Amon Carter Museum of American Art

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shellstone of the 1961 building. The expansion's most arresting feature is a centrally located atrium, rising fifty-five feet above the floor and topped by a curved roof with side windows, referred to as the Lantern. The atrium's interior walls are clad in the signature shellstone. A double stairway gives access from the atrium to a complex of second-floor galleries where selections from the museum's permanent collection, along with special exhibitions, are on display. In this new alignment, most of the galleries in the 1961 building, including the mezzanine area where the library and offices were once located, are used for rotating exhibitions of paintings and sculpture by Remington and Russell from Amon G. Carter's original collection.

2175: 2063: 1746: 1904: 1520: 2111: 1472: 2191: 2127: 1936: 841: 233: 1920: 1700: 1729:(1907–1930), were added to the museum's permanent collection during Tyler's administration. Andrew J. Walker has led the Carter since 2011. Under Walker's leadership, the Carter has hosted major exhibitions of work by George Caleb Bingham (1811–1879), Will Barnet (1911–2012), and the circle of New York modernists led by artist John Graham (1886–1961). He has overseen additions to the permanent collection of works by Robert Seldon Duncanson (1821–1872), Raphaelle Peale (in memory of Ruth Carter Stevenson), and John Singer Sargent (1856–1925), and he initiated major upgrades to the museum's digital presence, including the 416: 47: 1983: 2047: 853: 38: 1241: 1827:

the museum redesigned parts of the interior arranging its collection display thematically rather than chronologically. The renovation expanded the display area by the installation of movable, modular walls. The gallery spaces, which had previously been carpeted, were replaced with American white oak hardwood floors. Following Johnson's original vision for expansive natural lighting, new LED and skylights were installed in the galleries. The installation of an automatic shading system enabled the display of artworks in the lobby. The Texas sculptor James Surls's

274:. These holdings include drawings, illustrated letters, prints, oil paintings, sculptures, and watercolors produced by Remington and Russell during their lifetimes. More than sixty of the works by Remington and more than 250 of the works by Russell were purchased by the museum's namesake, Amon G. Carter Sr., over a twenty-year span beginning in 1935. Additions to Amon G. Carter's original holdings by museum curators have resulted in a collection that contains multiple examples of Remington's and Russell's best work at every stage of their respective careers. 1876: 351:

of the country of their own choosing. Others served as documentarians on expeditions of continental discovery sent out by the U. S. government or by European sponsors. In these roles, artists were uniquely positioned to record the topography, animal and plant life, and diverse Indian culture of America and its frontiers. Finding and collecting drawings, oil paintings, watercolors, and published lithographs by these European and American documentary artists was one of the museum's earliest goals. Documentary artists represented in the collection include

552: 3891: 1662:(who was Ruth Carter Johnson at the time and no relation to the architect) had assumed the role of project manager for the new museum and was in a position to offer Philip Johnson the job. In February 1959, the City of Fort Worth and the Amon G. Carter Foundation entered into a contract for the creation of a museum of western art, with the city providing the remainder of the land needed to build the museum. Construction began in 1960, and the Amon Carter Museum of Western Art opened to the public on January 21, 1961 (see building history below). 1721:

Russell. During his tenure as director, Stewart added major works to the museum's collection by Stuart Davis (1892–1964), Marsden Hartley (1877–1943), and John Singer Sargent (1856–1925). Stewart oversaw the challenging, two-year closure during which two previous expansions and the museum's physical plant were demolished. In their place a much larger facility was erected, culminating in a grand reopening in 2001. When Stewart stepped down as director, he was named the museum's senior curator of western painting and sculpture.

1643:, a large-circulation, daily newspaper in Fort Worth, Texas. Carter and his wife, Nenetta Burton Carter, took a key step toward the museum's creation in 1945 when the Amon G. Carter Foundation, a Texas non-profit foundation, was formed, and the Carters transferred much of their wealth into it for the purpose of providing seed money to support an array of civic causes. At the time the foundation was incorporated, Amon Carter had been actively collecting art by Frederic Remington and Charles M. Russell for a decade. 2159: 1892: 2223: 245: 1783:

display of art. On the mezzanine level were five similar galleries, each with a balcony that overlooked the main hall. These mezzanine galleries served as library and office spaces. To take advantage of the expanse between the two-story portico and the site's eastern boundary, Johnson designed a series of broad steps and terraces extending away from the building, with an expansive sunken, grassy plaza as the centerpiece, pointing toward the city's center.

