rogues' gallery, by michael gross - excerpt
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R O G U E S
G A L L E R Y
The Secret History of
the Moguls and the Money
That Made the Metropol i tan Museum
(
Michael Gross
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Private Vices by the dextrous Management
of a skillful Politician may be turned into Publick Benefits.
Bernard Mandeville, The Fable of the Bees
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Contents
Leaders of the Metropolitan Museum
xi
Introduction
1
Archaeologist: Luigi Palma di Cesnola, 18701904
21
Capitalist: J. Pierpont Morgan, 19041912
65
Philanthropist: John D. Rockefeller Jr., 19121938
113
Catalyst: Robert Moses, 19381960
171
Exhibitionist: Thomas P. F. Hoving, 19591977
237
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Arrivistes: Jane and Annette Engelhard, 19742009
373
Acknowledgments
487
Notes
491
Bibliography523
Index
529
x Contents
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Leaders of the
Metropol i tan Museum
Directors
Luigi Palma di Cesnola, 18791904
Caspar Purdon Clarke, 19051910
Edward Robinson, 19101931
Herbert Winlock, 19321939
Francis Henry Taylor, 19401955
James Rorimer, 19551966
Thomas Hoving, 19671977
Philippe de Montebello, 19772008
Thomas P. Campbell, 2009
Presidents
John Taylor Johnston, 18701889
Henry Marquand, 18891902
Frederick Rhinelander, 19021904
John Pierpont Morgan, 19041913
Robert de Forest, 19131931
William Sloane Coffin, 19311933
George Blumenthal, 19341941
William Church Osborn, 19411946
Roland Redmond, 19471964
Arthur Houghton, 19641969
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C. Douglas Dillon, 19691978
William Butts Macomber Jr., 19781986
William Henry Luers, 19861998
David E. McKinney, 19982005
Emily Rafferty, 2005
Chairmen
Robert Lehman, 19671969
Arthur Houghton, 19691972C. Douglas Dillon, 19721983
J. Richardson Dilworth, 19831987
Arthur Ochs Sulzberger, 19871998
James Houghton, 1998
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Introduction
On a chilly winter day, early in 2006, I sat in the office
of Philippe de Montebello, then director of the Metropolitan Museum of
Art (he would announce his retirement two years later). Montebello is gen-
erally considered, even by his most fervent admirers, a little arrogant, a
touch on the pompous side, and his mid-Atlantic Voice of God (well-known from his Acoustiguide tours of exhibitions) does nothing to dispel
the impression of a healthy self-regard. So I was nervous; I was there to dis-
cuss my plan to write an unauthorized book about the museum and to ask
for his support, or at least his neutrality.
He wasnt happy to see me.
My brief conversation with the museum administration, then racing
to an abrupt conclusion, had actually begun in the fall of 2005, when I
called Harold Holzer, the senior vice president for external affairs, and told
him my plans. His reaction was quick and negative.
Nobody here is ever of a mind to cooperate with an author, he said.
The only kind of books we find even vaguely palatable are those we con-
trol. Nonetheless, the museum had just broken precedent to cooperate
with another author writing about the museum. It was vaguely palatable
because it was a controlled entity. Once it was published, Id see there was
no point in my writing another. If we tell you we wont cooperate, will you
go away?
Until now, there have been only two kinds of books on the mu-
seum. Some have had agendas, whether personal (the former Met director
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Thomas Hovings memoir, Making the Mummies Dance, was a score-settling
romp; John L. Hess covered Hoving as a journalist for the New York Times,
came to hate him, and explained why in The Grand Acquisitors) or political
(Debora Silverman disdained the upper classes of the 1980s, the way they
disregarded history and merchandised high culture, and explained why in
Selling Culture: Bloomingdales, Diana Vreeland, and the New Aristocracy of Taste in
Reagans America).
The other kind of Met book was commissioned, authorized, pub-
lished, or otherwise sanctioned by the museum. The first among those, ap-
pearing in two volumes in 1913 and 1946, was by Winifred E. Howe, themuseums publications editor and in-house historian. They are, to be kind,
dutiful. Two later, somewhat juicier histories were commissioned by Hov-
ing and published to coincide with the museums 1970 centennial, one a
coffee-table book called The Museum by the late Cond Nast magazine writer
Leo Lerman, the other, Merchants and Masterpieces, a narrative history by
Calvin Tomkins, a writer for The New Yorker. Though Merchants is an inde-
pendent view of the museums history, as Tomkins wrote in his acknowl-edgments, the book was conceived by and for the museum, he used
museum-paid researchers, and he submitted his manuscript to museum of-
ficials for comment.
Danny Danziger, author of the 2007 book Museum: Behind the Scenes at
the Metropolitan Museum of Art (the one I was supposed to wait for), had
changes forced on him. Early that year Viking Press distributed advance
proofs of the book, made up of a series of edited interviews with museum
employees, friends, and trustees, which was to be published that May. But
thenMuseum didnt appear as scheduled. What did was a brief New Yorkmag-
azine article revealing that it had been delayed so it could be expurgated.
The publisher said the changes were run-of-the-mill, and Harold
Holzer said they were a matter of fact-checking, with no wild-eyed run-
ning around to get things changed.1 But a side-by-side comparison of the
proofs with the book that was finally published suggests that a few of the
Mets most powerful demanded and won changes. Cutting remarks made
by the vice chairman Annette de la Renta, a list of paintings owned by the
trustee Henry Kravis, and an entire section on the trustee emerita Jayne
Wrightsman all vanished. And their words arent the only ones that the mu-
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(
Its scope is mind- boggling. The Metropolitan Museum of
Art is a repository for more than two million art objects created over the
course of five thousand years. Its more than two million square feet occu-
pying thirteen acres of New Yorks Central Park, and encompassing power
and fire stations, an infirmary, and an armory with a forge, make it the
largest museum in the Western Hemisphere.
The Met portrays itself as a collection of separate but integrated mu-seums, each of which ranks in its category among the finest in the world.
Its seventeen curatorial departments cover the waterfront of artistic cre-
ation: separate staffs are dedicated to American, Asian, Islamic, Egyptian,
medieval, Greek and Roman, ancient Near Eastern, and what was once
known as primitive art but is now described with the more politically cor-
rect name Arts of Africa, Oceania, and the Americas. European art is so vast
it gets two departments, one for paintings, another for sculpture and deco-rative objects. Additional departments are devoted to arms and armor, cos-
tumes (which includes both high fashion and everyday clothing), drawings
and prints, musical instruments, and photographs. Modern art has its own
curatorial department and is housed in its own wing.
The collections are almost all contained in a building that has grown
in fits and starts since it first opened in 1880 to contain the then-ten-year-
old museum. In the years since, it has nearly filled the five-block-long plot
of Central Park set aside for it by the New York State legislature in 1871.
The first redbrick Gothic Revival building, which opened into Central
Park, was designed by Calvert Vaux and Jacob Wrey Mould, the parks
structural architect, and was leased, rent- and real-estate-tax-free, in per-
petuity to the museums trustees by New York City, appropriately enough
on Christmas Eve 1878. That first structure has since been almost entirely
enveloped by additions. Only a few hints of the redbrick original remain, a
bit of its southern facade and the undersides of staircases.
Todays imperial neoclassical facade and entrance opened on Fifth Av-
enue in 1926; they were conceived by Richard Morris Hunt, one of the
founding trustees. Hunt not only designed the museums familiar face; he
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also created its first comprehensive master plan, but wouldnt live to see the
only part of his plan that was fully realized, the monumental Great Hall
through which most visitors enter.
The famous firm of McKim, Mead & White signed on two years later
to complete Hunts unfinished business. Over the next quarter century,
their work resulted in the opening of a new library in 1910 and northern
and southern wings through the following decade, and after an interregnum
for war, into 1926. Yet another wing was posthumously named for John
Pierpont Morgan, the industrial-era financier. Morgan served first as a
trustee and then as the museums president from 1904 until his death in1913. The Morgan Wing, which now contains the popular arms and armor
collection, opened in 1910 as a home to the museums decorative arts col-
lection.
The American Wing, built onto the museums northwest corner in
1924, was inspired and paid for by its then president Robert de Forest, the
museums first great champion of American art. His wing grew further in
1931 with the addition of the Van Rensselaer period room, the grand en-trance hall of a manor house built near Albany, New York, in the 1760s. The
museum itself would later call the wing awkwardly placed and that period
room a haphazard appendage.2 Later in that decade, a more successful ap-
pendage, the Cloisters, a branch of the museum dedicated to medieval art
and architecture, opened about seven miles away in Fort Tryon Park at the
northern tip of Manhattan, paid for in its entirety by John D. Rockefeller
Jr., who, though he never joined the board of trustees, was as decisive a force
in the museums history as Morgan.
