Mostrando 29 resultados

The IMA Alliance Records document the philanthropic efforts of the Alliance of the Indianapolis Museum of Art over the course of more than 50 years, through multiple retail initiatives, events like the Fine Arts Ball, and other activities. As a collection of original records produced by the Alliance, it chronicles the history and inner-workings of one of the most prolific fundraising groups in the United States. The collection has been organized into eight series described below.

The Miller House and Garden Papers contain materials documenting the design, construction, history, and maintenance of the residence over a period of over 50 years from 1953-2009. The materials reflect the design work of Eero Saarinen [1910-1961], Dan Kiley [1912-2004], and Alexander Girard [1907-1993], and also the involvement of J. Irwin Miller [1917-2008] and his wife Xenia Simons Miller [1917-2008] in shaping their home and garden. The collection includes four categories of materials: documents, drawings, photographs, and materials samples.
A large portion of the collection consists of the file folders of paper documents. The files include receipts, invoices, notes, lists, and inventories relating to every aspect of the property. The Millers consulted with the designers over the years as their needs changed and as the house required updating.
The collection also includes a large quantity of photographs. Many are copies from professional and nationally renowned architectural photographers such as Balthazar Korab. Some images document renovations, repairs, and other changes to the house and garden.
The architectural drawings consist of 1950s blueprints of the original house and gardens, as well as plans related to renovations and repairs through 2009. Many of the Millers' blueprinted plans have hand written annotations from the designers. The documentation also includes some original sketches of the home and garden. Many of Girard’s original drawings for rugs, textiles, and other interior design elements are also housed in the collection.
The collection contains many textile samples related to the interior design and décor of the home. In the collection are samples from the original 1950s upholstery, rugs, and other materials used to decorate the interior. Many were specifically designed by or chosen by Alexander Girard. Some small samples are attached to pages of paper with detailed notes. Also included are three-dimensional objects such as samples of marble for the table tops and the interior walls.

Collection Historical Note
The Miller House and Garden in Columbus, Indiana, is one of the country’s most highly regarded examples of mid-century Modernist residences. The Miller House was designed by Eero Saarinen (1910-1961), with interiors by Alexander Girard (1907-1993), and landscape design by Daniel Urban Kiley (1912-2004).
Commissioned by industrialist and philanthropist J. Irwin Miller (1909-2004) and his wife Xenia Simons Miller (1917-2008) in 1953, the Miller House and Garden was designated a National Historic Landmark in 2000. The house expands upon a design approach developed by Ludwig Mies van der Rohe—epitomizing the international Modernist aesthetic—with an open and flowing layout, flat roof, and vast walls of glass and stone. The interiors, configured beneath a grid pattern of skylights supported by cruciform steel columns, are filled with strong colors and playful patterns.
The Miller House and Garden is part of a Modern design legacy that extends throughout the city of Columbus, Indiana, due to the architectural patronage and civic involvement of J. Irwin Miller. As a way to attract outstanding architectural talent to design public buildings in Columbus, Miller created the Architectural Program within the Cummins Engine Foundation, which funded excellent design for public buildings. Columbus boasts more than 70 buildings by noted Modern architects—such as Richard Meier, I. M. Pei, Cesar Pelli, Robert Venturi, John Carl Warnecke and Harry Weese—as well as public art works by internationally renowned architects and artists. The Miller House and Garden is among six National Historic Landmarks in the city.
The Miller House and Garden was the first National Historic Landmark designated with a still-living landscape architect that also was still occupied by its original owners. Also in 2000, it was included in the multiple property designation titled “Modern Architecture and Landscape Architecture in Bartholomew County, 1942-1999.” The multiple property designation also included Saarinen’s and Kiley’s nearby work at Irwin Union Bank and Trust and the North Christian Church.
Eero Saarinen was one of the leading architects of the twentieth century, whose buildings help define the extent and meaning of American Modernism. They range from extensive campuses for some of America’s largest corporations to the soaring monumentality of the St. Louis Gateway Arch. Saarinen’s work subordinated architectural style to achieving the most satisfactory solution to a given architectural problem; his malleable approach to Modernism yielded both variations on orthodox Modernism such as the Miller House and strongly sculptural and expressive structures such as the TWA Terminal and the Ingalls Hockey Rink at Yale University. For all his fame and popularity, Saarinen’s domestic commissions were extremely few in number, and the Miller House is undoubtedly the most significant, elegantly and thoughtfully resolving an ambitious program and a complex structure into a magical, light-filled space that opens on multiple sides to Dan Kiley’s landscape.
Alexander Girard, though perhaps best known today for his work as a textile and interior designer (he became director of design for the textile division of Herman Miller in 1952), was also an architect and an important contributor to the design of the Miller House from the very beginning of the process. Indeed, the further illumination of Girard’s career and design approach may be one of the most significant outcomes of this project. Within his interiors, Girard’s style combined vivid color, a strong graphic sensibility, and an affinity for decorative materials gathered from cultures around the globe. All these elements are present in the Miller House, from the bold colors used in the conversation pit, to the designs Girard executed for floor coverings, to the artifacts that enlivened the storage wall that defines the east side of the main living area. Alexander Girard speaks to Modern living in the house in a letter dated May 12, 1953 to the Millers. Girard writes: “I will certainly be most interested in doing work anywhere in this country…where there would be a chance to contribute to the advancement of living. I would count a house for you and Xenia definitely in this realm.”
Daniel Urban Kiley was noted for his seminal impact on twentieth century landscape design. In his work for the Millers, Kiley created one of the first and most important Modernist designs in residential landscape architecture on their 15-acre property. Its gridded layout expands upon the geometric order of the house, relying on plantings to form multiple overlapping planes and volumes. Kiley envisioned this series of green rooms as “pin wheeling spaces” expanding out from the residence. Based on classical design principles while fully embracing a Modern spatial sensibility inspired by Mies van der Rohe’s Barcelona Pavilion and the De Stijl movement, Kiley’s design for the Miller gardens harmoniously integrates the indoor and outdoor environments with a Mondrian-like, asymmetrical plan that features allées, lawns, paths, hedges, and orchards concentrated in a 4.5-acre square surrounding the residence. The Cultural Landscape Foundation hails the Miller garden as “perhaps the most important postwar garden in the United States.” The 1955 design is widely considered one of Kiley’s masterworks, and Kiley himself suggested to homeowner Xenia Miller that he believed the landscape to be his finest work.

