3 Louis Kahn Kimbell Art Museum Fort Worth Tx 196672

Art museum in Texas, US

Art museum in Texas, Usa

Kimbell Art Museum

The due south wing of the museum showing a portico and five vaulted galleries. The tree-lined entry courtyard is at the far left.
Established	1972
Location	Fort Worth, Texas, Us
Type	Fine art museum
Collections	European Sometime Masters
Collection size	350
Director	Eric K. Lee
Nearest motorcar park	On site (no charge)
Website	world wide web.kimbellart.org

The Kimbell Art Museum in Fort Worth, Texas, hosts an art drove as well every bit traveling art exhibitions, educational programs and an extensive inquiry library. Its initial artwork came from the individual collection of Kay and Velma Kimbell, who too provided funds for a new building to house it.

The edifice was designed by architect Louis I. Kahn and is widely recognized as one of the about significant works of architecture of recent times. It is peculiarly noted for the launder of silver natural light beyond its vaulted gallery ceilings.

History [edit]

Kay Kimbell was a wealthy Fort Worth businessman who built an empire of over seventy companies in a variety of industries. He married Velma Fuller, who kindled his interest in art collecting by taking him to an art show in Fort Worth in 1931, where he bought a British painting. They gear up the Kimbell Fine art Foundation in 1935 to establish an art plant, and past the time of his expiry in 1964, the couple had clustered what was considered to exist the best option of old masters in the Southwest. Kay left much of his estate to the Kimbell Art Foundation, and Velma ancestral her share of the estate to the foundation as well, with the central directive to "build a museum of the outset course."^{[one] [2] [3]}

The Foundation'due south board of trustees hired Richard Fargo Brownish, 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 Kimbell's fine art collection. Upon accepting the post, Brown declared that the new building should itself exist a piece of work of art, "as much a precious stone as one of the Rembrandts or Van Dycks housed inside information technology."^[3] The proposed museum was given space in a nine.5 acre (3.8 hectare) site in Fort Worth's Cultural District, which was already abode to three other museums, including the Fort Worth Art Museum-Eye (at present the Mod Art Museum of Fort Worth) and the Amon Carter Museum, specializing in fine art of the American W.^{[4] : 212}

Brown discussed the goals of the establishment and its new edifice with the trustees and summarized them in a four-page "Policy Statement" and a nineteen-folio "Pre-Architectural Program" in June 1966. After interviewing a number of prominent architects, the museum hired Louis I. Kahn in Oct 1966.^{[4] : 211} Kahn'southward previous works included such acclaimed structures equally the Salk Plant in California, and he had recently been honored past being called to blueprint the National Assembly Building for what would become the capital letter of the new nation of Bangladesh. Construction for the Kimbell Art Museum began in the summer of 1969. The new building opened in October 1972 and rapidly accomplished an international reputation for architectural excellence.^{[5] : 353, 360}

Brown also expanded the Kimbell drove by acquiring several works of significant quality by artists similar Duccio, El Greco, Rubens, and Rembrandt.^[ane]

Later Richard Fargo Brown's expiry in 1979, Edmund "Ted" Pillsbury was appointed director of the museum. Previously he had been the director of the newly opened Yale Eye for British Art, which, coincidentally, was also designed by Louis Kahn. He had as well been a curator at the Yale Art Gallery, Kahn's kickoff art museum. Pillsbury continued the art acquisition program in an aggressive but disciplined style. Richard Brettell, director of the Dallas Museum of Art, said, "He was, in some means, single-handedly responsible for turning the Kimbell from an establishment with a great building into ane whose collection matched its architecture in quality".^[6]

In 1989, Pillsbury announced plans to expand the museum'due south edifice to accommodate its enlarged drove, merely the plan was dropped because of strong opposition to any major alteration of the original Louis Kahn structure.^[7] In 2007, the Kimbell solved that trouble by announcing plans to construct an additional, separate building beyond the street from the original edifice. Designed by Renzo Pianoforte, and relocated to the w lawn, the new construction opened to the public in Nov 2013.^[eight]

