The Addison Gallery of American Art, is internationally recognised for its outstanding collection of paintings, sculpture, prints, drawings. Among the some 240 notable examples from the collection included in this tiny tour are paintings from the eighteenth century by Gilbert Stuart and John Singleton Copley.

Introduction 6 EIGHTEENTH TO EARLY NINETEENTH CENTURIES 14 MID - TO LATE NINETEENTH CENTURY 32 TURN OF THE CENTURY 68 EARLY TWENTIETH CENTURY 94 EARLY MODERN 124 ART AT MID-CENTURY 176 LATE TWENTIETH CENTURY TO PRESENT 226 Donors' Credits 278 Index of Illustrations 282 Photograph Credits 287

The Addison Gallery American Art, Phillips Academy Andover, was one of the country's first museums devoted to American art; it remains the only museum of national significance associated with a secondary school.l Its exceptional collection, now numbering more than 12,000 works in all media, provides an overview of nearly three hundred years of American artistic achievement. Opened in 1931, the Addison was the gift of Phillips Academy trustee Thomas Cochran. Motivated by his love of Country and admiration for the Academy's illustrious and lengthy history, Cochran envisioned a museum that would "enrich permanently" the lives of students and inculcate "a love of the beautiful." The renowned Beaux Arts architect Charles A. Platt was invited by the school to completely redesign the campus in the 1920s and '30s. Platt's comprehensive plan prominently positioned the "instruments of culture" —the Addison Gallery and the Oliver Wendell Holmes Library—on either side of Andover's central campus, thus symbolizing the importance of art and literature in education. The presence of the Addison at the school has affected generations of students. A surprising number of alumni have gone on to careers in the arts, among the artists Carl Andre, Joseph Cornell, Carroll Dunham, Walker Evans, Wendy Ewald, Hollis Frampton, Peter Halley, Mel Kendrick, John McLaughlin, Frank Stella, George Tooker, and Francesca Woodman, as well as many art historians, critics and dealer. Today the Addison is not only a teaching museum but a national treasure. Unlike most of the founders of America's museums, Cochran was not a collector; he bought only for the museum. With great gusto, stellar advice, and considerable means, Cochran, and his art advisers purchased the best American art available, acquiring not only individual works of greatness but also with certain key artists, multiple examples from different periods, initiating a collecting pattern that continues to the present. The original donations of nearly four hundred works was an extraordinary group of pictures. Winslow Homer's The West Wind, Eight Bells, and Country School; Thomas Eakins's Salutat and Elizabeth at the Piano; James McNeill Whistler's Cypress Trees at San Vigilio; and may others remain the heart of the Addison's collection. From its inception, the Addison was closely allied to New York. In addition to Cochran, the original Five-member Art Committee consisted of collector Lillie Bliss, co-founder of the Museum of Modern Art; her sister-in-law, Mrs. Cornelius Bliss, married to a director of the Metropolitan Museum of Art; Charles a Platt, artist and connoisseur as well as architect; and Robert McIntyre, secretary of Macbeth Gallery, the foremost representative of American art. While the Addison's goal was to develop a well-rounded collection of all periods, it closely allied itself with the missionary ideals of fledging modern museums, including MoMA and the Whitney Museum of American Art—often hosting exhibitions that they organized. Lillie Bliss served as an advocate for modern art at the Addison. She donated the Addison's first accessioned work, Arthur B. Davies's Mountain Beloved of Spring: her estate gave additional work by Walt Kuhn Maurice Pendergast and others. MoMA board member Stephen C. Clark, who replaced Bliss the art committee, gave Eakin's Professor Henry A. Rowland and Edward Hopper's Manhattan Bridge Loop. Although Thomas Cochran died in 1936, the museum continued to build on the strength of its remarkable core collection. Superb works were purchased, ranging from John Singleton Copley's Mary Elizabeth Martin, Eastman Johnson's The Conversation, and Marsden Hartley's Summer, Sea, Window, Red Curtain to Alexander Calder's Horizontal Spines and Stuart Davis's Red Cart. Then as today, the gallery counted on the generosity of collectors and the good will of artist stop build its collection. In 1940 pioneering modernist collector Edward Wales Root began a lifelong association with the museum. Root donated works by William Baziotes, Charles Burchfield, Arthur Dove, Edward Hopper, and Mark Tobey. In 1944, Candace Stimson left her collection of American paintings and works on paper including Winslow Homer's haunting late work Kissing the Moon and Childe Hassam's exuberant Early Morning on the Avenue in May 1917. Visionary collectors of modern American art William and Saundra Lane donated a major painting to the Addison, among them Patrick Henry Bruces's Peinture/Nature more, Franz Kline's Abstract, as well as works by Charles Sheeler and Hyman Bloom. More recently, artist Jacob Kainen and his wife, Ruth cole Kainen, helped to fill gaps in the museum's early and mid-century collection with works by Louis Lozowicks, John Graham, and Mark Rothko. Recognizing the Addison's uniqueness, many of this century's great patrons of modern art supported the gallery's collection. Peggy Guggenheim made possible the purchase of Jackson Pollock's Phosphorescence, Hudson Walker gave Alfred Maurer's Evening at the clubs Roy Neuberger presented Niles Spencer's From the Race Road, while more recently R. Crosby Kemper offered David Smith's Structor of Arches,the and Michael Scarf gave Joseph Cornell's Homage to Brancusi. The postwar collection was greatly increased in 1991 through the Addison Art Drive with gifts from the School's illustrious artists/alumni. Frank Stella gave works by John Chamberlain, Adolph Gottlieb, Jasper Johns, Donald Judd, Ellsworth Kelly, Agnes Martin, Kenneth Noland, and Ad Reinhardt, while Carl Andre donated works by Sol LeWitt, Brice Marden, and Robert Ryman. Both artists also gave key examples of their own art. Other alumni were also generous, including writer/critic Lucy Lippard, who added works by lectorAllan Stone, who gave works by Jackson Pollack and Clyfford Still. This philanthropic tradition has continued with artists such as Siah Armajani, Dawoud Bey, So LeWitt, Robert Mangold, and Joel Shapiro, many of whom have participated in the Addison's Edward E. Elson Artist in Residence Program. Since 1934, the museum has actively collected photography; the first addition was purchased from the exhibition Photograph by Margaret Bourke-White. Today, the Addison's collection numbers more than 6,000 images from the nineteenth century to the present with special emphasis on documentary and street photography. as with the Addison's painting collection, the photography holdings represent certain key artists in depth. The museum holds Carleton Watkins's mammoth plate album of Yosemite, courtesy of collector Stephin Sherrill, Alexander Gardner's two-volume Civil War masterpiece >Photgraphic Sketch Book of the War, and the complete set of Eadweard Muybridge's Animal Locomotion as well as The Attitudes of Animals in Motion. The Addison also possesses Twenty-two volumes of Alfred Stieglitz's Camera Work, donated by Georgia O'Keefe. Other extensive holdings include Robert Frank's The Americans, and works by Lewis Balz, Harold Edgerton, and Walker Evens. The notable collection of conceptual photography includes works by Vito Acconci, Carl Andre, and Douglas Huebler.From its impressive beginnings to the present, the hight quality of the Addison Gallery's collection, the thoughtfulness with which the collection ahs been assembled, and the distinctive emphases and the interrelationships of its holdings have placed the Addison Gallery of American Art at the forefront of the nation's museums. AdamD. Weinberg The Mary Stripp and R. Crosby Kemper Director