1765:(1906–2005) maintained a forty-year association with the Amon Carter Museum of American Art as the designer of the institution's original building and two major expansions. The Amon G. Carter Foundation first commissioned Johnson in 1958 to devise a museum building that would showcase a core collection of western art and also serve as a memorial to the museum's founder. At the time Johnson won this commission he was also overseeing construction of the new 2015: 1673:

contemporary. This decision paved the way for an expansion of the permanent collection that first focused on acquiring American art from the nineteenth-century and, later, the twentieth. Under Wilder's guidance, the museum collected heavily in the areas of nineteenth-century American art and photography. Wilder also established an academic publishing presence and built a record of organizing groundbreaking exhibitions. The museum published

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included a three-story section, enclosed the triangular space at the far western end of the building site, thus bringing the physical plant to its westernmost limit. Johnson's 1977 addition created an administrative wing, a 105-seat auditorium, a two-story storage vault, a spacious library, and two interior grassed courts that insulated occupants of the library and administrative offices from heavy traffic passing nearby.

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twentieth centuries to the present. Drawings and paintings range from preliminary studies to fully realized compositions. Most nineteenth-century prints originated as reproductions intended for dissemination to the public and depict subjects relevant to the American experience. Twentieth-century and later prints are fine art prints made by a variety of processes as a means of artistic self-expression.

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much larger structure behind the 1961 building. Philip Johnson spearheaded the new design in collaboration with his partner Alan Ritchie. It would be one of the last projects on which Johnson worked. In August 1999 the museum was closed to the public for an extended period while the 1961 building was refurbished, the 1964 and 1977 additions were removed, and the new addition constructed.

1712:(1923–2013), in determining the museum's course. Stevenson had spent the final years of her father's life in conversation with him about his concepts for a museum and the role it should play in Fort Worth civic life. It was this familiarity with his vision, and her extraordinarily high standards, that would bring Stevenson into a leading role in the museum's development. 1696:(1892–1964), was acquired for the museum from this exhibition, signaling a fundamental redefinition of the museum's collecting scope. Mitchell Wilder's embrace of the museum's collecting mandate led to two building expansions during his tenure, including a major addition in 1977 that doubled the size of the museum (see building history below). 1484:

ephemera. The library's holdings are non-circulating and organized around the study of American art, photography, and culture from Colonial times to the present, with an emphasis on materials that enhance understanding of objects in the museum's permanent art collection and the milieu in which these objects were created.

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foundation to provide for a museum to house his art collection and "be operated as a nonprofit artistic enterprise for the benefit of the public and to aid in the promotion of the cultural spirit in the city of Fort Worth and vicinity, to stimulate the artistic imagination among young people residing there."

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used in America from daguerreotypes to digital. Photography's central role in documenting American culture and history, and the medium's evolution as a significant and influential art form in the twentieth-century to the present, are the themes around which the Carter photography collection is organized.

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side of the original building to provide room for offices, a bookstore, a research library, and an art-storage vault. Joseph R. Pelich (1894–1968) of Fort Worth, an associate architect of the original building, carried out the work after Philip Johnson expressed little interest in taking on the project.

933:(1887–1986). The collection houses early works by Demuth, Dove, Hartley, and O'Keeffe, produced between 1908 and 1918, and a focused group of later paintings by Dove, Hartley, Marin, and O'Keeffe that capture their response to the light and color of the New Mexican landscape near Taos. Charles Demuth's 1782:

as precedents for the "boxes with fronts" style portico. The main entrance lead directly into a two-story hall adorned with the same type of shellstone used on the exterior, teak wall coverings, and a floor of pink and gray granite. Beyond the main hall were five small galleries of equal size for the

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Johnson designed a two-story portico with five arches that faced east toward the city's skyline. The arches and their tapered support columns were clad in creamy Texas shellstone. The remaining three sides of the 20,000-square-foot building were also covered with shellstone cladding. Sheltered by the

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The Carter library's microform holdings include 14,000 microfilm reels of nineteenth-century newspapers, periodicals, books, and other primary material. These holdings also include more than 50,000 microfiches of auction and exhibition catalogues, ephemera, and other material. Specific microform sets

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The Carter houses a wide selection of maps and artworks by European and American documentary artists who, in the nineteenth and twentieth centuries, traveled the North American continent in search of new sights and discoveries. Some of these artists worked independently, focusing on subjects or areas

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In the summer of 2019, the museum building was closed for a renovation of the building and the galleries. The Boston-based architecture firm Schwartz/Silver Architects oversaw the renovations; unlike the 1977 and 2001 closures, there was little alteration to the museum building's structure. Instead,

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The museum opened a second major addition, this one designed by Philip Johnson and his partner, John Burgee, in 1977. The 1977 addition, which left the 1961 building and 1964 addition intact, expanded the museum's area by 36,600 square feet, more than doubling its original size. The expansion, which

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Other features of Philip Johnson's 2001 expansion include a 160-seat auditorium, complete with distance-learning technology; climate-controlled vaults for both cool and cold photography storage; laboratory space for the conservation of photographs and works on paper; a research library and archives

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Although the museum was conceived as a small memorial institution, it almost immediately became a collecting museum, and the space afforded by the existing facility quickly became inadequate. In 1964, three years after the museum first opened, a 14,250-square-foot addition was completed on the west

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The Carter library is a 150,000 item art reference library available for use by museum curators, researchers, and interested members of the public. The library provides access to a 50,000 book collection, augmented by related collections of microform, periodicals and journals, auction catalogs, and

