ethereal quality, and has been the distinguishing factor in its fame ever since."^{[4] : 222}

Creating a natural lighting system that has evoked such acclaim was challenging, and Kahn's office and the lighting designer Richard Kelly investigated over 100 approaches in their search for the proper skylight system. The goal was to illuminate the galleries with indirect natural light while excluding all straight sunlight, which would impairment the artwork.^{[xiv] : 184} Richard Kelly, lighting consultant, determined that a reflecting screen made of perforated anodized aluminum with a specific bend could exist used to distribute natural light evenly across the cycloid curve of the ceiling. He hired a calculator proficient to determine the exact shape of the reflector's curve, making it one of the first architectural elements to be designed with computer technology.^{[4] : 221 [xiv] : 209}

In areas without fine art, such as the antechamber, cafeteria and library, the entire reflector is perforated, making it possible for people standing below to glimpse passing clouds. In the gallery spaces, the key office of the reflector, which is direct beneath the sun, is solid, while the remainder is perforated.^{[5] : 353} The concrete surfaces of the ceiling were given a high finish to farther aid the reflection of the light.^{[4] : 221} The result is that the strong Texas sun enters a narrow slot at the tiptop of each vault and is evenly reflected from a curved screen beyond the unabridged arc of the polished physical ceiling, ensuring a cute distribution of natural light that had never before been achieved.^{[ citation needed ]}

Expansion [edit]

In 1989, managing director Ted Pillsbury, Brown's successor, announced plans to add two wings to the north and due south ends of the edifice and chose architect Romaldo Giurgola to blueprint them. A firestorm of protestation erupted.^{[4] : 234} Critics pointed out that founding managing director Brown'south "Pre-Architectural Program" had specified that "the form of the edifice should be so complete in its beauty that additions would spoil that course,"^{[4] : 210} and that Kahn had accomplished that goal extraordinarily well.

A group of prominent architects signed a letter acknowledging the need for additional space merely arguing that the proposed addition would compromise the proportions of the original. They noted that when Kahn himself was questioned about the possibility of a futurity expansion, he said that information technology should "occur as a new edifice and be situated away from the present structure across the backyard".^[nineteen] Esther Kahn, Louis Kahn'due south widow, published a letter voicing similar sentiments, noting that "at that place is room on the site for a dissever building, which could exist continued to the present museum."^[20] The project was cancelled a few months later.

Kahn intended visitors to enter through the thoughtful landscaping at the front entry...

...only most visitors entered by through the rear door from the parking lot. The new hugger-mugger parking garage should solve this problem.

Renzo Piano Pavilion [edit]

In 2006, the idea of an expansion surfaced once again at a dinner in Fort Worth attended by Timothy Potts, the museum's director at the time (Eric M. Lee has been the director since March 2009); Kay Fortson, president of the Kimbell Art Foundation and a key figure in the creation of the original building; Ben Fortson, a trustee; and Sue Ann Kahn, Louis Kahn's daughter and a song opponent of the original plan for expansion. The new proposal was exactly in line with Louis Kahn's own thoughts for expansion: a divide building.^[vii] At that time, the new construction was to be sited on country to the back of the Kahn building.

In April 2007, the museum announced that Renzo Piano had been chosen to blueprint the new building. Piano was an obvious choice considering he had worked in Louis Kahn's office equally a boyfriend and had later established a reputation every bit one of the earth's leading museum architects. Piano had been particularly active in Texas, designing the Menil Drove in Houston, a commission in Louis Kahn'southward studio at the fourth dimension of Kahn's decease, and the Nasher Sculpture Eye in Dallas. He also designed the expansion for the Art Institute of Chicago and was co-designer of the Pompidou Centre in Paris.^[21]

The schematic designs for the new Kimbell building were fabricated public in November 2008, and the plans were released in May 2010. The 85,000 foursquare human foot (7,900 m²) structure would complement the original building but non mimic information technology. Different the original, its lines would be rectilinear, non curvilinear. Like the original, however, it would have iii trophy with the middle bay stepped back from the other two.^{[eight] [22]} The new building expansion, named the Renzo Piano Pavilion, was officially inaugurated to the public on November 27, 2013.^[23]

