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ROGUES’
t h e Mog u l s a nd t h e Mo n e y
G A L L E RY
That Made t he Metropolit a n Muse um
Michael Gross
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ISBN 978-0-7679-2488-7
1 3 5 7 9 10 8 6 4 2
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Conte nts
Introduction
1
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x I Contents
Acknowledgments
487
Notes
491
Bibliography
523
Index
529
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Le ade rs of t he
Me t r o p o l i t a n Mu s e u m
Directors
Luigi Palma di Cesnola, 1879–1904
Caspar Purdon Clarke, 1905–1910
Edward Robinson, 1910–1931
Herbert Winlock, 1932–1939
Francis Henry Taylor, 1940–1955
James Rorimer, 1955–1966
Thomas Hoving, 1967–1977
Philippe de Montebello, 1977–2008
Thomas P. Campbell, 2009–
Presidents
John Taylor Johnston, 1870–1889
Henry Marquand, 1889–1902
Frederick Rhinelander, 1902–1904
John Pierpont Morgan, 1904–1913
Robert de Forest, 1913–1931
William Sloane Coffin, 1931–1933
George Blumenthal, 1934–1941
William Church Osborn, 1941–1946
Roland Redmond, 1947–1964
Arthur Houghton, 1964–1969
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Chairmen
Robert Lehman, 1967–1969
Arthur Houghton, 1969–1972
C. Douglas Dillon, 1972–1983
J. Richardson Dilworth, 1983–1987
Arthur Ochs Sulzberger, 1987–1998
James Houghton, 1998–
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(
Rogues’ Gallery
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Introduction
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also created its first comprehensive master plan, but wouldn’t live to see the
only part of his plan that was fully realized, the monumental Great Hall
through which most visitors enter.
The famous firm of McKim, Mead & White signed on two years later
to complete Hunt’s unfinished business. Over the next quarter century,
their work resulted in the opening of a new library in 1910 and northern
and southern wings through the following decade, and after an interregnum
for war, into 1926. Yet another wing was posthumously named for John
Pierpont Morgan, the industrial-era financier. Morgan served first as a
trustee and then as the museum’s president from 1904 until his death in
1913. The Morgan Wing, which now contains the popular arms and armor
collection, opened in 1910 as a home to the museum’s decorative arts col-
lection.
The American Wing, built onto the museum’s northwest corner in
1924, was inspired and paid for by its then president Robert de Forest, the
museum’s first great champion of American art. His wing grew further in
1931 with the addition of the Van Rensselaer period room, the grand en-
trance hall of a manor house built near Albany, New York, in the 1760s. The
museum itself would later call the wing “awkwardly placed” and that period
room a “haphazard appendage.”2 Later in that decade, a more successful ap-
pendage, the Cloisters, a branch of the museum dedicated to medieval art
and architecture, opened about seven miles away in Fort Tryon Park at the
northern tip of Manhattan, paid for in its entirety by John D. Rockefeller
Jr., who, though he never joined the board of trustees, was as decisive a force
in the museum’s history as Morgan.
During World War II, the Metropolitan’s fifth chief, Francis Henry
Taylor, who created the model of director as populist, reconceived the mu-
seum as a collection of smaller ones defined by civilizations and cultures,
and started planning to modernize and expand the building. He managed
to build a gallery connecting the Morgan Wing to the Fifth Avenue build-
ing, but frustrated in turn by war, financial shortfalls, the Whitney Museum
of American Art, which briefly toyed with a merger with the Metropolitan,
and a hidebound board of trustees, an exhausted Taylor produced no more
buildings before he quit his job in 1955. His successor, a medievalist named
James Rorimer who’d befriended Rockefeller, shouldered the burden of
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members only, the Iris and B. Gerald Cantor Roof Garden Café, the Great
Hall Balcony Bar, and an under-construction café in the latest iteration of
the American Wing). It is a concert and lecture hall, a catering facility and
event space, a vast retail and wholesale operation (with thirteen separate
shops inside the main museum and another thirty-nine around the world),
a scholarly center and library, an educational resource offering worldwide
tours and travel programs, lectures, symposia, films, and workshops (20,773
events in all in the year ending June 30, 2006, that attracted 830,607 peo-
ple), as well as reference services, apprentice and fellowship programs, and
a publishing house employing some two thousand people.
Less tangibly, it is a repository of desire, and not just for the art ob-
jects on display. Unlike its peers in Paris, Madrid, and St. Petersburg, and
countless other museums around the world, the Metropolitan was started
from scratch by self-made men rather than springing full-blown from a no-
ble collection. Yet acceptance by the museum—whether as an employee, a
scholar, a donor, a trader or seller of art, a member of one of its many groups
and committees, or, best of all, a member of its ruling board of trustees—is
a version of ennoblement, the ultimate affirmation of success, material and
d’estime that our democracy has to offer.
The museum repays its supporters with social prestige and affirma-
tion of their cultivation. Of course, what you get depends on what you give.
And the price is always rising. A seat on the board of trustees will set you
back in excess of $10 million. The price of being a benefactor, which chis-
els your name into the marble plaques beside its Great Hall staircase, is $2.5
million. There are only 267 living benefactors. But for a mere $95 annual
membership (up from $10 in 1880), almost anyone can get free admission,
use of the Trustees Dining Room in summertime (when the trustees are
mostly out of town), a couple of exhibition previews and magazines, and a
10 percent discount at the Met Store. And $65 of that is tax deductible.
In the American social firmament, the Metropolitan looms as more
than a museum. “In the status-driven world of upper-income New York,”
the New York Times has said, “one sure route to social stardom is a seat on the
board of a prominent arts institution. A savvy player will aim for the top:
the Metropolitan Museum of Art.”
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lion from its parking garage. It also netted $26.8 million selling art (the pro-
ceeds restricted to acquiring more), almost $4 million from its restaurant,
and $41 million selling merchandise, most of which went untaxed because
the museum claims that the goods, ranging from scholarly books to repro-
ductions of art on ties and Christmas cards, are “related to the museum’s
charitable function” as an educational organization.
That’s just the beginning. As of June 30, 2007, the museum’s assets
(not including its art) were valued at $3.6 billion, representing a 21.7 percent
increase over 2006. Of that increase, $573.2 million came from dividends,
interest, and capital gains on its $2.96 billion investment portfolio (which
includes stocks, bonds, investment and hedge funds, and private equity and
real estate investments). Of that, $69 million was transferred from the mu-
seum’s endowment to its operating budget. The endowment contributed
30 percent of the museum’s revenues that year, gifts from the public 26 per-
cent, New York City 14 percent, admission contributions and membership
fees 13 percent each, leaving an operating surplus of $2 million (compared
with a $3 million deficit in 2006).
That money paid for the museum’s seventeen curatorial departments
and eighteen hundred employees (whose efforts are augmented by about
nine hundred volunteers) as well as its ancillary activities. Its payroll—or at
least the paychecks of its top officers—reflects its status as a huge and
hugely successful business. Montebello’s total compensation topped $5 mil-
lion in 2006; six other officers, including the PR man Holzer, were paid in
excess of $300,000, and five more received only slightly less. Raking in
well-earned big bucks were its chief investment officer (about $1.2 million),
deputy chief investment officer ($700,000-plus), and senior investment
officer ($337,000), as well as a computer operations manager (just under
$400,000), registrar (about $375,000), and technology chief (about
$327,000). Outside law firms earned $1 million from the museum in 2006,
outside accountants almost $800,000, a human resources consultant al-
most $400,000, architects almost $6 million, construction contractors the
same amount, and shipping and customs brokers almost $3.7 million.
The museum also spent almost $35 million on art that year; $63 mil-
lion to operate its curatorial, conservation, cataloging, and scholarly pub-
lishing departments; $47.3 million on guards; $40 million on its merchandise
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operations; $27 million on its galleries; $11 million on education and com-
munity services; the same to mount special exhibitions; almost $4 million
for public relations; $3.8 million to run its restaurants; $3.4 million for its
auditorium; $3 million on member services; $1.4 million to operate its
garage; $712,000 on corporate events; $182,000 on government lobbying;
$2 million on advertising; $4.3 million on repairs and maintenance; $3.7
million on insurance; almost $2 million on bank and credit card services;
$1 million on reference and research materials; $1.3 million on its various
programs; $1.8 million for catering; and more than $500,000 on interns
and honoraria.
In the two years ending June 30, 2007, the museum also made sig-
nificant capital improvements, spending some $240 million renovating its
Greek and Roman wing and the Ruth and Harold D. Uris Center for Edu-
cation, $22 million to renovate the wing housing its African, Oceania, and
Central and South American collections, almost $17 million to begin re-
making the American Wing, $4.2 million to reinstall the Wrightsman
Galleries, and about $27 million on other projects. About $61 million in
contracts for capital improvements were in the pipeline. Also outstanding
were bond liabilities of about $163 million, and a debt of $85 million on a
$100 million line of credit from the JPMorgan Chase bank. All of this
earned the Met the No. 36 spot on the 2007 NonProfit Times list of America’s
largest nonprofit organizations (the Red Cross was No. 1, the New York
Public Library, No. 42).
