50 years into the vision

50 years into the vision


This fiftieth anniversary magazine
was made possible by
Contents & Features
5 Anniversary Events
Come celebrate with us!
6 Our History
Fifty Years into the Vision
12 Anniversary Exhibitions
A year of great art
14 The Gift of Art
Planned Giving moves The Westmoreland into
the future
17 Fifty Acquisitions Highlighted Over 50 Years
26 Imagine Nation
A whole new way for kids and grown-ups
to experience art
28 Board of Trustees & Staff
31 Visiting The Westmoreland
Plan a trip to your Museum
 LETTER FROM THE DIRECTOR/CEO

Letter from the

Director/CEO
This anniversary year is about memory and anticipation.
Celebrating our first 50 years and looking forward to the next.

My own first memory of this museum is still very clear. I was

a graduate student at Penn State when Paul Chew wrote to me
about an acquisition he had just made. It was a painting by an
artist on whom I was doing doctoral research, and he wanted
to know if I would travel to Greensburg to see the canvas in
question. I’m not sure what I expected when I arrived, but like
many first-time visitors I was amazed at the building, the
collection and the gracious staff. Severin Roesen’s Still Life with
Fruit was only one of the marvelous paintings I enjoyed that day.
I had fallen in love with The Westmoreland at first sight.

A decade later I received another invitation to Greensburg, this

time to interview for the position of Director/CEO. My second
visit did not disappoint. The Museum was as compelling as it
had been on my first visit, and I hoped very much to be the
successful candidate. It is somewhat astonishing, in this day,
that a museum 50 years old has had only two directors. It has
been my privilege to follow Paul Chew and my honor to help
guide The Westmoreland into its next half century.

Judith H. O’Toole
Director/CEO

4

Events
Westmoreland Museum of
American Art Fiftieth Anniversary
Celebration and Activities
February 22, 2009
The Gift of Art, an exhibition highlighting new,
promised and prior gifts to the collection,
opens to the public.
May 29 – 31, 2009
Happy Birthday Westmoreland!
May 29, 2009 at 11 AM
Come commemorate the Westmoreland
Museum of American Art’s opening to the
public exactly 50 years ago on May 29, 1959,
by attending our ribbon-cutting ceremony.
Guided tours of the collection will be offered
between 11-3, plus refreshments and special
discounts in An American Marketplace –
The Shop at The Westmoreland.
May 30, 2009
Get ready for a night 50 years in the making!
The Women’s
Committee will
revive one of its
annual events with
Golden Reflections:
The Fiftieth
Anniversary
Museum Ball.
These lively galas
were held from the
mid-1960s through
the mid-1990s and the 2009 Ball will feature
the best of those decades.
May 31, 2009 from 1 – 4 PM
Celebrate The Westmoreland’s 50th at a
family-friendly birthday party complete
with cake and fun activities. Sponsored
by Highmark Blue Cross Blue Shield and
Snee-Reinhardt Charitable Foundation.
June 14, 2009
Modern Masters from the Smithsonian American
Art Museum opens to the public.
EVENTS
50 years into the vision
July 4, 2009 from 12 – 3 PM
The Westmoreland celebrates our country’s
birthday and American art with a big picnic
on our grounds for the whole community.
September 27, 2009
Four Perspectives on Fifty Years opens to
the public.
October 2009
Masterpieces of American Art, the second in
the Museum’s permanent collection catalog
series, featuring highlights from the permanent
collection, will be published. Sponsored by
the Richard King Mellon Foundation and the
National Endowment for the Arts.
October 24, 2009 from 12 – 4 PM
The Westmoreland celebrates its birthday
during National Arts and Humanities
month with fun activities and events for
the whole family! Family Day Sponsored by
Snee-Reinhardt Charitable Foundation.
November 27, 2009 from 12 – 4 PM
Join us for this reception on the day after
Thanksgiving for Imagine Nation Day events
and the opening of the annual toy show.
December 4, 2009
The Westmoreland Society gets in on the
birthday action with its annual black tie dinner,
when the society will vote to acquire artwork
for the collection and award its prestigious
gold medal.
Ongoing throughout the year:
· Free admission for those born or married
in 1959.
· Free admission on every second Thursday
for all visitors throughout the year. Sponsored
by Snee-Reinhardt Charitable Foundation.
· 50 free memberships – drawing takes place
each week!
5
 HISTORY OF THE WESTMORELAND

History of The Westmoreland

At the crest of a hill in Greensburg, Pennsylvania sits a structure of “Georgian architecture,
built of brick, with stone trim,” as requested by Greensburg native, Mary Marchand Woods.
Inside is an American art collection which rivals the finest in the nation. The Westmoreland
Museum of American Art has stood at this site, with open doors, since May 29, 1959, as
a cultural oasis nestled in the foothills of southwestern Pennsylvania. Fifty years have
passed since The Westmoreland greeted her first visitor, which is cause for reflection
and celebration. We are fifty years into the vision…

The Westmoreland’s story begins with the vision of one woman,

Mary Marchand Woods. Like many great stories, the protagonist
is unassuming. Local lore reveals that she was extremely thrifty, taking
as her lunch each day a bowl of soup from the school cafeteria across
the street from her Greensburg home. It must have come as a surprise
when in 1949, Mary announced her decision to leave her entire estate
for the creation of a museum. In that moment, the vision of one
woman became the benefit of an entire community.

“I am positively amazed at the many items of significance people turned up.

It’s a shame not to have them collected together where our children can see
and learn about them.”
– Mary Marchand Woods, quoted circa 1950 about the city of Greensburg’s
sesquicentennial celebration Pittsburgh Sun-Telegraph, Feb. 1953

Mary had begun the process of organizing her estate as the Woods-Marchand
Foundation after her husband, Cyrus E. Woods, passed away in 1938; and
she would dedicate the Museum in his memory. Cyrus had an impressive
government career serving as a state senator (1901-1908), secretary of the
Commonwealth of Pennsylvania, United States Minister to Portugal (1912-1913),
and U.S. Ambassador to Spain (1921-1923) and Japan (1923-1924). Mary traveled with her husband, enjoying
the exposure to other cultures, before returning to their house positioned near where the Museum stands today.

There’s Something about Mary

Mary Marchand Woods descended from some of the earliest settlers of
Westmoreland County. Daughter of John A. and Mary Todd Marchand, Mary was
born in 1873, living in a house on the property where the Museum now stands.

Marrying Cyrus E. Woods in 1898, Mary was offered the opportunity to travel
extensively as Cyrus fulfilled his duties as a foreign ambassador. They returned
permanently to Greensburg in 1930 once Cyrus retired.

Widowed in 1938, Mary spent her later years saving money and was “devoted
wholeheartedly” to establishing funds for a museum. She left nearly two million
dollars towards building and endowing the Museum.

So, who was Mary Marchand Woods? The information we have is minimal, but
the legacy is undeniable: Mary was a visionary.
6
 50 years into the vision

Mary lived there quietly until her death on January 28, 1953. In the years following her death, plans for
the Museum began to take shape. After a series of proposed architectural designs were considered,
including one by the young Phillip Johnson, the Board settled on the Georgian style presented by
the Pittsburgh firm, Sorber & Hoone. The Museum’s cornerstone was laid in 1957. Mary left real
estate and construction funds for the Museum, but no art collection. The Museum’s focus, under
founding director and curator Dr. Paul A. Chew, became the collection and exhibition of
American art with the Museum positioned to serve the people of rural Westmoreland County.

“In my initial meeting with the Board of Directors, it was asked that I recommend a
policy for forming a collection for this museum, at that time still under construction.
There was no doubt in my mind that our policy should be to form a collection
of American art. It is our aim to build towards an American art collection in
general and specifically one of Pennsylvania art, with an emphasis on the
western part of the state.”
– Dr. Paul A. Chew, 1959

In 1958, Rembrandt Peale’s Portrait of George Washington became

the first painting to enter the Museum’s collection followed that
same year with works by Robert Henri, Theodore Robinson,
David Gilmour Blythe, George Inness and Everett Shinn. A year
later, ten years after its inception, the Museum opened its doors
to the public as the Westmoreland County Museum of Art with
the inaugural exhibition 250 Years of Art in Pennsylvania.

“Let us make patriotism and the love of our country popular.

We can then retain the greatness of this fine nation and the
achievements of our ancestors.”
– General Edward Martin, dedicating the Museum,
Pittsburgh Post-Gazette, May 29, 1959

In the first twenty years of its existence, the Museum assembled a collection of
works by significant American artists, concentrating on the mid-18th through the
mid-20th centuries, including works by Mary Cassatt, John Singer Sargent and
Winslow Homer. The Museum also became respected for its collection of works
by southwestern Pennsylvania artists holding its first exhibition and publishing
its first catalog on the subject in 1981. Years later, in his encyclopedic 1998 book,
Art Across America, art historian William Gerdts would observe that the Museum
“pioneered regional investigations.”

