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William B. Jordan

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This article is about an American art historian. For other people with a similar name, see William Jordan.

William B. Jordan
William B. Jordan.jpg
Jordan around 2011–2013
Born(1940-05-08)May 8, 1940
Nashville, Tennessee, U.S.
DiedJanuary 22, 2018(2018-01-22) (aged 77)
Dallas, Texas, U.S.
NationalityAmerican
EducationWashington & Lee University (BA)
New York University Institute of Fine Arts (MA, PhD)
OccupationArt historian
Known forArt acquisition, curation, research
Spouse(s)Robert Dean Brownlee

William Bryan Jordan Jr. (May 8, 1940 – January 22, 2018) was an American art historian. Considered an authority on Spanish art, he facilitated acquisitions, curated exhibitions, and authored publications on still life paintings and artists from the Spanish Golden Age.

Born and raised in Nashville, Tennessee, and later in San Antonio, Texas, Jordan studied at Washington & Lee University before completing his doctorate from the New York University Institute of Fine Arts in 1967. He became the founding director of the Meadows Museum at Southern Methodist University the same year. With Algur H. Meadows' financial support, Jordan helped the museum acquire around 75 paintings and is credited with turning its collection into one of the most prominent collections of Spanish art outside Spain. He also served as the chair of fine arts at the Meadows School of the Arts and adjunct curator of the Dallas Museum of Art.

Jordan joined the Kimbell Art Museum as the deputy director and chief curator in 1981, where he curated several exhibitions. He chaired the scholars' committee that planned El Greco of Toledo (1982–83), containing the most extensive collection of paintings by El Greco. He retired in 1990 and focused on independent exhibitions and publications. Jordan's research of over 40 years on the Spanish painter Juan van der Hamen culminated in his 2005 book Juan Van Der Hamen Y León & the Court of Madrid. He was on the board of various museums and art institutes, and was made an honorary trustee of the Prado Museum in 2017.

Jordan was known for his connoisseurship. He worked as an acquisitions expert for various museums and maintained a private art collection with his husband Robert Dean Brownlee. Jordan purchased a then-misattributed painting — that he believed was painted by Diego Velázquez — for £1,000 in 1988. After Velázquez's attribution was confirmed, Jordan donated the painting, now titled Portrait of Philip III (1623–31) and valued at around US$6 million, to the Prado Museum in 2016. Following Jordan's death, several art pieces from Jordan and Brownlee's collection were bequeathed to various museums by their estate.

Early life and education[]

The Peggy Pitman Mays Gallery at the McNay Art Museum in San Antonio, Texas, with five paintings and a sculpture on display
Jordan became interested in art while working at the McNay Art Museum during summers.

William Bryan Jordan Jr. was born on May 8, 1940, in Nashville, Tennessee, to Dixie Owen Jordan and William Bryan Jordan. He had three sisters: Ettie Lu Jordan Soard, Frances Jordan Hearn-Rigney, and Sue Jordan Rodarte. They relocated to San Antonio, Texas in 1945, where Jordan attended Alamo Heights High School.[1] Over the summers, he worked at the McNay Art Museum and was mentored by its first director .[2] Jordan graduated cum laude in 1962 with a bachelor's degree from Washington & Lee University,[1] and completed his master's and doctorate in the history of Spanish art from the New York University Institute of Fine Arts in 1964 and 1967, respectively.[2]

Under the supervision of Spanish art historian  [es], Jordan focused on life and works of Juan van der Hamen for his doctoral thesis.[3] During 1965–66, he spent eleven months in Spain researching archival sources, and was able to elaborate on the biographical details of van der Hamen and expand his catalog by listing 204 "lost works", most of which were previously not known.[4] Jordan compiled a comprehensive illustrated catalog and presented his research as a monograph on the painter in his two-volume 1967 dissertation, Juan van der Hamen y León.[5] Over the years, the dissertation became a frequently cited reference in publications related to the artist.[6]