And that doesn’t count the value of the art. “There is no way to cal-
culate it,” says the dealer Richard Feigen. “Most of the items are beyond
prices realized in the market because the quality is generally beyond any-
thing that has appeared. Think of all the departments . . . Asian, Egyptian,
classical . . . it’s billions and billions and billions.”
Consider that a Jackson Pollock painting sold in 2006 for $140 mil-
lion. The Met owns at least two, forty Pollock drawings, and three sketch-
books. That same year, a de Kooning painting sold for $137.5 million (the
Met owns four and four drawings), and a Klimt painting for $135 million
(the Met has two, although they are not as valuable). In 1990, van Gogh’s
Portrait of Dr. Gachet sold for $82.5 million and a Renoir, Bal au Moulin de la
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Galette, Montmartre, for $78.1 million. Ten years later, the Met owned twenty-
seven Renoirs, and “they have over a billion dollars’ worth of van Goghs
alone,” including at least eighteen paintings, another one of New York’s top
dealers says. Exact numbers are hard to come by. The Met’s Web site refers
to only seventeen van Gogh paintings and three drawings. The central cat-
alog, a card file of museum holdings that was once open to the public, “is no
longer updated,” a member of that department e-mails in response to a re-
quest for information, so “is now rather incomplete.” And the various cura-
torial departments have grown so territorial and secretive that they will not
even share their records of departmental holdings with the museum’s own
Thomas J. Watson Library, as I learned when I called to confirm the num-
bers I could find.
Michael Botwinick, director of New York’s Hudson River Museum,
formerly the assistant curator in chief of the Met, points out that it owns
more—lots more—than paintings. What’s it all worth? It’s priceless, of
course, since the Met will never sell its collection. But here’s a ballpark es-
timate. “Consider today’s art market,” Botwinick says. “Twenty-five million
dollars is not an unusual price for ‘sought after’ objects, $50 million is not
an unusual price for ‘important objects,’ masterpieces are certainly going to
fetch $100 million, and then there are the touchstone pieces [that are
worth] let’s say $250 million. Let’s say there are a thousand in the $25 mil-
lion sought-after category, five hundred in the $50 million important cate-
gory, a hundred in the $100 million masterpiece category, and ten in the
$250 million touchstone category. That alone is over $60 billion.
“Add to that all of the harder-to-figure things like the Cuxa Cloister,
the Wrightsman period rooms, and the Temple of Dendur. Add to that the
high-volume collections. I have little trouble thinking you could argue $100
billion easily.”
Harry S. Parker III, a former vice director of the Met and later direc-
tor of San Francisco’s Fine Arts Museums, goes even higher. “I’d take a
guess at $300 to $400 billion.”
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collection of medieval art and the Cloisters to house it); the banker George
Baker, who started what’s now called Citibank and gave the museum an un-
restricted seven-figure gift; and Frank Munsey, known as the most hated
newspaper publisher in New York, who handed over an amazing $20 mil-
lion in 1925—then the largest cash gift ever given to a museum—making
the Met the wealthiest museum in the world.
Ever since, the Met has been a political, cultural, and social spectacle,
especially when all three come together in the cauldron of fund-raising.
Then the fun really begins. You can get a seat on the board by wielding
power (like Henry Kissinger, who was recruited to lend geopolitical savvy),
or waving your family bloodline or corporate flag (among the Met’s brand-
name trustee dynasties have been Morgans, Astors, Whitneys, Rockefellers,
Annenbergs, Houghtons, and various representatives of the Lazard Frères
investment bank), or possessing a useful skill or connections (like any num-
ber of financiers, developers, and media titans such as Mrs. Ogden Reid,
Henry R. Luce, and Sulzberger). But money counts most of all: a commit-
ment to donate six-figure sums every year, or to twist the arms of other po-
tential givers. “Give, get, or get out” is the rule.
Committee membership can cost even more, particularly if one lands
a coveted seat on the acquisitions committee, where you’re expected to
cough up cash to buy treasures. The only exceptions are those who are rich
in art and are wooed in the hope that those riches will one day be donated
to the museum. Like the wine committee in a social club, acquisitions is the
most fun, but not the most powerful, sinecure. That honor goes to execu-
tive, which really runs the show. As recently as thirty years ago, the mu-
seum’s board actually functioned like one, arguing about issues, making
a difference. Nowadays, it simply serves as an applauding claque for the
smaller group that actually makes the decisions.
To oversimplify only somewhat, the Metropolitan Museum has always
swung between two poles, two kinds of directors, revolutionaries and reac-
tionaries, change agents and consolidators. Bomb throwers like Hoving and
Francis Henry Taylor have wanted to open the museum up to the people,
while the knee-jerk reflex of the trustees is to disdain the clamoring hordes.
Montebello, almost all agree, was a brilliant example of the elitist director—
the type that tends to be favored by executive trustees—but he was also a
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consummate bureaucrat, which may well explain how he lasted thirty years
in his job. A distinguished success, well paid and highly respected, he was
neither exciting nor adventurous—nor was he loved. He was hired to be ex-
actly what he became: the keeper of a great tradition. Under Montebello, as
in the heyday of the Brahmins, the museum—behind a curtain of secrecy—
could do what it wanted.
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him now,” more than one person urged. “He ought to have a lot to say.” It
was just at the moment when the heat was being turned up on antiquities
in American museums. Bothmer’s counterpart at the J. Paul Getty Museum
in Los Angeles, Marion True, was going on trial for acquiring and smuggling
illegally looted antiquities in Italy (she would later face charges in Greece as
well). Its government was pressuring the Met to return the greatest prize
Bothmer ever brought home, the so-called Euphronios or Sarpedon krater,
a huge vessel originally used to mix water with wine, painted with a scene of
the death of Sarpedon, Zeus’s son, by the Greek master Euphronios in
about 515 b.c. At the time, Montebello was digging in his heels; he didn’t
want to give it back.
When he’d bought the krater from True’s co-defendant in Rome, a
dealer named Robert Hecht Jr., Bothmer was hailed a hero—it was the
finest of twenty-seven surviving vases by the painter—but he was also con-
demned by archaeologists who insisted that he had to have known it had
just been dug from Italian soil. Surely, Bothmer had stories to tell. Maybe
he would tell them. Maybe he hadn’t gotten Rafferty’s memo. Maybe he was
too old to care.
So I wrote him a letter, and a few days later his wife, the former Joyce
Blaffer, a Texas oil heiress, called and said that she would arrange with
Miles, the nurse’s aide who accompanied Bothmer to the museum each day,
for me to interview him. Miles and I arranged to meet at the Met on Feb-
ruary 1, 2007. Greeting me at the security desk, he said that after I spoke to
Dr. Bothmer, the curator wanted me to read “his memoirs.”
Upstairs, in one of the hidden warrens where the museum’s staff
works, Bothmer was sitting in a wheelchair, holding a wooden walking stick
in his left hand, in the small windowless office the museum had assigned
him in retirement. He was sharply dressed in a black jacket and black
sweater, his museum ID on a chain around his neck. He has straight white
hair, a large, jutting face with a strong square chin, and searching eyes be-
hind rectangular glasses. Clearly, he’d once been quite handsome. He was
still imposing. I spent a pleasant hour chatting about everything from his
family’s background to his first days at the museum in the 1940s.
While we were talking, two curators, James C. Y. Watt, the Brooke
Russell Astor Chairman of the museum’s Department of Asian Art, and his
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wife, Sabine Rewald, the Jacques and Natasha Gelman Curator in the De-
partment of Nineteenth-Century, Modern, and Contemporary Art, stopped
in. I was introduced to Rewald, who asked what I was doing. I explained I
was interviewing Bothmer for a book on the museum, and she asked if I’d
been “sent” by the museum’s Communications Department. I said no, I was
an independent author and hoped to interview her, too. Later that day, I
would innocently call and leave her a message. She never replied.
Though Bothmer’s recollections sometimes got what I’d call “stuck”—
he would elaborate on stories we’d already covered as I tried to move the
conversation forward—those moments were brief, and mostly he was en-
gaged and engaging. Still, at the end of an hour, he was clearly tiring, so I
suggested we continue the next day. At that, he was wheeled home, but not
before Bothmer, his aide, and his assistant, Elizabeth, all urged me to stay
and read his book, pointing to a large manuscript box sitting on Bothmer’s
desk.
The “book” turned out to be one of a series of oral history interviews
with the museum’s top trustees and staff, this one conducted in 1994 for the
Archives of American Art at the Smithsonian Institution. I had asked to
read them, but I’d been told I needed the permission of the interviewees to
see them and that had to come via the museum, so I was out of luck.
