Founded in 1910 by New Orleans philanthropist Isaac Delgado, the New Orleans Museum of Art has developed into one the Southeast’s leading art museums. NOMA’s diverse collection includes a large body of local and North American art as well as art from around the world, spanning many centuries from ancient art to contemporary art. NOMA’s collection provides locals and tourists access to a comprehensive collection of artworks, and provides a major venue for Southern and particularly Louisiana artists.
Location
NOMA is located in City Park in the Mid-City area of New Orleans. The park is located on the former plantation of the Allard family. In 1845, the philanthropist John McDonogh purchased the 1300 acre property from the Allard family. McDonogh died in 1850, leaving his estate to New Orleans and Baltimore, Maryland. In 1854, the 4th District Court officially declared an approximately 100 acre section of the land to be a public park. The city officially named the park City Park in 1891, when the state established the City Park Improvement Association (CPIA). In 1896 the state appointed CPIA to operate and develop the park.
Since CPIA gained control of the park, the park has become home to numerous attractions. These include a sports stadium, an amusement park, a golf course, NOMA, and tennis courts. The park also has since held many events, including concerts and other performances, rodeos, dances, and PGA golf events.
During the Great Depression, the Roosevelt Administration allocated 12 million dollars to improve City Park. The Works Progress Administration employed more than 20,000 workers in order to add roadways, bridges, fountains, a garden, a stadium, and lagoons.
Architecture
NOMA is inspired by local and regional, neoclassical, and modernist architecture. The original building, completed in 1911, bears similarities to Roman-style museums in London, Berlin, Washington, and Paris. The newer additions to the museum are more similar in style to modernist architecture such as that which is found in museums in Los Angeles, New York, and Tokyo. Chicago architect Samuel A. Marx designed the original building. The design of the original building is a neo-classic Beaux Arts structure, which Marx said was “inspired by the Greek but sufficiently modified to give a subtropical appearance.”
Artworks
The permanent collection of NOMA contains more than 40,000 works that are collectively valued at more than $200 million. The particular strengths of the museum are in French and American art, photography, glass, and African and Japanese art. The museum also contains major collections of Oceanic, European, Louisiana, Asian, contemporary, and decorative arts, as well as prints and drawings. The various collections bring various types of artwork to New Orleans from many different regions of the world. The large collection of Louisiana art makes the museum one of the premier venues for local art. The museum’s permanent collection is home to both contemporary art as well as works that date back several centuries and even millenia.
In addition to the collection housed inside the museum, NOMA is home to the Sydney and Walda Besthoff sculpture garden with more than 50 sculptures. The garden contains works by master sculptors of the 20th century, including Henry Moore and Jacques Lipchitz, as well as works by younger contemporary sculptors, such as Allison Saar and Joel Shapiro. East Jefferson Wellness Center hosts pilates and yoga in the sculpture garden on a regular basis.
History
In February 1910 Isaac Delgado offered $150,000 to New Orleans to build an art museum in City Park. Isaac Delgado made his fortune in the sugar business. He was unmarried and had no heirs, so he left his fortune to the City of New Orleans, and various charities, including Charity Hospital. His greatest contribution to the city was donating the funds to build the school that is now known as Delgado Community College.
The Commissioners of City Park Improvement Association accepted Delgado’s donation and provided a site and initiated a national competition for architects to design the building. Samuel A. Marx, an architect of the Chicago-based firm Lebenbaum and Marx, submitted the winning design. The museum opened to the public on December 16, 1911, as the Isaac Delgado Museum of Art. The inaugural exhibition included 400 paintings and numerous plaster casts of antique sculptures. Local collectors contributed greatly to this exhibition; they lent most of the featured artworks to the museum. Delgado did not provide funds for the maintenance of the museum or for the acquisition of artwork, so the commissioners of the museum requested an operating budget from the City of New Orleans. Local art organizations sponsored the museum’s exhibition program, most of all the Art Association of New Orleans. Most of the early permanent collection was contributed by individuals and organizations that were interested in art.
In the late 1930s, the architect Arthur Feitel, elected to the board of the museum in 1933, as well as a few of the other trustees began to lead the museum toward changing its priorities. The museum began to schedule new art exhibitions that attracted more attention for the museum, including an exhibit called “Forty Years of Picasso,” which featured the famous painting “Guernica.“
When the Kress Foundation donated part of its large collection to the museum, it mandated that the museum make major renovations to the part of the building where its artworks would be displayed. In the early 1960s, the museum convinced the city to contribute the $135,000 necessary to complete the renovation.