The new edifice should also resolve a parking issue at the museum. Kahn was deeply troubled by the negative impact of the machine on city life; he one time spoke of "the destruction of the city by the motor car."^[24] Fundamentally opposed to the idea of orienting buildings to the motorcar, Kahn placed the principal parking lot in the dorsum of the building, intending for visitors to walk around the building and enter through carefully planned landscaping. Near visitors, however, entered through the back door on the footing floor, missing the entry experience that Kahn had designed.^{[4] : 219 [5] : 354} The new building will solve the trouble with an secret parking garage. After visitors ascend to the gallery level of the new edifice, they tin exit it and walk across the lawn and the courtyard to enter the original edifice as Kahn had intended.^[eight]

Recognition [edit]

• In 1998, the American Institute of Architects gave the museum their prestigious Twenty-v Year Award, which is awarded to no more than one building per yr.
• Robert Campbell, architectural critic for the Boston Globe and winner of the Pulitzer Prize for Criticism, declared it to be "the greatest American building of the second one-half of the 20th century."^[25]
• Robert McCarter, author of Louis I. Kahn, said that the Kimbell Art Museum "is rightly considered Kahn'south greatest congenital work" and "has been the subject field of more scholarly studies than all his other works combined."^{[5] : 340}
• Carter Wiseman, author of Louis I. Kahn: Beyond Time and Style, said, "With the Kimbell, Kahn had achieved something unique in the history of modern compages, a building that engages an chemical element of nature—sunlight—with unprecedented skill and combined it with a contemporary program in a construction that likewise called upon the most advanced engineering while invoking the monuments of the by."^{[4] : 234}
• Thos. S. Byrne, Ltd., the structure contractor, won the first Build America Award from the Associated General Contractors of America in 1972 for the "innovative construction techniques" used on the museum.^[26]

European collection highlights [edit]

• 

  Georges de La Tour, The Cheat with the Ace of Clubs, c. belatedly 1620s; another version is in the Louvre.

• 

• 

• 

Asian collection highlights [edit]

• 

  Wang Zhao, The Three Stars of Happiness, Wealth, and Longevity, c. 1500, Chinese, Ming dynasty, ink and light colors on silk

• 

  Wen Jia (Wen Chia), Landscape in the Way of Dong Yuan, 1577, Chinese, Ming dynasty (1368–1644)

• 

  Gong Xian, Mural, c. 1650, ink on silk painting, Chinese, Qing dynasty (1644–1911)

• 

  Chen Jiayen, Bamboo, Rock, and Narcissus, 1652, Chinese, Qing dynasty (1644–1911), Hanging gyre; ink on paper

Management [edit]

The Kimbell Art Museum derives around 65% of its $12 million budget from its unrestricted endowment of more $400 1000000.^[27] The endowment brutal from $466 meg to $398 million during the first years of the 2007–2012 global fiscal crisis.^[28] The museum has no special funds for acquisitions.^[29] Museum membership is at 15,000. In 2019, the museum appointed Guillaume Kientz equally the curator of European art; he had previously worked in the Louvre.^[thirty]

Encounter besides [edit]

• Amon Carter Museum
• Mod Fine art Museum of Fort Worth

References [edit]