The first series, Personal and Professional Materials, includes business cards, clippings, a postcard from the artist Clifton Wheeler, small black and white reproductions of the J. Ottis Adams painting The Gleaners, 1886, and an anonymous painting of Mary Queen of Scots, as well as the Adams family's inventories of the collection. The second series, Exhibition Materials, consists of exhibition catalogues, announcements, and art association bulletins. The last series, Journals, includes journals with articles about J. Ottis Adams, Winifred Adams, and other artists of the Hoosier Group.

The J. Ottis Adams Papers Addition includes three scrapbooks containing clippings, ephemera, correspondence, and photographs of the artist’s home and studio. The first and second scrapbooks document the artist’s professional life between the periods of 1891-1927 and 1895-1904. The final scrapbook was assembled by the artist’s family and contains additional material and notes related to the artist’s life, dated between 1901 and 1967. A letter from the St. Louis World’s Fair Department of Art (1904) is also included.

The Dorothy Reifel Collection on J. Ottis Adams contains primary source documents and research files about the life and times of Indiana artist J. Ottis Adams, collected by Dorothy Reifel.

The IMA Asian Art Society (AAS) Records document the efforts of the AAS to help grow the IMA’s Asian art collection through donations and funding acquisitions. It also details the Society’s efforts to interest and educate members and the public about Asian art through lectures, speakers, and trips.

The Bradley Brooks Papers, 1914-2008, contains records during Brooks' time working at the Indianapolis Museum of Art as the Director of Historic Properties between 2006 and 2015. While some of the records were created by Brooks himself, many of the records he collected as background information used within educational binders to aid in projects and serve as resources. Most of the records pertain to the historical houses under Brooks' care, including the Lilly House, the Miller House, and multiple other historical sites. Researchers will find information regarding the architects and oral interviews pertaining to the histories of the sites of value.

The Benton Mural Records, 1997-2002, contains records regarding the Indianapolis Museum of Art’s assistance in the conservation of the Benton Murals, primarily the murals housed on Indiana University’s campus. The Benton Murals are a series of murals created by Thomas Hart Benton, a regionalist American painter, muralist, and printmaker from the Great Depression. A large portion of the collection consists of the file folders of paper documents. While there is a Media series, photos are also located in other series where they are relevant. The collection is comprised of records produced and collected by staff, including Martin J. Radecki, director of conservation. Many of the records were originally housed in binders and were kept in their original order. Researchers will find information regarding conservation efforts of value.

The Contemporary Art Society (CAS) records document the group ’s efforts to bring greater awareness and interest to contemporary art since the group’s founding in 1962. CAS members were often invited to travel to art museums and galleries across the U.S. and abroad. Member funds were used to procure contemporary art acquisitions. CAS frequently hosts lecturers, artists, and other speakers, as well as arranging local visits to art museums and artist studios.
Due to the small amount of material in this collection it has not been divided into series. Due to privacy concerns, half of the collection is restricted to access by IMA staff and members of the Contemporary Art Society at the discretion of the archivist. The detailed box inventory below indicates which materials are open and which are closed. Instead, like materials were grouped together and then arranged chronologically. In Box 1 you will find materials related to ephemera, trips, lecture invites and reminders, affiliate orientation manual, and membership materials. Housed in the second box are member lists, directories, dues statements, acquisitions voting, and Resource Committee agendas. You will also find the information, evaluations, or materials CAS created with the help of Trustee Leadership Development in 1999. During that time, CAS re-evaluated their mission statement, mailed out member surveys, and held meetings to decide what they wanted for their organization’s future.
This collection includes thirteen binders. The first twelve are the binders of past presidents of CAS and are arranged chronologically by president. Binder 13 includes material related to membership. The binders contain a variety of minutes, correspondence, notes, study group plans, speaker invites, schedule of events, financial records, etc. Also included may be trip planning notes, member lists, or news clippings.

The Wilbur D. Peat Research Papers contain materials related to Peat’s articles, books, lectures, and classes predominantly from the years 1935-1958. The collection includes notes and index cards on Indiana artists and collectors, article clippings, bibliographies, exhibition catalogs, photographs of artworks, and correspondence with art collectors, curators and artists’ families.  The materials contain extensive notes relating to a number of Peat’s books including Pioneer Painters of Indiana, Indiana Houses of the Nineteenth Century, Chinese Ceramics of the Sung Dynasty, and Portraits and Painters of the Governors of Indiana, 1800-1943. A portion of this collection, relating to Pioneer Painters of Indiana, has been digitized in partnership with IUPUI University Library made possible by a grant from the U.S. Institute of Museum and Library Services, administered by the Indiana State Library. You can access the digital collection here: https://cds.ulib.iupui.edu/collections/WilburPeat