Career[]

Southern Methodist University and Dallas Museum of Art: 1967–81[]

When Jordan was offered the position of the director of the Meadows Museum at Southern Methodist University in Dallas, the museum was struggling with an art scandal that had damaged its reputation.[7] Forty-four paintings in the museum's collection had turned out to have been forgeries,[8] including counterfeits by Elmyr de Hory.[9] Jordan visited the museum with López-Rey,[7] and concluded that he would have to "essentially build [the collection] from scratch."[10] Algur H. Meadows, the museum's founder and benefactor, pledged US$1 million (approximately US$7.8 million in 2020) to replace their Spanish art collection, and Jordan accepted the job.[11]

Entrance to the Meadows Museum
The Meadows Museum, where Jordan became the founding director in 1967.

Jordan became the founding director of the Meadows Museum and chair of fine arts at the Meadows School of the Arts in 1967.[9] The museum closed for a few months, and Jordan began evaluating its collection with help from López-Rey and Diego Angulo Íñiguez.[7] Jordan revamped the collection by acquiring new paintings before the museum reopened; the collection included Yard with Lunatics (1794) by Francisco Goya, works of Bartolomé Esteban Murillo and Francisco de Zurbarán.[9] In a 1968 article, "A Museum of Spanish Painting in Texas" published in Art Journal, Jordan highlighted the museum's recently acquired paintings and stated that they had begun an acquisitions program to expand their collection further;[12] he followed up on the article with the 1974 book, The Meadows Museum: A Visitor's Guide to the Collection, an illustrated catalog of the works in the museum.[13]

In 1971–72, Jordan organized an exhibition on a collection of works related to Dennis Hopper, and a postwar art exhibition of works by Andy Warhol, Robert Rauschenberg and at the University Gallery of Southern Methodist University. He was involved in organizing Poets of the Cities: New York and San Francisco 1950–65 (1974), an exhibition on international contemporary arts, at the University Gallery and Dallas Museum of Arts.[14] Jordan taught courses on Spanish art history and "Museums and Collecting" at the Meadows School of the Arts, where he was appointed a full professor in 1975.[9] He served as the general secretary of the American Society for Hispanic Art Historical Studies from 1976 to 1978, where he was a founding member.[15]

Jordan joined the Dallas Museum of Art as the adjunct curator of European art in 1977, a post he held until 1982.[16] He curated Dallas Collects: Impressionist and Early Modern Masters for the 75th anniversary of the Dallas Museum of Art in 1978. Jordan assembled 115 works from private collections in Dallas for the exhibition and published their scholarly descriptions in the accompanying catalog.[17] In the subsequent years, he became a member of the Board of Trustees, and member and chairman of the Committee on Collections of the Dallas Museum of Art.[16] Jordan hosted the first exhibition of Patsy and Raymond Nasher's sculpture collection at the Owen Fine Arts Center of the Meadows School of the Arts in 1978; the Nashers encouraged by the confidence shown by Jordan, started expanding their collection, which eventually became the foundation of the Nasher Sculpture Center.[18] He also helped to develop the museum's sculpture collection at the "Elizabeth Meadows Sculpture Garden", named after Meadow's second wife.[19]

Portrait of Queen Mariana (1656) by Diego Velázquez was the last painting Jordan acquired with Meadows' support.