The museum is part of the Monuments Men and Women Museum Network, launched in 2021 by the Monuments Men Foundation for the Preservation of Fine art.^[ix]

The collection [edit]

Joan Miró, 1918, Portrait of Heriberto Casany, oil on canvas, seventy.2 x 62 cm

In 1966, before the museum even had a edifice, founding director Brownish included this directive in his Policy Statement: "The goal shall be definitive excellence, not size of drove." Accordingly, the museum's collection today consists of only well-nigh 350 works of art, simply they are of notably loftier quality.^[x]

The European collection is the most extensive in the museum and includes Michelangelo'due south first known painting, The Torment of Saint Anthony, the only painting by Michelangelo on exhibit in the Americas.^[6] It as well includes works past Duccio, Fra Angelico, Mantegna, El Greco, Carracci, Caravaggio, Rubens, Guercino, La Tour, Poussin, Velázquez, Rembrandt, Boucher, Gainsborough, Vigée-Lebrun, Friedrich (the first painting by the artist acquired by a public collection exterior of Europe),^[11] Cézanne, Monet, Caillebotte, Matisse, Bonnard,^[12] Mondrian, Braque, Miró and Picasso. Works from the classical period include antiquities from Ancient Egypt, Assyria, Hellenic republic and Rome. The Asian drove comprises sculptures, paintings, bronzes, ceramics, and works of decorative art from People's republic of china, Korea, Japan, Bharat, Nepal, Tibet, Cambodia, and Thailand. Precolumbian art is represented by Maya works in ceramic, stone, shell, and jade, Olmec, Zapotec, and Aztec sculpture, too as pieces from the Conte and Huari cultures. The African drove consists primarily of bronze, wood, and terracotta sculpture from Due west and Fundamental Africa, including examples from Nigeria, Angola, and the Congo-kinshasa, and Oceanic art is represented past a Maori figure.

The museum owns only a few pieces created after the mid-20th century (believing that era to be the province of its neighbour, the Modern Art Museum of Fort Worth) and no American art (believing that to be the province of its other neighbour, the Amon Carter Museum).^[10]

The museum also houses a substantial library with over 59,000 books, periodicals and sale catalogs that are available as a resource to art historians and to faculty and graduate students from surrounding universities.^[13]

The edifice [edit]

Preparation [edit]

Dark-brown's "Policy Argument" set a clear architectural direction by calling for the new edifice to be "a work of art", Information technology was augmented by his "Pre-Architectural Programme", 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." Brownish chosen for a building of modest calibration that would not overwhelm either the artwork or the viewer.^{[iv] : 210}

Afterward 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 Oct 1966. From Kahn'southward point of view, Chocolate-brown was an ideal client. Brown had been an admirer of Kahn's work for some time, and the arroyo he specified for the building was very much in line with Kahn's, particularly its accent on natural light.^{[iv] : 210–212}

Because Kahn had a reputation for significant time and price overruns, a local engineering and architectural firm owned by Preston M. Geren was fabricated associate builder, a practice followed in Fort Worth for out-of-state architects. Frank Sherwood served every bit their project coordinator. The Geren organization had a solid reputation for bringing in projects on time and within budget, but past their own admission they were not especially innovative.^{[fourteen] : 181, 196} The contract chosen for control over structure to be turned over to Geren when Kahn had finished the design, a provision that eventually led to disharmonize because Kahn felt that a blueprint was never finished until the building was constructed. Kahn one time said, "the building gives you answers as it grows and becomes itself." The museum trustees settled the issue by deciding that Geren would report directly to them instead of to Kahn, just that Kahn would take concluding say over the design, except that whatsoever changes would take to be approved by Chocolate-brown.^{[4] : 226}

The new museum was to exist congenital on a gentle slope below the Amon Carter Museum, whose entrance and terrace faced the Fort Worth skyline. Kahn was asked to build the Kimbell museum no more than forty feet (12 m) loftier so it would not interfere with the view from the Carter Museum. Kahn initially proposed a low just very spacious building 450 feet (137 m) square, but Brownish rejected that proposal and insisted that Kahn blueprint a much smaller structure, a decision that would take repercussions several years later when a proposal to expand the edifice created a storm of controversy.^{[15] : 396}