Thrilled to finally be seeing one, I began by reading a cover letter from Ash-
ton Hawkins, the museum’s secretary and chief counsel from 1969 to 2001.
It said, “We want to leave it up to you to decide whether to restrict access
to the interview during your lifetime.”
I got through about a third of the book that day, then left when Eliz-
abeth had to go home. We discussed a plan for the next day and decided
that I would return at 9:45 a.m. and continue reading until Bothmer joined
me at 11:45 to resume the interview. Sometime after 10:00 the next morn-
ing, Elizabeth excused herself briefly. The day before, Miles had asked me
to pick up the phone if it rang, so when it did, I answered without thinking.
A mistake.
The caller identified herself as Sharon Cott, Ashton Hawkins’s suc-
cessor, the museum’s senior vice president, secretary, and general counsel.
“Is Miles there?”
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I explained that he had not arrived and Elizabeth had stepped out.
With a sinking feeling—I’d been busted!—I asked to take a message.
“Who is this?” she asked.
“Just a visitor.” Why in God’s name had I picked up the phone? Had
Rewald called Cott instead of returning my call?
Elizabeth appeared, and I went back to reading while she returned
Cott’s call, instantly turning guarded. Elizabeth referred her to Miles. The
phone rang again. Elizabeth listened and turned. “They”—Miles and Both-
mer? Cott?—didn’t want me to read the oral history, she said. But then she
turned away and let me keep reading.
I started skimming, skipping ahead to the pages on more recent
events.
Elizabeth’s cell phone rang, and she left the room just as I reached a
page that warned that what followed was not to be released until years af-
ter Bothmer’s death. I stared at that page, wondering what lay beyond it,
until Elizabeth returned. Now she said she really did have to take the pages
away. But Bothmer would be there any minute.
Soon, Miles pushed Bothmer into the office, apologizing. With a
glance, I tried to tell him no explanation was necessary. But explain, he did,
in a rush. He had to take Bothmer “to therapy,” an appointment he’d just re-
membered and that could not be switched.
“You’ve got five minutes,” he said. “Make the most of it.”
Less than three minutes later, Miles was back. He seemed embar-
rassed and confused when I suggested we continue another day as Bothmer
was clearly enjoying himself. He’d even said so. Then Miles and I stepped
into the hall outside, where he said that “the museum” felt Bothmer was
“doddering” and “senile” and because of “his condition” didn’t want him
speaking to me. He added something about having to stop me because we
were on museum property. Anticipating that problem, I had originally sug-
gested to Joyce Bothmer that I interview him at home. Miles promised to
speak to “Madam” about that. When we returned to the office, Bothmer
was upset at the abrupt end of our conversation.
I suggested that I walk Miles and Bothmer out of the museum. Miles
was buttoning Bothmer’s coat when Sharon Cott appeared, grinning stiffly,
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saying nothing, arms tightly wound. Miles pushed Bothmer into the hall,
where an awkward pas de quatre took place—no one acknowledging what
was going on. Cott finally said she wanted to talk to Bothmer. He asked, “Is
this a conspiracy?” I’d decided I liked him. “Several,” I said.
“I don’t know what you mean,” Cott reprimanded me. I wondered, is
this what you learn in law school? I told her we were all leaving. Did she
want me to leave alone? She did. As I walked down the hall, Miles pushed
a slightly bewildered Bothmer back into his office.
Perhaps Bothmer knows no secrets. But Tom Hoving told me that’s
not what the Italian government believed; he says the Euphronios krater
was only returned after Italy threatened to indict Bothmer as it did Marion
True and drag him into court.
With their curator emeritus confined to a wheelchair and, in the mu-
seum’s estimation, doddering and senile, perhaps the museum’s leaders
were worried for his health. Or perhaps their concern was what he might
say if questioned.
Regardless, he will take his secrets to the grave—at least until his full
oral history emerges, if it ever does. The Metropolitan Museum is a store-
house of human memory. But it appeared, that day at least, it would just as
soon its own be erased.
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Archaeologist
Luigi Palma di Cesnola,
1870–1904
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Capitalist
J. Pierpont Morgan,
1904–1912
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Philanthropist
John D. Rockefeller Jr.,
1912–1938
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Catalyst
Robert Moses,
1938–1960
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Exhibitionist
Thomas P. F. Hoving,
1959–1977
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Arrivistes
Jane and Annette Engelhard,
1974–2009
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Acknowledgme nts
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4 88 I Acknowled gments
Stephanie Lake for their generosity with their own research; to Melik Kay-
lan and Engin Ozgen for their help on the Lydian Horde story; to Marian
L. Smith, immigration historian of the Department of Homeland Security;
to the Rockefeller family, and their creation the Rockefeller Archive Cen-
ter, and Darwin Stapleton and Ken Rose, who run it; to Leonora A. Gid-
lund and the New York City Municipal Archives; to Calvin Tomkins and
the Museum of Modern Art Archives; to the library of the Rijksmuseum
Amsterdam; to the Center for American History at the University of Texas;
to Christine Nelson and the Morgan Library; to the New York Public Li-
brary; to the Beinecke Rare Book and Manuscript Library at Yale Univer-
sity; to the Columbia University Rare Book and Manuscript Library; to the
Hagley Museum and Library; to Jane C. Waldbaum, president of the Ar-
chaeological Institute of America; to Norm Turnross of the Baillieu Library
at the University of Melbourne; to the Leo Baeck Institute; to ArtWatch; to
Barbara Niss and the Mount Sinai Archives; to Pat Nicholson, Samuel
Peabody, and the Metropolitan Museum Historic District Coalition; to the
Smithsonian Institution and its Archives of American Art; to the Altman
Foundation; to the New-York Historical Society; to Ian Locke, Gary
Combs, Nilüfer Konuk, Dan Weinfeld, Anja Heuss, Anna Marangou, and
Arthur Oppenheimer; to Harold James of Princeton University, Johannes
Houwink ten Cate of the University of Amsterdam, and Jonathan
Petropoulos of Claremont McKenna College; and to my journalist com-
rades-in-arms Charles Finch, Walter Robinson, Jean Strouse, Marianne
Macy, Russell Berman of the New York Sun, Autumn Bagley of the Flint Jour-
nal, Laura Harris of the New York Post, and Tom Mooney at the Wilkes-Barre
Times Leader.
The researchers who helped me are beyond compare. Thank you to
Ryan Hagen, Kerrie Lee Barker, Asli Pelit, Amanda Rivkin, Alexandra
Schulhoff, Cynthia Kane, Eric Kohn, Laila Pedro, Lisette Johnson, Ray-
mond Leneweaver, Zachary Warmbrodt, and Sarah Shoenfeld, and to
Bouke de Vries, Gerard Forde, Benedetta Pignatelli, Oliver Hubacsek,
Radhika Mitra, Laila Pedro, and Ewa Kujawiak for their skilled trans-
lations.