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The Amon Carter Museum of American Art is one of the country's major repositories for historical and fine art photographs. The Carter has over 350,000 photographic works in its collection, including 45,000 exhibition-quality prints. These holdings span the complete history of photographic processes

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The Carter's sculpture collection provides historical context for the museum's deep holdings of bronze sculpture by Frederic Remington and Charles M. Russell, as well as acknowledging the importance of sculpture in the wider history of American art. As such, the collection contains works created by

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On November 17, 1998, museum trustees announced plans to expand the museum yet again. Museum personnel had been in discussion with Philip Johnson for some time regarding the need to alter Johnson's 1977 addition. Johnson's solution was to demolish both the 1964 and 1977 additions and create a new,

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Ron Tyler returned to the Carter in 2006 as director. (Tyler began his museum career at the museum from 1969 to 1986.) During his tenure as director, the museum presented major exhibitions of the work of Alfred Jacob Miller (1810–1874) and William Ranney (1813–1857), and an important exhibition of

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The museum's articles of incorporation and bylaws were adopted in the fall of 1961, and a Board of Trustees was appointed. In their early discussions, Wilder and the board decided that the museum's programs and permanent collection should reflect many aspects of American culture, both historic and

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Prints that stem from early western surveys conducted by the United States War Department and the United States Department of the Interior are important components of the works on paper collection. These prints were typically based on field sketches by artists who accompanied the expeditions. They

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of his intention to "erect and equip" a museum and present it to the city. In 1951, the Amon G. Carter Foundation purchased a portion of the museum's future site to protect the land from commercial encroachment. Following Amon Carter's death in June 1955, his last will and testament empowered the

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Much of America's aesthetic, economic, and social history is found in works on paper, a category that includes drawings, prints, and watercolors. The Carter began to actively collect works on paper in 1967. The collection today numbers several thousand items by noted artists of the nineteenth and

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of the North American continent, and masterworks that are emblematic of major turning points in American art history. The "full spectrum" of American photography is documented by 45,000 exhibition-quality prints, dating from the earliest years of the medium to the present. A rotating selection of

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helped to fund a Gentling Study Center located in the Museum Library dedicated to the artwork of Fort Worth brothers, Stuart W. and Scott G. Gentling. The creation of the Gentling Study Center complements the Amon Carter Museum's planned exhibitions and publications on the Gentling brothers. The

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The current museum building reopened to the public on October 21, 2001. The 2001 expansion, which increased the museum's available space by 50,000 square feet, rests on the same footprint as the earlier additions. It is clad in dark Arabian granite so as to recede visually from the light-colored

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in Utica, New York. Johnson found the Carter museum project particularly inspiring because of the spectacular view from the proposed museum's building site on a gently sloping hillside overlooking downtown Fort Worth. Amon G. Carter Sr. had personally chosen the site in 1951. Johnson placed the

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photographers, and collectors. These biographical files offer researchers a wealth of newspaper clippings, small exhibition catalogs, resumes, journal and periodical articles, reproductions, event invitations and announcements, portfolios, bibliographies, and similar material from which to draw.

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Frederic Remington and Charles M. Russell were America's best known and most influential western illustrators. Working from his New York studio except when traveling, Remington produced colorful and masculine images of life in the Old West that shaped public perceptions of the American frontier

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The 2019 renovations received positive feedback from the local press. James Russell praised the redesigned galleries in the Fort Worth Weekly, noting that they created "an atmosphere for exploration." Dallas Morning News architecture critic, Mark Lamster lamented that the redesign upended the

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by Thomas Eakins (1844–1916). The purchase of the Eakins masterpiece required a capital campaign to raise ten million dollars and drew on every resource available to Muhlert. Rick Stewart, Muhlert's successor, is a nationally recognized scholar on the work of Frederic Remington and Charles M.

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The library's Vertical File/Ephemera collection contains a wide variety of loose material and small publications on artists, museums, commercial galleries, and other art organizations. Included in this collection are biographical files, arranged by name, with coverage of about 9,000 artists,

1547:(Philadelphia: J.O. Lewis, 1835–36), the first color plate book published on the North American Indian. Other illustrated books owned by the library are highlighted under the Collection tab on the Carter website, and many of the illustrations within these books are digitized and searchable. 1707:

Mitchell Wilder died in 1979 after a brief illness. Four other directors have headed the museum in the years since. They are Jan Keene Muhlert (1980–95), Rick Stewart (1995–2005), Ron Tyler (2006–11), and Andrew J. Walker (2011–present). Each worked closely with Amon Carter's daughter,

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Jan Keene Muhlert oversaw an aggressive acquisitions program that brought works by William Merritt Chase (1849–1916), Thomas Cole (1801–1848), Arthur Dove (1880–1946), Childe Hassam (1859–1935), and David Johnson (1827–1908) into the collection, crowned by the acquisition in 1990 of

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territories in the nineteenth and twentieth centuries. The greatest concentration of works falls into the period from the 1820s through the 1940s. Photographs, prints, and other works on paper produced up to the present day are also an area of strength in the museum's holdings.