In 1984, the Westmoreland County Museum of Art, as it had been called since 1959,
changed its name by eliminating the word “county” in an effort to avoid any confusion
regarding a non-existent county affiliation. The Museum would change its name once
more, in 1996, to add the word “American” in order to define the Museum’s collection
to the public.

HISTORY OF THE WESTMORELAND

7
 HISTORY OF THE WESTMORELAND

The next chapter in the Museum’s history began in the 1990s. After making great strides in developing a unique
collection and positioning itself as an important cultural resource, the Trustees acknowledged that the Museum
was ready to move to the next level. The Museum’s second director, Judith
Hansen O’Toole, was hired and a new long-range plan was established.

“We were all very impressed with how Judy presented herself. Her eye for
art was very good. She also had a way of communicating that we felt
would truly open up the Museum to the whole community. It didn’t take
very long to decide that she was the one.”
– Harvey Childs, Jr., Director Emeritus, Member, Search Committee

Within five years, the Museum reasserted itself as a vital, forward-thinking

institution and in the process hired its first full-time curator and marketing
director. The Campaign for Enriching the Public Experience, launched in 1997,
surpassed its goal of $3.5 million and raised $4.7 million for a much-needed
Museum renovation, which would provide for more effective galleries, allow for a reinstallation of the
permanent collection, provide improved educational facilities and contribute to the Museum’s endowments.
Following the renovation, the focus on enhancing the visitor experience began in earnest. A Visitor Services
Department was established to demonstrate the commitment to providing the public with an exceptional
experience, more resources were added to the education department and many new initiatives were begun.

“My favorite thing is that although The Westmoreland is a first rate Museum, it is a very warm,
comfortable atmosphere, not foreboding or austere. It is the kind of place I hope people feel relaxed
and at home in.”
– Sally Loughran, Museum Docent and Women’s Committee Member

The new millennium brought many positive changes to The Westmoreland. The Museum launched Every Picture
Tells A Story: Exploring Pennsylvania History Through Art, in 2001, a program that brings area fourth-grade students
to the Museum to study Pennsylvania history through the collection, specifically the changing landscape from
pastoral to industrial through two collections, Southwestern Pennsylvania
Landscapes and Born of Fire: The Valley of Work. This program, which increased
from one participating school in 2001 to over 20 in three counties, continues
to grow in popularity among teachers, students and administrators because
of its important link to the state-mandated fourth-grade curriculum.
In 2004, the Museum received the Pennsylvania Federation of Museums
and Historical Organizations’ Award of Excellence and the Westmoreland
Historical Society’s St. Clair Award for this program. Since the inception
of Every Picture Tells A Story, the Museum has created two additional
curriculum-based programs for Middle School and Kindergarten students.
The Westmoreland continues its commitment to education and to serving
children and families through a new initiative – Imagine Nation: A fun, new
way for kids and grown-ups to experience American art.

8
 50 years into the vision

“The Museum has recognized its capacity for excellence and individuality in certain focused areas
of American art history. Undaunted by the difficulties of location and the competitiveness of great
neighboring urban institutions, the Museum has used sound professional and business strategies to
assess and correct its weaknesses, update its operation, and embrace the future with enthusiasm.”
– Reviewer, Institute of Museum and Library Services

In the tradition of its founder, The Westmoreland has never lacked

innovation. In 2002, the Museum was accepted as one of the first
three pilot ventures into the portfolio of the Pittsburgh Social
Enterprise Accelerator (now Social Innovation Accelerator). Since then,
the Museum has launched two successful social enterprise initiatives
and has become known as a regional and national model in social
enterprise for arts and cultural organizations.

In February 2004, the Museum was selected to be the lead-off episode

of the eleventh season of the public television series The Visionaries.
The thirty-minute segment featured the Museum’s accessibility,
commitment to regional partnerships and educational initiatives that
made a difference in the region. Of the 103 nonprofit organizations
profiled by The Visionaries, the Westmoreland was the first museum The Visionaries Invitation
and only the second arts organization.

Outstanding exhibitions and additions to the permanent

_______v
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collection continued during this period which coincided
your ______ with a heightened international interest in American art.
Partnerships with collectors, museums, art historians and
“The people, the art, the experience of being a
donors from around the country brought greater visibility to
member of the Women’s Committee, a docent,
and a volunteer in the gift shop are memories the Museum, extending our geographic reach. By 2005 over
I cherish!” half of the Museum’s visitors were coming from
– Dee Thomas – Museum patron outside Westmoreland County.

After forging new paths in education, visitor experience

and collections, the Museum built a transatlantic bridge through the large-scale exhibition and product
development project Born of Fire. Born of Fire featured the first-ever exhibition of all of the Museum’s 144-plus
industrial landscapes; a music CD with songs of the Big Steel Era; and a documentary DVD about the art,
music and history of Big Steel in our region.

“Under any circumstance, it would have been an excellent show and a fine educational opportunity, but
what the museum has done goes far beyond the normal “pictures on a wall.” It has taken a theme show
and made it a multimedia experience, both for those who see it live and those who will experience it in
the future at home or in a classroom. The effort may indeed be a prototype for future art exhibits.”
– Jim Weaver, Art Matters, on Born of Fire

The exhibition traveled to the Rhineland Industrial Museum in Oberhausen, Germany for its European
debut—connecting the Pittsburgh region with the world. It continues to travel in Germany, as well as to
Poland and Spain, through 2010.

HISTORY OF THE WESTMORELAND

9
 HISTORY OF THE WESTMORELAND

“Born of Fire is not just about artists interpreting the visual spectacle that was the steel industry
through their creative impulses. It is also about recognizing dreams, mental drive, a soul of fire,
if you like, visions and what can become of them. In this case, naturally, the American dream.
This dream is universal. Its vision surmounts borders and oceans. So let’s inhale the past and exhale
the future in this sense: may Born of Fire bring us pride in our past and enthuse us about the future.”
– Thomas Schleper, Leader, Rhineland Industrial Museum
Schauplatz Oberhausen, Germany

2009 marks the Fiftieth Anniversary of The Westmoreland.

Our year long celebration will not only look back on lessons
and accomplishments of the first half-century, but will be a
launching pad to the next fifty years. Fifty years into the
vision, The Westmoreland is exceeding the expectations
of visitors and is acknowledged across the state and
throughout the nation as a new model for art museums.
The Westmoreland is increasing awareness of American
art and is committed to teaching Americans about the art
of their own country. The Westmoreland is the place for
American art.

The Museum began as the idea of one, and has grown

to inspire the lives of many. Over a half century ago
Mary Marchand Woods had a dream to build a Museum.
The rest is history. And the future is bright.

_______v
your __ie
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________________
“The Museum is a sanctuary
for me. It not only provides a
constant source of inspiration,
it preserves and protects
great American art for
future generations. Also, this
Museum has helped in my
development as an artist.
I am extremely grateful!”
– Ron Donoughe – Artist

10
 50 years into the vision

Past Presidents
The Westmoreland is a non-profit institution organized under the authority of a Board of Trustees whose
appointed members volunteer their time, expertise and resources to the Museum.

John A. Robertshaw, Jr.

followed his father, a member of
the founding Board, and served
as Board president from 1983
until 1996. His second year as
president coincided with the 25th
anniversary, the same year the
Museum removed “County” from
its name. Under his leadership,
The Westmoreland Society was
formed (1986) to honor people
who have made a significant
contribution to American art
and to purchase objects for
the permanent collection.
Board Presidents (left to right) Jack also oversaw the
Bruce M. Wolf, John A. Robertshaw, Jr., Dr. Jack D. Smith
establishment of an Education
department in 1989 in order to better serve the region’s school children and life-long learners. In 1993 he
led the transition from the administration of the Museum’s founding Director/Curator of 36 years to the
appointment of a Director/CEO in 1993 and a Curator in 1995. That same year the Women’s Committee
published their still successful cookbook, Art in the Kitchen.

Three years into the new administration Jack stepped down and Dr. Jack D. Smith assumed the presidency
in 1996. Following an intensive public assessment, the Museum established its first marketing department
and “American” was added to our name to define our mission to the public. In 1997, the Westmoreland Jazz
Society was formed, bringing into our galleries an American musical art form. Jack oversaw “The Campaign
for Enriching the Public Experience,” also launched in 1997, ably assisted by his predecessor, Jack Robertshaw,
along with Toby Biddle and Harvey Childs as campaign chairs. The Campaign resulted in a complete renovation
of the Museum making for a more visitor friendly ambiance. It also added to a modest endowment begun
by our founder.

The Westmoreland’s current president, Bruce M. Wolf, took office in September 2007 and has the challenge
of leading the Museum into its next half-century. He helped guide the current long-range plan, which focuses
on three areas: Collection, Capacity and Destination. “At any time, but especially in tough economic times,
we turn to the arts to find solace, inspiration and to be uplifted. This museum is one of the most significant
cultural venues in the tri-state area. When one walks through the galleries, you cannot fail to be impressed by
the quality and range of the collection housed within these walls. We should all be proud and forever grateful
to our past, current and future benefactors for making The Westmoreland the special place that it is.
Our careful guardianship and future support for this institution enriches us all," stated Wolf.