1. ^ ^{a b} Edmund Pillsbury. "Kimbell Fine art Museum". Texas State Historical Association. Retrieved July 12, 2010.
2. ^ "Kay Kimbell". Texas State Historical Association. Retrieved July 12, 2010.
3. ^ ^{a b} Mike Cochran (January 26, 1966). "New Art Museum Aids Culture in Fort Worth". Gettysburg Times (Associated Printing story).
4. ^ ^{a b c d e f m h i j k l chiliad northward o p q r due south t} Wiseman, Carter (2007). Louis I. Kahn: Beyond Fourth dimension and Way. New York: Norton. ISBN978-0-393-73165-1.
5. ^ ^{a b c d e f g h i j one thousand} McCarter, Robert (2005). Louis I. Kahn. London: Phaidon Press. ISBN0-7148-4045-9.
6. ^ ^{a b} Scott Cantrell (Mar 26, 2010). "Ted Pillsbury, longtime director of Kimbell Art Museum, dies". Dallas Morning News.
7. ^ ^{a b} David Dillon (July 12, 2007). "Piano Designing Kimbell Expansion". Architectural Tape. Retrieved July seven, 2010.
8. ^ ^{a b c} David Dillon (May 28, 2010). "Pianoforte Conceives a Respectful Improver to Kahn's Kimbell Masterpiece". Architectural Record. Retrieved July vii, 2010.
9. ^ "A New Museum Network Is Focusing On the Monuments Men'southward Long-Overlooked Postwar Cultural Contributions". Artnet News. 2021-06-17. Retrieved 2021-07-fourteen .
10. ^ ^{a b} "Collection". Kimbell Art Museum. Archived from the original on December 27, 2010. Retrieved July half-dozen, 2010.
11. ^ Timothy Potts, ed. Kimbell Art Museum Handbook of the Collection. Fort Worth: Kimbell Art Museum, distributed by Yale University Press, New Haven and London, 2003
12. ^ "Acquisitions of the calendar month: August-September 2018". Apollo Magazine.
13. ^ "Library". Kimbell Art Museum. Archived from the original on June 29, 2011. Retrieved July half-dozen, 2010.
14. ^ ^{a b c d eastward f g} Leslie, Thomas (2005). Louis I. Kahn:Building Art, Edifice Scientific discipline. New York: George Braziller, Inc. p. 274. ISBN0-8076-1543-9.
15. ^ ^{a b c} Brownlee, David; De Long, David (1991). Louis I. Kahn: In the Realm of Compages. New York: Rizzoli International Publications. ISBN0-8478-1330-4.
16. ^ Robert McCarter (2004). "Kahn, Louis I. 1901-74". In Sennott, Roger (ed.). Encyclopedia of 20th Century Compages. New York: Fitzroy Dearborn. p. 724. ISBN1-57958-434-9.
17. ^ ^{a b} McCarter, Robert (2009). "Louis I. Kahn and the Nature of Concrete". Concrete International. American Concrete Institute (December).
18. ^ Fleming, Steven (December 2004). "Of Quotidian Proportions: the Everyday Determinants of Great Modern Architecture". Cultural Studies Association of Australasia Almanac Conference 2004. Perth, Australia: CSAA / Murdoch University, Middle for Everyday Life. p. 11. hdl:1959.xiii/35507.
19. ^ Johnson, Philip; et al. (December 24, 1989). "Kimbell Museum; In Praise of the Status Quo". The New York Times.
20. ^ Kahn, Esther I. (November 26, 1989). "The Kimbell Museum". The New York Times.
21. ^ "Renzo Piano Chosen as New Building Architect" (Press release). Kimbell Art Museum. April 5, 2007. Archived from the original on Dec 27, 2010. Retrieved July 7, 2010.
22. ^ "Kimbell Art Museum Unveils Renzo Piano's Designs for a Major New Edifice Projection" (Press release). Kimbell Art Museum. November 18, 2008. Archived from the original on December 27, 2010. Retrieved July 7, 2010.
23. ^ "Official opening of the Expansion of Kimbell Art Museum in Fort Worth, Texas". Renzo Piano Building Workshop. Retrieved 22 July 2014.
24. ^ Kahn, Louis (2003). Twombly, Robert (ed.). Louis Kahn: Essential Texts. New York: W. West. Norton. p. 73. ISBN0-393-73113-eight.
25. ^ James-Chakraborty, Kathleen (2004). "Our Architect" (PDF). The Exeter Bulletin. Phillips Exeter University (Spring): 25. Archived from the original (PDF) on 2010-05-27.
26. ^ "The Offset Build/America Award". Byrne Construction Services. Archived from the original on July iv, 2010. Retrieved August 3, 2010.
27. ^ Christopher Knight (March 11, 2012), Critic'due south Notebook: Timothy Potts' by and future Los Angeles Times.
28. ^ Jason Edward Kaufman (January eight, 2009), How the richest US museums are weathering the storm The Art Newspaper.
29. ^ Judith H. Dobrzynski (March fourteen, 2012), How an Acquisition Fund Burnishes Reputations New York Times.
30. ^ Greenberger, Alex (2019-01-xxx). "Guillaume Kientz Named Curator of European Art at Kimbell Art Museum". ARTnews.com . Retrieved 2020-12-29 .

External links [edit]

• Official website
• QTVR walk-through of the museum

Coordinates: 32°44′54″N 97°21′55″West  /  32.74843°Northward 97.36520°West  / 32.74843; -97.36520

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Source: https://en.wikipedia.org/wiki/Kimbell_Art_Museum

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