Finally, personal thanks to my wife, Barbara, my sister, Jane, Peter
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4 89 I Acknowled gments
Michael Gross
New York City
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53 0 I Inde x
Balenciaga, Cristobal, 376, 379, 459 Brancusi, Constantin, 148, 225, 349
Balthus, 405, 439, 440 Braque, Georges, 221, 244, 419, 438, 439
Balzac, Honoré de, 277, 382 Breck, Joseph, 110–11, 119, 132, 144, 156,
Barbizon school, 70, 72, 101, 224 157–58, 160
Barnard, George Grey, 117–24, 131–33, Brian, Guy Louis Albert, 380, 384, 391
134, 135, 143–47, 153, 154, 155, 165, British Museum, 3, 25, 47, 54, 78, 106, 366,
167–68, 169 482, 483
Barr, Alfred, 184, 194, 419, 437 Brock, Horace “Woody,” 397, 466
Bass, Mercedes Kellogg, 423, 435, 457–58, Bronzino, 73, 149
477 Brummer, Joseph, 162, 166, 196–98, 215–
Bass, Sid, 423, 435, 456, 457–58, 477 16, 228
Beame, Abe, 343, 344, 345 Bryant, William Cullen, 14, 24, 27–28,
Beaton, Cecil, 308, 309 34
Beck, John C., 430, 431 Buckley, Pat, 376, 377, 455, 456, 457, 462
Bell, Malcolm, 443, 446, 449 Burden, Amanda Jay Mortimer, 337, 355
Belmont, August, 27, 61 Burden, S. Carter, Jr., 334, 336–38, 340,
Bemberg, Patricia “Bébé,” 380, 388 341, 343, 345, 350, 355
Berenson, Bernard, 96, 101, 119, 134, 206, Burroughs, Bryson, 146, 148, 174, 184, 185,
230, 273–74 349
Berggruen, Heinz, 419 Burt, Nathaniel, 25, 28, 60, 111, 179
Berman, Avis, 150, 191, 216 Bury St. Edmunds Cross, 242, 289, 291–
Biddle, Flora, 151, 204, 216 92, 411
Biddle, George, 188, 222, 223 Butler, Howard Crosby, 96, 99
Biddle, James, 297, 304
Billings, C. K. G., 121, 123, 131, 136, 144, 146
Bishop, Heber R., 57, 79
Blass, Bill, 375, 378, 463 Cadwalader, John, 93, 140
Bliss, Lillie, 149, 151, 184 Campbell, Thomas P., 479–83, 485, 486
Blodgett, William Tilden, 27, 34, 35, 37– Canaday, John, 317, 321, 350, 352, 353, 354,
40, 42, 44, 45, 48, 59 359, 360
Blum, Stella, 454, 455 Canaletto, 279, 329, 382, 391
Blumenthal, Florence, 156, 461 Caravaggio, 441, 484
Blumenthal, George, 14, 93, 97, 123–25, Card Players (Cézanne), 184, 243
134, 147, 156, 160, 161–64, 165, 168, Carmel, Ann, 275, 276, 277, 278
174–75, 178, 183, 187, 189–90, 191, Carnavon, George Edward Stanhope
192, 202, 233, 252, 261, 332 Molyneux Herbert, Earl of, 139, 140
Bonnard, Pierre, 148, 221, 244, 419 Carnegie, Andrew, 61, 78, 142
Bosworth, William Welles, 116–17, 119, Carroll and Milton Petrie European
121–24, 125, 131, 146, 164, 165 Sculpture Court, 9, 436–37
Bothmer, Bernard von, 248, 249, 356 Cassatt, Mary, 71, 72, 73, 149, 225
Bothmer, Dietrich Felix von, 16–20, 248– Cassini, Igor “Ghighi,” 273, 281
51, 253–58, 290, 291, 294, 297, 323, Cellini, Benvenuto, 80, 95
338, 356–62, 432, 443, 446 Central Intelligence Agency (CIA), 253,
Bothmer, Joyce Blaffer von, 294, 357 269, 285, 299, 413
Botwinick, Michael, 13, 298, 322–23, 327, Century Association, 29, 33–34, 37, 38,
332, 348, 356, 371, 415 224, 233
Bourhis, Katell le, 454, 455, 462 Cesnola, Luigi Palma di, 23–64
Branch Bank of the United States (Assay as archaeologist, 14, 23, 29, 31–33, 43–
Office), 138–39, 158, 420 48, 51–54, 64, 88, 119, 134
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53 2 I Inde x
de Forest, Emily Johnston, 60, 78, 138, Draper, Dorothy, 187, 228, 233
139–40, 157, 209 Duccio di Buoninsegna, 79, 201, 370, 470,
de Forest, Robert, 5, 40, 60–61, 62, 73, 481, 484
86, 94, 97, 104, 105, 107, 109, 110, Durand, Asher, 27, 37, 38
111–12, 124, 125, 126–27, 129, 130, Durand-Ruel, Paul, 71, 75
131, 134–35, 137–47, 148, 149, 150, 153, Dürer, Albrecht, 81, 125
154, 156–57, 179, 209, 284 Duveen, Henry, 70, 71, 100, 101, 102
Degas, Edgar, 71, 72, 149, 151, 243, 416, Duveen, Joseph, 74, 118–19, 133–35, 151–
418, 419, 439, 458 52, 205–6, 244
de Groot, Adelaide Milton, 187–88, 353 Duveen Brothers, 101, 108, 117, 129–30,
de Kooning, Willem, 12, 226, 227, 361n, 141, 274
364, 440 Dwight, Eleanor, 207, 454
Delacroix, Eugène, 59, 70, 72, 406, 418
de la Renta, Annette (Anne France
Mannheimer Engelhard Reed), 2,
380–81, 385, 386, 387–88, 392, 394, Eakins, Thomas, 128, 225, 416
396, 399–402, 406, 421, 422, 423, Easby, Dudley, 212, 215, 229, 330
424, 436–37, 444, 457, 458–62, 463, Egyptian Art Department, 88–89, 96–97,
465, 466–70, 473, 474, 475–77, 478, 125, 126, 129, 157, 247, 310–13, 326,
485 344–47
de la Renta, Françoise de Langlade, 375, Eisenhower, Dwight D., 213, 224, 254, 285,
376, 423, 460–61 332
de la Renta, Oscar, 375, 376, 378, 381, 402, El Greco, 72–73, 75, 149, 192, 243, 279
404, 457, 458–62, 463, 465 Elizabeth Clarke Freake and Baby Mary, 181–82
Democratic Party, 29, 35–36, 103, 397–98, Elliott, Duane Garrison, 301, 324, 325,
403 326, 327
Demotte, George Joseph, 133–35, 145, 147 Engelhard, Charles William, Jr., 392, 394–
Dendur, Temple of, 6, 13, 310–13, 331, 336, 404, 420, 423, 434, 466
341, 344–47, 424, 455, 457–58 Engelhard, Charles William, Sr., 395–97
Dennis, Jessie McNab, 292, 338, 339 Engelhard, Jane (Marie Annette Jane
Devree, Charlotte, 370 Reiss-Brian Mannheimer), 368, 376,
Devree, Howard, 185–86, 225, 370 377, 379–80, 384, 385–404, 420–22,
de Wolfe, Elsie, 384, 387, 404 423, 436–37, 454, 458, 461–62, 466
d’Harnoncourt, Rene, 329, 330 Erickson, Alfred, 141, 243, 244, 245
DiCicco, Pat, 270, 271 Ertegun, Mica, 444, 454
Dienststelle Mühlmann, 253, 390 Etruscan biga (chariot), 81–82, 84
Dillon, C. Douglas, 14, 228, 285, 290, 293, Etruscan warriors, 256–58, 294, 444
301, 306, 314, 319, 320, 326, 332–33, Euphronios (Sarpedon) krater, 17, 20, 348,
336, 341–50, 354–60, 365, 368, 370, 358–62, 369, 443, 445, 446, 448, 449
371, 372, 377, 378, 380, 400, 401, European Paintings Department, 243, 251,
410–17, 422–26, 429, 430, 431, 435 261, 315, 364–67, 406–7, 417–19,
Dillon, Phyllis, 378, 422, 423 440–42, 464, 471
Dilworth, J. Richardson, 284, 290, 291, European Sculpture and Decorative Arts
293, 306, 319, 339, 430, 432, 433, 444, (ESDA), 432–35, 479
450, 457
Dinkins, David, 451, 452
Dior, Christian, 378, 463
Dorotheum, 228, 326, 339, 447–48 F-111 (Rosenquist), 304–5, 484
Douglas, Kirk, 272–73, 282 Fahy, Everett, 423
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53 4 I Inde x
Hassam, Childe, 225, 468 318, 319, 323, 324, 330, 332, 333, 350,
Havemeyer, Henry Osborne, 59, 61, 71– 357, 362–64, 401, 422, 450
75, 101, 148, 149–50, 152, 232 Houghton, James “Jamie,” 422, 450, 451,
Havemeyer, Horace, 149, 150 452, 473, 474, 476
Havemeyer, Louisine Waldron Elder, 71– Houghton, Maisie, 401, 422