Architecture [edit]

Kimbell Fine art Museum at dusk

The museum is equanimous of 16 parallel vaults that are each 100 anxiety (30.6 m) long, twenty anxiety (half-dozen m) loftier and xx feet (6 chiliad) wide (internal measurements).^{[15] : 398} Intervening depression channels dissever the vaults. The vaults are grouped into three wings. The north and south wings each have six vaults, with the western one open as a portico. The key infinite has 4 vaults, with the western one open up as an entry porch facing a courtyard partially enclosed by the two outside wings.

With one exception, the fine art galleries are located on the upper floor of the museum to allow access to natural light. Service and curatorial spaces besides as an additional gallery occupy the ground flooring.^{[v] : 342} Each interior vault has a slot along its apex to allow natural light into the galleries. Air ducts and other mechanical services are located in the flat channels between the vaults.^{[5] : 347}

Kahn used several techniques to give the galleries an inviting atmosphere. The ends of the vaults, which are made of concrete block, are faced with travertine within and out.^{[5] : 348} The steel handrails were "blasted" with ground pecan shells to create a matte surface texture.^{[5] : 350} The museum has three glass-walled courtyards that bring natural light to the gallery spaces. One of them penetrates the gallery floor to bring natural light to the conservation studio on the ground floor.^{[4] : 219}

The mural has been described as "Kahn's most elegant built example of mural planning" by Philadelphia landscape builder George Patton.^[16] Approaching the main entrance past a lawn edged by pools with running water, the visitor enters a courtyard through a grove of Yaupon Holly trees. The sound of footsteps on the gravel walkway echoes from the walls on either side of the courtyard and is magnified under the curved ceiling of the entry porch. After that subtle training, the visitor enters the hushful museum with silvery light spread across its ceiling.^{[5] : 354} Harriet Pattison played the lead role in the landscape blueprint and is also the person who suggested that open up porches flanking the entrance would create a good transition from the lawn and courtyard to the galleries inside. Pattison, who had too worked with Kahn on other projects, was an employee of Patton.^{[4] : 227} She is the mother of movie director Nathaniel Kahn, Louis Kahn's son who fabricated the film "My Architect" about his begetter.^{[four] : 259}

Vaults [edit]

Kahn's get-go design for the galleries chosen for athwart vaults of folded concrete plates with low-cal slots at the elevation. Brown liked the lite slots simply rejected this particular design because it had the ceilings 30 feet (9 m) high, as well high for the museum he envisioned. Further research past Marshall Meyers, Kahn'due south project architect for the Kimbell museum, revealed that using a cycloid curve for the gallery vaults would reduce the ceiling summit and provide other benefits as well. The relatively flat cycloid curve would produce elegant galleries that were wide in proportion to their height, assuasive the ceiling to exist lowered to xx feet (6 yard).^{[4] : 214–216} More importantly, that curve could too be used to produce a beautiful distribution of natural light from a slot in the top of the gallery across the entire gallery ceiling.^[17]

Kahn was pleased with this development considering it allowed him to design the museum with galleries that resembled the ancient Roman vaults he had always admired. The thin, curved shells needed for the roof were challenging to build, still, so Kahn called in a leading authorization on concrete construction, Baronial Komendant, with whom he had worked earlier (and who, like Kahn, was born in Estonia^{[4] : 96} ). Kahn generally referred to the museum's roof form every bit a vault, simply Komendant explained that information technology was actually a shell playing the role of a axle.^{[iv] : 216} More precisely, as professor Steven Fleming points out, the shells that form the gallery roofs are "post-tensioned curved physical beams, spanning an incredible 100 feet" (xxx.five m), which "happened to have been the maximum altitude that physical walls or vaults could be produced without requiring expansion control joints."^[eighteen] Both terms, vault and shell, are used in professional person literature describing the museum.

One of the porticos at the front of the museum. This beat, similar all the others, is supported only at its four corners, minimizing obstacle at floor level.