During World War II, the Metropolitans fifth chief, Francis Henry
Taylor, who created the model of director as populist, reconceived the mu-
seum as a collection of smaller ones defined by civilizations and cultures,
and started planning to modernize and expand the building. He managed
to build a gallery connecting the Morgan Wing to the Fifth Avenue build-
ing, but frustrated in turn by war, financial shortfalls, the Whitney Museum
of American Art, which briefly toyed with a merger with the Metropolitan,
and a hidebound board of trustees, an exhausted Taylor produced no more
buildings before he quit his job in 1955. His successor, a medievalist named
James Rorimer whod befriended Rockefeller, shouldered the burden of
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modernization but got little credit, as upgrading electricity, lighting, and
air-conditioning was hardly as glamorous as erecting new brick and mortar.
In September 1967, after New York City, long at odds with the mu-
seum, refused to pay for any new buildings until a comprehensive master
plan was created, Tom Hoving commissioned one from the young firm of
Kevin Roche John Dinkeloo and Associates. Unveiled in 1970 during the
museums eighteen-month centennial celebration, it proved to be as con-
troversial as it was ambitious. Roches park-side wings (the Temple of Den-
dur on the north, the modern and European art galleries and Lehman
pavilion to the west, and the Michael Rockefeller primitive art wing onthe south), all wrapped in glass and limestone, werent completed until
1992; the interior the plan envisioned was finally finished fifteen years later
with the restoration of the Greek and Roman galleries in the museums
southeast corner, where they had been before Taylor replaced them with a
restaurant.
By that time, work had already begun on the next great museum ex-
pansion, this one created by the Montebello regime and dubbed theTwenty-first Century Met. Hemmed in by the promise the museum was
forced to make to the city to win approval for the Roche expansionwhich
forever set the buildings outer limitsit has ever since engaged in what it
calls building-from-within, revamping underused areas, turning air shafts
and empty space into exhibition galleries and offices, and even excavating
beneath the building, as it was doing beneath the Charles Engelhard Court
as this book was being written. The story of the Metropolitans ceaseless ex-
pansion is as fascinating as that of the evolution of its collections and of the
cast of characters that created and sustains it all.
(
Visited by about 4.6 million people a year, more than a
third of them from other countries, the Metropolitan styles itself the pre-
mier tourist attraction in New York City. More than a mere museum, it is
also a food and drink purveyor in its employee and public cafeterias and six
other dining venues (the Petrie Court Caf, the Trustees Dining Room for
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members only, the Iris and B. Gerald Cantor Roof Garden Caf, the Great
Hall Balcony Bar, and an under-construction caf in the latest iteration of
the American Wing). It is a concert and lecture hall, a catering facility and
event space, a vast retail and wholesale operation (with thirteen separate
shops inside the main museum and another thirty-nine around the world),
a scholarly center and library, an educational resource offering worldwide
tours and travel programs, lectures, symposia, films, and workshops (20,773
events in all in the year ending June 30, 2006, that attracted 830,607 peo-
ple), as well as reference services, apprentice and fellowship programs, and
a publishing house employing some two thousand people.Less tangibly, it is a repository of desire, and not just for the art ob-
jects on display. Unlike its peers in Paris, Madrid, and St. Petersburg, and
countless other museums around the world, the Metropolitan was started
from scratch by self-made men rather than springing full-blown from a no-
ble collection. Yet acceptance by the museumwhether as an employee, a
scholar, a donor, a trader or seller of art, a member of one of its many groups
and committees, or, best of all, a member of its ruling board of trusteesisa version of ennoblement, the ultimate affirmation of success, material and
destime that our democracy has to offer.
The museum repays its supporters with social prestige and affirma-
tion of their cultivation. Of course, what you get depends on what you give.
And the price is always rising. A seat on the board of trustees will set you
back in excess of $10 million. The price of being a benefactor, which chis-
els your name into the marble plaques beside its Great Hall staircase, is $2.5
million. There are only 267 living benefactors. But for a mere $95 annual
membership (up from $10 in 1880), almost anyone can get free admission,
use of the Trustees Dining Room in summertime (when the trustees are
mostly out of town), a couple of exhibition previews and magazines, and a
10 percent discount at the Met Store. And $65 of that is tax deductible.
In the American social firmament, the Metropolitan looms as more
than a museum. In the status-driven world of upper-income New York,
the New York Times has said, one sure route to social stardom is a seat on the
board of a prominent arts institution. A savvy player will aim for the top:
the Metropolitan Museum of Art.
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No club, church, philanthropy, or fraternal order in New York enjoys
quite the same prominence or confers quite the same radiant status, New
York magazine agreed.
Sitting on its board is arrival reaffirmed, the ultimate compliment
from the ultimate peers, wrote the social observer David Patrick Colum-
bia. The art dealer Richard Feigen has called the board of the Met the
most exclusive club in the world. But Feigen has also compared the mu-
seum to a nice girl who just once in a while goes out and turns tricks for
pocket change.3 And in recent years, as costs have escalated and govern-
ment support of the arts has shrunk, shes grown promiscuous, creatingcouncils and committees, stepping out with big corporations, even tying her
fortunes to fashion magazines, all for one purpose: to generate cash.
The Met offers memberships ranging from $50 national associates,
who live outside New York (there were 42,167 in 2007), to annual fellows
in the Presidents Circle, 25 in all, paying $20,000 a year for membership.
There are dozens of ways to get your name in the back of the annual report.
You can donate to the annual appeal to members; join the Presidents Cir-cle or the Patron Circle; make your company a corporate patron; sponsor an
exhibition like Balenciaga, Cond Nast, and Party Rental Ltd. all did in
2007; donate art or funds to acquire art; make plans for a charitable annu-
ity; join the Pooled Income Fund or a Friends Group (the Alfred Stieglitz
Society, Amati, and Philodoroi, the Friends of the various curatorial de-
partments, the Friends of Concerts and Lectures, of Inanna, of Isis, of the
Thomas J. Watson Library); become a William Cullen Bryant Fellow; give
a memorial gift; donate to the Christmas Tree Fund or the Fund for the
Met ($5 million or more gets you top billing); or join the Chairmans Coun-
cil, the Met Family Circle, the Apollo Circle for young donors in training,
the Real Estate Council, the Professional Advisory Council, the Multicul-
tural Audience Development Advisory Committee, or one of the visiting
committees, where devotees of one department or another get to rub
shoulders and share special privileges with curators and trustees. All it takes
is interest, and the willingness to cough up coin.
In America, state-owned museums are the exception, and most,
though founded by public-spirited citizens, were nurtured in the soil of pri-
vate enterprise and live in a complex environment, expected to be as cost-
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effective as a business while serving as an educational resource, a civic
institution and a community partnerusually on the same day, the museo-
grapher Marjorie Schwarzer wrote. Like Feigens well-bred whore, the
contemporary museum has had to embrace some apparent contradictions
as it attempts to define itself for its many publics: being a charitable non-
profit organization in a marketplace culture, being a place of memory, re-
flection and learning in a nation that stresses action and immediacy, being
a champion of tradition in a land of ceaseless innovation.
The Metropolitan occupies a state-owned building sitting on public
land; has its heat and light bills, about half the costs of maintenance and se-curity, and many capital expenditures paid for by New York City; receives
direct grants of taxpayer dollars from local, state, and national govern-
ments; and for most of its existence has indirectly benefited from laws that
allow, and even incentivize, private financial support in exchange for gener-
ous tax deductions. So it is clearly a public institution. But even though
New York State has statutory authority to supervise the assets of charities
a vague but powerful standardover the years the Mets board has consid-ered itself beholden to no one. It has functioned as a private society.
In the Metropolitans early days, that meant its wealthy and powerful
trustees took a straightforward attitude of the public be damned, closing
the museum on Sundays, for instance, even though it was the only day that
the working class had free for leisure pursuits (and even though the trustees
would sometimes unlock the place, Sabbath notwithstanding, for them-
selves and their friends). Over the years, that arrogance has been toned
down, but it has never been entirely abandoned. Today the museum shames
visitors into paying a $20 admission fee, even though its lease says it must
be open free five days and two nights a week and its own official policy is
that anyone can enter for a contribution of as little as a penny. And al-
though it promised, as part of the 1971 agreement with the city that imple-
mented the Hoving master plan, to create open and direct access to the
building from Central Park through two courtyards, those entrances, now
named the Carroll and Milton Petrie European Sculpture Court and the
Charles Engelhard Court, remain shuttered to this day.