HISTORY OF THE WESTMORELAND

11
 IN CELEBRATION OF THE COLLECTION

In Celebration of the Collection

Exhibition Schedule 2009

In recognition of the Museum’s Fiftieth Anniversary, we have planned a series

of exhibitions that both celebrate the permanent collection and an area of
collecting that falls outside the scope of our collection range of 1750 – 1950.

The Walsh Gallery on the second floor is dedicated to the work of contemporary
southwestern Pennsylvania artists and changes in conjunction with each temporary
exhibition shown in the Woods-Marchand-Mack Galleries.

Now through May 24, 2009

The Gift of Art
The Gift of Art brings together
fifty plus gifts of art that have
been donated or promised to
The Westmoreland over the past
fifty years. In addition, a selection
of art that is currently for sale will
be included in the exhibition; works
that either fill a gap or would make
a significant contribution to
the collection. It is our hope that
one or more of these works will be made
“gifts of art” during the course of the
exhibition. A selection of works on
paper that came to the collection
as gifts will also be highlighted in the
Friedlander Gallery.

The Walsh Gallery: David Michael Bowers: Humanity Unveiled, is shown in the Walsh Gallery
adjacent to The Gift of Art. His realistic paintings have been described as a blend of Renaissance master
and figural surrealist, with a touch of fantasy mixed in. Upon first
glance Bowers’ work seems to take you back to periods of
painting long gone, while at the same time, the artist incorporates
modern themes and ideas. There is always a message in his work
and symbolism is a main ingredient. For him the idea is the most
challenging and rewarding part of the painting. According to the
artist: “I’m so indebted to the paintings of the great Old Masters
of the past. The inspiration that I receive from viewing their work,
makes the hair stand up on the back of my neck.”

12
 50 years into the vision

June 14 – September 6, 2009

Adolph Gottlieb, THREE DISCS, 1960
Oil on canvas, 72 x 89–7/8 inches
Courtesy of the Smithsonian
American Art Museum
Modern Masters from the
Smithsonian American Art Museum
Modern Masters examines the complex and heterogeneous nature
of American art in the mid-twentieth century by featuring thirty-one
of the most celebrated artists who came to maturity in the 1950s.
Because this exhibition falls outside our collection date range of
1750 – 1950, it is a most relevant one for this Museum to show as
it traces the history of this epochal period that is not available in
our collection.
The William R. Kenan, Jr. Endowment Fund, the C. F. Foundation in Atlanta, and members of the
Smithsonian Council for American Art have generously contributed to Modern Masters from the Smithsonian American Art Museum.
The Walsh Gallery: Daniel Bolick: The Innocence Project.
Bolick is the 2007 recipient of The Westmoreland Exhibition Award
selected from the Associated Artists of Pittsburgh annual exhibition.
His large and dramatic portraits depict individuals who have been now
found innocent of crimes for which they were imprisoned for many years.

September 27, 2009 – January 3, 2010

Four Perspectives on Fifty Years
Four Perspectives on Fifty Years is a collaborative exhibition to be curated by four
friends of the Museum: an artist, Adrienne Heinrich; a collector, Martin O’Brien;
an art critic, Graham Shearing; and a patron, Anne Robertshaw (shown as listed).
Many of the objects on exhibition will be taken from the Museum’s permanent
collection that is currently in storage, bringing together works of art that are
seldom seen or seen together.

The Walsh Gallery: James Osher: Three Seconds with the Master is an
exhibition of pairs of large format C-print digital photographs that focus on
subject matter derived from paintings in The Westmoreland’s permanent
collection. In this body of work Osher
concentrates on transitory aesthetics and the
rapid interpretation of visual art. His work is
an exploration of the relationships between
the perception of paintings that are executed
with a contemplative intent, as well as a high
degree of technical skill and compositional
consciousness, to the often arbitrary content
of exhibition environments, and an audience
that, as studies have shown, spend only
about three seconds viewing works of
art in museums.

IN CELEBRATION OF THE COLLECTION

13
 PLANNED GIVING
To be a visionary, one
must not only see what
is, but what can be…
The Visionary Society was established in 2007, in
the spirit of Mary Marchand Woods, to honor the
philanthropic leadership and vision of the generous
individuals who have provided for the future of the
Museum through a planned gift, the highest level of
investment one can make in The Westmoreland.
A planned gift allows individuals to create a personal
legacy and at the same time help preserve our
Museum for the community and future generations.
Planned giving can take many forms—bequests,
endowments, retirement fund assets. But, what a lot
of people might not realize is that planned giving
can also include gifts of art.
14
With the rising cost of American art, and just a
modest endowment for art acquisition , many works
of art that the Museum should acquire are, quite
simply, out of our reach financially. Without the
many generous gifts made over the past fifty years
(which are highlighted in the exhibition The Gift of
Art), we would not have been able to
build the extraordinary collection
we currently have. And we
certainly will not be able
to grow it further without
the continued generosity
of donors.

Imagine the collection of The Westmoreland
without Mary Cassatt’s Mother and Two Children or
Thomas Hovenden’s Death of Elaine, or Harriett
Whitney Frishmuth’s Joy of the Waters. What would
Born of Fire, our scenes of industry collection, be
without Aaron Harry Gorson’s Industrial Scene,
Pittsburgh or Otto Kuhler’s Steel Valley?
PLANNED GIVING
50 years into the vision
Imagine how little we would be able to add to the
collection if we relied solely on the approximately
$42,000 in annual income that we receive from the
art acquisition endowments? Or the roughly $30,000
raised by the Westmoreland Society? Paintings by
artists like John Singer Sargent and Georgia O’Keeffe,
when they are available, are selling for prices in the
high six and seven figures today. In 2001, The
Westmoreland secured a bank loan to purchase
the Lynch Tiffany Window for $400,000 to ensure
that the window returned to the city for which it
was made. While the community rallied around us
with donations that allowed us to pay off the loan
in a year and a half, we cannot take risks like that
every year—or even every decade.
We rely on our generous friends and supporters like
you for many things—operating support, program
and exhibition support, endowment funds, and also
for gifts of art to the collection. Without this
generosity, there would be far fewer pictures on
our walls. Just imagine what that would be like.
For information about planned gifts of art,
please contact:
Judith H. O’Toole, Director/CEO
at (724) 837-1500, ext. 25, or
Barbara L. Jones, Curator
at (724) 837-1500, ext. 20.
For information about planned giving as
it applies to cash, securities, retirement
fund assets, insurance policies, or tangible
personal property, please contact
Amy Baldonieri, Director of Development
and Finance at (724) 837-1500, ext. 30.
More information on planned giving may
also be found at: www.wmuseumaa.org/
involved/plannedgiving.cfm
_______v
your __ie
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______
“A place to go to make myself a better person—
to know and love art.”
– Annie Hapchuk – Museum visitor
15
 ON THE HORIZON
On the horizon:
the next fifty...
Much can change in fifty years. The cityscape of
Greensburg and cultural landscape of western
Pennsylvania were forever altered when the
Museum opened its doors to the public in 1959.
The upcoming fifty years will prove to be no different
as The Westmoreland continues to enrich the region
and beyond through the collection, interpretation,
preservation and presentation of American art.
With the help of community leaders, Museum
volunteers and patrons, the staff at The Westmoreland
worked together to write a new strategic plan focused
on three areas: increasing capacity, focusing and
growing the collection and becoming more of a
destination for our community. The plan, which
was implemented in September 2007, will guide
the Museum through 2012 and includes expanding
the Museum to create more galleries and more room
for educational and other public activities. It also
calls for us to increase our resources, both human
and financial, to support an expanded Museum.
As always, our goals are big but attainable, and we
look forward to meeting them with your help.
The mission of the Westmoreland Museum of American
Art is to enrich a growing public through innovative and
collaborative approaches to the collection, preservation
and presentation of American art. The vision is to be a
preeminent museum of American art.
16
About a
New Permanent
Collection
Catalog:
In honor of its Fiftieth Anniversary,
The Westmoreland is publishing a new permanent
collection catalog that will contain highlights of the
works of art in the collection. One hundred works—
paintings, sculpture, works on paper, decorative arts
and furniture—will be reproduced in color.
The accompanying essay, written by curator
Barbara L. Jones, will present a two hundred year
history of American art, placing works of art from
the collection in context with the time period in
which each was created. Objects in the Museum’s
collection will serve as examples to assist in telling
the story of the styles that predominated during the
years 1750 – 1950, as America came into its own as
the cultural capital of the world. In addition,
the catalog will contain a complete listing,
to date, of all works of art in The Westmoreland’s
permanent collection.
To reserve your copy of the catalog, please
contact An American Marketplace, the shop at
The Westmoreland at 724-837-1500 extension 39,
via email at museumshop@wmuseumaa.org,
or on our website, www.wmuseumaa.org.
_______v
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______
“I believe the Museum is a
tremendous asset to not only
the City of Greensburg but well
beyond the boundaries thereof.
It certainly for many years was
a “secret” but now it is well
established as a principal
museum of American Art.”
– Sandra L. Cole – Museum Patron

