Isabella Stewart Gardner Museum Expansion - Research Paper Example

ISABELLA STEWART GARDNER MUSEUM EXPANSION Introduction Over one hundred years ago Isabella Stewart Gardner (1840-1924) “developed a new context for art in America” (ISGM 2) by creating a museum with a highly personal setting, providing visitors with experiences of music, performance, the beauty of gardens, historic and contemporary art. The museum is built on the lines of a fifteenth century Venetian palazzo with a central and interior courtyard garden filled with light and flowers. The Isabella Stewart Gardner museum houses more than 5,000 art objects from over thirty centuries, including works of Botticelli, Titian, Raphael, Rembrandt, and others. Visitors from the world over are inspired in an ongoing manner by the museum’s permanent collection, and by the various measures employed to enrich the collection. These include “contemporary and historic special exhibitions, America’s oldest museum concert series, lectures, special performances and events, an artist-in-residence program, and innovative school and community partnerships” (ISGM 2). Thesis Statement: The purpose of this paper is to investigate the history of the Isabella Stewart Gardner Museum, identify three of the agencies involved in the museum’s expansion, examine the hurdles to be overcome for obtaining approval for expansion, discuss the primary reasons for expansion, the specifics of the project, and the issues which are significant for ensuring successful outcomes. History of the Isabella Stewart Gardner Museum Isabella Stewart Gardner, the American art collector from New York City lived in Boston after her marriage to the financier Jack Gardner. She became well known for her flamboyant social affairs, making her home the center for assemblies of painters, literary folk, musicians, and other celebrities. One of the earliest art collectors, her lifelong interest in art prompted her to sponsor various contemporary artists and the young art connoisseur Bernard Berenson who was her adviser on the collecting of many works, and acted as her European agent. Gardner’s husband also assisted her (Duncan 79). Fenway Court was built in the Venetian style as a Renaissance palace from pieces such as medieval columns, fireplaces, and ironwork brought back from Europe, and Gardner directed much of its construction. The building was completed in 1902 to house the valuable collection. Isabella Stewart Gardner, later as widow and heiress had both ambition and sufficient money to take the lead among art museum creators. She developed the museum with a “theatrical and romantic assemblage of paintings, antique furnishings, and objets” (Duncan 79) all built around the flower-filled inner courtyard. It was bequeathed to the city of Boston in her Will, to be preserved as a public museum. The museum was legally prevented from adding to its collection, or changing any of the artefacts or their locations within its walls. Before Gardner passed away, a limited number from the public were permitted to see parts of the museum on particular days by purchasing tickets. After her death, the Isabella Stewart Gardner museum became a public institution, functioning under the stipulation of changes not being permitted, under the continued influence of Gardner’s self-dramatizing presence. Obstacles to Gaining Approval for Expansion According to Isabella Gardner’s Will, “if the arrangment of any of the museum’s holdings changes, the entire collection, the building and the land beneath it must be turned over to Harvard” (Goodnough, 2009). This hurdle was overcome on March 4th, 2009, when the Supreme Judicial Court of Massachusetts ruled that the museum can implement the expansion project, departing from the strict conditions written in Isabella Gardner’s Will. The expansion was considered reasonable because protecting the building was essential towards fulfilling public interest. To approve the expansion and renovation project, several state and city agencies were involved. “The museum’s plans have been reviewed and approved by leading historic, preservation, and regulatory agencies” (Art Daily, 2009) including the Boston Redevelopment Authority (BRA), the Massachusetts Historical Commission (MHC), and the Boston Landmarks Commission (BLC). Primary Reasons for the Need for Expansion The expansion project is designed by Pritzker prize winning architect Renzo Piano as a work of art and cultural landmark for the city of Boston. The new building to be located behind the Gardner museum will help to preserve it by relocating visitor services functions. It will provide space in the extension building for conducting “special exhibitions, programs, visitor services, classes, offices, and a state-of-the-art greenhouse” (ISGM 1), carrying forward the museum’s legacy as a center for creativity. For example, the historic Tapestry Room, one of the nation’s important tapestry galleries, now hosts the museum’s well-known