The era from 1890 to 1930 constituted a building boom for American art museums designed in a monumental, classical style; both the proliferation of the buildings and the ubiquity of the style seem to indicate an architectural as well as a sociocultural phenomenon. The present work is an attempt to place the American art museum building of this period into its historical milieu, and employs over one hundred illustrations and sociocultural analysis to explain the significance of both the institutions and the structures housing them to those who came into regular contact with them, including architects, patrons, journalists, and museum personnel.

We are taught to believe in originals. In art and architecture in particular, original objects vouch for authenticity, value, and truth, and require our protection and preservation. The nineteenth century, however, saw this issue differently. In a culture of reproduction, plaster casts of building fragments and architectural features were sold throughout Europe and America and proudly displayed in leading museums. The first comprehensive history of these full-scale replicas, Plaster Monuments examines how they were produced, marketed, sold, and displayed, and how their significance can be understood today. Plaster Monuments unsettles conventional thinking about copies and originals. As Mari Lending shows, the casts were used to restore wholeness to buildings that in reality lay in ruin, or to isolate specific features of monuments to illustrate what was typical of a particular building, style, or era. Arranged in galleries and published in exhibition catalogues, these often enormous objects were staged to suggest the sweep of history, synthesizing structures from vastly different regions and time periods into coherent narratives. While architectural plaster casts fell out of fashion after World War I, Lending brings the story into the twentieth century, showing how Paul Rudolph incorporated historical casts into the design for the Yale Art and Architecture building, completed in 1963. Drawing from a broad archive of models, exhibitions, catalogues, and writings from architects, explorers, archaeologists, curators, novelists, and artists, Plaster Monuments tells the fascinating story of a premodernist aesthetic and presents a new way of thinking about history’s artifacts.

American art museums share a mission and format that differ from those of their European counterparts, which often have origins in aristocratic collections. This groundbreaking work recounts the fascinating story of the invention of the modern American art museum, starting with its roots in the 1870s in the craft museum type, which was based on London’s South Kensington (now the Victoria and Albert) Museum. At the turn of the twentieth century, American planners grew enthusiastic about a new type of museum and presentation that was developed in Northern Europe, particularly in Germany, Switzerland, and Scandinavia. Called Kulturgeschichte (cultural history) museums, they were evocative displays of regional history. American trustees, museum directors, and curators found that the Kulturgeschichte approach offered a variety of transformational options in planning museums, classifying and displaying objects, and broadening collecting categories, including American art and the decorative arts. Leading institutions, including the Museum of Fine Arts, Boston, and the Metropolitan Museum of Art in New York, adopted and developed crucial aspects of the Kulturgeschichte model. By the 1930s, such museum plans and exhibition techniques had become standard practice at museums across the country.

How Andrew Thomas Taylor advanced the quality of architecture in Canada.

Displaying the Ideals of Antiquity investigates the study and display of ancient sculpture from archaeological, art historical, and museum studies perspectives. Ancient sculptures not only give us knowledge about ancient Greek and Roman pasts, but they also mediate ideals that inform modern perceptions of antiquity. This book analyzes how an art historical tradition establishes and preserves an idealized view of antiquity in classical archaeology and in museum exhibitions. The authors investigate how these ideals are kept alive today—an approach that often is neglected in studies on ancient reception.This book offers an international scope and illustrates how academic conceptual foundations influence museum exhibitions.This timely volume discusses contemporary museum exhibitions of ancient sculpture and clarifies how old discourses continue to affect museum exhibitions and conceptualizations of ancient sculptures. The authors analyze close to 100 museums around the world, and demonstrate the ways in which ancient sculptures are mediated across Europe and the West.

Known as "the Pearl of the Mediterranean," Izmir invokes a city and countryside blessed with good fortune; it is known to many as the homeland of Ephesus, Bergama, and Sardis. Yet, Turkey's third largest city has an especially vexed past. The Greek pursuit of the Megali Idea leveraged Classical history for 19th century political gains, and in so doing also foreshadowed the "Asia Minor Catastrophe." Princeton University's work at Sardis played into the duplicitous agendas of western archaeologists, learned societies, and diplomats seeking to structure heritage policy and international regulations in their favor, from the 1919 Paris Peace Conference to the League of Nations. A Pearl in Peril reveals the voices of those on the ground. It also explores how Howard Crosby Butler, William Hepburn Buckler, and William Berry penetrated the inner circle of world leaders, including Woodrow Wilson, Lloyd George, and Eleftherios Venizelos. On the smoldering ashes of Anatolia's scorched earth, foreign intervention continued apace with plans for large-scale development. A Pearl in Peril tackles the untold story of Julian Huxley's admiration of the US Tennessee Valley Authority's "principals of persuasion" in the context of the industrial landscapes and pursuit of modernity in the Aegean. The promise of UNESCO, too, brought diplomacy dollars deployed to foster "mutual understanding" through preservation programs at Sardis. Yet, from this same pot of money came support for "open intelligence" at the international fairs held in Izmir's Kültürpark, a turnkey battleground of the Cold War. Ironically, it was UNESCO's colossal Abu Simbel project in Egypt that led the US to abandon their preservation initiatives in Turkey. Five decades on, groves of organic olives, marble quarries and gold mines not only threaten the erasure of sacred landscapes, but also ensure the livelihood of local communities. Ultimately, A Pearl in Peril offers a bold assessment of diplomatic practice, perspectives of contemporary heritage, and the challenges of unprecedented expansion of city and countryside.