73, 148–50, 232 Houston Museum of Fine Arts, 408–9, 415
Havemeyer Collection, 148–50, 184, 232 Hoving, Nancy Bell, 240, 241, 242, 283,
Hawkins, Ashton, 18, 306, 332, 337, 346, 295, 298, 308–9, 370, 371
360, 377, 378, 401, 423–24, 425, 429, Hoving, Thomas Pearsall Field, 239–372
435, 444, 446, 449, 450 as author, 1–2, 242, 283, 290–91, 329,
Hays, Charlotte, 402, 436 346, 356n, 361, 411, 442–43, 444, 445,
Hearn, George A., 128, 150 448, 482
Hearn Fund, 150, 184, 185–86, 191–92, background of, 240–42
194, 216, 220, 223–24, 260, 264 as Cloisters assistant curator, 240, 242,
Hearst, William Randolph, 255, 258, 255, 288, 289, 301–2
269 controversies of, 299, 317–19, 320,
Hearst Foundation, 255, 258 348–62, 445, 448
Hecht, Robert, Jr., 17, 358–59, 361–62, as director, 1–2, 6, 9, 14, 15, 179, 190,
443, 446 268, 276, 278, 279, 282, 295, 296–
Heckscher, August, 299, 314, 335, 336, 341, 352, 378, 404, 410, 415, 416, 418, 423,
342 425, 480
Heinz, Drue, 456, 461 donors cultivated by, 306–13, 323–32,
Henry Luce Foundation, 315, 318 344–47, 418, 423
Hermitage, 3, 33, 382 exhibitions mounted by, 299–301, 304–
Herrick, Dan, 305–6, 322n, 332, 333, 340, 5, 314, 317–22, 324, 327, 331, 340,
371, 406, 415, 416 365–66, 367, 416, 455
Hess, John L., 2, 350, 353–56 as medievalist, 240, 241–42, 322
Hess, Thomas B., 437 Montebello’s relationship with, 346,
Hewitt, Abram, 58, 59 348, 361n, 407, 408–11, 413, 415, 416,
Hirst, Damien, 471–73, 474 432–33, 442–43, 445, 448, 454, 469–
Hitchcock, Hiram, 31, 33, 43, 44, 46, 47, 54, 70, 480
57, 61, 62, 63, 64, 79 as parks commissioner, 289–92, 293,
Hitler, Adolf, 252, 253, 276, 382, 387, 390– 295, 296, 297–99, 302, 334
91 populism of, 15, 179, 239–40, 299, 314–
Hoare, Oliver, 364 15, 334, 352
Hobby, Theodore, 130, 162 press coverage of, 239, 299, 305, 306,
Hoentschel, Georges, 89–90, 110, 111 315, 317–19, 350–56, 359–62, 370,
Hofmann, Hans, 226, 262 371, 376, 432–33
Holbein, Hans, 25, 96, 244 reputation of, 239–40, 242, 295, 296,
Holden, Don, 225–26, 236, 257, 258, 259– 367–72, 411
60 resignation of, 346, 367–72, 410–11, 473
Holzer, Harold, 1, 2, 11, 443 Rorimer’s relationship with, 239–40,
Homer, Winslow, 37, 225, 416 242, 243, 255, 287–89, 291–92, 293,
Hoppin, William J., 34, 35 311–12
Hoppner, John, 101, 192 trustees as viewed by, 258, 268, 282,
Houdon, 279, 462 297–99, 305–10, 319, 331–32, 333,
Houghton, Arthur Amory, Jr., 228, 283– 341–42, 350, 367–72
86, 287, 290, 292–93, 294, 296, Hoving, Walter, 240–41, 301, 342
297–98, 299, 302, 303, 305, 306, 314, Howe, Winifred E., 2, 48, 158
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Lauder, Ronald, 227n, 472 Lydian Hoard, 348, 356–58, 360, 443–45
Laura Spelman Rockefeller Memorial Lythgoe, Albert, 88, 89, 93, 96, 97, 103,
Fund, 136, 211 139, 310
Lazard Frères, 93, 124, 156, 252, 320, 347,
382, 386, 388–89, 394–95, 398, 417
Ledyard, Lewis Cass, 105, 167
Lee, Sherman, 293, 294 McFadden, Elizabeth, 46, 47
Lehman, Philip, 192, 193 MacGregor, Neil, 482, 483
Lehman, Robert “Bobbie,” 14, 192–93, McHenry, Barnabas, 311, 312–13, 412, 425–
195, 218, 223, 232, 245, 246, 261, 271, 26, 457
285–87, 290, 301–3, 327–29, 331, 332, McKim, Charles, 91, 93, 104
340, 347, 350, 417 McKim, Mead & White, 5, 84, 91, 104,
Lehman, Robin, 192, 286, 287, 302, 328– 139, 152, 217
29 McKinney, David E., 450–51, 452, 465
Lehman Brothers, 192, 193, 329, 481 Macomber, William Butts, Jr., 412–15,
Lehman Wing, 286–87, 301–3, 327–29, 424, 425, 426, 430, 431, 433, 437, 444,
331, 334, 335, 336, 338, 341, 342, 343, 449
351, 365 Macy, Valentine Everit, 152, 227
Leigh, Dorian, 402 Madonna and Child (Duccio), 79, 470, 481,
Leonardo da Vinci, 59, 287–88, 314 484
Lerman, Leo, 2, 50, 290 Making the Mummies Dance (Hoving), 1–2,
Leutze, Emanuel, 27, 304 442–43
Levai, Rosie, 318, 349, 354, 365, 377, 416 Malraux, André, 233, 260, 367
Levy, Leon, 446, 447–48 Man and the Horse exhibition (1984),
Lewisohn, Irene, 206, 207, 352 455–56, 463
Lewisohn, Sam A., 195, 206, 223, 224, Manet, Édouard, 75, 126, 149, 244, 350,
226 416, 418
Lieberman, William S., 437–40 Mannheimer, Fritz, 380–92, 399, 403
Lila Acheson Wallace Wing, 348, 419, Mansfield, Howard, 93, 157n, 189
425–26, 432, 438 Mapplethorpe, Robert, 379
Lincoln, Abraham, 24, 30, 31, 64, 118 Marlborough Gallery, 349, 353, 354
Lindsay, John V., 288–89, 296, 298–99, Marquand, Henry Gurdon, 28, 37, 52, 56,
302, 317, 318, 325, 334, 335, 343 58, 59–60, 61, 62–63, 64, 71, 74, 78,
Linsky, Belle, 427–30 79, 96, 219
Linsky, Jack, 427–28, 429 Marshall, Anthony, 467–70
Locke, Ian, 385, 393 Martin, Richard, 463, 464
Loughry, J. Kenneth, 293, 305 Masterpieces of Fifty Centuries exhibition
Louis XIV, King of France, 25, 85, 117, 399, (1970–1971), 315, 320, 322, 327
415 Matisse, 148, 184, 214, 220, 221, 244, 262,
Louis XV, King of France, 81, 111, 279, 349, 438, 439, 440
428, 475 Mayor, A. Hyatt, 174, 181–82, 234
Louis XVI, King of France, 111, 279, 331– Mazzetta, Tito, 82–83, 84
32, 428 Medici, Giacomo, 445–46, 447
Louvre, 3, 25, 36, 54, 99, 149, 259, 262, Medici Conspiracy, The (Watson and Todes-
286, 365 chini), 445–46
Love, Iris Cornelia, 256, 257, 258, 444 Medieval Department, 242, 290–91, 322
Luce, Henry L., 15, 224 Medieval Sculpture Hall, 287, 432, 457
Luers, William Henry, 430–31, 432, 434, Meissonier, Jean-Louis-Ernest, 37, 38
435, 443, 446, 449, 450, 451, 452, 453 Mellon, Andrew, 246, 252
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Mendelssohn & Co., 381–82, 385–86 177, 186, 213, 222, 234, 246, 247, 287–
Menschel, Ronay, 433 88, 314, 318, 322, 327, 339, 340, 366
Messer, Thomas, 439 author’s research on, 1–3, 16–20
Metropolitan Fair Picture Gallery (1864), books written about, 1–3, 38–39, 290,
27, 31, 38 326
Metropolitan Museum of Art: branch museums of, 161, 190, 203, 314–
acquisitions committee of, 15, 133–35, 15, 334, 338
147, 184, 202, 222, 224, 229, 230, 245, “building-from-within” program of, 6,
246, 331–32, 348–56, 424, 445, 481– 9–10, 482–83
82 capital improvements of, 9–10, 12, 50
administration of, 1–2, 11, 15–16, 28, centennial of (1970), 6, 290, 300, 303,
33–40, 85–88, 89, 94, 111–12, 137– 312–13, 314, 315, 320, 322, 323–27,
38, 157–58, 174–77, 179, 183, 213, 328, 330, 334, 341, 352, 367
217–18, 231, 233, 247–48, 255–56, Central Park location of, 4, 9, 26, 34–35,
282–83, 293–94, 299, 305–6, 323, 40, 42, 44, 45, 48–50, 55, 56, 63–64,
347, 367, 411–12, 430–31 194, 205, 209, 232, 288, 328, 334–38,
admission fee for, 9, 10, 45, 48, 55, 186, 341, 342, 433
213, 339, 340 chairman of the board of, 302–3, 367,
