Abstract

At the turn of the twentieth century the Art Institute of Chicago, like the city it established itself in, sought a global reputation. Its early leaders wanted to acquire art from all over the world while promoting its collections to a global audience. The progress the museum made during this time has often been attributed to the famous men of Chicago, including Charles Hutchinson, Martin Ryerson, and Marshall Field. Indeed, much public and scholarly attention has been devoted to the infrastructural, financial, and administrative developments that these men oversaw as trustees, directors, treasurers, and philanthropists. However, this view neglects the lesser-known contributors, male or female, who played other roles in seeking a global reputation for the Art Institute. Using the annual reports and catalogues of the museum as primary sources and referencing the historiography on the Art Institute and the city of Chicago, this article explores the stories of two such contributors—Lucy Mitchell and Bessie Bennett. Mitchell, a classical archaeologist and adviser to the Elbridge G. Hall cast collection, and Bennett, one of the first woman curators of a major American museum, illustrate how women helped to lead the museum to become one of the most prestigious institutions in the world. They did so despite long-time financial constraints on their work and their exclusion from the ranks of the museum’s leadership. This work thus shows how unhelpful it is to view the development of a museum, or an entire city, as the product of the efforts of one “great” man. Rather, the globalizing history of the Art Institute was the accumulation of the labor of many individuals.

Highlights

  • Forget, your revolutions, your turning-points, your grand metamorphoses of history

  • Using the annual reports and catalogues of the museum as primary sources and referencing the historiography on the Art Institute and the city of Chicago, this article explores the stories of two such contributors—Lucy Mitchell and Bessie Bennett

  • The second major exception was when a woman’s expertise in art qualified her to decide upon the affairs of the museum. Such a woman did not have to be as wealthy as the former group of women, but she still needed to be able to afford an education in art. It is among the ranks of these women that we find Lucy Mitchell and Bessie Bennett

Read more

Summary

Wen Li Teng

Bessie Bennett, the first woman curator in a major American museum, illustrate how women imported art from all over the world into Chicago and how they exported Chicagoan art to the world. Given that she passed away in Lausanne in 1888, one has to rule out the possibility that she could have served as a long-term European ambassador for the Art Institute and that she could have promoted the casts and other collections on behalf of Chicago Still, that she served as such an extraordinary representative of Chicago’s art and artists for a brief time testifies to the role women could play in the city if they had the required cultural capital.

Recipient Library Library Library
Ryerson and Burnham Libraries Decorative Arts Department
Conclusion
Annual Reports
Full Text
Published version (Free)

Talk to us

Join us for a 30 min session where you can share your feedback and ask us any queries you have

Schedule a call