Truthful vaults, such as the Roman vaults that Kahn admired, will plummet if not supported along the entire lengths of each side. Non fully understanding the capabilities of mod concrete shells, Kahn initially planned to include many more support columns than were necessary for the gallery roofs.^{[xiv] : 185} Komendant was able to use post-tensioned physical that was only five inches thick to create gallery "vaults" that need support columns only at their iv corners.^{[14] : 194}

The Geren firm, which had been asked to await for ways to go along costs low, objected that the cycloid vaults would be likewise expensive and urged a apartment roof instead. Kahn, however, insisted on a vaulted roof, which would enable him to create galleries with a comforting, room-like atmosphere yet with minimal demand for columns or other internal structures that would reduce the museum's flexibility. Eventually a deal was struck whereby Geren would be responsible for the foundation and basement while Komendant would be responsible for the upper floors and cycloid shells.^{[4] : 218} Kahn placed 1 of these shells at the forepart of each of the three wings every bit a porch or portico to illustrate how the building was constructed. The effect was, in his words, "like a slice of sculpture exterior the building."^{[xiv] : 204}

Thos. S. Byrne, Ltd. was the contractor for the project, with A. T. Seymour as project director. Virgil Earp and 50. G. Shaw, Byrne's project superintendents, designed forms with a cycloid shape that were made from hinged plywood and lined with an oily coating and then they could be reused to pour concrete for multiple sections of the vaults, helping to ensure consistency.^{[14] : 204–206} The long, straight channels at the bottoms of the shells were bandage first then they could be used equally platforms to support the workmen pouring concrete for the cycloid curves. After all the physical had been poured and strengthened with internal post-tensioning cables, nevertheless, the curved parts of the shells carried the weight of their lower straight edges instead of the other way around.^[17]

To prevent the shells from collapsing at the long light slots at their apexes, concrete struts were inserted at 10-pes (iii m) intervals. A relatively thick concrete arch was added to each end of the shells to stiffen them farther. To make it clear that the curved shells are supported merely at their iv corners and not by the walls at the ends of the vaults, sparse arcs of transparent material were inserted between the curve of the shells and the end walls. Because the stiffening arches of the shells are thicker at the top, the transparent strips are tapered, thinner at the top than at the bottom. In addition, a linear transparent strip was placed between the directly bottoms of the shells and the long exterior walls to show that the shells aren't supported past those walls either. In improver to revealing the building's construction, these features bring additional natural calorie-free into the galleries in a fashion that is prophylactic for the paintings.^{[4] : 217}

The vault roofs, which are visible to approaching visitors, were covered with lead sheathing inspired by the lead roofing of the complexly curved roofs of the Doge's Palace and St. Mark's Basilica in Venice, Italy.^{[5] : 353}

Skylights [edit]

Reflectors spread sunlight across the gallery ceilings. Kahn showed that the curved ceiling shells are supported only at their corners past allowing a thin strip of outside light to enter along the tops of the long gallery walls and a thicker arc of light to enter at the stop of each gallery.

David Brownlee and David DeLong, authors of Louis I. Kahn: In The Realm of Architecture, declare that "in Fort Worth, Kahn created a skylight arrangement without peer in the history of compages."^{[15] : 132} Robert McCarter, author of Louis I. Kahn, says the entry gallery is "one of the nearly beautiful spaces e'er built", with its "astonishing, ethereal, silverish-colored light."^{[five] : 355} Carter Wiseman, author of Louis I. Kahn: Across Time and Style, said that "the light in the Kimbell gallery assumed an almost ethereal quality, and has been the distinguishing factor in its fame e'er since."^{[4] : 222}

Creating a natural lighting system that has evoked such acclaim was challenging, and Kahn's role and the lighting designer Richard Kelly investigated over 100 approaches in their search for the proper skylight system. The goal was to illuminate the galleries with indirect natural lite while excluding all direct sunlight, which would damage the artwork.^{[14] : 184} Richard Kelly, lighting consultant, adamant that a reflecting screen made of perforated anodized aluminum with a specific bend could exist used to distribute natural light evenly across the cycloid curve of the ceiling. He hired a figurer skilful to make up one's mind the exact shape of the reflector'southward bend, making it ane of the first architectural elements to be designed with computer engineering.^{[iv] : 221 [14] : 209}

In areas without art, such as the anteroom, cafeteria and library, the entire reflector is perforated, making it possible for people standing below to glimpse passing clouds. In the gallery spaces, the primal part of the reflector, which is directly below the sunday, is solid, while the remainder is perforated.^{[five] : 353} The concrete surfaces of the ceiling were given a high finish to further help the reflection of the light.^{[4] : 221} The consequence is that the strong Texas sun enters a narrow slot at the top of each vault and is evenly reflected from a curved screen beyond the entire arc of the polished physical ceiling, ensuring a beautiful distribution of natural light that had never earlier been accomplished.^{[ commendation needed ]}

Expansion [edit]

In 1989, director Ted Pillsbury, Brown'south successor, appear plans to add 2 wings to the due north and south ends of the building and chose builder Romaldo Giurgola to blueprint them. A firestorm of protest erupted.^{[iv] : 234} Critics pointed out that founding director Brown's "Pre-Architectural Program" had specified that "the form of the building should be so complete in its beauty that additions would spoil that form,"^{[four] : 210} and that Kahn had achieved that goal extraordinarily well.

A grouping of prominent architects signed a letter acknowledging the need for additional infinite but arguing that the proposed improver would compromise the proportions of the original. They noted that when Kahn himself was questioned well-nigh the possibility of a futurity expansion, he said that it should "occur as a new building and be situated away from the nowadays structure beyond the lawn".^[19] Esther Kahn, Louis Kahn's widow, published a letter voicing similar sentiments, noting that "there is room on the site for a separate building, which could be continued to the present museum."^[xx] The project was cancelled a few months later.

Kahn intended visitors to enter through the thoughtful landscaping at the front entry...

...but near visitors entered by through the rear door from the parking lot. The new secret parking garage should solve this problem.

Renzo Piano Pavilion [edit]

In 2006, the idea of an expansion surfaced one time once again at a dinner in Fort Worth attended by Timothy Potts, the museum's director at the time (Eric Yard. Lee has been the manager since March 2009); Kay Fortson, president of the Kimbell Art Foundation and a key figure in the creation of the original building; Ben Fortson, a trustee; and Sue Ann Kahn, Louis Kahn's girl and a song opponent of the original plan for expansion. The new proposal was exactly in line with Louis Kahn's own thoughts for expansion: a split up building.^[7] At that time, the new structure was to be sited on land to the dorsum of the Kahn building.

In April 2007, the museum announced that Renzo Piano had been chosen to design the new building. Pianoforte was an obvious choice because he had worked in Louis Kahn'south office as a fellow and had later established a reputation as i of the world'southward leading museum architects. Piano had been especially agile in Texas, designing the Menil Collection in Houston, a commission in Louis Kahn's studio at the time of Kahn's death, and the Nasher Sculpture Center in Dallas. He also designed the expansion for the Art Institute of Chicago and was co-designer of the Pompidou Centre in Paris.^[21]

The schematic designs for the new Kimbell edifice were made public in November 2008, and the plans were released in May 2010. The 85,000 square foot (7,900 m²) structure would complement the original building but not mimic it. Different the original, its lines would be rectilinear, not curvilinear. Like the original, notwithstanding, it would take three bays with the middle bay stepped back from the other two.^{[8] [22]} The new building expansion, named the Renzo Piano Pavilion, was officially inaugurated to the public on November 27, 2013.^[23]

The new edifice should also resolve a parking issue at the museum. Kahn was deeply troubled by the negative impact of the motorcar on city life; he one time spoke of "the devastation of the city past the motor machine."^[24] Fundamentally opposed to the idea of orienting buildings to the automobile, Kahn placed the principal parking lot in the back of the building, intending for visitors to walk around the building and enter through carefully planned landscaping. Most visitors, however, entered through the dorsum door on the ground floor, missing the entry experience that Kahn had designed.^{[iv] : 219 [v] : 354} The new building will solve the problem with an hugger-mugger parking garage. Subsequently visitors ascend to the gallery level of the new building, they can exit it and walk across the lawn and the courtyard to enter the original building as Kahn had intended.^[viii]

Recognition [edit]

• In 1998, the American Institute of Architects gave the museum their prestigious Twenty-5 Year Laurels, which is awarded to no more than one building per twelvemonth.
• Robert Campbell, architectural critic for the Boston Globe and winner of the Pulitzer Prize for Criticism, declared it to be "the greatest American building of the second half of the 20th century."^[25]
• Robert McCarter, writer of Louis I. Kahn, said that the Kimbell Art Museum "is rightly considered Kahn's greatest congenital work" and "has been the subject of more scholarly studies than all his other works combined."^{[five] : 340}
• Carter Wiseman, author of Louis I. Kahn: Across Fourth dimension and Manner, said, "With the Kimbell, Kahn had accomplished something unique in the history of mod architecture, a building that engages an element of nature—sunlight—with unprecedented skill and combined it with a contemporary program in a structure that also called upon the almost avant-garde engineering while invoking the monuments of the past."^{[iv] : 234}
• Thos. S. Byrne, Ltd., the structure contractor, won the first Build America Award from the Associated Full general Contractors of America in 1972 for the "innovative construction techniques" used on the museum.^[26]

European drove highlights [edit]

• 

  Georges de La Tour, The Cheat with the Ace of Clubs, c. late 1620s; another version is in the Louvre.

• 

• 

• 

Asian collection highlights [edit]

• 

  Wang Zhao, The Three Stars of Happiness, Wealth, and Longevity, c. 1500, Chinese, Ming dynasty, ink and light colors on silk

• 

  Wen Jia (Wen Chia), Landscape in the Style of Dong Yuan, 1577, Chinese, Ming dynasty (1368–1644)

• 

  Gong Xian, Landscape, c. 1650, ink on silk painting, Chinese, Qing dynasty (1644–1911)

• 

  Chen Jiayen, Bamboo, Stone, and Narcissus, 1652, Chinese, Qing dynasty (1644–1911), Hanging scroll; ink on paper

Management [edit]

The Kimbell Art Museum derives around 65% of its $12 meg budget from its unrestricted endowment of more than $400 million.^[27] The endowment fell from $466 million to $398 meg during the showtime years of the 2007–2012 global financial crisis.^[28] The museum has no special funds for acquisitions.^[29] Museum membership is at 15,000. In 2019, the museum appointed Guillaume Kientz as the curator of European art; he had previously worked in the Louvre.^[thirty]

Meet also [edit]

• Amon Carter Museum
• Modern Art Museum of Fort Worth

References [edit]