annual meetings of, 35, 61, 62, 220, 424, 430, 431, 432–33, 473
221–22, 303, 452 commercialization of, 7, 11, 128, 137,
annual reports of, 10, 47, 87, 94, 128, 137, 140–41, 208, 225, 247, 300–301, 306,
164, 203, 452, 482 321, 342, 348n, 366, 411, 453–58,
architecture of, 4–5, 202–3 462–65, 484
art bequeathed to, 76–79, 125–28, 141– constitution of, 33–36, 136, 220–21,
43, 148–50, 219, 278–79, 353, 416– 303, 333, 349, 411–12
17, 469 controversies of, 14, 16–20, 51–54, 55,
art deaccessioned by, 11, 39–40, 54, 152, 56, 73, 78–79, 81–84, 133–35, 153–54,
218, 235, 247, 349–56, 359, 410, 429 256–60, 299, 317–19, 320, 338–40,
art donations to, 34, 42, 47, 49–50, 55, 342, 346, 348–62, 416, 442–61
59, 73–76, 78, 87, 89–90, 97, 99– corporate sponsorship of, 8, 212, 315,
102, 103, 125–28, 130, 141–43, 148– 323–24, 345, 451–53, 481–82
50, 177, 184, 189, 205–6, 213, 219, curatorial departments of, 4, 13, 16–20,
232, 276–79, 285–87, 301–3, 345–56, 41, 44, 76, 87, 89–90, 137–39, 146,
353, 416–19, 438–39, 469 153, 176–77, 182–83, 185, 188, 195,
art loaned to, 34, 59, 72, 73–74, 89–90, 199, 216, 218, 247, 250, 297, 299–301,
95, 106–12, 126, 129–30, 146, 148, 303, 304, 305, 323, 331–32, 338, 342,
175, 181–82, 186, 191–92, 193, 216– 343, 347, 349–50, 354, 364–65, 406–
17, 218, 219–27, 232, 267, 285–87, 322, 7, 410, 416, 437–38, 442, 480, 481
327, 406–7 debts and deficits of, 39, 42, 57, 94, 107,
art purchased by, 11–12, 34, 37–40, 41, 128, 129, 130, 136–37, 142–43, 176,
42, 43–49, 78, 81–85, 86, 91, 127–28, 177–78, 186–87, 212–13, 247, 320,
133–35, 136, 143–47, 148, 213, 243–47, 327, 339, 340, 342, 348–49, 414, 431,
258–60, 290–92, 314, 322, 331–32, 451–53, 482
348–49, 470, 471 directors of, 1–11, 14, 15, 73, 86–99,
art restrictions set for, 55, 59, 78, 102, 102–4, 110–12, 150–51, 156, 157–58,
112, 127, 177, 189, 206, 213, 232, 285– 162, 174–77, 179–84, 185, 221–22,
87, 302–3, 345–47, 419 230–36, 243–51, 290–95, 306–13,
attendance figures for, 6, 7, 9, 10, 45, 48, 323–32, 474–76, 478–83, 484, 485–
55, 56, 61–62, 109, 128, 129, 137, 149, 86; see also specific directors
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53 8 I Inde x
discrimination lawsuit against, 297, grand staircase of, 110, 129, 321, 336,
338–40 338, 475, 476
educational mission of, 12, 128, 161, 190, Great Hall of, 5, 7, 14–15, 52, 73, 75, 88,
203–4, 220–21, 334, 338, 471, 483– 110, 111, 129, 235, 240, 246, 247, 312,
84 313, 321, 326, 328, 336, 338, 342, 352,
endowment of, 11, 59, 78, 86, 87, 92, 475, 476
129, 136–37, 147, 161–62, 164, 175, guards in, 62, 146, 178, 184, 212, 231,
186, 188, 203, 204–5, 206, 209, 232, 232, 234, 246, 287–88, 318, 332, 338,
245, 246, 247, 312–13, 323–25, 430, 339–40, 465
451–53, 470, 481–82, 486 investment portfolio of, 11, 136, 141, 143,
excavations funded by, 87, 88–89, 92– 144, 145, 161–62, 192, 215, 229, 313,
93, 96–97, 163, 247, 250 431, 452
executive committee of, 33–40, 44, 60– legal battles of, 11, 16–20, 51–54, 55, 56,
63, 75, 112, 177, 206, 213, 218, 287, 73, 133–35, 153–54, 338–40, 342, 346,
290, 319, 342, 369–70, 410, 411–12, 353, 359–62
424, 432, 468 libraries of, 5, 7, 8, 12, 13, 198, 204, 218,
exhibitions of, 59, 90, 94–95, 102, 128, 232, 235, 243
195, 218, 222, 287–88, 299–301, master plan for, 4–5, 6, 9, 202–4, 217–
304–5, 314, 317–22, 324, 327, 331, 18, 311–12, 327, 328, 333, 334–38,
340, 365–66, 367, 410, 416, 454, 455, 347–48, 349, 415, 432, 448, 470
457, 458, 464, 483–84; see also specific modern art collection of, 160, 175–76,
exhibitions 184, 185–86, 188, 191–94, 214, 219–
expansion of, 4–5, 6, 9–10, 34–35, 40, 27, 231, 243–44, 260–66, 303–4,
51, 58–59, 61, 62, 63–64, 91, 103–4, 320–22, 348, 349, 361n, 432, 437–40,
110–11, 128, 152, 163, 201–3, 209–10, 471–73, 484–85
217–18, 311–12, 333, 334–38, 340, modernization of, 5–6, 85–86, 94, 163,
342, 343–48, 349, 352, 452, 482– 203–4, 217–18, 232, 247–48
83 New York City subsidies for, 4, 6, 9, 10,
fiftieth anniversary of (1920), 14–15, 11, 35–36, 45, 47, 56–57, 58, 59, 75, 84,
129, 130, 136–37 91, 103–4, 105, 107, 128–29, 130, 136,
financial donations to, 7, 8–9, 10, 14–15, 163, 177–78, 185, 187, 188, 201–2,
34, 37, 49–50, 57, 59, 61, 68–69, 73– 205, 209–10, 231–32, 298, 311, 314,
79, 97, 107, 136, 141–43, 161, 186–87, 340, 343–44, 370–71, 412, 425–27,
209, 212, 243, 246, 267, 312–13, 314, 433, 451, 482
323–27, 343, 411, 433–37, 451–53, 469, one hundred twenty-fifth anniversary of
474–78, 480–82 (1995), 157n
financial statements of, 10–12, 35, 75– operating budget of, 10–12, 35, 47, 49,
76, 129, 130, 136–37, 175, 177–78, 55, 57, 63, 75–76, 93–94, 107, 128–29,
192, 212–13, 214, 287, 333 130, 142–43, 161–62, 163, 164, 175,
founding of (1870), 4, 14, 24–29, 33– 177–78, 186–87, 188, 204–5, 212–13,
42, 48–51, 129, 208, 240, 337, 456 247, 339, 340, 343–44, 414, 415, 433,
fundraising efforts of, 7, 8–12, 14–15, 451–53
26, 27–29, 35, 37, 39, 47, 48, 68, 78, paintings in, 4, 12–13, 26, 37–40, 42, 45,
129, 201, 210–13, 323–25, 343, 430, 54, 59, 62, 148, 195, 258–60, 348–56,
431, 451–54, 472 417–19
gallery space in, 25–27, 43–48, 59–60, physical plant of, 4–6, 10, 34–35, 44,
101–2, 176–77, 204–5, 228, 231, 232, 48–50, 75, 91, 94, 130, 137, 163, 174,
335–36, 344, 347, 356, 418, 451, 482, 178, 185, 187, 188, 190–91, 202, 204,
485 217, 243, 293, 297
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populist agenda for, 5, 9, 15, 27, 36, 55– social events hosted by, 7–8, 14–15, 28–
58, 161, 176–79, 182–83, 185, 186, 29, 208–9, 239–40, 324–27, 346,
203–4, 222–23, 239–40, 290, 299, 353–58, 375–76, 404, 439–40, 453–
314–15, 334, 352 58, 463–65
presidents of, 34–37, 52, 58–64, 79, 107, staff of, 11, 56, 76, 86, 94, 128, 137, 174,
111–12, 137–47, 148, 156–62, 174–75, 176–78, 179, 182–83, 184, 186, 195,
189–90, 209–10, 213, 218, 225, 230– 198–99, 204, 210, 212, 213, 222, 231,
31, 290–91, 302, 319, 332–33, 410, 232, 261, 295, 297, 319, 323, 325, 338–
411, 412–15, 425, 426, 430–31, 452– 40, 347, 353–54, 410, 424, 451, 452–
53 53, 479
press coverage of, 2, 7, 41, 42, 49, 52–64, trustees of, 2–10, 14, 15, 29, 33–55, 59–
73, 78–79, 87–88, 92, 134, 152, 175, 69, 78, 79, 85–94, 107, 110, 111, 124,
180, 184, 204, 212, 216–17, 222, 223, 127, 128–30, 136–37, 142, 144, 148,
225, 234, 239, 243, 246–47, 257, 258, 150, 155–67, 174–78, 182–83, 186–
259, 260, 265, 299, 305, 306, 315–27, 98, 201–28, 233, 234, 236, 245, 246,
336, 339, 341, 350–56, 359–62, 370, 247, 258–68, 282–99, 302–10, 318,