Some neighbors argue that Philippe de Montebellos building-from-
within policy also violates the museums 1971 agreement by altering the
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three-dimensional silhouette of the building, which they consider sacro-
sanct. One protesting group, the Metropolitan Museum Historic District
Coalition, was recently able to stop a plan to excavate more space beneath
the museums front apron, its fountains, and Fifth Avenue. Some residents
of apartment houses across Fifth Avenue suspect that the museum is still up
to something underground, pointing to cracked foundations as evidence.
(
The Metropolitan Museum is a not-for-profit partner-ship between the city of New York and the museums trustees. While the
charitable corporation owns the art in the museum, some argue that it really
holds its treasures in trust, as first defined by the courts of fifteenth-
century England. The board doesnt own the art; it simply manages the
corporation, says Ronald D. Spencer, an art law specialist. The corpora-
tion functions as a caretaker for the public, which makes the trustees the
stewards of those priceless assets, obliged to protect them and to managethe institution that contains them. The people are the beneficiaries of that
trust.
The museums board must raise funds for acquisitions, exhibitions,
conservation, education, and other costs not covered by the publics contri-
butions, which have, over the years, ebbed and flowed with the currents of
economic and political change. Though much is opaque about the Mets op-
erations and finances, its scope can be gleaned from its tax return and an-
nual reports, which are available for public scrutiny: in the year that ended
on June 30, 2007, the Met had $299.5 million in revenue, $50 million of
which came from public contributions, gifts, and grants, $27 million from
the city (which included $12 million worth of gas and electricity, provided
for free), almost $24 million from fees paid by its 134,291 members, and just
under $26 million from the voluntary admission fees it requests at its en-
trances.4
Auxiliary activities and other income brought in more than $113 mil-
lion. In 2006, the Met earned $10.6 million from entry fees for lectures and
concerts, $8.6 million from major fund-raising parties (including two for
the Costume Institute, which alone brought in $4.5 million), and $2.5 mil-
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lion from its parking garage. It also netted $26.8 million selling art (the pro-
ceeds restricted to acquiring more), almost $4 million from its restaurant,
and $41 million selling merchandise, most of which went untaxed because
the museum claims that the goods, ranging from scholarly books to repro-
ductions of art on ties and Christmas cards, are related to the museums
charitable function as an educational organization.
Thats just the beginning. As of June 30, 2007, the museums assets
(not including its art) were valued at $3.6 billion, representing a 21.7 percent
increase over 2006. Of that increase, $573.2 million came from dividends,
interest, and capital gains on its $2.96 billion investment portfolio (whichincludes stocks, bonds, investment and hedge funds, and private equity and
real estate investments). Of that, $69 million was transferred from the mu-
seums endowment to its operating budget. The endowment contributed
30 percent of the museums revenues that year, gifts from the public 26 per-
cent, New York City 14 percent, admission contributions and membership
fees 13 percent each, leaving an operating surplus of $2 million (compared
with a $3 million deficit in 2006).That money paid for the museums seventeen curatorial departments
and eighteen hundred employees (whose efforts are augmented by about
nine hundred volunteers) as well as its ancillary activities. Its payrollor at
least the paychecks of its top officersreflects its status as a huge and
hugely successful business. Montebellos total compensation topped $5 mil-
lion in 2006; six other officers, including the PR man Holzer, were paid in
excess of $300,000, and five more received only slightly less. Raking in
well-earned big bucks were its chief investment officer (about $1.2 million),
deputy chief investment officer ($700,000-plus), and senior investment
officer ($337,000), as well as a computer operations manager (just under
$400,000), registrar (about $375,000), and technology chief (about
$327,000). Outside law firms earned $1 million from the museum in 2006,
outside accountants almost $800,000, a human resources consultant al-
most $400,000, architects almost $6 million, construction contractors the
same amount, and shipping and customs brokers almost $3.7 million.
The museum also spent almost $35 million on art that year; $63 mil-
lion to operate its curatorial, conservation, cataloging, and scholarly pub-
lishing departments; $47.3 million on guards; $40 million on its merchandise
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operations; $27 million on its galleries; $11 million on education and com-
munity services; the same to mount special exhibitions; almost $4 million
for public relations; $3.8 million to run its restaurants; $3.4 million for its
auditorium; $3 million on member services; $1.4 million to operate its
garage; $712,000 on corporate events; $182,000 on government lobbying;
$2 million on advertising; $4.3 million on repairs and maintenance; $3.7
million on insurance; almost $2 million on bank and credit card services;
$1 million on reference and research materials; $1.3 million on its various
programs; $1.8 million for catering; and more than $500,000 on interns
and honoraria.In the two years ending June 30, 2007, the museum also made sig-
nificant capital improvements, spending some $240 million renovating its
Greek and Roman wing and the Ruth and Harold D. Uris Center for Edu-
cation, $22 million to renovate the wing housing its African, Oceania, and
Central and South American collections, almost $17 million to begin re-
making the American Wing, $4.2 million to reinstall the Wrightsman
Galleries, and about $27 million on other projects. About $61 million incontracts for capital improvements were in the pipeline. Also outstanding
were bond liabilities of about $163 million, and a debt of $85 million on a
$100 million line of credit from the JPMorgan Chase bank. All of this
earned the Met the No. 36 spot on the 2007 NonProfit Times list of Americas
largest nonprofit organizations (the Red Cross was No. 1, the New York
Public Library, No. 42).
And that doesnt count the value of the art. There is no way to cal-
culate it, says the dealer Richard Feigen. Most of the items are beyond
prices realized in the market because the quality is generally beyond any-
thing that has appeared. Think of all the departments . . . Asian, Egyptian,
classical . . . its billions and billions and billions.
Consider that a Jackson Pollock painting sold in 2006 for $140 mil-
lion. The Met owns at least two, forty Pollock drawings, and three sketch-
books. That same year, a de Kooning painting sold for $137.5 million (the
Met owns four and four drawings), and a Klimt painting for $135 million
(the Met has two, although they are not as valuable). In 1990, van Goghs
Portrait of Dr. Gachet sold for $82.5 million and a Renoir, Bal au Moulin de la
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Galette, Montmartre, for $78.1 million. Ten years later, the Met owned twenty-
seven Renoirs, and they have over a billion dollars worth of van Goghs
alone, including at least eighteen paintings, another one of New Yorks top
dealers says. Exact numbers are hard to come by. The Mets Web site refers
to only seventeen van Gogh paintings and three drawings. The central cat-
alog, a card file of museum holdings that was once open to the public, is no
longer updated, a member of that department e-mails in response to a re-
quest for information, so is now rather incomplete. And the various cura-
torial departments have grown so territorial and secretive that they will not
even share their records of departmental holdings with the museums ownThomas J. Watson Library, as I learned when I called to confirm the num-
bers I couldfind.
Michael Botwinick, director of New Yorks Hudson River Museum,
formerly the assistant curator in chief of the Met, points out that it owns
morelots morethan paintings. Whats it all worth? Its priceless, of
course, since the Met will never sell its collection. But heres a ballpark es-
timate. Consider todays art market, Botwinick says. Twenty-five milliondollars is not an unusual price for sought after objects, $50 million is not
an unusual price for important objects, masterpieces are certainly going to
fetch $100 million, and then there are the touchstone pieces [that are
worth] lets say $250 million. Lets say there are a thousand in the $25 mil-
lion sought-after category, five hundred in the $50 million important cate-
gory, a hundred in the $100 million masterpiece category, and ten in the
$250 million touchstone category. That alone is over $60 billion.
Add to that all of the harder-to-figure things like the Cuxa Cloister,
the Wrightsman period rooms, and the Temple of Dendur. Add to that the
high-volume collections. I have little trouble thinking you could argue $100
billion easily.
Harry S. Parker III, a former vice director of the Met and later direc-
tor of San Franciscos Fine Arts Museums, goes even higher. Id take a
guess at $300 to $400 billion.
(
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From its inception, oversized personalities have domi-
nated the Metropolitan; many loom large in American history, too. John Jay,
grandson of the first chief justice of the Supreme Court, conceived of it.