Fifty Significant
Acquisitions over
50 years
Our curator selected these
examples to highlight the
growth of the collection in
our first half century.
Rembrandt Peale (1778-1860)
Porthole Portrait of George Washington, c. 1824
oil on canvas
Gift of the William A. Coulter Fund, 1958
Theodore Robinson (1852-1896)
In the Garden, c. 1889, oil on canvas
Gift of the William A. Coulter Fund, 1958
David Gilmour Blythe (1815-1865)
The Young Musician, c. 1858-1860, oil on canvas
Gift of the William A. Coulter Fund, 1958
50 years into the vision
Robert Henri (1865-1929)
Picnic at Meshoppen, 1902, oil on canvas
Gift of the William A. Coulter Fund, 1958
George Inness (1825-1894)
The Coming Shower, c. 1873, oil on canvas
Gift of the William A. Coulter Fund, 1958
Dower Chest, c. 1775, Lebanon County
Made by Christian Seltzer (1747-1831), painted pine
Gift of the William A. Coulter Fund, 1960
Marsden Hartley (1877-1943)
Still Life, 1918, pastel on paper
Gift of the William A. Coulter Fund, 1962
Childe Hassam (1859-1935)
The Outer Harbour, 1909, oil on canvas
Mary Marchand Woods Memorial Fund, 1964
Winslow Homer (1836-1910)
Sunset Fires, 1880, watercolor on paper
Gift of the William A. Coulter Fund, 1964
Benjamin West (1738-1820)
King Priam, 1808, oil on canvas,
Gift of the William A. Coulter Fund, 1968
Milton Avery (1893-1965)
Arrangement with Plants, 1948, oil on canvas
Gift of Mr. Michael Ross, Hewlett Bay Park,
NY, 1975
Robert Brackman (1898-1980)
Rochelle at Table with Flowers, 1926, oil on canvas
Gift of the Women’s Committee, 1976
17

George Frederick Bensell (1837-1879)
Rip Van Winkle, Not Dated, oil on canvas
Gift of the Western PA Conservancy, Pittsburgh,
PA from the Dorothy Kantner Estate, in Memory
of George and Lila B. Hetzel, 1977
Guy Pene duBois (1884-1958)
Studio Window, 1928, oil on canvas
Gift of the William A. Coulter Fund, 1977
Paul Cornoyer (1864-1923)
A Rainy Day in the City, c. 1916, oil on canvas
Gift of the Women’s Committee, 1977
Everett Shinn (1876-1953)
Orchestra Pit, 1907, pastel on paper
Gift of Dr. Walter Read Hovey, 1978
John Francis (1808-1886)
Fruit and Wine, 1850, oil on canvas
Anonymous gift, 1978
John Singer Sargent (1856-1925)
Doorway of a Venetian Palace, c. 1906-1910
watercolor on paper, Anonymous gift, 1978
Maurice Prendergast (1859-1924)
Bathers at St. Malo, c. 1907-1909, watercolor on paper
Gift of Dr. Walter Read Hovey, 1978
Mary Cassatt (1844-1926)
Mother and Two Children, 1901, oil on canvas
Anonymous gift, 1979
18
George Hetzel (1826-1899)
Rocky Gorge, 1869, oil on canvas
Museum purchase, 1980
Severin Roesen (1815-1872)
Still Life with Fruit, Not Dated, oil on canvas,
Museum Purchase and The William A. Coulter
Fund, 1980
Ernest Lawson (1873-1939)
Pittsburgh Mills, Monongahela River, 1930, oil on canvas
Gift of the William A. Coulter Fund, 1980
Susan MacDowell Eakins (1852-1938)
Still Life with Figure, Not Dated, oil on canvas
Gift of Mr. and Mrs. Stuart P. Feld, 1983
Chippendale Tall Case Clock, 1802-1814
Made by Henry Wise, Greensburg, wood
Gift of John Barclay, Jr., 1983
Thomas Hovenden (1840-1896)
Death of Elaine, 1882, oil on canvas
Gift of the Mary Marchand Woods Memorial
Fund, 1985
Rubens Peale (1784-1865)
Still Life with Watermelon, 1863, oil on canvas
Gift of the Mary Marchand Woods
Memorial Foundation, 1986
Alfred S. Wall (1825-1896),
Old Saw Mill, 1851, oil on canvas,
Gift of the Woods-Marchand Foundation, 1986
William Michael Harnett (1848-1892)
Philadelphia Public Ledger, 1880
oil on canvas
Anonymous gift, by Exchange, 1986
John Singleton Copley (1738-1815)
Portrait of John Gardiner, c. 1758
oil on canvas
Anonymous gift, by Exchange, 1987

Chippendale Slant-Front Desk, c.1765, wood
Anonymous gift, by Exchange, 1990
Harriett Whitney Frishmuth (1880-1980)
Joy of the Waters, 1917, bronze
Gift by Exchange, 1990
Aaron Harry Gorson (1872-1933)
Industrial Scene, Pittsburgh, 1928, oil on canvas
Gift in memory of Roy C. McKenna, 1994
William Merritt Chase (1849-1916)
Lady in a Pink Dress, c. 1892, oil on canvas
Gift in Memory of G. Albert Shoemaker by
his wife, Mercedes, 1995
Cecilia Beaux (1855-1942)
Portrait of Mrs. John Wheeler Leavitt, 1885
oil on canvas
Gift from Mary Eliza Drinker Scudder and
Thayer Scudder in honor of Philip Drinker
and Susan Aldrich Drinker, 1996
50 years into the vision
Colin Campbell Cooper (1856-1937)
Pittsburgh, PA, c. 1905, oil on canvas
Gift in memory of Alex G. McKenna, 1996
Paul Manship (1885-1966)
Briseis, 1916, bronze
Gift of the Henry L. Hillman Foundation, Pittsburgh,
PA,through the Westmoreland Society, 1996
Alfred Thompson Bricher (1837-1908)
Point Judith, Narragansett Bay, Rhode Island, c. 1885
oil on canvas
Gift of the Westmoreland Society, 1997
Oscar Bluemner (1867-1938)
Untitled (House Cluster), c. 1930, gouache on paper
Gift of the Westmoreland Society, 1998
Alfred Maurer (1868-1932)
Two Sisters, c. 1925, oil on board
Gift of the Westmoreland Society, 2000
The Lynch Tiffany Window, c. 1905,
copper foiled and plated glass
Museum Purchase, 2001
Attributed to Jeremiah Stahl (1830-1907),
Soap Hollow Seven-drawer Chest, 1867, cherry
and tulip poplar wood (painted and stenciled)
Gift of the Westmoreland Society, 2002
Samuel Rosenberg (1896-1972)
Sunday Morning, 1937, oil on masonite
Gift of Arline Rosenberg (Mrs. Murray), 2003
Otto Kuhler (1894-1976)
Steel Valley, c. 1925, oil on canvas
Gift of Mr. Richard M. Scaife, 2004
Balcomb Greene (1904-1990)
Organic Forms, 1939, oil on canvas
Anonymous gift, 2005
19
 FIFTY ACQUISITIONS OVER 50 YEARS

Violet Oakley (1874-1961) Ben Shahn (1898-1969),

Unity (Study for International Understanding Byzantine Isometric, 1951, tempera on canvas
and Unity Mural), 1906 mounted on masonite, Museum Purchase, 2007
tempera and gold leaf on panel
Joy and R. David Brocklebank Fraktur Collection
Gift of Diana and Peter Jannetta, 2005
through the William Jamison Art Acquisition
James Brade Sword (1839-1915) Fund, 2008
Silver Thread Falls, 1874, oil on canvas
William Coventry Wall (1810-1886),
Gift of the Westmoreland Society, the William
View Along the Allegheny, Near Aspinwall, 1867,
Jamison Art Acquisition Fund and additional
oil on canvas, Gift of Jack and Suzanne Shilling
contributions from Mr. and Mrs. David G. Assard;
and Family, 2008
Mr. and Mrs. James S. Beckwith III; Mr. and Mrs.
Alan Berk; Mr. and Mrs. Sam Berkovitz; Mr. and
Mrs. Charles H. Booth Jr.; Mr. and Mrs. Lawrence
S. Busch; Mr. and Mrs. Peter Cecconi, Jr.; Mr. and
Mrs. B. Patrick Costello; Mr. and Mrs. John W.
Douglas, Jr.; Mr. and Mrs. Paul J. Evanson;
Mr. and Mrs. G. Joseph Frederick; Mr. and Mrs.
Charles W. Gibbons III; Mr. and Mrs. Terence L.
Graft; Mr. and Mrs. Richard Hendricks; Mr. and
Mrs. John Howat; Mr. and Mrs. James Isbister;
Dr. and Mrs. Peter Jannetta; Mrs. Robert Kilgore;
Mr. and Mrs. D. Scott Kroh; Mrs. Rose Mack;
Mr. and Mrs. Charles G. Manoli; Mr. David J.
Millstein, Esq.; Mr. Thad Mosley; Mrs. Barbara
Nakles; Mr. and Mrs. Kevin O’Toole; Mr. and Mrs.
James L. Parker; Mr. and Mrs. John A. Robertshaw,
Jr.; Mr. and Mrs. James F. Ross; Dr. and Mrs. Karl
W. Salatka; Ms. Teruyo P. Seya; Mr. and Mrs. Jack
W. Shilling; Mrs. G. Albert Shoemaker; Mr. and
Mrs. Andrew J. Sordoni III; Mr. Rudolph Stanish;
Mr. and Mrs. Harry A. Thompson II; Mr. and Mrs.
John L. Wandrisco; Mr. Jeffry J. Williamson., 2007