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In 1977, on the occasion of the opening of the Philip Johnson-designed expansion, the Amon Carter Museum of Western Art became the Amon Carter Museum. In 2011, on the occasion of the museum's 50th anniversary, the museum was renamed the Amon Carter Museum of American Art.

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experience for an eastern audience eager for information. Montana resident Charles Russell, with his cowboy dress, laconic manner, and storytelling prowess, epitomized, in the early twentieth-century, the image of the Cowboy Artist in the eyes of the eastern press.

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Nineteenth-century figure paintings, portraits, and genre pictures (portrayals of everyday life) represent an important chapter in the history of American art development, and several examples of these types of paintings are found in the Carter collection.

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to create the Cultural District Library Consortium (CDLC). The purpose of the consortium was to explore new ways of sharing the resources of the three Fort Worth institutions via online public access. In 1998, with technical assistance from the library at

1516:. In this role, the Carter library offers access to 7,500 microfilm reels of unrestricted material from the Archives of American Art representing about fifteen-million primary, unpublished documents related to American artists, galleries, and collectors. 913:(1864–1946) befriended and championed several of the most visionary modern painters to emerge in early twentieth-century America. Five modern artists who were closely identified with Stieglitz's circle are represented in the Carter collection. They are 1550:

The museum archives contain private papers and records originating from individuals, usually artists or photographers, that are often integrally connected to the museum's art collection. Among these records are the personal archives of photographers

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Professional assistance and access to items in the Amon Carter Museum of American Art library is provided in the library reading room during the stated hours of operation. More information is available under the Library tab on the Carter website.

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Study Center's interior design mirrors the teak wall coverings and mid-century furniture that characterize Johnson's original design. Architecture critic, Mark Lamster singled out the Gentling Library for its "pleasingly midcentury gestalt."

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The Amon Carter Museum of American Art opened in 1961 as the Amon Carter Museum of Western Art. The museum's original collection of more than 300 works of art by Frederic Remington and Charles M. Russell was assembled by Fort Worth

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in 1880, nine years before statehood, and had worked as a cowboy for more than a decade before beginning his career as a professional artist. Remington toured Montana in 1881, later owned a sheep ranch in Kansas, and had traversed

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The museum and grounds opened to the public on January 21, 1961, as the Amon Carter Museum of Western Art. Reaction by critics to Philip Johnson's design was generally favorable. In a March 1961 article, "Portico on a Plaza," the

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The Carter library houses a number of rare illustrated books. These titles are useful for their textual information and valuable as works of art for their original prints. Among the illustrated books in the library collection are

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Though neither artist had lived on the frontier at the height of America's westward expansion, their drawings, paintings, and sculptures were infused with the action and convincing realism of direct observation. Russell moved to

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African-American art from the private collection of Harmon and Harriet Kelley. Paintings by George de Forest Brush (1855–1941) and Charles Sheeler (1883–1965), as well as a complete, 20-volume set of Edward Sheriff Curtis'

1583:, the three museums launched an online CDLC catalog that allows website visitors access to the combined collections of all three art museum libraries. Today, the CDLC catalog also gives access to the libraries of the 535:. This grandiose example of the artist's work was completed after Bierstadt's third trip to the American west. It was added to the Carter collection in 1966. Another Hudson River School painter who headed west was 1842:

In addition to the redesigned galleries, the photography cold storage vaults were renovated to accommodate the growing and collection and to provide updated preservation technologies. Fort Worth philanthropist

1024:(1886–1981) are prominent collection resources. Finding aids and guides for these and other monographic collections are available online under the Collections/Photographs/Learn More tabs on the Carter website. 303:. These and other experiences enabled both artists to convincingly portray a vast variety of Old West subject matter drawing on real world experiences, historical evidence, and their artistic imaginations. 1967: 2142: 1951: 1471: 474:(1840–1930). The Moore painting depicts an identifiable portion of the Hudson River adjacent to the home of Thomas Cole, making it likely that the painting was intended as a tribute to Cole. 1903: 937:(1931), painted in the artist's hometown of Lancaster, Pennsylvania, depicts a local linoleum factory as a grid of austere, monumental forms and passages of steel gray, blue, and deep red. 4855: 2206: 2078: 2030: 699:(1848–1892) is a large and eloquent example of the trompe-l'œil genre and one that amply demonstrates the allure of Harnett's trompe-l'œil illusions for his nineteenth-century patrons. 1998: 1935: 1451:(1913–1993), including Utter's 1957-58 studies of vanishing Fort Worth architecture. Most recently, the Carter added two important series of lithographs to these holdings, one by 4850: 1204:

series, a project commissioned by the Carter in 1979. In recent years the museum has largely focused on acquiring and displaying photographs by contemporary artists including

2062: 2190: 310:(1889; see gallery below) -- a work that established Remington as a serious painter when it was exhibited at the National Academy of Design in 1889. 2) Frederic Remington, 4491: 2174: 2158: 1839:

original design's " juxtaposition of the grand formal entry with . . . those more intimate galleries," but overall considered the renovated galleries "a big improvement."