371, 376, 408, 409, 411, 412, 426, 319, 323–24, 331–35, 341–56, 365,
432–33, 437, 451, 456–65, 471, 472– 367–72, 411–15, 424–37, 442, 450–
73, 475 52, 470, 474–76, 480–86
as private vs. public institution, 5, 8–9, twenty-fifth anniversary of (1895), 62
11, 14, 15, 27, 35–36, 40, 41, 42, 45, 48, Web site of, 13, 453, 484
49–50, 55–58, 59, 61–62, 109, 173– women employees of, 86, 94, 198–99,
79, 290, 314–15, 485–86 231, 297, 338–40, 347, 452–53
renovations of, 63, 187, 188, 201–3, 206, women trustees of, 187–88, 192, 211,
209–10, 212, 217–18, 223, 228, 232, 223, 227–28
234, 235, 243, 312–13, 418 Meyer, André, 252, 320, 332, 347, 350, 386,
reorganization of, 85–86, 94, 112, 186, 388–89, 394–95, 403, 417–19, 461
213, 305–6 Meyer, Karl, 175, 342, 480
reputation of, 1–3, 7–9, 14–15, 38–40, Meyer Galleries, 417–19
51–54, 55, 64, 81–84, 85, 111, 137, Michelangelo, 118, 210–11
150–51, 161, 173–75, 204, 216–17, Miereveld, Michiel Jansz. van, 391, 393
243–47, 256–60, 303, 317–19, 327, Miles (von Bothmer’s aide), 17, 18, 19, 20
348–62, 366, 456–58, 472–76, 484– Miller, Flora Whitney, 193, 205, 216
86 Millet, Jean-François, 70, 126, 149
restaurants of, 6, 7–8, 11, 204, 228, Mills, Ogden, 125, 186
232–33, 366, 463 Modigliani, Amedeo, 184, 221, 244, 438,
salaries of, 11, 56, 92, 130, 136, 137, 180, 439, 440
210, 231, 233–34, 297, 338–40, 377, Mona Lisa (Leonardo), 287–88, 314
451 Monet, Claude, 71, 126, 148, 149, 260, 275,
sculpture in, 4, 42, 43–48, 54, 152–53, 311, 314, 325, 349, 352, 461–62
176, 236, 256–58, 294, 444 Montebello, Edith Myles de, 406, 453, 456
security arrangements of, 62, 80, 146, Montebello, Jean Lannes, duc de, 404
178, 212, 231, 232, 234, 242, 246, Montebello, Philippe de, 405–80
287–88, 317, 318, 331, 332, 338, 339– as acting director, 410–11, 416, 437
40, 465 as administrator, 15–16, 407, 409–10,
seventy-fifth anniversary of (1945), 201, 411, 415, 430, 431, 437–38, 442, 451,
203, 210, 212–13, 217 470, 486
shops operated by, 7, 11, 128, 137, 140– background of, 380, 396, 404–8, 413,
41, 208, 225, 247, 342, 348n, 366, 455 415, 450
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controversies of, 16–20, 416, 442–51 Morgan, Junius Spencer, 44, 47, 67–68, 73,
as director, 1–2, 3, 6–10, 11, 15–16, 404, 74, 81, 105, 125, 413
413–16, 424, 425, 426, 427, 429, 430, Morgan Library, 290, 294, 355, 462
431, 432–33, 437, 438–39, 440, 442– Morgantina silver, 443, 445–47, 449
50, 451, 454, 455, 456, 464, 465, 469– Morgan Wing, 5, 97, 103–4, 107, 110–11,
70, 478, 479, 480, 482, 484, 486 139, 152, 208
donors cultivated by, 346, 347, 419, 424, Morton, Pamela Taylor, 180, 203
427, 429, 431, 438–39, 440, 454 Moses, Robert, 161, 173–74, 175, 177,
exhibitions of, 410, 416, 454, 455, 457, 178–79, 185, 186–94, 201–3, 207,
458, 464, 484 209–12, 217, 218, 222–23, 226,
Hoving’s relationship with, 346, 348, 228, 231–32, 233, 236, 246, 258,
361n, 407, 408–11, 413, 415, 416, 432– 289
33, 442–43, 445, 448, 454, 469–70, Motherwell, Robert, 226, 262
480 Mühlmann, Kajetan, 253, 390, 391
press coverage of, 1–2, 3, 408, 409, 426, Munsey, Frank A., 15, 141–43, 164
432–33, 437, 464, 471 Murnane, George, 389, 394, 395, 396
reputation of, 1–2, 3, 408–9, 413–14, Muscarella, Oscar White, 357, 360
415, 437, 470–76, 478, 486 Museum: Behind the Scenes at the Metropolitan
retirement of, 405–6, 471, 473–76, 478, Museum of Art (Danzinger), 2–3
479, 480 Museum of Costume Art, 206–9
trustees as viewed by, 15, 342n, 413–14, Museum of Fine Arts (Boston), 3, 34, 88,
415, 442, 470 89, 174, 233, 441
Montebello, Roger André de, 396, 404, Museum of Modern Art (MoMA), 3,
405, 406 151, 175–76, 178, 182, 184, 191–92,
Morgan, Henry Sturgis, 112, 175, 285, 206, 214, 216, 217, 219, 221, 228, 249,
306 304, 329, 330, 437–38, 439, 471–72,
Morgan, John Pierpont, Jr. “Jack,” 91, 93, 485
103, 105–12, 157, 159–60 Museum of Primitive Art (MPA),
Morgan, John Pierpont, Sr., 67–112 329–31
art collection of, 68–70, 74, 79–81,
89–99, 101, 103–12, 117, 118–19,
129–30, 276, 287
congressional testimony of, 103, 104 National Academy of Design, 37, 48
death of, 104–5, 148, 275 National Endowment for the Arts, 266,
in Egypt, 88, 92–93, 96–97, 102, 103, 451
104 National Gallery of Art (London), 3, 419,
estate of, 103, 105–12 428
as financier, 67–68, 74–75, 89, 103, 116, National Gallery of Art (Washington,
166, 167 D.C.), 3, 153, 206, 211, 213, 228, 252,
as patron, 57, 68–69, 73, 79–80, 81–82, 254, 273–74, 287, 367, 439
89–90, 92, 95–99, 103–12, 122 Near Eastern Art Department, 153,
as president of Metropolitan, 14, 37, 64, 236
85–105, 107, 112, 118–19, 124, 175, Netherlands, 381–83, 385, 390–93
178, 179, 213 Netto, David, 476–78, 485
press coverage of, 85, 105, 107, 109 Newman, Muriel Kallis Steinberg, 360–
as trustee, 61, 62–63, 68–69, 75, 85, 61, 438, 471
129 Newsom, Barbara, 324, 372, 413
wealth of, 68–70, 79–81, 85, 103, 105– New York City Art Commission, 138–39,
12, 160 217, 335
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54 1 I Inde x
New York City Board of Estimate, 56–57, Paley, Babe, 376, 378, 380, 460
59, 103–4, 105, 107, 163, 228, 335, Paley, William S., 335, 337, 435, 458,
344–45 460
New York City Parks Department, 44, 47, Panic of 1873, 47, 50, 76
49, 56, 57–58, 63, 163, 167, 178, 187, Panic of 1907, 68, 89, 167
246, 288–90, 311, 314, 335, 337–38, Panic of 2008, 481–82
412, 425–27 Parish, Sister (Dorothy May Kinnicutt),
New Yorker, The, 150, 175, 183–84, 186, 253, 396–97, 398, 399, 401, 404, 422
254, 321, 390 Parke-Bernet, 243–46
New-York Historical Society, 26, 27, 34, Parker, Harry S., III, 13, 290, 291–92,
187 293, 294, 305, 315, 318, 332, 363, 365,
New York Painting and Sculpture: 1940– 371, 410
1970 exhibition (1969), 320–22, 331 Party of the Year, 208–9, 239–40, 375–
New York Public Library, 12, 42, 202, 331, 76, 404, 439–40, 455, 456, 463–65
424, 469 Patterson, Joseph Medill, 188, 211, 212
New York Times, 2, 7, 27, 35, 41, 42, 45, 49, Payson, Joan Whitney, 246, 314, 315, 325,
52, 53, 54, 55, 56, 58–59, 63–64, 73, 345, 350, 357, 400, 416–17
77, 79, 82, 83, 101, 107, 127, 134, 152, Petrie, Carroll McDaniel de Portago,
156–57, 180, 185–86, 211, 212, 222, 436
225, 226, 239, 246, 257, 265, 282, 283, Petrie, Milton, 436–37
299, 305, 317, 318, 320, 325, 334, 336, Philadelphia Museum of Art, 146, 180,
339, 341, 347, 350–51, 353–56, 359– 182, 231, 294
62, 364, 365, 366, 370, 371, 400, 401– Physical Impossibility of Death in the Mind of
2, 411, 426, 432–33, 437, 451, 457, 463, Someone Living (Hirst), 471–73, 474