Jordan continued to acquire several prominent works at auctions and from art dealers with Meadows' financial support, and significantly expanded the collection throughout his term. While they initially purchased paintings together, Meadows eventually trusted him and acquired paintings without seeing them if Jordan had vetted them. The collaboration continued until Meadows' death in a car accident in 1978.[9] In 1980, Jordan oversaw contemporary art exhibitions Paintings and Drawings by Cy Twombly, a scholarly study on works by Cy Twombly, and Livres d'Artiste by Braque, Matisse, and Picasso from the Collection of the Bridwell Library, featuring works in the university's Bridwell Library at the University Gallery.[14]

Jordan left the museum in 1981 but continued his involvement in activities related to the museum, and was a member of the executive board of the Meadows School of the Arts until 2018. He acquired around 75 works during his tenure, including paintings by Murillo, Velázquez, Jusepe de Ribera, and de Zurbarán. His acquisitions also included six paintings by Goya from the 18th and 19th centuries, and 20th-century works of Pablo Picasso, Joan Miró, and Juan Gris.[9] Jordan is widely credited for turning the Meadows Museum's collection into one of the most prominent collections of Spanish art outside Spain.[20]

Kimbell Art Museum and El Greco of Toledo: 1981–90[]

South Wing of the Kimbell Art Museum
Jordan left the Meadows Museum to join the Kimbell Art Museum in 1981.

In 1981, Jordan became the deputy director and chief curator of the Kimbell Art Museum in Fort Worth, Texas,[21] after he was offered the position by the director of the museum, . The Kimbell Art Museum provided Jordan a bigger budget to organize exhibitions and acquire paintings than the Meadows Museum.[22] According to Jordan, the museum had not hosted exhibitions of its own artworks before he joined, and they "began an aggressive exhibitions campaign to rebuild and expand the collection."[10] The museum organized Jusepe De Ribera: Lo Spagnoletto, 1591-1652, the first exhibition to focus only on works by Jusepe de Ribera in 1982. Jordan and Craig Felton, professor of art at Smith College, served as co-curators and edited the catalog published for the event.[23]

Jordan served as the chairman of the scholars' committee that planned El Greco of Toledo (1982–83) to commemorate the 400th anniversary of El Greco's move to Toledo, Spain. The committee also selected most works featured in the event;[24] with 66 paintings gathered from several countries,[25] the exhibition contained the most extensive collection of paintings by El Greco.[26] The exhibition, on display at the Prado Museum, National Gallery of Art, Toledo Museum of Art and Dallas Museum of Art, was curated by Jonathan Brown, Jordan, Richard L. Kagan and  [es].[27] Jordan also authored descriptive texts for the works in the accompanying catalog.[28]

Still Life with Sweets and Pottery (1627), assessed by Jordan as representing "the summit of van der Hamen's artistic output,"[29] was featured in the 1985 exhibition and on the cover of its catalog.

In 1985, Jordan curated Spanish Still Life in the Golden Age, 1600–1650 at the Kimbell Art Museum and Toledo Museum of Art, the first exhibition in the United States to feature a broad range of still life paintings brought in as loans from other countries.[15] The exhibition focused on works of Antonio de Pereda, de Zurbarán, Juan Fernández el Labrador, Juan Sánchez Cotán, van der Hamen and Velázquez.[30] He authored its catalog which explored the history of still life paintings in Spain, and presented his research of the paintings in the exhibition.[31] Jordan was on the Art Committee of the Hispanic Society of America in 1986, and was knighted in the Order of Isabella the Catholic by the Spanish government at the Embassy of Spain, Washington, D.C. for his contributions to Spanish art history on February 18, 1986.[15]

In collaboration with Pillsbury, Jordan had helped the museum acquire over 40 paintings of European origin by 1987. Their acquisitions included 15th and 16th century paintings by Italian artists such as Andrea Mantegna, Ercole de' Roberti, Fra Angelico, Sebastiano del Piombo, Tintoretto and Titian, as well as works by Georges de La Tour, Jacques-Louis David, Paul Cézanne, Picasso and Velázquez.[32] He wrote an introductory essay on the museum's collection, published in the 1987 book In Pursuit of Quality.[33] Jordan served as an editor of A Prosperous Past: The Sumptuous Still Life in the Netherlands, 1600-1700, authored by a Dutch biologist and art historian  [nl]. The book focused on still life painters of Europe, and accompanied an eponymous exhibition at the Fogg Art Museum, Museum Het Prinsenhof and Kimbell Art Museum in 1989.[34]