William Cullen Bryant, the orator, poet, journalist, publisher, and clubman,
was one of the most eloquent advocates of the museums creation. In recent
times, its board heads have been some of Americas most powerful busi-
nessmen: in the 1930s, George Blumenthal, who headed Lazard Frres; in
the 1960s, Robert Lehman, the head of Lehman Brothers; in the 1970s,
C. Douglas Dillon, John F. Kennedys secretary of the Treasury; and in the
1990s, Arthur Ochs Punch Sulzberger, the chairman of the New York Times.Some of these characters defined distinct eras in the museums color-
ful history. Luigi Palma di Cesnola, named the first director by the mostly
self-made founders, was an Italian count, a Civil War veteran given to in-
flating his rank, an American diplomat, and an amateur archaeologist, some
of whose finds from Cyprus remain treasures in the museums collections
today; his excesses mark it still. J. Pierpont Morgan is credited with turning
the Met from a semiprivate clubhouse for the trustees into a professionaloperation.
Following Morgan and dominating throughout the mid-twentieth
century, though never serving as a trustee or officer, John D. Rockefeller Jr.
was quietly its greatest benefactor, and his relationship with James Rorimer,
the sixth director, was a model for the symbiosis between the rich and the
scholarly that made the Met blossom even more after Morgan. Thomas
Hoving, a scholar but also a showman like Cesnola, was appointed by a
board of trustees led by a group of gunslinging veterans of John F.
Kennedys New Frontier administration; at their urging, he reinvented the
Met, and in the process redefined all museums during his mere ten years as
director, beginning in 1967.
(
In 1920, at the museums fiftieth birthday celebration,
the former secretary of state and Met trustee Elihu Root unveiled two mar-
ble slabs carved with benefactors names in the Great Hall. Among the first
names to be added were those of Rockefeller (who later contributed his
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collection of medieval art and the Cloisters to house it); the banker George
Baker, who started whats now called Citibank and gave the museum an un-
restricted seven-figure gift; and Frank Munsey, known as the most hated
newspaper publisher in New York, who handed over an amazing $20 mil-
lion in 1925then the largest cash gift ever given to a museummaking
the Met the wealthiest museum in the world.
Ever since, the Met has been a political, cultural, and social spectacle,
especially when all three come together in the cauldron of fund-raising.
Then the fun really begins. You can get a seat on the board by wielding
power (like Henry Kissinger, who was recruited to lend geopolitical savvy),or waving your family bloodline or corporate flag (among the Mets brand-
name trustee dynasties have been Morgans, Astors, Whitneys, Rockefellers,
Annenbergs, Houghtons, and various representatives of the Lazard Frres
investment bank), or possessing a useful skill or connections (like any num-
ber of financiers, developers, and media titans such as Mrs. Ogden Reid,
Henry R. Luce, and Sulzberger). But money counts most of all: a commit-
ment to donate six-figure sums every year, or to twist the arms of other po-tential givers. Give, get, or get out is the rule.
Committee membership can cost even more, particularly if one lands
a coveted seat on the acquisitions committee, where youre expected to
cough up cash to buy treasures. The only exceptions are those who are rich
in art and are wooed in the hope that those riches will one day be donated
to the museum. Like the wine committee in a social club, acquisitions is the
most fun, but not the most powerful, sinecure. That honor goes to execu-
tive, which really runs the show. As recently as thirty years ago, the mu-
seums board actually functioned like one, arguing about issues, making
a difference. Nowadays, it simply serves as an applauding claque for the
smaller group that actually makes the decisions.
To oversimplify only somewhat, the Metropolitan Museum has always
swung between two poles, two kinds of directors, revolutionaries and reac-
tionaries, change agents and consolidators. Bomb throwers like Hoving and
Francis Henry Taylor have wanted to open the museum up to the people,
while the knee-jerk reflex of the trustees is to disdain the clamoring hordes.
Montebello, almost all agree, was a brilliant example of the elitist director
the type that tends to be favored by executive trusteesbut he was also a
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consummate bureaucrat, which may well explain how he lasted thirty years
in his job. A distinguished success, well paid and highly respected, he was
neither exciting nor adventurousnor was he loved. He was hired to be ex-
actly what he became: the keeper of a great tradition. Under Montebello, as
in the heyday of the Brahmins, the museumbehind a curtain of secrecy
could do what it wanted.
(
Back in Philippe de Montebellos office, I wound up mypitch for the museums cooperation by gently telling him and Emily Kernan
Rafferty, the museums president, that I was aware that some months be-
fore the curatorial staff had been ordered not to speak to me. Well, huffed
Montebello, we wouldnt do that! That would violate the principles of the
museum. It would be wrong. Then he said it again. It would be wrong.
Out of the corner of my eye, I noticed Rafferty trying to signal him, first
subtly, then broadly, until finally she spoke up. Uh, she interrupted,Philippe . . . ?
She had in fact told her senior staff not to speak to me if I called them,
she said.
Well, that was wrong, Montebello huffed, but his heart was no
longer in it. I left the room shortly after that with the distinct feeling that
I was on my own. For I already knew that a curtain of secrecy had been
hung over the museum long before Montebellos time. With the stakes so
high and the money and egos involved so big, the Met has always had to op-
erate in the shade, whether it was acquiring art under questionable circum-
stances, dealing with donors hoping to launder very sketchy reputations, or
merely trying to appear above reproach in a world where behind almost
every painting is a fortune and behind that a sin or a crime. So I was disap-
pointed but unsurprised when, a few days later, a letter arrived, confirming
that the museum, its staff, and supporters would not cooperate.
But that wasnt my last encounter with the top of the museums orga-
nizational chart.
Dietrich von Bothmer, the museums then eighty-nine-year-old cura-
tor emeritus of Greek and Roman art, was, I was told, close to death. Get
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him now, more than one person urged. He ought to have a lot to say. It
was just at the moment when the heat was being turned up on antiquities
in American museums. Bothmers counterpart at the J. Paul Getty Museum
in Los Angeles, Marion True, was going on trial for acquiring and smuggling
illegally looted antiquities in Italy (she would later face charges in Greece as
well). Its government was pressuring the Met to return the greatest prize
Bothmer ever brought home, the so-called Euphronios or Sarpedon krater,
a huge vessel originally used to mix water with wine, painted with a scene of
the death of Sarpedon, Zeuss son, by the Greek master Euphronios in
about 515 b.c. At the time, Montebello was digging in his heels; he didntwant to give it back.
When hed bought the krater from Trues co-defendant in Rome, a
dealer named Robert Hecht Jr., Bothmer was hailed a heroit was the
finest of twenty-seven surviving vases by the painterbut he was also con-
demned by archaeologists who insisted that he had to have known it had
just been dug from Italian soil. Surely, Bothmer had stories to tell. Maybe
he would tell them. Maybe he hadnt gotten Raffertys memo. Maybe he wastoo old to care.
So I wrote him a letter, and a few days later his wife, the former Joyce
Blaffer, a Texas oil heiress, called and said that she would arrange with
Miles, the nurses aide who accompanied Bothmer to the museum each day,
for me to interview him. Miles and I arranged to meet at the Met on Feb-
ruary 1, 2007. Greeting me at the security desk, he said that after I spoke to
Dr. Bothmer, the curator wanted me to read his memoirs.
Upstairs, in one of the hidden warrens where the museums staff
works, Bothmer was sitting in a wheelchair, holding a wooden walking stick
in his left hand, in the small windowless office the museum had assigned
him in retirement. He was sharply dressed in a black jacket and black
sweater, his museum ID on a chain around his neck. He has straight white
hair, a large, jutting face with a strong square chin, and searching eyes be-
hind rectangular glasses. Clearly, hed once been quite handsome. He was
still imposing. I spent a pleasant hour chatting about everything from his
familys background to his first days at the museum in the 1940s.
While we were talking, two curators, James C. Y. Watt, the Brooke
Russell Astor Chairman of the museums Department of Asian Art, and his
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wife, Sabine Rewald, the Jacques and Natasha Gelman Curator in the De-
partment of Nineteenth-Century, Modern, and Contemporary Art, stopped
in. I was introduced to Rewald, who asked what I was doing. I explained I
was interviewing Bothmer for a book on the museum, and she asked if Id
been sent by the museums Communications Department. I said no, I was
an independent author and hoped to interview her, too. Later that day, I
would innocently call and leave her a message. She never replied.