464, 467, 471, 472–73 Picasso, Pablo, 184, 214, 216, 220, 221, 225,
Nimrud bas reliefs, 152–53, 236 226, 244, 350, 405, 416, 418, 419, 438,
Nixon, Richard M., 352, 355, 367, 369 439, 440, 462
Noble, Joseph Veach, 247–48, 255–56, Piero della Francesca, 151–52, 201
257, 258, 291, 292, 293, 294, 299, 311, Pietà Rondanini, The (Michelangelo), 211
313, 323, 326 Pissarro, Camille, 149, 244, 349
Norwich, William, 453, 467 Pollock, Jackson, 12, 226–27, 265, 303, 337,
Number 17, 1951 (Pollock), 226–27 361n, 440
Polonaise carpets, 117, 146, 195–96
Pompadour, Madame de, 279, 428
Pop Art, 263, 264, 265, 321
Oceanic Art and Native North American Pope, John Russell, 147, 152, 163
Wing, 470–71 Pope-Hennessy, John, 230, 234, 293–95,
Odalisque in Grisaille (Ingres), 353, 354 366–67, 440–42
Office of Strategic Services (OSS), 213, Postimpressionism, 148, 149, 151, 244,
253, 269, 387, 413 419
Olmsted, Frederick Law, 28, 34, 147, 167– Poussin, Nicolas, 38, 149, 279, 304
68, 288 Prado, 3, 25, 230
Onassis, Jacqueline Kennedy, 218, 280– Prime, William C., 52, 56, 61
82, 285, 287, 307, 309, 313, 376, 377, Primitive Woman (Barnard), 120, 122, 123,
378, 398, 422, 455, 457 131
Osborn, William Church, 93, 124, 156, Princeton University, 180, 198–99, 241,
178, 181, 182, 186, 189, 191, 195, 196, 255
197, 201, 203, 207, 209–10, 212, 213, Prodigal Son, The (Barnard), 120, 135
215 Putnam, George Palmer, 24–25, 27, 34
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Root, Elihu, 14, 28, 61, 73, 78, 79, 93, 105, Sargent, John Singer, 123, 125, 128, 146, 150
111, 112, 224 Sarpedon (Euphronios) krater, 17, 20, 348,
Root, Elihu, Jr., 215, 224 358–62, 369, 443, 445, 446, 448, 449
Rorimer, Anne, 158, 245, 289 Schiff, Jacob, 61, 342
Rorimer, James J., 5–6, 14, 158–59, 160, Schliemann, Heinrich, 45, 46
164, 165–66, 169, 183, 195–201, 203, Scythian gold exhibition, 365, 366, 410
213, 214–19, 229–36, 239–48, 249, Seligman, Germain, 69, 70, 98, 175
253–66, 277–79, 282, 283, 287–97, Seligmann, Jacques, 69, 98, 99, 165, 206
300–312, 344, 428, 429, 473 Sensation exhibition (1999–2000), 464,
Rorimer, Katherine Serrell “Kay,” 198–99, 465
245, 282, 287, 291, 292, 298, 326 Seurat, Georges, 149, 184, 214, 221, 243,
Rosenberg, James Naumburg, 220–22, 350, 419
223, 226 Seyss-Inquart, Arthur, 390, 391
Rosenberg & Stiebel, 245, 363 Shahnameh, 362–64
Rosenblatt, Arthur, 296, 311, 312, 313, 318, Shaver, Dorothy, 207, 208, 227
328, 334, 335, 336, 340, 345, 346, 348n, Sischy, Ingrid, 464
354, 415, 425, 431, 438, 442–43 Signac, Paul, 148, 184, 214, 244, 350
Rosenquist, James, 263, 304–5, 484 Silver, Stuart, 3, 300, 365, 414, 416, 454
Rothko, Mark, 226, 353, 361n Silverman, Debora, 456
Rothschild family, 27, 80, 200, 253, 269, Simpson, Colin, 119, 133, 134, 135
274, 363, 375, 382, 435, 458, 460, 477 Sixteenth Amendment, 41, 117
Rotten, Johnny, 465 Smithsonian Institution, 3, 43, 255, 302,
Rouault, Georges, 221, 244, 416 311, 346
Rousseau, Henri (Le Douanier), 349, 352 Soap Bubbles (Chardin), 391–92
Rousseau, Théodore, 38, 70, 184, 213, 214, Sorbonne, 180, 198, 251, 262
377 Sotheby Parke Bernet, 418–19
Rousseau, Theodore, Jr. “Ted,” 219, 230, South Kensington Museum, 80, 82, 86, 87,
249, 250–54, 258–60, 261, 290–97, 106
301, 305–9, 314–18, 322, 329, 332, Spain, 72–73, 166, 229–30, 234, 235–36,
349–54, 359, 360, 364–65, 367, 375– 258, 287, 293, 383
79, 390, 393, 404, 406, 407, 409, 415, Standard Oil Co., 115, 116, 120, 144, 150,
441, 450 152, 164, 168, 215, 229, 268
Rousseau, Theodore, Sr., 251, 252, 254 Stein, Gertrude, 216, 437
Rubens, Peter Paul, 38, 59, 81, 95, 96, 126, Steinberg, Saul Phillip, 433–34, 435, 457
149, 200, 244, 407 Stella, Frank, 263, 321, 326
Ruisdael, Jacob van, 95, 382, 391 Stern, Henry, 297, 427
Ruml, Beardsley, 136–37, 144, 211 Steuben Glass, 283–84, 467
Strauss, Monica, 441–42
Strouse, Jean, 80, 104
Stuart, Gilbert, 37, 72
Saarinen, Aline, 72, 235 Stuyvesant, Rutherford, 61, 84–85
Saatchi, Charles, 464 Sugar Trust, 71, 74–75
Sachs, Paul, 158, 174–75, 342, 437, 486 Sullivan, Louis, 420, 421, 437
Sackler, Arthur M., 344–47 Sulzberger, Arthur Hays, 211, 212, 246,
Sackler Wing, 311, 344–47 320, 351, 352
Saint-Gaudens, Augustus, 52, 61, 420 Sulzberger, Arthur Ochs “Punch,” 14, 320,
St. Hubert, Chapel of, 164–66 350–52, 359, 360, 361–62, 365, 423,
Saint Laurent, Yves, 378, 455 432–33, 445, 450
Sainty, Guy Stair, 480–81, 483–84 Sweeney, Peter, 35–36, 40
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Warhol, Andy, 263, 264, 265, 266, 321, 174, 175, 176, 179, 183, 184, 191, 310,
376, 440 473
Warren, David, 408–9 Wintour, Anna, 463–64, 465, 477
Washington, George, 24, 72, 138 Wolfe Fund, 148, 150
Washington Post, 49, 64, 76, 77, 87–88, 308, Worcester Art Museum, 180–82, 207, 231,
347, 355, 379, 384–85, 401, 417 233, 438
Watson, Francis J. B., 309–10, 350 Works Progress Administration (WPA),
Watson, Thomas J., Sr., 167, 212, 243, 250, 163, 191
284, 320, 323, 450 World of Balenciaga exhibition (1973),
Watteau, Antoine, 382, 391 376, 379
Webb, Vanderbilt, 167, 175, 176, 178, 202– Worthies tapestries, 196–98, 215–16,
3, 211–12, 221 218–19
Wehle, Harry B., 174–75, 184, 253–54 Wrightsman, Charlene, 270, 272–73, 281
Weitzmann, Kurt, 241, 242 Wrightsman, Charles Bierer, 245, 246,
Wentworth, Catherine Denkman, 217, 256, 258, 267–74, 279–82, 289, 290,
232 292, 294, 297, 306, 307–10, 315, 317,
Western European Arts Department, 293, 319, 332, 341–42, 350, 367, 368, 423
369–70 Wrightsman, Irene, 270, 272–73, 282
Wharton, Edith, 29, 54, 111, 247, 484 Wrightsman, Irene Stafford, 267, 270,
Whistler, James Abbot McNeill, 125, 275 280
White, Shelby, 446, 447–48 Wrightsman, Jayne Larkin, 2, 245, 258,
Whitney, Betsey, 376, 380 267–74, 279–82, 289, 290, 292, 294,
Whitney, Cornelius Vanderbilt “Sonny,” 307–10, 315, 317, 325, 341–42, 368,
194, 205, 246 387, 422, 423, 429–30, 463, 476–77,
Whitney, Gertrude Vanderbilt, 149, 150– 478, 480, 485
51, 185, 191–92, 193 Wrightsman, Stephanie, 268, 272, 273
Whitney Museum of American Art, 3, 5, Wrightsman Galleries, 12, 13, 331–32,
150–51, 182, 191–94, 204, 205, 206, 429–30
208, 209, 210, 212, 214, 216–17, 260,
262, 483, 485
Whittredge, Thomas Worthington, 27, 28,
38 Yale University, 260–61, 262
Wildenstein, George, 241, 258–60, 353, Year 1200 exhibition (1970), 320, 321,
382, 391 322, 334
Windsor, Duke and Duchess of, 271, 378,
460, 467
Winlock, Herbert, 88, 89, 96–97, 146, 157,
160, 161, 162, 163, 165, 166, 167–68, Zabel, William, 429
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