William B. Jordan | |
---|---|
Born | Nashville, Tennessee, U.S. | May 8, 1940
Died | January 22, 2018 Dallas, Texas, U.S. | (aged 77)
Nationality | American |
Education | Washington & Lee University (BA) New York University Institute of Fine Arts (MA, PhD) |
Occupation | Art historian |
Known for | Art acquisition, curation, research |
Spouse | 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 collection 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 was involved in organizing El Greco of Toledo (1982), containing the "most ambitious" collection of paintings by El Greco. He retired in 1990, and focused on independent exhibitions and publications. His 2005 book Juan Van Der Hamen Y León & the Court of Madrid culminated his research work of over 40 years on Juan van der Hamen. Jordan was on the board of various museums and art institutes, and was made an honorary trustee of the Prado Museum in 2017. He died from complications of idiopathic pulmonary fibrosis in 2018.
Jordan was known for his ability to recognize authentic and significant paintings. He worked as an expert during acquisitions for various museums and maintained a private collection with his husband Robert Dean Brownlee, from which they donated a number of works. Jordan purchased a then-misattributed painting—that he believed was painted by Diego Velázquez—for £1,000 in 1988. The painting was authenticated by the Prado Museum as a work of Velázquez in 2016, and subsequently valued at around US$6 million. Jordan donated the painting, now titled Portrait of Philip III (1623–1631), to the Prado Museum later that year.
Early life and education
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.[1] In 1945, they moved to San Antonio, Texas, where Jordan attended Alamo Heights High School. Over the summers, he worked at the McNay Art Museum and was mentored by its first director John Palmer Leeper; his work there led to his interest in art.[2] Jordan graduated cum laude in 1962 with a bachelor's in art history from Washington & Lee University,[1][3] 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]
Jordan evaluated archival sources on the life and works of Juan van der Hamen for his doctorate. He spent eleven months during 1965–66 in Spain and researched van der Hamen at Archivo de Protocolos , Granada Cathedral, Archiepiscopal Palace of Alcalá de Henares, and Archivo General de Simancas. Documents that he found expanded upon the knowledge of van der Hamen at the time.[4] Results of his research helped Jordan describe for the first time biographical details such as genealogy of the artist's family, information regarding his marriage petition, personal history of his children, details of his estate, paintings and catalogues found in his studio after his death.[5]
He compiled a comprehensive illustrated catalogue of paintings by van der Hamen, divided into three parts: "extant works", which consited of works he could confirm that belonged to the artist—including previously unpublished paintings,[6] "problematic works", whose attribution he could not be certain about, and "lost works".[7] While around 30 paintings attributed to the artist were known to be lost before Jordan began his research, he was able to list a total of 204 "lost works" from the archives he evaluated.[8] Jordan presented his research as an œuvre (complete body of an artist's work) and monograph on the painter in his two-volume 1967 dissertation, Juan van der Hamen y León.[9][10] Over the years, the dissertation became a frequently cited reference in publications related to Spanish art.[4]
Career
Southern Methodist University and Dallas Museum of Art: 1967–1981
When the Meadows Museum opened at Southern Methodist University in Dallas, it was struggling with an art scandal that had damaged its reputation; 44 paintings in the museum's collection turned out to have been forgeries, including a dozen counterfeits by Elmyr de Hory.[11][12] In 1966, while Jordan was still a doctoral student, Algur H. Meadows, the museum's founder and benefactor, offered him the position as its director. Jordan and his professor José López-Rey visited the museum to assess the collection; they concluded that many of them were misattributed.[13] Jordan commented that the collection "was not very good" and that he would have to "essentially build from scratch".[14] Meadows pledged US$1 million to replace their Spanish art collection, and Jordan accepted the job.[15]
