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WEB ART GALLERY BIOGRAPHY

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Some twenty-five years after her marriage to John D.Rockefeller, Jr., son of the wealthiest man in the world, Rockefeller began to form her collection of modern art.Primarily amassed between 1925 and 1935, it was heavily weighted toward works on paper, and Rockefeller had a particular fondness for the work of living Americans. Like Lillie P. Bliss, an old friend of hers, she was also a patron, directly supporting individual artists through acquisitions, commissions, and financial contributions. With her contacts, her knowledge of art, and her family's vast wealth, Rockefeller was able to offer the critical financial backing necessary to create a new museum, and in 1929 she, Bliss, and Mary Quinn Sullivan founded The Museum of Modern Art. Rockefeller's gifts to the Museum are far too numerous to itemize. In 1935, acting anonymously, she donated $1,000 for director Alfred H. Barr, Jr., to purchase works with during his trip to Europe that summer with Margaret Barr. The following year she donated $2,500 for the purchase of work by American artists and $2,000 for purchases abroad; in 1938 she contributed $20,000 for acquisitions, to which her son Nelson added $11,500 in his mother's name, and she renewed this gift in 1939. In 1935 she donated 181 paintings and drawings to the Museum; in 1939 thirty-six works of modern sculpture and fifty-four pieces of American folk art; in 1940 approximately 1,630 prints; and in 1946 ninety-two prints. She was not only generous with her financial support but also had complete faith in Alfred Barr's direction of the Museum. When a purchase fund she had established was used to acquire Picasso's etching Minotauromachy (1935), she suggested, "Let's label this: purchased with a fund for prints which Mrs. Rockefeller doesn't like.After her death, in 1948, Barr wrote to Nelson, "Few realize what positive acts of courage her interest in modern art required. . . . She was the heart of the Museum and its center of gravity.Blanchette Rockefeller, the wife of John D. Rockefeller 3rd, was a major benefactor of the Museum. In 1949 she spearheaded the Junior Council, and four years later she was named to the board of trustees and became founding president of the International Council. She was twice president of the board, from 1959 to 1962 (the first female president) and from 1972 to 1985, and she was chairman from 1985 to 1987. Among her many contributions to the institution is her leadership of a fund-raising campaign that enabled the Museum to undergo the 1984 expansion that doubled its gallery space, raising $55 million. She was named president emeritus in 1987.Roob worked at the Museum as Alfred H. Barr, Jr.'s assistant from 1961 to 1965 and then from 1969 to 1971. She returned in 1979 for research projects involving the Museum's historical archival collections. In 1989, with the authority of the board of trustees, she established The Museum of Modern Art Archives, the first formal archival repository at MoMA, as founding archivist. She was chief archivist from 1996 to 1998. Today the archives are home to over 4,500 linear feet of historical documents pertaining to modern and contemporary art, including personal papers, program records, audio and visual recordings, photographs, and oral histories.Organized by Lynn Zelevansky, Curatorial Assistant, Department of Painting and Sculpture, this large group show was the first exhibition at the Museum to deal explicitly with gender in relation to art practice. It featured work by Polly Apfelbaum, Mona Hatoum, Rachel Lachowicz, Jac Leirner, Claudia Matzko, Rachel Whiteread, and Andrea Zittel.In 1917 Mary Quinn, an art teacher, married prominent lawyer Cornelius Sullivan (a noted collector of art and rare books).She began to form her own collection a few years later, acquiring important works by Paul Cézanne, Amedeo Modigliani, Pablo Picasso, Georges Rouault, and Henri de Toulouse-Lautrec, and in 1929, with Lillie P. Bliss and Abby Aldrich Rockefeller, she founded The Museum of Modern Art. Of the three founders, Sullivan was the most knowledgeable about art education, and one of her legacies is the Museum's strong educational mission, an integral element since the institution's inception. In October 1933 Sullivan resigned her position as a trustee. She opened a gallery and began to deal in art, a position that precluded further involvement with the Museum at a leadership level.In 1958 a fire broke out at the Museum; one person was killed, three paintings were destroyed, and several artworks were damaged. In the wake of the disaster the Museum founded its Department of Conservation and appointed Volkmer as its first staff head conservator. Volkmer had been trained by Sheldon and Caroline Keck, the foremost living American art conservators, who had routinely performed contract work for the Museum.