20

Fifty Years of
Exhibitions
In May 1959, the new
museum presented an
ambitious inaugural
exhibition to set the stage
for its future. 250 Years of
Art in Pennsylvania
contained 136 paintings,
10 sculptures, and 282
decorative arts objects.
The illustrated catalog
was dedicated to
“Mary Marchand Woods,
Founder,” and in its
introduction, Walter Read
Hovey expressed his hope
that the objects in the
exhibition would “form
an incentive for the
creation of a significant
permanent collection.”
Included, in fact, was the first painting acquired by
the Museum, Rembrandt Peale’s Porthole Portrait of
George Washington.
1960 saw the Museum’s early commitment to
contemporary regional artists by hosting the
Greensburg Art Club.
FIFTY YEARS OF EXHIBITIONS
50 years into the vision
Two exhibitions borrowed from the Carnegie Institute
(now Carnegie Museum of Art) were mounted in
1961; the first focused on American painting from the
eighteenth through the twentieth centuries while the
second highlighted European paintings from a similar
era. During that year, director Paul A. Chew continued
to borrow from neighboring collections to fill the
galleries, looking to the Butler Institute of American
Art and to local private collectors for exhibitions.
American Artists as Printmakers set the stage in 1963
for the Museum’s outstanding collection of works
on paper including works by
George Bellows, Charles
Burchfield, Mary Cassatt,
Arthur B. Davies, Marsden
Hartley, Childe Hassam,
Winslow Homer and
John Sloan.
A special exhibition called
“The Christmas Exhibition”
was initiated in 1959 and
in 1966 was titled The
American Scene. Works by
Hudson River School
painters Albert Bierstadt and
Frederick Edwin Church were
shown with late nineteenth
century realists William
Merritt Chase and Thomas Eakins. Ashcan artists
William Glackens and John Sloan brought the
exhibition into the 20th century.
1968 saw the first Holiday Toy Exhibition, initiated
by Dr. Chew’s interest in tin and antique toys.
In 1970, due to interest in American folk art shown
through several smaller exhibitions in previous years,
the Museum produced Plain and Fancy: A Survey of
American Folk Art with an impressive catalog
documenting many objects from southwestern
Pennsylvania for the first time in a formal museum
exhibition. This year’s toy exhibition introduced the
Snow Castle for children, a huge interactive play area
constructed on the Museum’s second floor.
21
 FIFTY YEARS OF EXHIBITIONS

Paintings and Graphics from the Walter Read Hovey

Collection paid homage to Hovey’s connoisseurship
in 1973. A professor at the University of Pittsburgh,
Hovey had served as a mentor to Paul Chew both
when the latter was his student and in the formative
years of Chew’s directorship at the Museum.
Hovey collected American and European masters
including Robert Henri, George Luks, John Marin,
Henri Matisse, Pablo Picasso, Odilon Redon,
Max Ernst, Georges Rouault, Joseph Woodwell,
and Andrew Wyeth.

Our country’s Bicentennial year saw selections loaned

by Dr. John J. McDonough of Youngstown, Ohio who
had assembled a stunning collection of American
impressionist paintings. Later the same year, a survey
of painters from southwestern Pennsylvania from
the nineteenth and early twentieth centuries was
assembled including David Gilmour Blythe,
Alex Fletcher, Aaron Harry Gorson, Johanna Hailman,
George Hetzel, Lila Hetzel, John Kane, A.F. King,
Jasper Lawman, Martin B. Leisser, Eugene Poole,
Samuel Rosenberg, Russell Smith, A. Bryan Wall,
Alfred S. Wall, William Coventry Wall,
Christian J. Walter and Joseph Woodwell.

In 1979, regional photographer Richard Stoner

was commissioned to make a survey of
Westmoreland County architecture, which was
shown in two installments. The Museum still
owns this important photographic collection that
documents historic structures throughout the
county, some of which are no longer standing.

Southwestern Pennsylvania Painters: 1800-1945

was organized in 1981 with a catalog that has
become known to collectors as “the bible” because
it documents for the first time in one volume the
contributions of some sixty-nine artists with ties to
the Pittsburgh region. With this exhibition, Dr. Chew
and his associate, John Sakal, put these artists on
the radar of American art historians and provided
groundbreaking research on the Scalp Level School
and the artists who painted Pittsburgh during its
Big Steel Era.

22

In 1982, Dr. Paul Chew’s 25th anniversary as
Director was celebrated with The Armchair Collector,
an exhibition of small oils, watercolors, drawings,
prints, and sculptures by eighty four artists.
The following year a survey of American
impressionism brought works to the Museum by
artists such as Mary Cassatt, William Merritt Chase,
William Glackens, Childe Hassam, Robert Henri,
George Luks, Maurice Prendergast, John Singer
Sargent, Everett Shinn, and John Twachtman.
The 25th anniversary exhibition in 1984 was
another impressive loan exhibition and a survey of
American painting from 1750-1950, the period of
concentration for the Museum’s permanent collection.
The accompanying catalog listed 117 paintings by
eighty four artists. Later that year, eleven artists
including John Fulton Folinsbee, Robert Spencer,
Rae Sloan Bredin, Edward Redfield, and Daniel
Garber were highlighted in The Pennsylvania School of
Landscape Painting: An Original American Impression.
In 1987 the Gimbel Pennsylvania Art Collection,
owned by the University of Pittsburgh, was
exhibited as part of the bicentennial celebrations
of the University.
Dr. Chew’s 30th anniversary as Director in 1987
was celebrated with a selection of paintings from
the collection he built.
FIFTY YEARS OF EXHIBITIONS
50 years into the vision
The following year he curated a survey exhibition
titled Penn’s Promise: Still Life Painting in Pennsylvania
1795-1930 and published a catalog to document it.
This exhibition was followed in 1989 by another
ambitious survey Folk Art: A Sampler of American
Folk Art from Pennsylvania Collections.
Dr. Chew’s last exhibition at the Museum occurred
in 1994 and was the culmination of his life’s work on
the leader of the Scalp Level School. Published the
same year, his monograph on
the artist, George Hetzel and the
Scalp Level Tradition, also the
title of the exhibition,
remains to date the
most important
study on Hetzel
and his associates.
An exhibition organized
by Chew’s successor,
Judith Hansen O’Toole,
prior to her arrival at the
Museum came to Greensburg
in 1995 from the Canton
Art Institute. George Luks:
Expressionist Master of Color: The Watercolors was
the first exhibition dedicated to this Ashcan painter’s
work in the lighter medium and travelled to three
museums. O’Toole also served as author for the
exhibition’s catalog. Later that year an exhibition
by another artist of the early twentieth century
was Guy Pene duBois: The Twenties at Home
and Abroad. 1995 closed with a unique
exhibition highlighting the artistic merit
of the many trophies won by golf legend
Arnold Palmer titled The Art of Winning:
Prizes of Palmer. The British Open Trophy,
a magnificent claret jug, traveled from the
British Isles for its first, and only, visit to
the United States for this exhibition.
23
 FIFTY YEARS OF EXHIBITIONS
In 1996, Greensburg became the only other venue
for Cecilia Beaux and the Art of Portraiture when the
National Portrait Gallery permitted its exhibition to
travel to her home state of Pennsylvania setting
a new standard for exhibitions at the Museum.
Two exhibitions the following year: An American
Tradition: The Pennsylvania Impressionists, from both
public and private collections, and All That is
Glorious Around Us: Paintings from the Hudson River
School, drawn from one important private collection,
celebrated two very different schools of American
painting. From Westmoreland Glass to Contemporary
Glass, which celebrated the 200th anniversary of
glass making in southwestern Pennsylvania, was
also presented in 1997.
The Philadelphia Ten: A Women’s Artist Group 1917-
1945 came to the Museum in 1998 with the works of
twenty-three painters and seven sculptors who at one
time or another belonged to this group. When Coal
Was King: Paintings from the Steidle Collection
contained selections from this special collection of the
Earth and Mineral Sciences Department at Pennsylvania
State University, and included many Pittsburgh artists,
among them Roy Hilton and Christian Walter.
24
In 1999 the Museum reopened after a seven-month
renovation with Making the Westmoreland Museum
of American Art, which included architectural plans
for the original Phillip Johnson building and
subsequent designs by Sorber & Hoone, Deeter
Ritchey Sippel, and Jay Labarthe of The Design
Alliance. We also helped mark the City of
Greensburg’s bicentennial with Celebrating
Greensburg: 1799-1999.
The Frame in America: 1860-1960, an exhibition
that art critic Graham Shearing said all museums
should host at one time or another, was followed
by Face-to-Face: 20th Century Portraits marking
the beginning of a new millennium.
Spirit of a Community: The Photographs of Charles
“Teenie” Harris brought national media attention
to the Museum in 2001 including The New York
Times and NBC’s Weekend TODAY. This was
the first solo museum exhibition for Harris, a noted
African-American photo-journalist from Pittsburgh’s
Hill District. It was followed by Nature’s Bounty:
Still Life Painting in Southwestern Pennsylvania
(1860-1910), the Museum’s first survey of this type.
Two great periods in early twentieth century American
painting were highlighted in 2002 with Robert Henri
and His Influence, paying homage to the leader of the
Ashcan School, followed by Scenes of American Life:
Treasures from the Smithsonian American Art Museum,
an impressive survey of regionalist painting from
1909 to 1980.

