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The south wing of the museum showing a portico and five vaulted galleries. The tree lined entry courtyard is at the far left. Established. 19. 72. Location. Fort Worth, Texas, USAType. Art museum. Collections. European Old Masters. Collection size. 35. Director. Eric M. Lee. Nearest car park. On site no chargeWebsitewww. The Kimbell Art Museum in Fort Worth, Texas, hosts an art collection as well as traveling art exhibitions, educational programs and an extensive research library. Its initial artwork came from the private collection of Kay and Velma Kimbell, who also provided funds for a new building to house it. The building was designed by architect Louis I. Kahn and is widely recognized as one of the most significant works of architecture of recent times. It is especially noted for the wash of silvery natural light across its vaulted gallery ceilings. HistoryeditKay Kimbell was a wealthy Fort Worth businessman who built an empire of over 7. He married Velma Fuller, who kindled his interest in art collecting by taking him to an art show in Fort Worth in 1. British painting. They set up the Kimbell Art Foundation in 1. Southwest. Kay left much of his estate to the Kimbell Art Foundation, and Velma bequeathed her share of the estate to the foundation as well, with the key directive to build a museum of the first class. 123The Foundations board of trustees hired Richard Fargo Brown, then director of the Los Angeles County Museum of Art, as the founding director of the museum with the task of constructing a building to house the Kimbells art collection. Upon accepting the post, Brown declared that the new building should itself be a work of art, as much a gem as one of the Rembrandts or Van Dycks housed within it. 3 The proposed museum was given space in a 9. Fort Worths Cultural District, which was already home to three other museums, including the Modern Art Museum of Fort Worth and the Amon Carter Museum, specializing in art of the American West. 4 2. Brown discussed the goals of the institution and its new building with the trustees and summarized them in a four page Policy Statement and a nineteen page Pre Architectural Program in June 1. After interviewing a number of prominent architects, the museum hired Louis I. Kahn in October 1. Kahns previous works included such acclaimed structures as the Salk Institute in California, and he had recently been honored by being chosen to design the National Assembly Building for what would become the capital of the new nation of Bangladesh. Construction for the Kimbell Art Museum began in the summer of 1. The new building opened in October 1. Brown also expanded the Kimbell collection by acquiring several works of significant quality by artists like Duccio, El Greco, Rubens, and Rembrandt. 1After Richard Fargo Browns death in 1. Edmund Ted Pillsbury was appointed director of the museum. Previously he had been the director of the newly opened Yale Center for British Art, which, coincidentally, was also designed by Louis Kahn. He had also been a curator at the Yale Art Gallery, Kahns first art museum. Pillsbury continued the art acquisition program in an aggressive but disciplined fashion. Richard Brettell, director of the Dallas Museum of Art, said, He was, in some ways, single handedly responsible for turning the Kimbell from an institution with a great building into one whose collection matched its architecture in quality. 6In 1. Pillsbury announced plans to expand the museums building to accommodate its enlarged collection, but the plan was dropped because of strong opposition to any major alteration of the original Louis Kahn structure. 7 In 2. Kimbell solved that problem by announcing plans to construct an additional, separate building across the street from the original building. Designed by Renzo Piano, and relocated to the west lawn, the new structure opened to the public in November 2. The collectioneditIn 1. Brown included this directive in his Policy Statement The goal shall be definitive excellence, not size of collection. Accordingly, the museums collection today consists of only about 3. The European collection is the most extensive in the museum and includes Michelangelos first known painting, The Torment of Saint Anthony, the only painting by Michelangelo on exhibit in the Americas. 6 It also includes works by Duccio, Fra Angelico, Mantegna, El Greco, Carracci, Caravaggio, Rubens, Guercino, La Tour, Poussin, Velzquez, Rembrandt, Boucher, Gainsborough, Vige Lebrun, Friedrich the first painting by the artist acquired by a public collection outside of Europe,1. Czanne, Monet, Caillebotte, Matisse, Mondrian, Braque and Picasso. Works from the classical period include antiquities from Ancient Egypt, Assyria, Greece and Rome. The Asian collection comprises sculptures, paintings, bronzes, ceramics, and works of decorative art from China, Korea, Japan, India, Nepal, Tibet, Cambodia, and Thailand. Precolumbian art is represented by Maya works in ceramic, stone, shell, and jade, Olmec, Zapotec, and Aztec sculpture, as well as pieces from the Conte and Huari cultures. The African collection consists primarily of bronze, wood, and terracotta sculpture from West and Central Africa, including examples from Nigeria, Angola, and the Democratic Republic of the Congo, and Oceanic art is represented by a Maori figure. The museum owns few pieces created after the mid 2. Modern Art Museum of Fort Worth or any American art believing that to be the province of its other neighbor, the Amon Carter Museum. 9The museum also houses a substantial library with over 5. The buildingeditPreparationeditBrowns Policy Statement set a clear architectural direction by calling for the new building to be a work of art. It was augmented by his Pre Architectural Program, which specified that natural light should play a vital part in the design and that the form of the building should be so complete in its beauty that additions would spoil that form. Brown called for a building of modest scale that would not overwhelm either the artwork or the viewer. 4 2. After an extensive search that included interviews with such noted architects as Marcel Breuer, Mies van der Rohe, Pier Luigi Nervi, Gordon Bunshaft and Edward Larrabee Barnes, the commission was awarded to Louis Kahn in October 1. From Kahns point of view, Brown was an ideal client. Brown had been an admirer of Kahns work for some time, and the approach he specified for the building was very much in line with Kahns, particularly its emphasis on natural light. 4 2. Because Kahn had a reputation for significant time and cost overruns, a local engineering and architectural firm owned by Preston M. Geren was made associate architect, a practice followed in Fort Worth for out of state architects. Frank Sherwood served as their project coordinator. The Geren organization had a solid reputation for bringing in projects on time and within budget, but by their own admission they were not especially innovative. 1. The contract called for control over construction to be turned over to Geren when Kahn had finished the design, a provision that eventually led to conflict because Kahn felt that a design was never finished until the building was constructed.