The museum held a public auction in 1965 to raise funds for art purchases and liquidate surplus objects that the museum determined to be below its desired quality. This auction brought the museum $35,000. In the mid-1960s, the museum formed the Women’s Volunteer Committee and began holding an annual fundraising event called the Odyssey Ball, the first of which it held in November 1966. For the following 22 years, all proceeds from the Odyssey Ball went toward art purchases, which amassed to a total of $1,750,000. In 1966 The Ella West Freeman Foundation provided the museum a grant of $200,000 for art acquisitions, matching the amount acquired through the museum’s recent fund drive. With a large amount of funds now available for acquisitions, the director, James B. Bynes, and the trustees laid out the museum’s priorities for acquisitions. According to historian Prescott N. Dunbar, the director and the trustees “determined that an effort should be made to develop a cohesive, specialized collection.” The museum would begin to specialize in acquiring of the arts of the Americas, from North, Central and South America from Precolumbian art forward. The museum purchased a large amount of works in this area over a period of five years beginning in the mid-to-late 1960s. The museum came to possess a sizable amount of largely Mayan Precolumbian art from Mexico, and Spanish Colonial painting from Peru.
As a result of the Freeman grant, the City of New Orleans updated its commitment to support the passage of a bond issue that would finance museum expansion. The citizens of New Orleans voted in 1968 in favor of a $1.6 million bond issue that funded the construction of a new wing to house galleries for the permanent collection and special exhibitions. The same year, the Stern fund contributed funds to build a separate auditorium and office wing, and a donation by Edward Wisner allocated funds toward building an education wing. These additions to the museum tripled its size. The museum opened its new wings in November 1971. In the early 1970s, the trustees of the museum voted to change its name to the New Orleans Museum of Art, in order to recognize the contributions of the city and its citizens.
Appointed as director in 1973, E. John Bullard led the museum to purchase and build a large collection of photography, which he thought was an undervalued art for that could at the time be purchased at low prices. This led the museum to now have one of the United States’ major photography collections, with almost 8,000 works as of 1990. Photography acquisitions slowed down during the 1980s due to increased prices, but several major photography donations helped the museum to continue building its collection. Under Bullard’s leadership, the museum also developed a sizable collection of Japanese art from the Edo period (1615-1868). In 1974, Viktor K. Kiam contributed the greatest art donation given to the museum since the donation of the Kress Collection. The Kiam collection greatly expanded the museum’s collection of 20th century American and European art. The collection included works by Miró, Picasso, Braque, and Pollock. The Kiam collection also included a significant amount of African and Oceanic artworks.
In 1975, the funds from the 1966 Ella West Freeman Matching Fund contribution were fully depleted, so the trustees initiated a fund drive with the goal of raising $2.5 million in art acquisition funds and artworks. Bullard altered the acquisition policy, shifting the focus to acquiring major works by French artists from the 17th through mid-19th centuries and American painting from the 18th and 19th centuries. These acquisitions were intended to complement the museum’s existing collection of later French artworks and strengthen the arts of the Americas collection. By 1978, the museum had collected its target amount of funds and artworks, which the museum completed upon the donation of two period rooms featuring American colonial and Federal furniture and decorative arts, given to the museum by the Kuntz family. The fund raised $1 million in cash for art acquisitions, allowing the museum to purchase several major works by American and French artists. These works included Copley’s Portrait of Colonel George Watson and Sargent’s Portrait of Mrs. Asher B. Wertheimer.
From September 15, 1977 to January 15, 1978, NOMA hosted the most highly visited exhibition in its history, The Adventures of Tutankhamen. The exhibition brought over 870,000 visitors into the museum and greatly increased the museum’s national, regional and local recognition. The increased recognition resulted in increased support for the museum and paved the way for more international exhibitions at NOMA, including the Gold of El Dorado and Carthage: A Mosaic of Ancient Tunisia.
The 1980s was a period of considerable growth for NOMA. In the early 1980s, the museum received a long-term loan of the Madelyn Kreisler collection and a donation of an important collection of old masters by Bert Piso, which were followed by many smaller, but also significant gifts. In 1984, Carrie B. Heiderich donated $500,000 to the museum’s art endowment, which had until then totaled less than $100,000. After this donation, NOMA’s staff and Board began to actively pursue additional funds for the endowment. With the contributions of several additional major donors, the museum’s endowment increased to $4 million by 1995. In the 1990s NOMA initiated a planned-giving program to significantly increase the endowment.
In the 1990s, the United States art community developed an interest in contemporary self-taught artists. NOMA had already been exhibiting these artists, and it was often the first museum to give them shows. In the midst of the increased popularity of this form of art, NOMA organized a major exhibition of this work, entitled Passionate Visions of the American South: Self Taught Artists from 1940 to the Present. The exhibit went on tour and five other museums exhibited it.