Jordan decided to retire in 1990 at age 50 — following in his father's footsteps, who had retired at 49 — and worked independently afterwards.[35] During his term, Jordan acquired important Spanish paintings such as Still Life with Oranges, Jars, and Boxes of Sweets (1760) by Luis Egidio Meléndez, Portrait of Heriberto Casany (1918) by Miró, Four Figures on a Step (1655–60) by Murillo and Portrait of Don Pedro de Barberana y Aparregui (1631–33) by Velázquez,[3] and wrote descriptive labels for all European works in the museum.[2]

Independent work: 1990–2018[]

Still Life with Cardoon and Francolin (1628) by Felipe Ramírez
Still Life with Game Fowl, Fruit and Cardoon (1602) by Juan Sánchez Cotán
Jordan hypothesized that Ramírez's Still Life with Cardoon and Francolin was either inspired by Cotán's Still Life with Game Fowl, Fruit and Cardoon or a reproduction of a Cotán painting which is now considered lost.[36]

In 1992, Jordan curated La imitación de la naturaleza: los bodegones de Sánchez Cotán (The Imitation of Nature: The Still Life of Sánchez Cotán) at the Prado Museum, which included six still life paintings by Juan Sánchez Cotán, and one by Felipe Ramírez.[37] He authored an eponymous catalog discussing paintings in the exhibition, including how Ramírez could have imitated Cotán's works,[36] life and influence of Cotán as a still-life painter,[38] and his paintings in context with the development of bodegóns (still life paintings depicting pantry items) in Europe.[39]

Southern Methodist University awarded Jordan with a Doctor of Humane Letters, honoris causa on May 20, 1995 "for his contributions to the world of arts and for the enrichment he has brought to the campus and the city of Dallas."[40] Jordan and Peter Cherry, lecturer at Trinity College Dublin, curated Spanish Still Life from Velázquez to Goya (1995) at the National Gallery in London,[41] which became their most-attended exhibition of the time.[1] Its accompanying catalog explored the origin and history of still life paintings and biographies of several still life artists of Spain.[42]

In 1997, the Matthiesen Gallery organized An Eye on Nature: Spanish Still-Life Paintings from Sánchez Cotán to Goya exhibition at the Stair Sainty Matthiesen Gallery in New York City;[43] Jordan authored its catalog, analyzing still life paintings and biographical details of artists featured in the exhibition.[44] Jordan attributed two paintings in the exhibition, by a then-unknown artist, to "Pseudo-Hiepes" due to similarities in their themes to Tomás Hiepes' work. He speculated that the artist most likely belonged to Aragon, owing to the style of the paintings.[45] After a signed painting by Bernardo Polo of Zaragoza, Aragon was discovered in 2009, Jordan determined that the two unattributed works belonged to Polo because of their nearly identical compositions.[46] In 2001, he joined the Nasher Sculpture Center in Dallas as a member of the board of directors.[47] He also served as the trustee of the center and the ;[48] he was the founding director of the latter.[49]

San Isidro (1620–22)
Jean de Croÿ, Count of Solre (1626)
Jordan used van der Hamen's San Isidro, which helped Philip IV canonize Isidore the Laborer, and Jean de Croÿ, Count of Solre, considered by art historians as one of the most important Spanish paintings from the 1620s to illustrate the artist's versatility as a history painter and portraitist, respectively.[50]

In 2005, Jordan published Juan Van Der Hamen Y León and the Court of Madrid, an updated monograph on Juan van der Hamen. He continued his research on van der Hamen throughout his career, spending numerous sabbaticals in Spain,[6] and presented the results of his work of over 40 years through the publication.[51] Jordan focused on van der Hamen's role in the court of Philip IV during the 1620s, discussed his place among significant Spanish Baroque painters, and emphasized on his versatility by assessing his history paintings and portraits alongside his still lifes, which he is best known for.[52] Jordan also offered attribution of various paintings to van der Hamen which were previously unattributed or attributed to other artists.[53]