Though Bothmers recollections sometimes got what Id call stuck
he would elaborate on stories wed already covered as I tried to move the
conversation forwardthose moments were brief, and mostly he was en-gaged and engaging. Still, at the end of an hour, he was clearly tiring, so I
suggested we continue the next day. At that, he was wheeled home, but not
before Bothmer, his aide, and his assistant, Elizabeth, all urged me to stay
and read his book, pointing to a large manuscript box sitting on Bothmers
desk.
The book turned out to be one of a series of oral history interviews
with the museums top trustees and staff, this one conducted in 1994 for theArchives of American Art at the Smithsonian Institution. I had asked to
read them, but Id been told I needed the permission of the interviewees to
see them and that had to come via the museum, so I was out of luck.
Thrilled to finally be seeing one, I began by reading a cover letter from Ash-
ton Hawkins, the museums secretary and chief counsel from 1969 to 2001.
It said, We want to leave it up to you to decide whether to restrict access
to the interview during your lifetime.
I got through about a third of the book that day, then left when Eliz-
abeth had to go home. We discussed a plan for the next day and decided
that I would return at 9:45 a.m. and continue reading until Bothmer joined
me at 11:45 to resume the interview. Sometime after 10:00 the next morn-
ing, Elizabeth excused herself briefly. The day before, Miles had asked me
to pick up the phone if it rang, so when it did, I answered without thinking.
A mistake.
The caller identified herself as Sharon Cott, Ashton Hawkinss suc-
cessor, the museums senior vice president, secretary, and general counsel.
Is Miles there?
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I explained that he had not arrived and Elizabeth had stepped out.
With a sinking feelingId been busted!I asked to take a message.
Who is this? she asked.
Just a visitor. Why in Gods name had I picked up the phone? Had
Rewald called Cott instead of returning my call?
Elizabeth appeared, and I went back to reading while she returned
Cotts call, instantly turning guarded. Elizabeth referred her to Miles. The
phone rang again. Elizabeth listened and turned. TheyMiles and Both-
mer? Cott?didnt want me to read the oral history, she said. But then she
turned away and let me keep reading.I started skimming, skipping ahead to the pages on more recent
events.
Elizabeths cell phone rang, and she left the room just as I reached a
page that warned that what followed was not to be released until years af-
ter Bothmers death. I stared at that page, wondering what lay beyond it,
until Elizabeth returned. Now she said she really did have to take the pages
away. But Bothmer would be there any minute.Soon, Miles pushed Bothmer into the office, apologizing. With a
glance, I tried to tell him no explanation was necessary. But explain, he did,
in a rush. He had to take Bothmer to therapy, an appointment hed just re-
membered and that could not be switched.
Youve got five minutes, he said. Make the most of it.
Less than three minutes later, Miles was back. He seemed embar-
rassed and confused when I suggested we continue another day as Bothmer
was clearly enjoying himself. Hed even said so. Then Miles and I stepped
into the hall outside, where he said that the museum felt Bothmer was
doddering and senile and because of his condition didnt want him
speaking to me. He added something about having to stop me because we
were on museum property. Anticipating that problem, I had originally sug-
gested to Joyce Bothmer that I interview him at home. Miles promised to
speak to Madam about that. When we returned to the office, Bothmer
was upset at the abrupt end of our conversation.
I suggested that I walk Miles and Bothmer out of the museum. Miles
was buttoning Bothmers coat when Sharon Cott appeared, grinning stiffly,
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saying nothing, arms tightly wound. Miles pushed Bothmer into the hall,
where an awkward pas de quatre took placeno one acknowledging what
was going on. Cott finally said she wanted to talk to Bothmer. He asked, Is
this a conspiracy? Id decided I liked him. Several, I said.
I dont know what you mean, Cott reprimanded me. I wondered, is
this what you learn in law school? I told her we were all leaving. Did she
want me to leave alone? She did. As I walked down the hall, Miles pushed
a slightly bewildered Bothmer back into his office.
Perhaps Bothmer knows no secrets. But Tom Hoving told me thats
not what the Italian government believed; he says the Euphronios kraterwas only returned after Italy threatened to indict Bothmer as it did Marion
True and drag him into court.
With their curator emeritus confined to a wheelchair and, in the mu-
seums estimation, doddering and senile, perhaps the museums leaders
were worried for his health. Or perhaps their concern was what he might
say if questioned.
Regardless, he will take his secrets to the graveat least until his fulloral history emerges, if it ever does. The Metropolitan Museum is a store-
house of human memory. But it appeared, that day at least, it would just as
soon its own be erased.
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ArchaeologistLuigi Palma di Cesnola,
18701904
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CapitalistJ. Pierpont Morgan,
19041912
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PhilanthropistJohn D. Rockefeller Jr.,
19121938
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CatalystRobert Moses,
19381960
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ExhibitionistThomas P. F. Hoving,
19591977
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ArrivistesJane and Annette Engelhard,
19742009
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-
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-
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Gethers, Kathy Trager, Claudia Herr, Bette Alexander, Ingrid Sterner,
Christina Malach, and Brady Emerson of Random House, Dan Strone of
Trident Media, Maria Carella, Robert Ullmann, Ed Kosner, Roy Kean, and
Barry and Karen Cord. My gratitude to each of you is limitless.
Michael Gross
New York City
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528 Bibliography
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Index
Abbey of Saint-Michel-de-Cuxa cloister,13, 11920
Abstract Expressionism, 185, 216, 220,22627, 235, 263, 264, 321
Adam and Eve (Barnard), 120, 123, 13133,13536
Adams, Cindy, 469Adams, Frederick, Jr., 290, 294African Americans, 100, 22425, 31719,