In 1979 NOMA decided that it needed more space in order to hold its continually expanding collection. Designing and building the additions to the museum was a long and ongoing process. NOMA held an architectural competition in 1986 to find a design for the addition. After the competition, the museum initiated a Capital Campaign to raise funds for the winning design. The museum secured a bond from the city of New Orleans after the citizens of New Orleans voted on the measure, and the Capital Campaign resulted in commitments of $3 Million from three local foundations, along with more than $13 million from other sources by 1993. The museum made a significant effort to acquire new artworks beginning in 1990 in order to inaugurate the new building. The museum acquired more than 2,000 artworks during this campaign, which ended in 1993. The construction in the early 1990s resulted in the opening of forty-six new or renovated galleries, which allowed the museum to display a significant amount of its permanent collection for the first time.
Directors/Presidents/Chairmen
Ellsworth Woodward, notable for being a Professor of Art and Dean of Newcomb College Art School, as well as President of the Art Association of New Orleans and founder and President of the Southern States Art League, served several important roles in the museum and shaped its mission during the 1920s and 1930s. He was one of the museum’s nine original trustees, and because he was the only original member with a formal art education, he served as the first Chairman of the Art Committee from the time of the museum’s inception. From 1925 to 1939 Woodward served as the volunteer acting director, and from 1934 to 1939 he was President of the Board. Woodward shaped the museum’s priorities during this time period. He made the museum’s top priority to educate and enlighten visitors, leaving the development of an extensive art collection as a lesser priority. He also focused on exhibiting the works of contemporary Southern artists, as he took pride in the reemergence of cultural and economic prosperity in the South. Works by Southern artists were featured in the majority of exhibitions during Woodward’s leadership of the museum.
Arthur Feitel was a young New Orleans architect who became the second volunteer Acting Director and President of the Art Association of the museum in 1929 and was elected to the board of the museum in 1933, succeeding Ellsworth Woodward in these roles. During his time at the museum, he shifted the museum’s priorities, leading it to rapid growth of its collection by hiring Alonso Lansford, the museum’s first professionally trained director. Feitel also helped reinvigorate public interest in the museum by scheduling new and popular exhibits in the museum along with some other board members.
Alonso Lansford, the museum’s director from 1948 to 1957, was notable for leading the museum to dramatically increase its art collection. In his ten years as director, Lansford acquired art works of a higher quality than most of the works the museum had previously added to its collection. Lansford’s most notable acquisition was the permanent loan and promised gift of 29 Italian old master paintings donated by the Samuel H. Kress Foundation.
Sue Thurman was director from 1958 to 1961. The museum made few acquisitions during her brief directorship. The most notable acquisition in this time period was the Lipschitz bronze.
The 1962 appointment of James B. Byrnes as director was followed by a decade of rapid growth for the museum and its collections. At the beginning of his tenure the museum persuaded the city to increase its annual appropriation, which helped expand the professional staff, and also to contribute $135,000 to finish the renovation of the Delgado building, the original section of the museum. Under Byrnes’ directorship, the museum made many significant acquisitions, including gifts donated by Mrs. Edgar B. Stern, and the purchase of Edgar Degas’ Portrait of Estelle Musson Degas, which Degas painted during his visit to New Orleans in 1872-1873.
The trustees appointed E. John Bullard as director of the museum in 1973. Bullard focused on the continued expansion of the art collection. While Bullard continued to facilitate the growth of the existing areas of the collection, he also focused on expanding the range of the collection to new types of art. Under Bullard’s tenure, the museum began to host international exhibitions that brought many visitors to the museum and increased its recognition.
Notable Contributors and Contributions
In 1912 Major Benjamin M. Harrod contributed a collection of paintings to the museum, most by Louisiana artists. In 1914, the museum received the gift of the Morgan Whitney Collection, which consisted of Chinese jades and other hard stone carvings. In memory of her husband Benjamin, in 1914 Eugenia U. Harrod donated a collection of fifty six-pieces of American and European silver, which included works made by the New Orleans firm Hyde and Goodrich. Alvin P. Howard donated his Greek vase and ancient glass collection to the museum in 1916. In 1915, Mrs. Chapman H. Hyams provided the museum with the most important art donation of the institution’s first 40 years. She donated a 41-piece collection of paintings and sculpture by several 19th century French Salon, Barbizon, and Munich Group artists. The collection includes paintings by Corot, Vibert, Bouguereau and Gérôme.