concert series with audiences of ten thousand every season. Isabella Gardner’s passion for patronage is continued in the museum’s “artist-in-residency program, and lively public courses in the performing arts, horticulture, and the visual arts” (Hawley 3). The validity of the expansion project cannot be disputed. For the benefit of school children and the community, various new programs have been implemented together with audio tours, websites and lectures. Therefore, attendance at the museum has increased many fold, creating difficulties in maintaining the collection in the house without putting up barriers. The Gardner museum has significantly achieved its goal of becoming an urban meeting place for community learning (Pitman 22), and this should be developed as a long-term commitment on sustainable terms. The Specifics of the Museum Expansion Project The project will be approximately 70,000 square feet and will incorporate a new entrance off Evans Way Park and the Emerald Necklace park system. The new wing will include a 300-seat performance hall, a special exhibition gallery, two artist-in-residence apartments, education studios, a visitors’ living room, café, shop and admission facilities (Campbell 7). The timeline for the project is from 2010 to 2012. The estimated cost of the new construction is around $115 million, and together with preservation of the collection and the historic building will amount to $180 million. The design of the new building will complement that of the historic museum (ISGM 1). The meta cultural green neighborhood of the Gardner museum consists of various Fenway institutions such as the Museum of Fine Arts, Theatre, Mass Historical Society, Boston Symphony Orchestra, and Berklee College of Music (Hawley 3). Issues of Concern for Ensuring Successful Expansion Outcomes Successful outcomes from expansion of the Gardner museum will be achieved by the utilization of the Back Bay for extra retail and office space, thereby enhancing Newbury Street. Similarly, the addition of new transit-oriented housing and retail in Jamaica Plain will utilize the vacant site profitably (Shumaker, 2008). The concern regarding working in a museum setting will be alleviated by providing for natural light and fresh air. The emphasis on light and color in the historical museum will be echoed in the extension, thereby producing conducive working conditions for the employees. The project includes changing the museum’s main entrance from the Fenway to Evans Way to improve vehicular circulation, reduce queueing problems, and improve visitor drop off, accessibility, security and service. The space constraints of the project site also necessitates the demolition of the carriage house, the annex, and a section of the garden wall (Shumaker, 2008). Conclusion At the heart of the expansion project is preservation and restoration of the historic museum and its collection, while fulfilling Isabella Gardner’s vision of the museum as a provider of education and enjoyment. The project received support and enthusiasm from the public in several ways including extensive fund raising. ISGM (p.2) reiterates that this reinforces the significance of the Gardner museum to the many who love and cherish its distinctive legacy. The expansion will provide new amenities for visitors, and help to relocate several activities that have increased in the palace over the years during its evolution from a private museum to a twenty-first century civic institution. Works Cited Art Daily. Supreme Judicial Court of Massachusetts approves Isabella Stewart Gardner Museum expansion. Art Daily. (2009). Retrieved on 2nd October, 2011 from: http://www.gg-art.com/news/newsread/artnews30450.html Campbell, Robert. Building a cultural landmark for Boston. The Isabella Stewart Gardner Museum Extension and Preservation Project. (2009). Retrieved on 2nd October, 2011 from: asset4.gardnermuseum.org/FILE/2517.pdf Duncan, Carol. Civilizing rituals: Inside public art museums. New York: Routledge. (1995). Goodnough, Abby. A wounded museum feels a jolt of progress. Art and Design, The New York Times. (2009). Retrieved on 2nd October, 2011 from: http://www.nytimes.com/2009/03/15/arts/design/15good.html?pagewanted=all Hawley, Anne. Building on a legacy. The Isabella Stewart Gardner Museum Extension and Preservation Project. (2009). Retrieved on 2nd October, 2011 from: asset4.gardnermuseum.org/FILE/2517.pdf ISGM (Isabella Stewart Gardner Museum). Isabella Stewart Gardner Museum reaches fund raising milestone. (2009). Retrieved on 2nd October, 2011 from: http://www.docstoc.com/docs/55403834/Isabella-Stewart-Gardner-Museum-Reaches-Fundraising-Milestone Pitman, Bonnie. Muses, museums and memories. Daedalus, 128.3 (1999): pp.1-31. Shumaker, Jessica. (2008). Mayor announces important projects move forward. Boston Redevelopment Authority. Retrieved on 2nd October, 2011 from: http://www.bostonredevelopmentauthority.org/press/PressDisplay.asp?pressID=420 Read More