Samuel Rosenberg: Portrait of a Painter, a collaboration
with Carnegie Museum of Art and the University
of Pittsburgh Press, was the culmination of years
of research by curator Barbara L. Jones and the
second major exhibition and only monograph on
this important Pittsburgh artist. The work of his
many students was exhibited in two complimentary
exhibitions. A retrospective exhibition of Rosenberg’s
work was first mounted at the Museum in 1960, a
year after it opened.
The 2004 Holiday
Toy and Train
Exhibition: Playthings
was dedicated to the
memory of Dr. Paul A.
Chew, Director
Emeritus of the
Westmoreland who
had passed away
earlier that year.
In 2005, Man-Made
Quilts revealed that
this medium was not only the domain of women and
American Scenery: Different Views in Hudson River
School Painting, a sequel to All that is Glorious Around
Us, opened here before traveling to other museums
around the country.
Artists of the Commonwealth: Realism and its
Response in Pennsylvania Painting, 1900-1950 was
a collaboration with the Pennsylvania Council on the
Arts and traveled to three other museums within the
Commonwealth in 2006. But the year’s sensation
was Born of Fire: The Valley of Work, which saw the
entire collection relating to Pittsburgh’s Big Steel Era
FIFTY YEARS OF EXHIBITIONS
50 years into the vision
on view at one time. A selection of them would then
travel to Germany for the first of five stops on a
European tour. The accompanying catalog became
the first in a series of permanent collection catalogs
to be published since 1978.
2007 was highlighted by Made in Pennsylvania:
A Folk Art Tradition, drawn from numerous private
and public collections of furniture, fraktur, textiles
and stoneware. This exhibition motivated the
Museum’s purchase the following year of the
Joy and R. David Brocklebank Collection of
western Pennsylvania fraktur.
In 2008, four noteworthy exhibitions
took place led by Seeing the City:
Sloan’s New York organized by the
Delaware Art Museum. Painting in
the United States, many years in the
making, was organized to coincide
with the Carnegie International and
brought back to western Pennsylvania
actual works that had been exhibited
at Carnegie Institute between 1943
and 1949. Only American art was
shown because international art was
no longer accessible due to World War II. From the
Ruhr Valley to the Steel City: Industrial Scenes from
the Rhineland Industrial Museum, an exchange with
our partners in Oberhausen, Germany, was followed
by Scenic Views: Painters of The Scalp Level School
Revisited in homage to Paul Chew’s work on
the subject, and a kick-off to the Museum’s
anniversary year. This exhibition brought more
weekly visitors to the museum than any other.
25
 IMAGINE NATION

On Friday, November 28, 2008, The Westmoreland

launched Imagine Nation – a fun, new way for
kids and grown-ups to experience American art.
What Imagine Nation will do is unite all the great
stuff the Museum does for kids and make sure
that everybody knows that they can come here
to have fun with art – both by looking at it with
scavenger hunts and our Discover Backpacks
and by making it with our hands-on activities in
KidSpace or special art projects in our studio.

Make sure all the kids you know sign up for the
NEW Imagine Nation Kids Club – a membership
group especially for kids. Members receive a
special gift and we’ll make sure they get all the
info about the Museum’s many programs – from
art classes and camps to Family Day and other
special activities. And membership in the Club
is free!

The Westmoreland has long been a

DESTINATION for kids and families:
Imagine Nation and our new mascots
will make sure everybody knows that.

Plus – coming in July – Imagine American Art,

a children’s book that includes fun activities
based on the Museum’s portraits, landscapes
and still life paintings, will be published.

We look forward to seeing you at an Imagine

Nation event soon! Don’t miss our family-friendly
50th anniversary birthday celebration on May 31!

26
 50 years into the vision

IMAGINE NATION
27
 BOARD OF TRUSTEES AND STAFF
Staff
Row 1: (left to right):
Amy B. Baldonieri,
Judy Linsz Ross,
PJ Zimmerlink, Cindy Williford
Row 2: Pat Erdelsky,

Westmoreland
Barbara L. Jones,
Judith H. O’Toole, Laura Zorch,
Katie Barnard

Museum of
Row 3: Darlene Konvalinka,
Kim Kiser, Virginia Leiner,
Audrey Wright,

American Art Douglas W. Evans,

Kimberly Murtland,
Frances Browning,

Board of Trustees George Weisel,

Nan Loncharich

and Staff
Row 4: Maureen Zang,
Tim Jones, John Ackerman

Board of Trustees Staff Virginia Leiner

Museum Shop Manager
Judith H. O’Toole
Officers Director/CEO Kimberly Murtland
Bruce M. Wolf, President Accounting Clerk
Kimberly Kiser
George C. Greer, Vice-President Assistant to the Director Laura Zorch
Diana Jannetta, Chair, Governance Committee Marketing & Development Assistant
Donald C. Korb, Secretary/Treasurer
John A. Robertshaw, Jr., Past President Senior Team Marketing & Visitor
Amy B. Baldonieri Services Team
Carol R. Brown Director of Development and Finance
Harvey Childs III Judy Linsz Ross
Barbara L. Jones Team Leader
Armour Mellon Curator
Judith A. Morrow John Ackerman
Judith H. O’Toole Judy Linsz Ross Facilities Manager
Director of Marketing & Visitor Services Aileen Barnard
James L. Parker
Friedrich Teroerde Greeter
Harry A. Thompson II Art & Education Team Robert Isaac
Harley N. Trice Barbara L. Jones Visitor Services Representative
Molly Walton Team Leader Tim Jones
Laura T. Widing Custodian
Katie Barnard
Curator of Education for School Jacqueline LeBron
Directors Emeritus and Community Programs Visitor Services Representative
Livingston L. Biddle II Douglas W. Evans
Harvey Childs, Jr. Nan Loncharich
Collections Manager Greeter
David S. Dahlmann
The Honorable Charles H. Loughran Darlene Konvalinka Mary Lou Merola
Richard W. Morford Administrative Assistant to the Curator Visitor Services Representative
Cynthia Williford John Petersen
Assistant to the Collections Manager Visitor Services Representative
Maureen Zang Donna Roscoe
Public Programs Coordinator Visitor Services Representative
P.J. Zimmerlink Tyesa Simpson
Preparator Visitor Services Representative
Karen Truxal
Finance & Development Greeter
Team Amanda Jane Washburn
Amy B. Baldonieri Visitor Services Representative
Team Leader George Weisel
Frances Browning Lead Visitor Services Representative
Accounts Manager Audrey Wright
Pat Erdelsky Housekeeper
Board of Trustees Assistant for Public and
First row: Harry A. Thompson, II, John A. Robertshaw Jr., Laura Zorch
Financial Development Marketing & Development Assistant
Judith H. O’Toole, Bruce M. Wolf, James L. Parker, Judith A. Morrow
Second row: Friedrich Teroerde, Harvey Childs, III, Jack D. Smith, Amy Isaac
28
Laura T. Widing, Molly Walton, Donald C. Korb, Armour Mellon Shop Sales Associate