The 1920s and 1930s were a slow period for donations and acquisitions at the museum, but the museum received donations of three important paintings by Italian masters in this time period. The New York collector and philanthropist Samuel H. Kress was the contributor of these paintings, which were donated over a seven year period, one-by-one.
During Alonso Lansford’s tenure as director (1948-1957), the Samuel H. Kress Foundation contributed a collection of 29 Italian old master paintings on permanent loan and as a promised gift, which was finalized in 1961. In the 1950s, William E. Campbell, a famous author who published books under the name William Marsh, donated several paintings by American and French artists, which included Adolph Gottlieb’s Dream. During the 1950s, multiple members of the Bultman family contributed 20th century artworks, and this family continued to have a close relationship with the museum during the following decades. Mrs. Muriel Bultman Francis, a board member for several years, made the most notable donation to the museum of any of her family members, contributing her entire collection of 185 artworks in 1986. The Muriel Bultman Francis collection includes works by major artists including Ingres, Degas, Picasso, and Matisse, among others. In 1955 Alonso Lansford persuaded Melvin P. Billups of New York to donate his extensive glass collection to the museum. When the museum finally received the collection in 1969, it had grown to exceed over 3,000 works. This is one of the most notable glass collections in the United States, ranging from Ancient Egyptian works all the way to the Victorian period.
In 1964, Mrs. Edgar B. Stern contributed a series of donations of artworks by European Constructivists and Op artists, including Kandinsky, Gabo, Art, and Vasarely. The Stafford family, whose collection was exhibited at the first annual Odyssey Ball fundraising benefit held in November 1966, contributed numerous artworks to the museum in subsequent years. These gifts included works by Bonnard, Miró, and Rouault, as well as objects from Africa, China, Japan and India. In the late 1960s and early 1970s, the museum received several donations of Precolumbian artworks, including gifts from collectors such as the Norman and McCarthy families.
In 1973 Kurt A. Gitter donated several Japanese works from the Edo period, which ranges form 1615 to 1868. His gift was followed by contributions of Edo period art from other donors. Mr. Victor H. Kiam donated one of the museum’s most significant collections in 1974. The collection consists of seventeen paintings and sculptures as well as 180 African and Oceanic objects. The paintings and sculptures included works by Miró, Picasso, Braque and Pollock. In 1974 Mrs. Shirley Latter Kaufman donated 347 English and continental portrait miniatures, which she had collected with her father over a long period of time. The collection features works by Nicholas Hilliard, Samuel Cooper, Richard Cosway, and John Smart. In the late 1970s, the Kuntz family donated two period rooms of American colonial and Federal furniture and decorative arts. The museum created specially designed galleries for this collection, which opened in 1980.
In the early 1980s, Mrs. John N. Weinstock and Richard M. Wise provided the museum a long-term loan of the collection of their aunt, the late Madeline Kreisler. Kreisler was a native New Orleanian who had lived in New York for a long period of time and amassed a collection of Impressionist and twentieth century works. Mrs. Weinstock made a promised gift in 1993 of a portion of the Kreisler collection, including paintings by Monet, Vlaminck, and Van Dongen. In 1981, Burt Piso, who was born to Dutch parents in Indonesia and later immigrated to the U.S., donated his collection of Dutch master paintings, which significantly expanded NOMA’s collection of works of the Dutch School. Around the 1970s or 1980s, Mrs. Françoise B. Richardson, a NOMA trustee and past board president developed an interest in African art, and made several donations to the museum over the years. Her donations include several important works from Nigeria, including a Benin Bronze and a rare Nok terra cotta.
In 1982, New Orleans master photographer Clarence John Laughlin donated his personal collection to the museum. The collection consists of 347 photographs by European and American photographers, most of which he acquired through exchanging his own work with his colleagues. Other donors continued to fuel the growth of the museum’s photography collection in the late twentieth century, including Mrs. P. Roussel Norman, a trustee and long-time patron of NOMA, Dorothy and Eugene Prakapas from New York, and Dr. H. Russell Albright.
In 1988, New Orleans artist Robert Gordy donated over 100 paintings, sculptures, prints, drawings and photographs to NOMA from a diverse assortment of artists. After the museum exhibited selections of the Frederick R. Weisman collection in 1988, Weisman, living in Los Angeles, became heavily involved in the New Orleans art community. NOMA elected Weisman to its board and he began purchasing works for the museum, including the Lin Emery kinetic sculpture in the pool at the front of the museum. He endowed a new gallery of the museum that was built in the 1990s during a museum expansion which is dedicated to exhibiting the works of Louisiana artists.
Works Cited
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