321, 324, 331, 342Age of Innocence, The (Wharton), 29, 54Agee, William, 409Agnelli, Gianni, 376, 456, 458Aldrich, Nelson, 93, 116Alexander, Christine, 249, 255Altman, Benjamin, 61, 70, 71, 99102,
103, 108, 130, 232, 28788American Association of Museums, 179,
182American Federation of Arts, 93, 156American Museum of Natural History, 34,
3536, 40, 41, 61, 6869, 90, 124,177, 187, 260, 285, 336, 338, 340,478
American Wing, 5, 7, 12, 95, 13741, 145,160, 177, 204, 209, 304, 312, 345,
34748, 404, 416, 417, 42021, 471Annenberg, Leonore, 376, 456Annenberg, Walter H., 36872, 410,
418Annenberg Center, 36972Antioch Chalice, 219, 228
anti-Semitism, 51, 104, 124, 162, 26061,291, 31719, 34546, 38183
Archaeological Institute of America, 84,359
Aristotle with a Bust of Homer (Rembrandt),141, 24347, 428
Armory Show (1913), 148, 223Arms and Armor Department, 5, 8485,
9091, 163, 174, 189, 235, 326Arsenal, 26, 41, 289, 293Art Institute of Chicago, 3, 75, 118Astor, Brooke, 261, 29596, 301, 314, 319,
325, 326, 327, 330, 332, 333, 335, 339,343, 350, 352, 357, 368, 414, 421, 422,42324, 452, 456, 461, 46770, 476
Astor, Minnie Cushing, 228, 295
Astor, Vincent, 228, 29596Astor Chinese Garden Court, 421, 424
Autumn Rhythm (Number 30, 1950) (Pollock),227, 303
Avery, Samuel P., 27, 39Azcrraga, Emilio, 439
Babels Tower: The Dilemma of the Modern
Museum (Taylor), 182, 185, 189Bache, Jules S., 2056, 232, 276, 28788Bacon, Francis, 337, 349, 365, 439Baker, George F., 15, 93, 105, 107, 136Baker, Walter, 224, 248, 350Baldwin, Sherman, 157n, 284
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Balenciaga, Cristobal, 376, 379, 459Balthus, 405, 439, 440Balzac, Honor de, 277, 382Barbizon school, 70, 72, 101, 224Barnard, George Grey, 11724, 13133,
134, 135, 14347, 153, 154, 155, 165,16768, 169
Barr, Alfred, 184, 194, 419, 437Bass, Mercedes Kellogg, 423, 435, 45758,
477Bass, Sid, 423, 435, 456, 45758, 477Beame, Abe, 343, 344, 345Beaton, Cecil, 308, 309Beck, John C., 430, 431Bell, Malcolm, 443, 446, 449Belmont, August, 27, 61Bemberg, Patricia Bb, 380, 388Berenson, Bernard, 96, 101, 119, 134, 206,
230, 27374Berggruen, Heinz, 419Berman, Avis, 150, 191, 216Biddle, Flora, 151, 204, 216Biddle, George, 188, 222, 223
Biddle, James, 297, 304Billings, C. K. G., 121, 123, 131, 136, 144, 146Bishop, Heber R., 57, 79Blass, Bill, 375, 378, 463Bliss, Lillie, 149, 151, 184Blodgett, William Tilden, 27, 34, 35, 37
40, 42, 44, 45, 48, 59Blum, Stella, 454, 455Blumenthal, Florence, 156, 461Blumenthal, George, 14, 93, 97, 12325,
134, 147, 156, 160, 16164, 165, 168,17475, 178, 183, 187, 18990, 191,192, 202, 233, 252, 261, 332
Bonnard, Pierre, 148, 221, 244, 419Bosworth, William Welles, 11617, 119,
12124, 125, 131, 146, 164, 165Bothmer, Bernard von, 248, 249, 356Bothmer, Dietrich Felix von, 1620, 248
51, 25358, 290, 291, 294, 297, 323,338, 35662, 432, 443, 446
Bothmer, Joyce Blaffer von, 294, 357Botwinick, Michael, 13, 298, 32223, 327,332, 348, 356, 371, 415
Bourhis, Katell le, 454, 455, 462Branch Bank of the United States (Assay
Office), 13839, 158, 420
Brancusi, Constantin, 148, 225, 349Braque, Georges, 221, 244, 419, 438, 439Breck, Joseph, 11011, 119, 132, 144, 156,
15758, 160Brian, Guy Louis Albert, 380, 384, 391British Museum, 3, 25, 47, 54, 78, 106, 366,
482, 483Brock, Horace Woody, 397, 466Bronzino, 73, 149Brummer, Joseph, 162, 166, 19698, 215
16, 228Bryant, William Cullen, 14, 24, 2728,
34
Buckley, Pat, 376, 377, 455, 456, 457, 462Burden, Amanda Jay Mortimer, 337, 355Burden, S. Carter, Jr., 334, 33638, 340,
341, 343, 345, 350, 355Burroughs, Bryson, 146, 148, 174, 184, 185,
349Burt, Nathaniel, 25, 28, 60, 111, 179Bury St. Edmunds Cross, 242, 289, 291
92, 411Butler, Howard Crosby, 96, 99
Cadwalader, John, 93, 140Campbell, Thomas P., 47983, 485, 486Canaday, John, 317, 321, 350, 352, 353, 354,
359, 360Canaletto, 279, 329, 382, 391Caravaggio, 441, 484Card Players (Czanne), 184, 243
Carmel, Ann, 275, 276, 277, 278Carnavon, George Edward StanhopeMolyneux Herbert, Earl of, 139, 140
Carnegie, Andrew, 61, 78, 142Carroll and Milton Petrie European
Sculpture Court, 9, 43637Cassatt, Mary, 71, 72, 73, 149, 225Cassini, Igor Ghighi, 273, 281Cellini, Benvenuto, 80, 95Central Intelligence Agency (CIA), 253,
269, 285, 299, 413Century Association, 29, 3334, 37, 38,224, 233
Cesnola, Luigi Palma di, 2364as archaeologist, 14, 23, 29, 3133, 43
48, 5154, 64, 88, 119, 134
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collection of, 14, 3233, 4348, 49,5154, 62, 64, 68, 81, 134, 137, 218,258
Cyprus excavations of, 14, 28, 3133,4348, 5154, 64
death of, 64, 85, 112, 473as diplomat, 14, 2324, 3133, 43, 44as director, 14, 24, 4445, 48, 49, 50,
5154, 55, 56, 5758, 6264, 73, 7578, 80, 81, 82, 83, 85, 94, 112, 156,299, 323, 473, 484
Feuardent lawsuit of, 5154, 55, 56Morgans relationship with, 6869, 75,
80, 83, 112press coverage of, 24, 5154, 63, 64reputation of, 2324, 28, 3133, 4348,
5154, 55, 6264, 73, 94wealth of, 3132, 33, 44, 47, 49
Cesnola, Mary Jennings Reid di, 30, 31, 33,64
Czanne, Paul, 59, 148, 149, 184, 214, 243,244, 311, 349, 365, 418, 419
Chardin, Jean-Simon, 151, 382, 39192
Charles Engelhard Court, 6, 9, 42021,432, 437, 45758
Chteau Haut-Brion, 332, 365Choate, Joseph Hodges, 28, 29, 34, 35, 36,
4041, 48, 4950, 52, 53, 56, 61, 63,75, 78, 102, 103, 105, 107, 110, 136
Christiansen, Keith, 44142Christies, 38990, 428, 46162, 467Church, Frederic E., 27, 28, 32, 34, 37, 38,
42
Clark, Stephen, 3, 184, 185, 226, 243, 471Clark, Sterling, 3, 471Clarke, Caspar Purdon, 8688, 89, 91
92, 93, 119, 162, 473Cleveland Museum of Art, 245, 293, 294Cloisters, 5, 1415, 115, 12025, 131, 136,
14347, 15255, 15869, 175, 183,19598, 201, 21419, 228, 22936,240, 242, 246, 255, 25657, 288, 289,29394, 3012, 340
Coffey, Diane, 433Coffin, William Sloane, 14041, 156, 157,16061
Cohan, William, 16162, 417Cohen, Steven A., 364, 47173, 475, 481,
484, 485
Cohn, Roy, 460Collens, Charles, 158, 160, 195Colonna Madonna (Raphael), 74, 81Comfort, George Fisk, 28, 34, 40Committee of Fifty, 2829, 3334Cond Nast, 8, 377, 378, 465Constable, John, 38, 59Contemporary Arts Department, 3034Cooke, Terence Cardinal, 319, 320Cormier, Francis, 214, 222Corot, Jean-Baptiste-Camille, 37, 70, 149,
275, 349, 416Corporate Patron Program, 45152
Cosgrove, Frank, Sr., 476Costume Institute, 10, 2069, 228, 239
40, 37579, 404, 43940, 45356,457, 46265, 479, 484
Cott, Sharon, 1820, 84Courbet, Gustave, 70, 72, 148, 349Cousin, Jean, the Elder, 406, 407Cranach the Elder, 78, 244Crivelli, Carlo, 391, 428Crosby Brown Collection of Musical In-
struments, 18384Crucifixion (Piero della Francesca), 15152,
201Cubism, 148, 225, 239, 438Curium treasure, 4647, 62Cussi, Paula, 43940Cyprus: Its Ancient Cities, Tombs, and Temples
(Cesnola), 46, 48
Dal, Salvador, 249, 405Daumier, Honor, 59, 149, 419David, Jacques-Louis, 96, 146, 279, 304David-Weill, Berthe, 252, 315, 316, 317, 365,
378David-Weill, David, 124, 382, 403, 417David-Weill, Pierre, 252, 39495Davis, Gordon, 425, 426Davis, Theodore, 125, 126
Davison, Daniel Pomeroy, 28485, 290,293, 297, 370Davison, Henry Pomeroy, 89, 103, 284Decorative Arts Department, 8990, 110,
119, 15859, 336, 432de Bodisco,Aino, 45960
531 Index
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de Forest, Emily Johnston, 60, 78, 138,13940, 157, 209
de Forest, Robert, 5, 40, 6061, 62, 73,86, 94, 97, 104, 105, 107, 109, 110,11112, 124, 125, 12627, 129, 130,131, 13435, 13747, 148, 149, 150, 153,154, 15657, 179, 209, 284
Degas, Edgar, 71, 72, 149, 151, 243, 416,418, 419, 439, 458
de Groot, Adelaide Milton, 18788, 353de Kooning, Willem, 12, 226, 227, 361n,
364, 440Delacroix, Eugne, 59, 70, 72, 406, 418de la Renta, Annette (Anne France
Mannheimer Engelhard Reed), 2,38081, 385, 386, 38788, 392, 394,396, 399402, 406, 421, 422, 423,424, 43637, 444, 457, 45862, 463,465, 46670, 473, 474, 47577, 478,485
de la Renta, Franoise de Langlade, 375,376, 423, 46061
de la Renta, Oscar, 375, 376, 378, 381, 402,
404, 457, 45862, 463, 465Democratic Party, 29, 3536, 103, 39798,
403Demotte, George Joseph, 13335, 145, 147Dendur, Temple of, 6, 13, 31013, 331, 336,
341, 34447, 424, 455, 45758Dennis, Jessie McNab, 292, 338, 339Devree, Charlotte, 370Devree, Howard, 18586, 225, 370de Wolfe, Elsie, 384, 387, 404
dHarnoncourt, Rene, 329, 330DiCicco, Pat, 270, 271Dienststelle Mhlmann, 253, 390Dillon, C. Douglas, 14, 228, 285, 290, 293,
301, 306, 314, 319, 320, 326, 33233,336, 34150, 35460, 365, 368, 370,371, 372, 377, 378, 380, 400, 401,41017, 42226, 429, 430, 431, 435
Dillon, Phyllis, 378, 422, 423Dilworth, J. Richardson, 284, 290, 291,
293, 306, 319, 339, 430, 432, 433, 444,450, 457Dinkins, David, 451, 452Dior, Christian, 378, 463Dorotheum, 228, 326, 339, 44748Douglas, Kirk, 27273, 282
Draper, Dorothy, 187, 228, 233Duccio di Buoninsegna, 79, 201, 370, 470,
481, 484Durand, Asher, 27, 37, 38Durand-Ruel, Paul, 71, 75Drer, Albrecht, 81, 125Duveen, Henry, 70, 71, 100, 101, 102Duveen, Joseph, 74, 11819, 13335, 151
52, 2056, 244Duveen Brothers, 101, 108, 117, 12930,
141, 274Dwight, Eleanor, 207, 454
Eakins, Thomas, 128, 225, 416Easby, Dudley, 212, 215, 229, 330Egyptian Art Department, 8889, 9697,
125, 126, 129, 157, 247, 31013, 326,34447
Eisenhower, Dwight D., 213, 224, 254, 285,332
El Greco, 7273, 75, 149, 192, 243, 279
Elizabeth Clarke Freake and Baby Mary, 18182Elliott, Duane Garrison, 301, 324, 325,
326, 327Engelhard, Charles William, Jr., 392, 394
404, 420, 423, 434, 466Engelhard, Charles William, Sr., 39597Engelhard, Jane (Marie Annette Jane
Reiss-Brian Mannheimer), 368, 376,377, 37980, 384, 385404, 42022,423, 43637, 454, 458, 46162, 466
Erickson, Alfred, 141, 243, 244, 245Ertegun, Mica, 444, 454Etruscan biga (chariot), 8182, 84Etruscan warriors, 25658, 294, 444Euphronios (Sarpedon) krater, 17, 20, 348,
35862, 369, 443, 445, 446, 448, 449European Paintings Department, 243, 251,
261, 315, 36467, 4067, 41719,44042, 464, 471
European Sculpture and Decorative Arts
(ESDA), 43235, 479
F-111 (Rosenquist), 3045, 484Fahy, Everett, 423
532 Index
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Feigen, Richard, 8, 9, 12, 434Feuardent, Gaston, 5154, 55, 56Field, Marshall, 175, 176, 215, 226Fine French Furniture (FFF), 36, 244,
274, 30910, 325, 33132, 428Fischer, Henry, 31011, 313Fisher, Donald, 472Flandes, Juan de, 428, 429Fleming, Ian, 397Fletcher, Isaac Dudley, 12627, 245Fogg Art Museum, 174, 252, 346Forbes, Malcolm S., 39798, 461Force, Juliana, 15051, 185, 191, 19394,
21617Ford, Gerald R., 322n, 367, 413Fort Tryon Park, 5, 147, 154, 159, 168Fortune Teller, The (La Tour), 25860Fosburgh, Minnie Astor, 296, 314, 332,
350, 380Foxcroft School, 399400, 422Fra Carnevale, 44142Fragonard, Jean-Honor, 74, 81, 107, 244,
391, 393, 403
France, 117, 11820, 121, 132, 13335, 148,16466, 194, 199200, 229, 233, 252,25658, 287, 307, 332, 333, 38387,39192, 417, 466
Frelinghuysen, Peter H. B., 31920, 350French, Daniel Chester, 93, 106Frick, Henry, 69, 93, 101, 107, 108Frick Museum, 24142, 304, 486Fulton, Robert, 94, 167
Gage, Nicholas, 35960, 361, 362Gainsborough, Thomas, 38, 59, 81, 126,
244, 275Gardner, Albert Ten Eyck, 69, 26263,
304Gauchez, Lon, 38, 39Gauguin, Paul, 149, 184, 244, 352Gelb, Arthur, 359
Geldzahler, Henry, 227, 26066, 267, 290,303, 3045, 312, 32022, 349, 352,353, 412, 425, 426, 432, 437, 450,484
Gellatly, John, 14445, 15354Gelman, Jacques, 18, 438, 439
Gelman, Natasha, 43839, 440Genauer, Emily, 286, 321George Washington Crossing the Delaware
(Leutze), 27, 304German Expressionism, 151, 434Germany, Nazi, 162, 174, 199201, 203,
243, 248, 250, 252, 253, 254, 276, 378,38187, 39091, 393, 394, 39596,417, 465
Gerschel, Laurent, 418Getty Museum, 3, 17, 20, 447Gilbert, S. Parker, 381n, 431, 473, 474, 476Gilbert, S. Parker, Jr., 43132
Gilpatric, Roswell, 285, 290, 293, 301, 303,305, 319, 320, 341, 355, 370, 412
Glueck, Grace, 352, 416Gring, Hermann, 200201, 253, 390Gorky, Arshile, 227, 260, 349Gothic Fund, 145, 166Goya, 38, 59, 72, 73, 126, 149, 151, 192, 309Graham, Katharine, 308, 379Great Britain, 68, 80, 82, 86, 87, 9899,
383, 38990
Greek and Roman Art Department, 6, 12,1620, 8184, 96, 111, 228, 233, 235,24851, 255, 25658, 323, 348, 35662, 432, 44347, 470, 476
Greene, Belle, 95, 96, 103, 108Guardi, Francesco, 38, 317, 391Guest, C. Z., 377Guggenheim Museum, 3, 256, 439
Hackenbroch, Yvonne, 27779Hale, Nik, 220, 226, 263, 264, 265Hale, Robert Beverly, 21926, 227, 236,
260, 261, 26364, 265, 266, 3034Hals, Frans, 38, 59, 74, 95, 101, 141, 149,
244Halsey, Richard Townley Haines, 13738,
140, 141, 183, 187Hannon, Patrick, 380, 385, 386
Harkness, Edward S., 93, 97, 107, 125, 129,189Harlem on My Mind exhibition (1969),
314, 315, 31719, 324, 327, 331Harvard University, 174, 251, 262, 284,
363, 406, 435, 450
533 Index
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Hassam, Childe, 225, 468Havemeyer, Henry Osborne, 59, 61, 71
75, 101, 148, 14950, 152, 232Havemeyer, Horace, 149, 150Havemeyer, Louisine Waldron Elder, 71
73, 14850, 232Havemeyer Collection, 14850, 184, 232Hawkins, Ashton, 18, 306, 332, 337, 346,
360, 377, 378, 401, 42324, 425, 429,435, 444, 446, 449, 450
Hays, Charlotte, 402, 436Hearn, George A., 128, 150Hearn Fund, 150, 184, 18586, 19192,
194, 216, 220, 22324, 260, 264Hearst, William Randolph, 255, 258,
269Hearst Foundation, 255, 258Hecht, Robert, Jr., 17, 35859, 36162,
443, 446Heckscher, August, 299, 314, 335, 336, 341,
342Heinz, Drue, 456, 461Henry Luce Foundation, 315, 318
Hermitage, 3, 33, 382Herrick, Dan, 3056, 322n, 332, 333, 340,