Jordan curated an eponymous exhibition on the occasion of the book's publication. It was the first monographic exhibition of van der Hamen's paintings and was displayed at the Patrimonio Nacional in Madrid and Meadows Museum in 2005–06.[54] María Cruz de Carlos, professor of art of the modern age at the Autonomous University of Madrid, stated that Jordan's work "is a starting point for a new assessment" in that it "offers a revision to the prevalent art historical view that considers him almost exclusively as a still-life painter."[55] While Cherry acknowledged Jordan's "fresh interpretation", he was skeptical of some new attributions, in particular arguing that a portrait which Jordan had attributed to van der Hamen should maintain its original attribution to Velázquez.[53]

In a 2007 KERA interview at the Kimbell Art Museum, Jordan retrospected that he published his "most important books" and organized his "most important exhibitions" after he retired.[10] He worked with Olivier Meslay at the Dallas Museum of Art to create an exhibition and a catalog of modern European paintings in local private collections to promote local collecting in 2013.[22] They curated Mind's Eye: Masterworks on Paper from David to Cézanne the following year with over 120 works on paper of 70 artists from the 18th to 20th century, taken from local private collections and the museum.[56] In 2017, the Prado Museum appointed Jordan as an honorary trustee.[1]

Jordan died on January 22, 2018, at William P. Clements Jr. University Hospital from complications of idiopathic pulmonary fibrosis.[2] He was buried at the Hillcrest Mausoleum and Memorial Park in Dallas.[57] Jordan was compiling a catalogue raisonné of van der Hamen when he died.[3]

Art acquisitions[]

There's a lot wrong about art now. I mean, so much of the art today is silly. It's hard to find art of very great quality today. But it does exist.

— William B. Jordan, 2007.[10]

Jordan was considered an authority on Spanish art,[58] and one of the foremost experts on still life paintings from the Spanish Golden Age.[59] Jordan was recognized for his ability to spot and assess historically significant paintings, and he collaborated with various museums throughout his career as an expert during art acquisitions.[22]

In 1976, Jordan noticed San Sebastián (1506) by Fernando Yáñez in a gallery in Madrid. The painting was not published previously or attributed to Yáñez at the time, and there were no records in sources on Spanish art to prove it was his work. However, Jordan was convinced that it was a work by Yáñez, and he made the purchase with Meadows' support.[9] Subsequent research established that the painting was done by Yáñez, and it became one of the more important works in the Meadows Museum.[60]

Jordan helped the Dallas Museum of Art acquire Fox in the Snow (1860) by Gustave Courbet in 1979, a painting that was outside his area of expertise.[22] In 1990, he was called as an expert by the San Diego Museum of Art during their acquisition of The Adoration of the Shepherds (1572–74) by El Greco and St. Sebastian (1604) by Cotán. Jordan had noticed St. Sebastian at an auction in New York, where it was vaguely attributed to a "Flemish master". The museum purchased the work after the painting was vetted and its attribution confirmed by Jordan and other experts.[61]

Private collection[]

Jordan maintained an art collection with his husband Robert Dean Brownlee at their residence in Turtle Creek, Dallas, which included various types of visual art.[62] His most notable acquisition was of Portrait of Philip III (1623–31) by Diego Velázquez in 1988.[63] He purchased the piece for £1,000 at a London auction, where it was titled Portrait of a gentleman painted by a follower of Justus Sustermans. Jordan believed it to be a painting by Velázquez instead, done in preparation of The Expulsion of the Moriscos (1627), which is considered by historians to have been burned in the Royal Alcázar of Madrid fire of 1734.[64]

Portrait of Philip III (1623–31) by Velázquez; according to Jordan, Philip III's depiction of looking upwards suggested that it was not a standalone portrait.