Anniversary
Sponsors
and Donors
as of February 23, 2009
Mr. Richard M. Scaife
Eden Hall Foundation
Katherine Mabis McKenna
Foundation, Inc.
Allegheny Energy
Highmark Blue Cross
Blue Shield
Latrobe Specialty Steel Company
Snee-Reinhardt
Charitable Foundation
Roy A. Hunt Foundation
Mr. and Mrs. D. Scott Kroh
Anonymous
Mr. and Mrs. Richard P. Mellon
84 Lumber Company/Ms. Maggie
Hardy Majerko
Mr. and Mrs. Dwayne Amoroso
Mr. and Mrs. Henry Armstrong
Mr. Ken Baldonieri
Dr. Richard C. Barnes In Memory of
Mrs. Geraldine Abel Barnes
Mrs. Johanna (Janie) Belden
Mr. and Mrs. Fiore Benevento
Mr. and Mrs. Alan K. Berk
Mr. and Mrs. Sam Berkovitz
Mr. Charles A. Blackburn
Mr. and Mrs. Eric Bononi
Mr. and Mrs. Robert Brandegee
Ms. Carol R. Brown
Mr. and Mrs. Pete Buchan
Mr. and Mrs. Peter Cecconi, Jr.
Mr. and Mrs. Harvey Childs, Jr.
Mr. and Mrs. Harvey Childs III
Mr. James Clayton and Ms. Mary
Catherine Motchar
Mr. and Mrs. Michael Cluss
Mr. and Mrs. George Conte
Copier Corporation of America
Mr. and Mrs. B. Patrick Costello
Dr. and Mrs. William B. Courtney
Ms. Edith A. Curry
Mr. and Mrs. Raymond L. DeFazio
Ms. Bonita Del Duca
Mr. Ron Donoughe
ANNIVERSARY SPONSORS AND DONORS
50 years into the vision
John and Lucy Douglas Mrs. Kay Rowe
Mr. and Mrs. Karl Eisaman Dr. John C. Ryan
Mr. and Mrs. H. Gervase Fajt, Jr. Dr. and Mrs. Karl W. Salatka
First National Insurance Agency Inc./ Mr. Bruce A. Samson
Mr. Will Brown Mr. and Mrs. Norman L. Samways
Fotorecord Print Center/Mr. Paul Nickoloff Mr.* and Mrs. G. Albert Shoemaker
Mrs. E. Jeanne Gleason Mrs. George S. Simon
Mr. and Mrs. Thomas Godlewski Mr. and Mrs. Lowell Smith
Mr. John Goettlicher Mr. Paul Smith
Mr. and Mrs. Terrence L. Graft Miss Charlotte M. Spicher
Mr. and Mrs. Charles B. Greenberg Honorable and Mrs. William L. Standish
Mr. and Mrs. Irving Gruber and Irving Mr. and Mrs. Louis Steiner
and Aaronel deRoy Gruber Charitable
Foundation Dr. and Mrs. James H. Thomas
Ms. Adrienne Heinrich Mr. and Mrs. Harry A. Thompson II
Mr. and Mrs. Richard Hendricks Mr. Harley Trice
Mr. and Mrs. Edgar Highberger Mr. and Mrs. Jim Ummer
Ms. Ruth K. Hill Dr. and Mrs. Anthony J. Van Norman
Dr. and Mrs. Peter Jannetta Mr. David J. Vater
Ms. Sybil P. Veeder
Mr. and Mrs. Kenneth Jones
Kattan-Ferretti Insurance Mr. and Mrs. Stephen Veyo
Wagner Family Charitable Trust
Ms. Wilda K. Kaylor
Mr. and Mrs. Robert Kendra Mr. and Mrs. Patrick Ryan Wallace
Mr. Constantine J. Kermes Ms. CoraBelle Walter
Mr. and Mrs. William Kiren Mr. and Mrs. Jon Walton
Mr. and Mrs. Joseph Walton
Mr. and Mrs. Donald Korb
Mr. and Mrs. William Watman
Ms. Florie Krell and Mr. Donald Sharapan
Mr. and Mrs. John West
Mr. Arthur Lambert
Mr. Allen Williams
Mrs. Mary M. Levy
Mr. and Mrs. Bruce M. Wolf
Mr. and Mrs. William K. Lieberman
Mr. Gary Luther Mrs. Lee W. Wood
Mrs. Rose D. Mack Mr. and Mrs. Jay Woodward
Charles and Anita Manoli Dr. and Mrs. Michael J. Zorch
Mr. and Mrs. Warren Marvin *deceased
Mrs. Loretta McBroom
Ms. Ruth E. McDonald
Mr. and Mrs. James O. McKiernan, Jr. Fifty-year
Mr. and Mrs. John Mickinak
Mr. and Mrs. Richard A. Miller
Mr. and Mrs. Edward Muller
members
Dr. and Mrs. Martin A. Murcek Mr. and Mrs. Thomas P. Cole II
Mrs. Barbara Nakles Mr. and Mrs. Robert Davis (Phyllis)
Dr. and Mrs. Michael L. Nieland Miss Joan Evans
Dr. Maeve Nolan Miss Frances Frye
Mr. and Mrs. Barry Numerick Mrs. Virginia Grosscup
Mr. and Mrs. Kevin O’Toole
Mr. Charles Henry
Mr. Bennard Perlman
Mr. and Mrs. John R. Porter
Miss Rebecca Humphrey
Mr. and Mrs. Jim Ratner
Mrs. Kathryn Jamison
Mr. Michael Rendulich Mrs. Sally Levin
Ms. Donna Repka Mrs. Helen C. Miller
Mr. and Mrs. John A. Robertshaw, Jr. Mr. and Mrs. John A. Robertshaw, Jr.
Mrs. Arline Rosenberg Miss Pauline Shermar
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 CREDITS

Credits
COVER ROW 1: Visitor experiences Born of Fire: The Valley of Work; John Singer Sargent (1856-1925), DOORWAY TO A VENETIAN PALACE (detail), c.
1906 –1910, Oil on canvas, Anonymous Gift; 1968 West wing construction; Jeremiah Stahl (1830-1907), SOAP HOLLOW SEVEN DRAWER CHEST,
1867, Cherry and tulip poplar, Gift of the Westmoreland Society, 2002; John F. Francis (1808-1886), STILL LIFE WITH FRUIT (detail), 1850, Oil on
canvas, Anonymous Gift; Winslow Homer (1836-1910), SUNSET FIRES (detail), 1880, Watercolor on paper, Gift of the William A. Coulter Fund; From
Nature’s Bounty: Still Life Painting in Southwestern Pennsylvania, 1860-1910 (2001), Albert F. King (1954-1945), WATERMELON WITH PLUG (detail), Oil on
canvas, Courtesy: D. Wigmore Fine Art, Inc., New York; Artist Unknown, PORTRAIT OF HARRIET KELLY (detail), c. 1875, Oil on canvas, Gift of Frank
Kelly; Otto August Kuhler (1894-1976), STEEL VALLEY, PITTSBURGH (detail), c. 1925, Oil on canvas, Gift of Richard M. Scaife; From Nature’s Bounty:
Still Life Painting in Southwestern Pennsylvania, 1860-1910 (2001), Alfred S. Wall (1825-1896), HANGING GRAPES (detail), Oil on canvas, Collection: Stan
Mabry. ROW 2: From Along the Lincoln Highway (2004), Rob Evans, MIGRATION (detail), 1997, Mixed media on paper, Collection: Mr. and Mrs. George
A. Long III, York, PA; William Zorach (1887-1966), RECLINING CAT, 1941, Bronze, Gift of the Westmoreland Society, 1999; Daniel Bolick, BLUE (detail),
2008, Courtesy of the Artist; Robert Brackman (1898-1980), ROCHELLE AT THE TABLE (detail), 1926, Oil on canvas, Gift of the Women’s Committee;
Summer art camp class; Mary Stevenson Cassatt (1844-1926), MOTHER AND TWO CHILDREN (detail), 1901, Oil on canvas, Anonymous Gift; Gifford
Beal (1879-1956), SEA BASS FISHERMAN (detail), 1940, Oil on board, Anonymous Gift through the Westmoreland Society, 1995; Newspaper clipping,
1958; Otto August Kuhler (1894-1976), WABASH RAILROAD BRIDGE (detail), c. 1926, Watercolor on paper, Gift of Harley N. Trice II, Pittsburgh, PA;
Paul Howard Manship (1885-1966), BRISEIS, 1916, Bronze, Gift of the Henry L. Hillman Foundation, Pittsburgh, PA, through the Westmoreland Society,
1996. ROW 3: William Coventry Wall (1810-1886), VIEW ALONG THE ALLEGHENY NEAR ASPINWALL, PA (TRACKS ALONG THE RIVER)
(detail), 1867, Oil on canvas, Gift of Jack and Suzanne Schilling and Family; Judith Hansen O’Toole, Director/ CEO, 1994 to present; Imagine Nation Day
at the Museum, 2008; Otto August Kuhler (1894-1976), INTERIOR VIEW OF THE OLD DUFF-NORTON PLANT (detail), 1925, Oil on canvas, Gift of
Marguerite D. Dougherty; Rembrandt Peale (1778-1860), PORTHOLE PORTRAIT OF GEORGE WASHINGTON (detail), c. 1824, Oil on canvas, Gift of
the William A. Coulter Fund; Dorothy Laurer Davids (1905-1980), CLOSED FOR THE DURATION (detail), c. 1941, Oil on canvas, Gift of Paul Davids;
John French Sloan (1871-1951), PORTRAIT OF MARY REGENSBURG (detail), 1939, Oil on canvas, Gift of Mary Regensburg Feist; DOUBLE EAGLE
12-GALLON JAR, 19th Century, Salt-glazed stoneware, Gift of Henry Hild; Newspaper clipping, 1959; Louis Comfort Tiffany (1848-1933), THE
THOMAS LYNCH TIFFANY WINDOW (detail), c. 1905, Copper foiled and plated glass, Museum Purchase. ROW 4: Guy Pene duBois (1884-1958),
STUDIO WINDOW (detail), 1928, Oil on canvas, Gift of the William A. Coulter Fund; Michael J. Gallagher (1898-1965), LAST SHIFT (detail), 1937,
Lithograph on paper, Gift of the Thomas Lynch Fund; From Spirit of a Community: The Photographs of Charles “Teenie” Harris (2001), Charles “Teenie” Harris
(1908-1998), JACKIE ROBINSON FORBES FIELD (detail), 1947; Experience Discovering Backpacks; Alfred Henry Maurer (1868-1932), TWO
SISTERS (detail), c. 1925, Oil on board, Gift of the Westmoreland Society, 2000; Museum Rendering; Mildred Young Olmes (b. 1906), MADONNA OF
THE MINES (detail), 1949, Gouache on paper, Museum Purchase; Samuel Rosenberg (1896-1972), SUNDAY MORNING (detail), 1937, Oil on masonite,
Gift of Arline Rosenberg (Mrs. Murray); From All That Is Glorious Around Us (1997), Victor DeGrailley (1804-1899), ANTHONY’S NOSE ON THE
HUDSON (detail), c. 1845, Oil on canvas, Private Collection; Westmoreland Museum under construction/ ROW 5: Gallery view of Diane Samuels:
Alphabet and Golem Projects, 1994; Emma Fordyce MacRae (1887-1974), DOGWOOD (detail), 1929, Oil on canvas, Museum Purchase; Maurice
Prendergast (1859-1924), BATHERS, ST. MALO (detail), c. 1907 – 1909, Watercolor on paper, Gift of Dr. Walter Read Hovey; Aaron Harry Gorson
(1872-1933), INDUSTRIAL SCENE, PITTSBURGH (detail), 1928, Oil on canvas, Gift in memory of Roy C. McKenna; Agnes Weinrich (1873-1946),
LADY SLIPPERS IN A VASE (detail), n.d., Oil on board, Museum Purchase; Balcomb Greene (1904-1990), ORGANIC FORMS (detail), 1939, Oil on
canvas, Anonymous Gift; George Hetzel (1826-1899), ROCKY GORGE (detail), 1869, Oil on canvas, Museum Purchase; Founding Director Dr. Paul A.
Chew; Johann Karl Scheibeler, Attributed (active c. 1769-1798), TAUFSCHEIN FOR JACOB EISEMANN (detail), 1796, Ink and watercolor on paper,
The Joy and R. David Brocklebank Collection through the William Jamison Art Acquisition Fund; Malcolm Parcell (1896-1987), PORTRAIT OF HELEN
GALLAGHER (detail), c. 1928, Oil on canvas, Gift of the Estate of Malcolm Parcell. PAGE 14: William Merritt Chase (1849-1916), LADY IN A PINK
DRESS, c. 1892, Oil on canvas, Gift in Memory of G. Albert Shoemaker by his wife, Mercedes; Samuel Rosenberg (1896-1972), MAN BY THE SEA NO.1,
1965, Oil on canvas, Gift of Mr. and Mrs. Henry L. Hillman; Thomas Moran (1837-1926), TOWER FALLS AND SULPHER MOUNTAIN,
YELLOWSTONE NATIONAL PARK, 1874, Watercolor on paper, Gift of Dr. Walter Read Hovey; William Zorach (1887-1966), RECLINING CAT, 1941.
PAGE 15: Aaron Harry Gorson (1872-1933), INDUSTRIAL SCENE, PITTSBURGH,1928, Oil on canvas, Gift in memory of Roy C. McKenna;
Aaronel deRoy Gruber (b.1918), SECOND LIFE, HOMESTEAD WORKS II, 2000, Gelatin silver print, Gift of Jamie deRoy; Mary Stevenson Cassatt
(1844-1926), MOTHER AND TWO CHILDREN, 1901. PAGE 17: George Inness (1825-1894), THE COMING SHOWER (detail), c.1873, Oil on canvas,
Gift of the William A. Coulter Fund; Benjamin West (1738-1820), KING PRIAM (detail), 1808, Oil on canvas, Gift of the William A. Coulter Fund;
Childe Hassam (1859-1935), THE OUTER HARBOUR (detail), 1909, Oil on canvas, Mary Marchand Woods Memorial Fund; Louis Comfort Tiffany
(1848-1933), THE THOMAS LYNCH TIFFANY WINDOW (detail), c. 1905. PAGE 18: John Singer Sargent (1856-1925), DOORWAY TO A VENETIAN
PALACE (detail), c. 1906 –1910; Paul Howard Manship (1885-1966), BRISEIS, 1916; Severin Roesen (1815-1872), STILL LIFE WITH FRUIT (detail),
n.d., Oil on canvas, Museum Purchase and the William A. Coulter Fund; Alfred Thompson Bricher (1837-1908), POINT JUDITH, NARRAGANSETT BAY,
RHODE ISLAND, c. 1885, Gift of the Westmoreland Society, 1997. PAGE 19: Alfred S. Wall (1825-1896), OLD SAW MILL (detail), 1851, Gift of the
Woods-Marchand Foundation; Guy Pene duBois (1884-1958), STUDIO WINDOW (detail), 1928. PAGE 20: Ben Shahn (1898-1969), BYZANTINE
ISOMETRICS (detail), 1951, Tempera on canvas mounted on masonite, Museum Purchase; James Brade Sword (1839-1915), SILVER THREAD FALLS,
PENNSYLVANIA (detail), 1874, Oil on canvas, Gift of the Westmoreland Society, the William Jamison Art Acquisition Fund, and additional
contributions, 2007; William Coventry Wall (1810-1886), VIEW ALONG THE ALLEGHENY NEAR ASPINWALL, PA (TRACKS ALONG THE RIVER),
1867. PAGE 21: Charles Ephraim Burchfield (1893-1967), COKE OVEN HOMES (detail), 1918, Watercolor on paper, Gift of the Women’s Committee;
Charles Ephraim Burchfield (1893-1967), SUMMER BENEDICTION, 1951, Lithograph on paper, Gift of Victor D. Spark. PAGE 22: William C. Wall
(1810-1886), ON THE MONONGAHELA, 1860, Oil on canvas, Gift of Dr. and Mrs. Robert J. Hudson. Maurice Prendergast (1859-1924), BATHERS, ST.
MALO, c. 1907 – 1909; From Scenic Views: Painters of The Scalp Level School Revisited (2008-2009), A. Bryan Wall (1861-1935), SUNSET, n.d., Oil on canvas,
Private Collection. PAGE 23: George Luks (1867-1933), HIGHBRIDGE PARK, n.d., Watercolor on paper, Gift of Dr. Walter Read Hovey. PAGE 25: From
Samuel Rosenberg: Portrait of a Painter, Samuel Rosenberg, AFTRERGLOW, 1958-64, oil on canvas, collection: Jane and Ed Haskell; John French Sloan (1871-
1951), PORTRAIT OF MARY REGENSBURG, 1939, Oil on canvas, Gift of Mary Regensburg Feist.

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 50 years into the vision

Planning Your Visit

Stop for a moment and think about words like “freedom,”
“opportunity,” “diversity.” They are words that paint a picture in
your mind…”Equality,” “justice,” “prosperity”… They are words
that describe the American experience.
But words can’t tell the whole story. So we invite you to come see
the art that gives those words meaning. We invite you to see how
the American experience is brought to life through the inspired
eyes of artists at the Westmoreland Museum of American Art
in Greensburg. Located only 35 miles east of Pittsburgh, it’s the
only museum of American art in western Pennsylvania.
Visit our web site for detailed directions and mapping.
www.wmuseumaa.org

Hours
Wednesday through Sunday 11 AM to 5 PM,
Thursday 11 AM to 9 PM
Closed Monday, Tuesday and most holidays 130
Irwin Rt. 22
Exit #7 66 10 mi. 819
PA Turnpike 119

Colle
Admission

Main
8 mi.

ge Av

St.
30 Ligonier
$5 suggested donation for adults, children under 12 WMAA 20 mi.

e.
Otterman St.
and students with valid ID are free. 30
Members never pay admission. Pittsburgh St.
We have plenty of free parking. Pittsburgh St.

Mai N
Contact Us
St. n

The Westmoreland Museum of American Art 30

221 North Main Street To Rt. 70 West 119
Exit #8
Greensburg, PA 15601 PA Turnpike
724-837-1500: Phone New Stanton
724-837-2921: Fax 8 mi.
www.wmuseumaa.org · info@wmuseumaa.org

Shop, Tour & Explore

The Museum offers guided group tours. To schedule, call
724/837-1500 ext. 10 or email tours@wmuseumaa.org
Visit our cozy KidSpace, a wonderful hands-on place for families
to read about and explore art.
Explore with Discover Backpacks! Designed for elementary school
age students and their favorite adults, this activity guides families
through the Museum in a fun and engaging way.
Stop by An American Marketplace—the Shop at The Westmoreland
— open during regular hours. Featuring books, posters and
notecards, children’s books and activities, unique gifts, art, and
jewelry inspired by The Westmoreland’s collection and American art.

PLANNING YOUR VISIT

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