3813: 2110: 1567:(est. 1897-closed 1988) of Queens, New York, long one of America's premier art bronze foundries, and a range of documents related to the Carter's institutional history. 1257:

provide unique views of the western landscape, Indian life, natural history, ancient Spanish culture, and life in nineteenth-century American frontier communities. The

625:(1850) exhibits the artist's great skill as a figure painter and use of that skill to entertain and educate his nineteenth-century audience. Notable genre paintings by 1919: 703:(1854–1907), a William Harnett contemporary who worked in relative obscurity, is represented in the collection by two highly accomplished trompe-l'œil compositions, 664: 4870: 594:(1818–1867) explores the physical appearance of Deas' Native American subjects and the perils associated with their nomadic lifestyle (see picture gallery below). 1113:

movement, a crusade which Stieglitz led. The work of the Photo-Secessionists and other leading photographers of the period is also documented in complete runs of

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The experimentation of early twentieth-century artists with nature-based abstraction and direct carving techniques from natural materials is seen in works by

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were among the first large scale artworks displayed in the downstairs hallway connecting the 1961 building with the 2001 expansion as part of the redesign.

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in Los Angeles, California between 1960 and 1978. The museum also houses an important collection of drawings, watercolors, and prints by early Texas artist

4496: 4378: 1543:(Philadelphia: Bradford and Inskeep, 1809–14), the first bird book published in the United States and the first outstanding American color plate book; and 572:(1844–1916) is one of the best-known realist figure paintings in the history of American art. A summation of Eakins' painting technique and belief system, 203:

works from the permanent collection is on view year-round during regular museum hours, and several thousand of these works can be studied online using the

948:(1892–1964) are housed in the Amon Carter Museum of American Art, including an early self-portrait painted in 1912 and a work from his Egg Beater series, 281: 4476: 314:(1895) -- Remington's first attempt to model in bronze and the work that started him on a long secondary career as a sculptor. 3) Frederic Remington, 431:, one of the critical movements in nineteenth-century American landscape painting, is an important focus of the Carter collection. Two major oils by 4508: 1055:(1865) by George Barnard. A group of more than 1,400 nineteenth and early twentieth-century portraits of Native Americans that originated with the 584:(acquired 1976) combines the artist's skills as a figure painter with his gift for storytelling to create a charming image of rural New York life. 1982: 1891: 1677:

in 1962, the first of many books on the art of the American West to originate from the Amon Carter. In 1966, Wilder reintroduced the paintings of

4620: 4132: 458:, a British movement that was briefly influential among some artists of the Hudson River School in the mid-nineteenth century, is exemplified in 4759: 4636: 1774:

arched portico, the museum's front wall consisted of a two-story curtain of glass windows with bronze mullions. Johnson identified Florence's

602:(1855–1941) is another example in the Carter collection of an artist's exacting and nuanced method of depicting an indigenous American sitter. 219:(1879–1955). Carter spent the last ten years of his life laying the legal, financial, and philosophical groundwork for the museum's creation. 3284: 3262: 3240: 330:(1924) -- a bronze sculpture that evokes the "grand turmoil" resulting as a band of mounted hunters descends upon a herd of grazing buffalo. 4562: 4528: 4523: 1665:

Raymond T. Entenmann, director of the Fort Worth Art Center, served as the Carter's acting administrator during the museum's early months.

539:(1837–1926). Moran, famous for his paintings of the Yellowstone region of Wyoming, is represented in the Carter collection by his 1874 oil 4830: 4398: 3950: 1791:

called it "an exceedingly handsome building -- beautifully situated and beautifully illuminated." Russell Lynes, writing in the May 1961

1284:(1792–after 1864) and engraver John Hill (1770–1850); original copper plate etchings of Native Americans as depicted in field studies by 1369:

Other artists in the works on paper collection who are associated with major movements in American art include American Pre-Raphaelites

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photographic essay; Texas images from the Standard Oil of New Jersey Collection; and project photographs from the 1986 statewide survey

793:(1876–1973) are represented by bronzes created in the late nineteenth and early twentieth centuries respectively. A bronze sculpture by 4388: 3985: 3854: 1753: 326:(1908) -- a detailed portrait of a Blackfeet shaman, reflecting Russell's empathy with Native American culture. 5) Charles M. Russell, 4408: 4023: 1875: 2046: 4754: 4719: 4585: 4188: 1584: 4518: 4459: 4208: 4177: 4845: 4567: 4540: 4413: 4355: 4043: 1766: 1669:(1913–1979), a seasoned museum director working in Los Angeles, arrived in August 1961 to begin work as the museum's director. 2222: 1703:

Main entrance to the Amon Carter Museum of American Art, constructed 1961. Glass panels and museum entry doors renovated 2015.

