Born a Vanderbilt and marrying into the wealthy Whitney family, Gertrude Vanderbilt Whitney was an unusual upper crust matron. She was an artist. Her family and husband did not support her artistic ambitions, but Gertrude persisted, establishing studios in both New York and Paris and, by 1910, began showing her work under her own name. Her sculptures won several awards and were accepted at the Paris Salon of 1911. After the end of World War I, she focused on public memorials, many of which can still be seen across the United States.
Gertrude's wealth also allowed her to become a patron of the arts, and she was particularly keen to support fellow female artists. She used her influence to ensure that other women were included in group exhibitions and supported female-only shows. Among other things, in 1914, she established a club in New York where young artists could gather and chat, also providing housing stipends to help working artists make ends meet.
Gertrude also helped establish American art as, well, art. The Metropolitan Museum of Art declined her offer to donate her collection of almost 700 works of modern American art, because at the time, they did not accept works from the United States. So Gertrude decided to build her own museum. In 1931 she established the Whitney Museum, and she appointed a woman as its first director. The museum’s embracing of modernism was a huge institutional shift in the United States; it helped push American art from being seen as provincial and inferior to European art, to being unique and desirable in its own right.
You might know it as today's Mexico City.
Photograph taken in 1943, at the Langley Research Center in Virginia.
A textured manuscript illustration of, what else? Smallpox. From Japan, circa 1720.
Sewing the outfits for the Apollo mission, 1968. Each astronaut had a custom-fitted suit.
It's from Egypt's 19th dynasty! Circa 1295–1185 BCE. The orange and blue frogs are made of glass, separated by glass beads.
A traditional Han Chinese bridal sedan chair, which would carry a bride to her wedding. The journey in the chair is meant to represent the bride’s transition from one family to another. Photographed by Englishman Thomas Child in the 1870s or 1880s.
Two megalithic statues of Polynesian style on the Mount Srobu site in Indonesia's Papua Province. These statues are in a different style from others, found in the area, making their find particularly interesting. Decorated pottery fragments, stone axes, and shell tools estimated to be about 3,800 years old were also recovered from the site.
A head in the Ecuadorian Chorrera art style. Circa 300 BCE to 600 CE. This was a time of social, political, economic, and artistic innovations in the region, prompted by agricultural improvements and a growing population. New settlements and towns, with ever-larger numbers of inhabitants, triggered the need for methods to manage village life and ensure the well-being of the community, which, in turn, led to greater social hierarchy. Hand-in-hand with the growing social complexity was the appearance of more complex religious practices. Both developments encouraged the desire for novel artworks to express the new sociopolitical and spiritual ideologies that characterize this dynamic time throughout ancient Ecuador.
The earlier Valdivia figurine tradition developed into an elaborate figural art form with such novel artistic expressions as the elegant, mold-made sculptures of the Jama Coaque and La Tolita styles of Ecuador's northwestern coastal region. This particular figure likely is an example of La Tolita style, which is differentiated by its heightened naturalism.