Last month, the Chicago Academy of Art announced that it received a “transformative gift” from old French art by Jeffrey and Carol Horvitz. Works in the gift hail from the 16th to the 19th century. It consists of nearly 2,000 drawings, 200 paintings and 50 sculptures, including works by Charles Le Brun, François Boucher, Jean-Honoré Fragonard, Jacques-Louis David and Théodore Géricault. Recently, we met with Emerson Bowyer, curator of the Art Institute of Chicago to learn more about the gift and its impact.
Can you explain the importance of this gift in the existing French art collections of institutions of that period? Will these effects deepen the conditions that already exist or fill the gap?
The Academy of Arts is one of the greatest collections of 19th-century French artworks outside of France. In contrast, our 17th and 18th centuries French collection rates are less comprehensive. These centuries are the power of Horvitz’s collection. The Horvitz series joins our stake, allowing the Academy of Art to tell a richer, richer story of French art history over the course of centuries.
With so many works of art, I’m sure it’s hard to choose a favorite, but what is the outstanding performance of this gift in terms of artistic historical significance?
The series features major drawings by famous artists such as Wateau and Boucher, as well as Jean-Auguste-Dominique Ingres, Jacques-Louis David and Théodore Gericault. Outstanding include Ingres’ skilled watercolor and gouache to depict Jupiter and TissAnd Gericault’s mobile watercolor, ink and gouache rendering Couple in the landscape. A large number of paintings by artists in the 17th century included huge lighting lament The scenes of artist Jacques Bellange and the famous works of Charles Le Brun, Christ on the Mount of Olives. There are also famous paintings by masters of the 18th century, such as the many portraits of Boucher and Fragonard, Largillière, and a series of canvases by François-André-André Vincent, including his description of him vibrant Rinaldo and Armida. A large number of drawings and paintings of female artists are also important Still life with dead rabbit.
The artworks carry “one of the largest financial gifts in the history of the Institute of Arts” which is “dedicated to supporting French art in a permanent collection”. Can you tell my readers what some of these are needed? Should we expect more exhibitions on this material in the future?
With the scale of the series, it is important to maintain, preserve and preserve these works as well as conducting major research and production exhibitions. This financial support is part of their responsible donation and will help the museum care for generations of this series.
Jeffrey Horvitz said in his statement that the couple “always envision the whole of this collection so that it is more than just the sum of its parts.” What are the benefits of putting such collections together?
The significance of the series depends on the quality, depth and ability that represents almost all aspects of French art from the 17th to the mid-19th century. Putting such a collection together ensures its ability to tell rich and complete stories of French art history.
