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The New York Moma And The Kimbell Art Museum

2094 words - 8 pages

There are two books The pursuit of Quality: The Kimbell Art Museum written by Harry Abrams, and The 1939 Building of the Museum of Modern Art: The Goodwin-Stone Collaboration, written by Dominic Ricciotti. These two books investigate the change in architectural feats, and the layouts in which architects like Louis I. Kahn and Goodwin and Stone used in the changing times in which they lived. These two books and the chapters within them, showcase the change in the architecture and layouts of museum buildings. Yet, these books also show the change in museum models worldwide to alter the way individuals look at architecture and artwork. Both books speak of the ever changing museum models which took places from the early 1930s until the 1960s. The following quotes and instances mentioned in the history of the New York Museum of Modern Art and the Kimbell Art Museum describe how these two museums changed the course of how architects and artists design and fill museums.
The architecture of Goodwin and Stone, which would become the Museum of Modern Art changed the architecture of museums. They were professionals in a new era, with new designs and architectural styles beginning to emerge in not only the homes of wealthy individuals, but professional buildings throughout New York, the United States, and the rest of the world. These architects worked with the growing and popular architectural trends of the time, drafting and constructing a building which would follow along with the modern grandeur of the rest of New York City. They changed the way in which museums would look from there on out. Before the exteriors of museums, were themselves works of art; and in a way the façade of the MOMA was no different, it was a modern building design to house modern art.
Goodwin and Stone used two different styles of Architecture when constructing the structure from the years of 1936 through 1939. Not only did they use the International Style which was becoming the most modern of the architectural styles of the time, but they also used a form of the style Italian Palazzo. Dominic Ricciotti mentioned in his book that Goodwin and Stone evoked a form of an Italian Palazzo, with its large window area. Ricciotti stated that Talbot Hamlin “perceptively interpreted the exterior to be as much a piece of pure façade pictorial architecture as old fashioned buildings with a colossal order.” They knew that to follow along with the exteriors of many of the buildings near the site of the new museum, that they must make a building that matched the growing modern trend that was occurring. While this was a changing time when the international style was allowing for lighting to be placed throughout the museum, this structure had windows to allow for natural and artificial lights. The lighting was a way in which the museum model was changing, allowing for museum professions to not chance damaging art with natural sunlight. They had such buildings to work alongside as the...

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