1428:(1898–1954) are each represented by multiple examples of their graphic work. Also housed in the collection are early works by 4865: 4825: 4797: 4704: 4545: 4535: 4449: 4439: 3715: 3572: 3547: 2906: 2859: 2831: 1588: 1733:

digitization project, a two-year initiative that will allow online access to many of the museum's previous art exhibitions.

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Examples of work in the collection by other noted expeditionary artists include rare nineteenth-century field studies by

797:(1868–1922), who, like Remington and Russell, specialized in depictions of Old West subjects, and a two-piece bronze by 4513: 4269: 1165:

Other substantive groups of twentieth-century photographs in the Carter collection are organized around the careers of

17: 2273: 2094: 1366:(1834–1903) are each represented by high-quality drawings and/or paintings in the Carter's works on paper collection. 527:

The influence of the Hudson River School and Luminism was focused on a western United States location about 1870 when

4875: 4835: 4434: 4368: 4033: 4003: 3768: 3743: 3647: 3622: 3597: 3469: 3437: 3405: 3373: 3341: 3318: 3224: 3190: 3165: 3137: 3095: 3070: 3017: 2806: 2781: 2756: 2731: 2706: 2681: 2656: 2631: 2606: 2581: 2556: 2531: 2506: 2481: 2456: 2431: 2406: 2358: 2333: 2305: 691:("fool the eye") paintings and classic still-life paintings make up a prominent component of the Carter collection. 4840: 4444: 4149: 4141: 1044: 785:(1848–1907), are represented in the Carter collection by cast bronze works created in the late nineteenth century. 1745: 1094:(1902–1984) are complemented by later twentieth-century landscapes from the studios of William Clift (born 1944), 318:(1895) -- an evocation of the fading of the mythic cowboy of legend, anticipating Owen Wister's celebrated novel, 4776: 4749: 4403: 4373: 3943: 1658:(1906–2005) at a Houston dinner party led to the commissioning of Johnson as the future museum's lead architect. 1575: 509: 1519: 4291: 3896: 2248: 207:

tab on the Carter's official website. Museum admission for all exhibits, including special exhibits, is free.

4555: 4363: 4068: 3975: 1420:(1882–1925) is one of the highlights of the Carter's works on paper collection. Leading American printmakers 1363: 478: 4116: 4088: 4018: 3967: 2376:"Wonders of the Western World: The Masterworks of Remington and Russell will now be more visible than ever" 1757:

Shellstone used to clad the exterior of the 1961 building and portions of the museum's present-day interior

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brought more than one hundred paintings by America's leading early modernists to Fort Worth from New York.

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museum building as far up the hillside as possible in order to maximize this panoramic view to the east.

1406: 1166: 965: 786: 878:(1849–1916) anchors the ACMAA holdings of American Impressionist paintings. Chase's student and protégé 840: 4714: 4610: 4486: 4296: 4259: 4111: 4028: 3936: 2243: 1580: 1151: 455: 306:

Noteworthy artworks in the Carter collection by Remington and Russell include: 1) Frederic Remington,

4781: 4709: 4656: 4615: 4469: 4393: 4383: 4264: 4193: 517: 1699: 894:(1859–1935). Other well-known American Impressionist painters who have pieces in the collection are 648:(1856–1925) is represented in the museum's collection by formal portraits of two American subjects, 447:(1823–1900), is a notable example of the Hudson River School's preoccupation with scenery along the 232: 4724: 4677: 4083: 3911: 1639: 1509: 1079: 1040: 961: 482: 4418: 4281: 4136: 3998: 3814:"Fort Worth's Amon Carter museum gets a face-lift, an architecture critic and art critic respond" 1513: 1493: 1425: 1320: 630: 376: 372: 828:(1899–1988) are among the mid-twentieth century sculptural pieces in the collection. Nevelson's 415: 4605: 4550: 1693: 1433: 1382: 1109:(1864–1946) are the collection's most significant works from the turn-of-the-twentieth-century 945: 865: 809: 782: 763: 599: 513: 490: 463: 444: 267: 195: 3216: 3210: 3129: 3123: 1039:

The Carter's photography collection contains early images of Americans at war, anchored by 55

754:(1814–1886) is one of the earliest bronzes cast in America. Slightly later bronze sculptures, 4769: 4301: 4078: 4058: 3785: 2751:. New York: Hudson Hills Press in association with the Amon Carter Museum. pp. 116–117. 2701:. New York: Hudson Hills Press in association with the Amon Carter Museum. pp. 112–113. 1709: 1659: 1421: 1378: 1336: 1075: 875: 852: 790: 471: 436: 368: 46: 3902: 2973: 2726:. New York: Hudson Hills Press in association with the Amon Carter Museum. pp. 96–97. 2353:. New York: Hudson Hills Press in association with the Amon Carter Museum. pp. 12–14. 1448: 1301: 1240: 1178: 903: 504:

Other Hudson River School artists represented in the collection by major oil paintings are

486: 400: 37: 8: 4481: 4008: 2899:

The Allure of Paper: Watercolors and Drawings from the Amon Carter Museum of American Art

2852:

The Allure of Paper: Watercolors and Drawings from the Amon Carter Museum of American Art

2824:

The Allure of Paper: Watercolors and Drawings from the Amon Carter Museum of American Art

1678: 1505: 1402: 1359: 1324: 1159: 930: 832:

is a large, painted-wood construction that dates to 1959-60 (see picture gallery below).