Jordan found that historical descriptions of Philip III in The Expulsion of the Moriscos match the expressions and direction of Portrait of Philip III. He also concluded that the style and details of Portrait of Philip III were similar to Velázquez's distinctive style of that period. He further reasoned that the unusual depiction of Philip III looking up, instead of forward and straight, indicated that the work was meant to serve as a model for another painting with a wider scene.[64] Jordan kept the painting in his private collection for 28 years,[65] and sent it to the Prado Museum for authentication in 2016. The museum confirmed its authenticity,[64] and the painting was subsequently valued at around US$6 million.[66] Later that year, Jordan donated it to a non-profit organization, the , which then gave the painting to the museum as a long-term deposit.[64]

The Dallas Museum of Art created a Works on Paper Department and established The William B. Jordan and Robert Dean Brownlee Endowment from donations from Jordan and Brownlee's estate in 2019.[67] They donated over 80 different works of art to the museum; 58 of them were works on paper. Their donation included oil paintings and furniture from the 19th and 20th centuries and other antiquities such as silver works, ceramics, and sculptures.[16] The museum organized an exhibition — Point, Line, Plane: The William B. Jordan and Robert Dean Brownlee Bequest — featuring around 50 of those works in 2021–22.[67]

The National Gallery of Art received a bequest from Jordan and Brownlee containing works by Alberto Giacometti, Delacroix, Ellsworth Kelly, František Kupka, Jacques-Louis David, John Cage, Pierre Bonnard, Picasso, and Twombly in 2019. The bequest included a 1900 sketch related to After the Bath, Woman Drying Herself by Edgar Degas, a print, four medals, and 20 drawings.[68] In 2020, Nasher Sculpture Center received works by John Chamberlain, Miró and Oldenburg as a part of a bequest from Jordan and Brownlee. It included My Father's Watch (For Bill Jordan) by ; McManaway had made the painting for Jordan using Jordan's father's watch in 1973.[48]

Honors[]

Bibliography[]

Author[]

  • Jordan, William B. (1967). Juan van der Hamen y León (Dissertation). New York University (1; Illustrated ed.). Ann Arbor: University Microfilm International.
  • ———————— (1974). The Meadows Museum: A Visitor's Guide to the Collection (1; Illustrated ed.). Dallas: Southern Methodist University.
  • ———————— (1978). Dallas Collects: Impressionist and Early Modern Masters (1; Illustrated ed.). Dallas Museum of Art.
  • Brown, Jonathan; ————————; Kagan, Richard L.; Sánchez, Alfonso E. Pérez (1982). El Greco of Toledo (1; Illustrated ed.). Boston: Little, Brown and Company. ISBN 978-0-8212-1501-2.
  • ———————— (1985). Spanish Still Life in the Golden Age, 1600-1650 (1; Illustrated ed.). Fort Worth: Kimbell Art Museum. ISBN 978-0-912804-19-4.
  • ———————— (1992). La imitación de la naturaleza: los bodegones de Sánchez Cotán [The Imitation of Nature: The Still Life of Sánchez Cotán] (in Spanish) (1; Illustrated ed.). Madrid: Prado Museum. ISBN 978-84-87317-20-0.
  • ————————; Cherry, Peter (1995). Spanish Still Life from Velázquez to Goya (1; Illustrated ed.). London: National Gallery. ISBN 978-1-85709-064-2.
  • ———————— (1997). An Eye on Nature: Spanish Still-life Paintings from Sanchez Cotan to Goya (1; Illustrated ed.). London: Matthiesen Gallery. ISBN 978-88-422-0758-0.
  • ———————— (2005). Juan Van Der Hamen Y León & the Court of Madrid (1; Illustrated ed.). New Haven: Yale University Press. ISBN 978-0-300-11318-1.

Editor[]

Chapters[]

Articles[]

References[]

Citations[]

  1. ^ a b c d e San Antonio Express-News (2018).
  2. ^ a b c d Brettell & Simnacher (2018).
  3. ^ a b c Cherry (2018), p. 440.
  4. ^ Jordan (1967), pp. vi–vii.
  5. ^ Jordan (1967), pp. i, iv–v.
  6. ^ a b Jordan (2005), p. 17.
  7. ^ a b c Curlee (1995).
  8. ^ Wecker (2017).
  9. ^ a b c d e f g Meadows Museum2.
  10. ^ a b c d Bothwell (2018).
  11. ^ McWhirter (1967), p. 58.
  12. ^ Jordan (1968a), pp. 288–296.
  13. ^ Jordan (1974), pp. 7–11.
  14. ^ a b Dallas Museum of Art.
  15. ^ a b c d North San Antonio Times (1986).
  16. ^ a b c Dallas Museum of Art (2019).
  17. ^ Jordan (1978), pp. 3–5.
  18. ^ The Nasher (2018), pp. 70–72.
  19. ^ Meadows Museum1.
  20. ^ Brettell & Simnacher (2018); Curlee (1995); North San Antonio Times (1986).
  21. ^ Brettell & Simnacher (2018); Pulido (2016).
  22. ^ a b c d Edith O'Donnell Institute of Art History (2018).
  23. ^ Felton & Jordan (1982), pp. 3–5.
  24. ^ Markham (1982); North San Antonio Times (1986).
  25. ^ Ostrow (1982).
  26. ^ Jordan (1967), p. 333.
  27. ^ Mallory (1985), pp. 353–356.
  28. ^ Mallory (1985), p. 353.
  29. ^ Pillsbury & Jordan (1987), p. 767.
  30. ^ Jordan (1987), pp. 98–100.
  31. ^ Segal (1989), pp. 3–4.
  32. ^ Bothwell (2018); Edith O'Donnell Institute of Art History (2018).
  33. ^ a b Jordan (1992a), pp. 82–84.
  34. ^ Serraller (1992).
  35. ^ Jordan (1992a), pp. 13–18.
  36. ^ Jordan (1992a), pp. 19–29.
  37. ^ a b Southern Methodist University (1995), p. 8.
  38. ^ Yale University Press.
  39. ^ Mann (1997), pp. 941–942.
  40. ^ Jordan (1997), title page.
  41. ^ Jordan (1997), pp. 13–15.
  42. ^ Jordan (1997), pp. 116–120.
  43. ^ Jordan (2009), pp. 393–403.
  44. ^ Nasher Sculpture Center (2001).
  45. ^ a b Nasher Sculpture Center (2020).
  46. ^ The Nasher (2018), p. 72.
  47. ^ Zirpolo (2006), p. 1212; Jordan (2005), p. 171.
  48. ^ Nancarrow (2007), p. 135.
  49. ^ Scheffler (2007), p. 177.
  50. ^ a b Cherry (2006), pp. 298–299.
  51. ^ Jordan (2005), pp. 19–20.
  52. ^ de Carlos (2007), p. 298.
  53. ^ Dallas Museum of Art (2014).
  54. ^ Dignity Memorial.
  55. ^ Bothwell (2018); Brettell & Simnacher (2018); North San Antonio Times (1986).
  56. ^ Cherry (2006), p. 299; Prado Museum (2016); Southern Methodist University (2018).
  57. ^ Jordan (1999), p. 349.
  58. ^ Freudenheim (1990).
  59. ^ Edith O'Donnell Institute of Art History (2018); Dallas Museum of Art (2021).
  60. ^ Brettell & Simnacher (2018); Edith O'Donnell Institute of Art History (2018).
  61. ^ a b c d Prado Museum (2016).
  62. ^ Pulido (2016).
  63. ^ Sullivan (2017).
  64. ^ a b Dallas Museum of Art (2021).

Sources[]

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