1. ^ ^{a b} Edmund Pillsbury. "Kimbell Art Museum". Texas State Historical Association. Retrieved July 12, 2010.
2. ^ "Kay Kimbell". Texas State Historical Association. Retrieved July 12, 2010.
3. ^ ^{a b} Mike Cochran (Jan 26, 1966). "New Art Museum Aids Culture in Fort Worth". Gettysburg Times (Associated Press story).
4. ^ ^{a b c d e f grand h i j grand l m n o p q r s t} Wiseman, Carter (2007). Louis I. Kahn: Beyond Time and Style. New York: Norton. ISBN978-0-393-73165-1.
5. ^ ^{a b c d e f g h i j grand} McCarter, Robert (2005). Louis I. Kahn. London: Phaidon Press. ISBN0-7148-4045-9.
6. ^ ^{a b} Scott Cantrell (Mar 26, 2010). "Ted Pillsbury, longtime director of Kimbell Art Museum, dies". Dallas Morning News.
7. ^ ^{a b} David Dillon (July 12, 2007). "Piano Designing Kimbell Expansion". Architectural Record. Retrieved July seven, 2010.
8. ^ ^{a b c} David Dillon (May 28, 2010). "Piano Conceives a Respectful Add-on to Kahn's Kimbell Masterpiece". Architectural Tape. Retrieved July 7, 2010.
9. ^ "A New Museum Network Is Focusing On the Monuments Men's Long-Overlooked Postwar Cultural Contributions". Artnet News. 2021-06-17. Retrieved 2021-07-14 .
10. ^ ^{a b} "Collection". Kimbell Fine art Museum. Archived from the original on Dec 27, 2010. Retrieved July vi, 2010.
11. ^ Timothy Potts, ed. Kimbell Art Museum Handbook of the Drove. Fort Worth: Kimbell Art Museum, distributed by Yale Academy Printing, New Haven and London, 2003
12. ^ "Acquisitions of the month: August-September 2018". Apollo Magazine.
13. ^ "Library". Kimbell Art Museum. Archived from the original on June 29, 2011. Retrieved July 6, 2010.
14. ^ ^{a b c d e f m} Leslie, Thomas (2005). Louis I. Kahn:Edifice Art, Building Science. New York: George Braziller, Inc. p. 274. ISBN0-8076-1543-ix.
15. ^ ^{a b c} Brownlee, David; De Long, David (1991). Louis I. Kahn: In the Realm of Architecture. New York: Rizzoli International Publications. ISBN0-8478-1330-4.
16. ^ Robert McCarter (2004). "Kahn, Louis I. 1901-74". In Sennott, Roger (ed.). Encyclopedia of 20th Century Architecture. New York: Fitzroy Dearborn. p. 724. ISBNi-57958-434-ix.
17. ^ ^{a b} McCarter, Robert (2009). "Louis I. Kahn and the Nature of Concrete". Concrete International. American Concrete Institute (Dec).
18. ^ Fleming, Steven (December 2004). "Of Quotidian Proportions: the Everyday Determinants of Great Modern Compages". Cultural Studies Clan of Australasia Annual Conference 2004. Perth, Australia: CSAA / Murdoch University, Centre for Everyday Life. p. 11. hdl:1959.thirteen/35507.
19. ^ Johnson, Philip; et al. (December 24, 1989). "Kimbell Museum; In Praise of the Status Quo". The New York Times.
20. ^ Kahn, Esther I. (November 26, 1989). "The Kimbell Museum". The New York Times.
21. ^ "Renzo Pianoforte Chosen equally New Building Builder" (Press release). Kimbell Art Museum. April five, 2007. Archived from the original on December 27, 2010. Retrieved July 7, 2010.
22. ^ "Kimbell Art Museum Unveils Renzo Piano'south Designs for a Major New Edifice Project" (Press release). Kimbell Art Museum. November 18, 2008. Archived from the original on Dec 27, 2010. Retrieved July 7, 2010.
23. ^ "Official opening of the Expansion of Kimbell Art Museum in Fort Worth, Texas". Renzo Piano Building Workshop. Retrieved 22 July 2014.
24. ^ Kahn, Louis (2003). Twombly, Robert (ed.). Louis Kahn: Essential Texts. New York: W. Due west. Norton. p. 73. ISBN0-393-73113-8.
25. ^ James-Chakraborty, Kathleen (2004). "Our Architect" (PDF). The Exeter Bulletin. Phillips Exeter Academy (Spring): 25. Archived from the original (PDF) on 2010-05-27.
26. ^ "The Beginning Build/America Award". Byrne Construction Services. Archived from the original on July four, 2010. Retrieved August 3, 2010.
27. ^ Christopher Knight (March 11, 2012), Critic'southward Notebook: Timothy Potts' past and future Los Angeles Times.
28. ^ Jason Edward Kaufman (January viii, 2009), How the richest Us museums are weathering the storm The Art Newspaper.
29. ^ Judith H. Dobrzynski (March xiv, 2012), How an Acquisition Fund Burnishes Reputations New York Times.
30. ^ Greenberger, Alex (2019-01-thirty). "Guillaume Kientz Named Curator of European Art at Kimbell Fine art Museum". ARTnews.com . Retrieved 2020-12-29 .

External links [edit]

• Official website
• QTVR walk-through of the museum

Coordinates: 32°44′54″N 97°21′55″West  /  32.74843°N 97.36520°Westward  / 32.74843; -97.36520

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Source: https://en.wikipedia.org/wiki/Kimbell_Art_Museum

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