371, 406, 415, 416Hess, John L., 2, 350, 35356Hess, Thomas B., 437Hewitt, Abram, 58, 59Hirst, Damien, 47173, 474Hitchcock, Hiram, 31, 33, 43, 44, 46, 47, 54,
57, 61, 62, 63, 64, 79Hitler, Adolf, 252, 253, 276, 382, 387, 390
91Hoare, Oliver, 364Hobby, Theodore, 130, 162Hoentschel, Georges, 8990, 110, 111Hofmann, Hans, 226, 262Holbein, Hans, 25, 96, 244Holden, Don, 22526, 236, 257, 258, 259
60Holzer, Harold, 1, 2, 11, 443Homer, Winslow, 37, 225, 416
Hoppin, William J., 34, 35Hoppner, John, 101, 192Houdon, 279, 462Houghton, Arthur Amory, Jr., 228, 283
86, 287, 290, 29293, 294, 296,29798, 299, 302, 303, 305, 306, 314,
318, 319, 323, 324, 330, 332, 333, 350,357, 36264, 401, 422, 450
Houghton, James Jamie, 422, 450, 451,452, 473, 474, 476
Houghton, Maisie, 401, 422Houston Museum of Fine Arts, 4089, 415Hoving, Nancy Bell, 240, 241, 242, 283,
295, 298, 3089, 370, 371Hoving, Thomas Pearsall Field, 239372
as author, 12, 242, 283, 29091, 329,346, 356n, 361, 411, 44243, 444, 445,448, 482
background of, 24042
as Cloisters assistant curator, 240, 242,255, 288, 289, 3012
controversies of, 299, 31719, 320,34862, 445, 448
as director, 12, 6, 9, 14, 15, 179, 190,268, 276, 278, 279, 282, 295, 296352, 378, 404, 410, 415, 416, 418, 423,425, 480
donors cultivated by, 30613, 32332,34447, 418, 423
exhibitions mounted by, 299301, 3045, 314, 31722, 324, 327, 331, 340,36566, 367, 416, 455
as medievalist, 240, 24142, 322Montebellos relationship with, 346,
348, 361n, 407, 40811, 413, 415, 416,43233, 44243, 445, 448, 454, 46970, 480
as parks commissioner, 28992, 293,295, 296, 29799, 302, 334
populism of, 15, 179, 23940, 299, 31415, 334, 352press coverage of, 239, 299, 305, 306,
315, 31719, 35056, 35962, 370,371, 376, 43233
reputation of, 23940, 242, 295, 296,36772, 411
resignation of, 346, 36772, 41011, 473Rorimers relationship with, 23940,
242, 243, 255, 28789, 29192, 293,
31112trustees as viewed by, 258, 268, 282,29799, 30510, 319, 33132, 333,34142, 350, 36772
Hoving, Walter, 24041, 301, 342Howe, Winifred E., 2, 48, 158
534 Index
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Hudson-Fulton exhibition (1909), 9495,102, 128, 137, 138, 222
Hudson River school, 28, 34, 125Hunt, Richard Morris, 45, 26, 34, 37, 60,
70, 75, 163Huntington, Arabella, 141, 243Huntington, Archer, 141, 211Huntington, Collis P., 101, 141Husband, Tim, 450Huxtable, Ada Louise, 334, 351, 420
Ingres, Jean-Auguste-Dominique, 149,353, 354, 382, 391, 418
Institute of Fine Arts (IFA), 257, 286, 291,294, 301, 367, 406, 407, 44142
Istanbul Archaeological Museum, 43, 54, 99Italy, 17, 20, 25, 2930, 68, 72, 73, 8184,
182, 211, 241, 25758, 259, 324, 35862, 44548, 449
Ittleson, Henry, 302, 340Ivins, William Mills, Jr., 125, 148, 163, 174,
175, 17677, 181
James, Harold, 382Jay, John, 14, 24, 25, 37, 61, 240, 337, 401Jayne, Horace H. F., 183, 231Johns, Jasper, 263, 349, 440Johnson, Lyndon B., 285, 311, 332, 333, 398,
403, 413
Johnston, John Taylor, 2627, 33, 34, 35,3639, 42, 44, 45, 46, 4748, 49, 52,55, 56, 59, 60, 62, 68, 150
Josephs, Devereux, 192, 197, 213, 214, 284,319
J. P. Morgan & Co., 105, 108, 192, 224,395, 431
JP Morgan Chase, 12, 467, 46869, 481J. S. Morgan & Co., 47, 67, 105, 381
Juan de Pareja (Velzquez), 34849, 470
Kann, Rodolphe, 118, 141Karp, Ivan, 262, 263Kaye, Lawrence, 44445
Kaylan, Melik, 444, 445Kelekian, Dikran, 123, 152Kelleher, Bradford, 225, 342Kelly, Ellsworth, 261, 263Kennedy, John F., 14, 239, 28081, 282,
285, 307, 310, 313, 316, 320, 332, 333,398, 413
Kennedy, Joseph P., 280, 307, 436Kennedy, Robert F., 281, 334, 337Kensett, John Frederick, 27, 28, 34, 35, 37,
38, 44, 45Kent, Henry W., 86, 110, 130, 131, 13738,
163, 175, 184, 186
Kertess, Klaus, 316, 475Kiernan, Frances, 423, 424Kimmelman, Michael, 46465King of the Confessors (Hoving), 242, 411Kinnicutt, Dorothy May (Sister Parish),
39697, 398, 399, 401, 404, 422Kissinger, Henry, 367, 423, 426, 466,
467Klimt, Gustav, 12, 438Knoedler & Co., 70, 109, 259
Koch, Ed, 412, 42527, 433, 451Koda, Harold, 463Koons, Jeff, 485Kramer, Hilton, 305, 321, 351, 366Kravis, Henry, 2, 43536, 458Kress, Samuel, 16667, 193Ku Klux Klan, 100, 149, 267
Lagerfeld, Karl, 464La Guardia, Fiorello, 168, 174, 187, 210Lake, Stephanie, 275, 276, 277, 278Lambert, Eleanor, 207, 208, 454Lamont, Thomas, 103, 166, 195, 197, 217,
223Landmarks Preservation Committee, 340,
341Lane, Kenneth J., 375Lansdowne Room, 234, 325
Larkin, Aileen Chuggy, 26869, 272Last Judgment and the Crucifixion, The (VanEyck), 18182
Latin America, 186, 191, 22829, 329La Tour, Georges de, 25860, 279Lauder, Este, 325, 435
535 Index
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Lauder, Ronald, 227n, 472Laura Spelman Rockefeller Memorial
Fund, 136, 211Lazard Frres, 93, 124, 156, 252, 320, 347,
382, 386, 38889, 39495, 398, 417Ledyard, Lewis Cass, 105, 167Lee, Sherman, 293, 294Lehman, Philip, 192, 193Lehman, Robert Bobbie, 14, 19293,
195, 218, 223, 232, 245, 246, 261, 271,28587, 290, 3013, 32729, 331, 332,340, 347, 350, 417
Lehman, Robin, 192, 286, 287, 302, 32829
Lehman Brothers, 192, 193, 329, 481Lehman Wing, 28687, 3013, 32729,
331, 334, 335, 336, 338, 341, 342, 343,351, 365
Leigh, Dorian, 402Leonardo da Vinci, 59, 28788, 314Lerman, Leo, 2, 50, 290Leutze, Emanuel, 27, 304Levai, Rosie, 318, 349, 354, 365, 377, 416
Levy, Leon, 446, 44748Lewisohn, Irene, 206, 207, 352Lewisohn, Sam A., 195, 206, 223, 224,
226Lieberman, William S., 43740Lila Acheson Wallace Wing, 348, 419,
42526, 432, 438Lincoln, Abraham, 24, 30, 31, 64, 118Lindsay, John V., 28889, 296, 29899,
302, 317, 318, 325, 334, 335, 343
Linsky, Belle, 42730Linsky, Jack, 42728, 429Locke, Ian, 385, 393Loughry, J. Kenneth, 293, 305Louis XIV, King of France, 25, 85, 117, 399,
415Louis XV, King of France, 81, 111, 279,
428, 475Louis XVI, King of France, 111, 279, 331
32, 428
Louvre, 3, 25, 36, 54, 99, 149, 259, 262,286, 365Love, Iris Cornelia, 256, 257, 258, 444Luce, Henry L., 15, 224Luers, William Henry, 43031, 432, 434,
435, 443, 446, 449, 450, 451, 452, 453
Lydian Hoard, 348, 35658, 360, 44345Lythgoe, Albert, 88, 89, 93, 96, 97, 103,
139, 310
McFadden, Elizabeth, 46, 47MacGregor, Neil, 482, 483McHenry, Barnabas, 311, 31213, 412, 425
26, 457McKim, Charles, 91, 93, 104McKim, Mead & White, 5, 84, 91, 104,
139, 152, 217
McKinney, David E., 45051, 452, 465Macomber, William Butts, Jr., 41215,
424, 425, 426, 430, 431, 433, 437, 444,449
Macy, Valentine Everit, 152, 227Madonna and Child(Duccio), 79, 470, 481,
484Making the Mummies Dance (Hoving), 12,
44243Malraux, Andr, 233, 260, 367
Man and the Horse exhibition (1984),45556, 463
Manet, douard, 75, 126, 149, 244, 350,416, 418
Mannheimer, Fritz, 38092, 399, 403Mansfield, Howard, 93, 157n, 189Mapplethorpe, Robert, 379Marlborough Gallery, 34