645: 626: 505: 428: 380: 163: 2875: 2776:. New York: Hudson Hills Press in association with the Amon Carter Museum. p. 220. 4734: 4286: 4053: 3890: 3763:. New York: Hudson Hills Press in association with the Amon Carter Museum. p. 18. 3090:. New York: Hudson Hills Press in association with the Amon Carter Museum. p. 13. 3065:. New York: Hudson Hills Press in association with the Amon Carter Museum. p. 11. 2801:. New York: Hudson Hills Press in Association with the Amon Carter Museum. p. 15. 1681:(1887–1986) to the nation by organizing a ninety-five piece retrospective of her work. 1647: 1571: 1564: 1508:). The Amon Carter Museum of American Art is the mid-country research affiliate of the 1444: 1328: 1297: 1070:

The Carter's collection of nineteenth-century landscape photographs includes images by

551: 388: 352: 300: 263: 191: 3160:. New York: Hudson Hill Press in association with the Amon Carter Museum. p. 14. 1440:(1917–2000), acquired in 1987, marks the ascension of this important artist's career. 1346:

Preeminent American artists of the late nineteenth and early twentieth centuries like

1276:

The Carter's nineteenth-century print collection also includes a copy of the landmark

1258: 688: 611: 4744: 4048: 4038: 3959: 3764: 3739: 3711: 3643: 3618: 3593: 3568: 3543: 3314: 3220: 3186: 3161: 3133: 3091: 3066: 3039: 2902: 2855: 2827: 2802: 2777: 2752: 2727: 2702: 2677: 2652: 2627: 2602: 2577: 2552: 2527: 2502: 2477: 2452: 2427: 2402: 2354: 2329: 2301: 1410: 1083: 1071: 751: 439:(1826–1900) anchor the museum's holdings of signature Hudson River School paintings. 296: 291: 271: 187: 159: 74: 835: 1775: 1332: 1281: 1270: 1266: 1262: 1155: 1134:

Substantive holdings of twentieth-century documentary photographs include works by

1106: 1087: 1060: 910: 879: 821: 528: 521: 396: 392: 199: 2929: 1810:

Amon Carter Museum of American Art, central atrium (the Lantern), constructed 2001

4764: 4230: 4012: 1666: 1456: 1370: 1135: 1110: 973: 922: 899: 825: 723: 711:(1904-06). Other trompe-l'œil paintings in the Carter collection were created by 696: 638: 634: 607: 494: 4729: 4306: 4274: 2995: 1779: 1762: 1655: 1634: 1541:

American Ornithology, or, the Natural History of the Birds of the United States

1437: 1417: 1390: 1273:(1849) are among the sources of western survey prints collected by the Carter. 1197: 1182: 1139: 1127: 1017: 914: 813: 739: 712: 618: 216: 132: 952:(1928). American modernists represented in the Carter collection also include 4819: 4324: 3640:

Buildings of Texas: East, North Central, Panhandle and South Plains, and West

1429: 1355: 1351: 1347: 1335:(1814–1872) and Henry Warre (1819–1898); and early views of San Francisco by 1289: 1190: 1170: 977: 891: 817: 794: 774:(1805–1873) is an example of an American neoclassical work carved in marble. 610:(1848–1892) is the only known figural composition by this American master of 581: 569: 448: 360: 285:

Remington and Russell Gallery in the Amon Carter Museum of American Art, 2019

179: 178:, and works on paper by leading artists working in the United States and its 104: 91: 1897:

Albert Sands Southworth (1811–1894) and Josiah Hawes (1818–1901), , ca. 1850

726:(1774–1825), is represented in the Carter collection by an 1813 composition 1623:

Amon G. Carter Sr. as a young newspaperman and entrepreneur in Fort Worth,

1556: 1552: 1443:

The Carter collection houses almost 2,500 fine art lithographs made at the

1374: 1229: 1225: 1213: 1186: 1174: 1115: 1095: 1013: 1009: 953: 895: 798: 771: 716: 700: 591: 546: 536: 520:(1835–1900) is represented by a preliminary study of rocky coastline along 384: 364: 333: 227: 3567:. Utica, New York: Munson-Williams-Proctor Arts Institute. pp. 7–16. 1504:

and the Office of War Information in the Prints and Photographs Division,

1323:(1818–1903), Richard H. Kern (1821–1853), John H. B. Latrobe (1803–1891), 4237: 3642:. Charlottesville and London: University of Virginia Press. p. 214. 1560: 1452: 1394: 1285: 1221: 1209: 1121: 1091: 1021: 957: 918: 777:

Two American sculptors who enjoyed great success during their lifetimes,

443:(1866–68), a panoramic depiction of Staten Island and New York Harbor by 432: 356: 244: 171: 1343:(above) for more information on American expeditionary art and artists. 1059:

is another of the collection's highlights, along with a complete set of

730:. Other classic American still lifes featuring fruit or flowers include 501:(1868), is considered by many observers to be the artist's masterpiece. 497:(1804–1865). Given its "dark, brooding mystery," the painting by Heade, 3736:

Monument for a City: Philip Johnson's Design for the Amon Carter Museum

3710:. Utica, New York: Munson-Williams-Proctor Arts Institute. p. 33. 3615:

Monument for a City: Philip Johnson's Design for the Amon Carter Museum

3590:

Monument for a City: Philip Johnson's Design for the Amon Carter Museum

3542:. Utica, New York: Munson-Williams-Proctor Arts Institute. p. 29. 3183:

Monument for a City: Philip Johnson's Design for the Amon Carter Museum

1398: 1386: 1205: 1138:(1898–1991); prints produced over twenty-five years in connection with 1099: 926: 212: 3855:"Amon Carter Museum of American Art Establishes Gentling Study Center" 1749:

Amon Carter Museum of American Art, main entry hall, constructed 1961

1217: 1005: 1004:

The personal archives of photographers Carlotta Corpron (1901–1988),

969: 175: 3928: 3516: 3494: 3468:. Amon Carter Museum of American Art. pp. 13–15. Archived from 3287:. Fort Worth Star-Telegram. 6 August 1961. pp. Section 3 pp. 14 1162:(1910–1990), and many others are housed in the museum's collection. 746:

leading individuals in both the nineteenth and twentieth centuries.

3436:. Amon Carter Museum of American Art. pp. 9–12. Archived from 2326:

The Grand Frontier: Remington and Russell in the Amon Carter Museum

2300:. Fort Worth, Texas: Amon Carter Museum. pp. Introduction xi. 1489: 167: 2166:

A wrangler keeping an eye on the remuda grazing below in an arroyo

4254: 2476:. Austin, Texas: University of Texas Press Austin. pp. 8–9. 1844: 1563:(1886–1981). The archives also house the business records of the 1416:

A master set of over 200 lithographs by American realist painter

836:

American Impressionist paintings and 20th-century modernist works

676: 3884: 2375: 1795:

summed up his reaction by calling it "Mr. Johnson's jewel box."

1619: 1570:

In 1996, the Carter library partnered with the libraries of the

1027: 988: 481:

are also found in the Carter collection. These include works by

4221: 3917: 3404:. Amon Carter Museum of American Art. p. 5. Archived from 3372:. Amon Carter Museum of American Art. p. 4. Archived from 3340:. Amon Carter Museum of American Art. p. 3. Archived from 2451:. Austin, Texas: University of Texas Press Austin. p. 11. 2426:. Austin, Texas: University of Texas Press Austin. p. 12. 1654:

A chance meeting between Amon Carter's daughter and New Yorker

142: 3243:. Fort Worth Star-Telegram. 28 February 1959. pp. 1 and 6 2901:. Fort Worth: Amon Carter Museum of American Art. p. 11. 2854:. Fort Worth: Amon Carter Museum of American Art. p. 10. 2401:. Austin, Texas: University of Texas Press Austin. p. 9. 1331:(1806–1834); nineteenth-century views of the American West by 2826:. Fort Worth: Amon Carter Museum of American Art. p. 9. 2676:. Fort Worth: Amon Carter Museum. pp. Introduction vii. 1867:

The art of colouring and painting landscapes in water colours

1307: 1150:. Additionally, twentieth-century documentary photographs by 3841:

Amon Carter Museum of Art: Photography Preservation Campaign

3463:"Amon Carter Museum of American Art: Institutional Timeline" 3431:"Amon Carter Museum of American Art: Institutional Timeline" 3399:"Amon Carter Museum of American Art: Institutional Timeline" 3367:"Amon Carter Museum of American Art: Institutional Timeline" 3335:"Amon Carter Museum of American Art: Institutional Timeline" 1043:(1847–1848) daguerreotypes. The collection houses a copy of 477:

Hudson River School paintings that reflect the influence of

407:(below) for more information on American expeditionary art. 270:(1864–1926) form the Carter's core collection of art of the 4856:

Institutions accredited by the American Alliance of Museums

3313:. Birmingham, Alabama: Oxmoor House. pp. Intro. vii. 3311:

American Paintings: Selections from the Amon Carter Museum

2649:

American Paintings: Selections from the Amon Carter Museum

2624:

American Paintings: Selections from the Amon Carter Museum

2599:

American Paintings: Selections from the Amon Carter Museum

2298:

Catalogue of the Amon Carter Museum Photography Collection

3761: