![]() ![]() As early as 1903 the Women’s Art School director Robert Swain Gifford requested the purchase of figure studies to hang in the life class initiating the development of one of the most notable collections of American nineteenth-century drawings in any public United States institution. While Sarah & Eleanor Hewitt’s primary goal for the museum at Cooper Union was building a decorative arts collection, they were simultaneously acquiring American drawings for the use of students at Cooper Union’s Women’s Art School. ![]() The first conception of numerous well-known pictures, perhaps jotted down merely on an envelop, box cover, or chance scrap of paper, are there to inspire and illuminate students and laymen. Church, Winslow Homer, Robert Blum, many other Americans…are already represented. ![]() In 1919, Eleanor Garnier Hewitt proudly announced in the Making of a Modern Museum, page 17:Īs quickly as they can be acquired, leaves from the note and sketch books of artists of the last half of the 19 th century, and of the present day, are being placed (on the walls of the corridors and staircases). Matthew Kennedy, Publishing Associate, Cooper Hewitt, Smithsonian Design Museum “Compelled the admiration of all” Margery Masinter, Trustee, Cooper Hewitt, Smithsonian Design Museum In January’s short story, written by Gail Davidson, former Curator and Head of Drawings, Prints & Graphic Design at Cooper Hewitt, the work of three important American artists come together to form the backbone of Cooper Hewitt’s collection of American drawings. Last month in Cooper Hewitt Short Stories, we explored a world of textiles encapsulated in a generous gift to Cooper Union by J.P. ![]()
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