In 1967, Jordan became the founding director and chairman of the division of fine arts of the Meadows Museum. Meadows appointed him to the position even though he had no prior work experience, within the year Jordan had completed his doctorate.[16][2][17] The museum closed for a few months, and Jordan began evaluating its collection with help from López-Rey and Diego Angulo Íñiguez.[13] He auctioned off paintings that he deemed insignificant for a museum collection and put others in reserve for study purposes. The 35 auctioned paintings brought in only US$35,000. Jordan revamped the collection by acquiring new paintings before the museum reopened; the collection included Yard with Lunatics (1794) by Francisco Goya, and works of Bartolomé Esteban Murillo and Francisco de Zurbarán.[12]
In a 1968 article, Jordan highlighted the museum's collection and recently acquired paintings, and stated that they had began an acquisitions program to further expand their collection;[18] he followed up on the article with the 1974 book, The Meadows Museum: A Visitor's Guide to the Collection, an illustrated catalogue of the works in the museum, highlighting their recent acquisitions.[19] In 1971–72, Jordan organized an exhibition on collection of works related to Dennis Hopper, and a postwar art exhibition of works by Andy Warhol, Robert Rauschenberg and Wallace Burnett 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 Garden and Dallas Museum of Arts.[20]
Jordan taught courses on the history of Spanish art and on "Museums and Collecting" at the Meadows School of the Arts. He was appointed as a full professor in 1975,[12] and given the additional post of the chair of fine arts at the Meadows School of the Arts a year later.[16][21] He joined the Dallas Museum of Art as the adjunct curator of European art in 1977—a post he held until 1982.[22] 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 catalogue.[23] 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.[22]
Jordan served as the general seceratory of the American Society for Hispanic Art Historical Studies from 1976 to 1978, where he was a founding member.[24] He 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; Nashers, encouraged by the confidence shown by Jordan, started expanding their collection, which eventually became the foundation of the Nasher Sculpture Center.[25] He also helped to develop the museum's sculpture collection at the "Elizabeth Meadows Sculpture Garden" (later renamed as "The Elizabeth Meadows Sculpture Collection"), named after Meadow's second wife.[26] The collection of modern sculptures consisted of works from Alberto Giacometti, Auguste Rodin, Aristide Maillol, Claes Oldenburg, David Smith, and Henry Moore.[12][21]
Throughout his term, Jordan continued to acquire a number of prominent works at auctions and from art dealers with Meadows' financial support, and expanded the collection significantly.[12][16] While they initially purchased paintings together, Meadows eventually trusted him and acquired paintings without seeing them if they had been vetted by Jordan. The last painting they collaborated to acquire was Portrait of Queen Mariana (1656) by Diego Velázquez, before Meadows' death in 1978.[12] 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 Garden.[20]
Jordan 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.[12] He 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.[12] Southern Methodist University president R. Gerald Turner said that Jordan "helped build the Meadows Museum from the ground up", and Sam Holland, dean of the Meadows School of the Arts, stated that his work with the museum and school was a "critical part of our success".[21] Jordan is credited for turning the Meadows Museum's collection into one of the most prominent collection of Spanish art outside Spain.[2][13][24]
Kimbell Art Museum and El Greco of Toledo: 1981–1990
In 1981, Jordan became the deputy director and chief curator of the Kimbell Art Museum in Fort Worth, Texas,[2][27] after he was offered the position by the director of the museum, Edmund Pillsbury. Jordan was provided with a bigger budget to organize exhibitions and acquire paintings at the Kimbell Art Museum than at the Meadows Museum.[16] 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."[14]
The museum organized Jusepe De Ribera: Lo Spagnoletto, 1591-1652, the first exhibition focused only on works of Jusepe de Ribera in 1982. Jordan and Craig Felton, professor of art at Smith College, served as co-curators and edited the catalogue published for the event.[28] An exhibition to commemorate the 400th anniversary of El Greco's move to Toledo, Spain was first proposed in 1978 at the Toledo Museum of Art in Ohio.[29] Subsequently, El Greco of Toledo was organized in 1982–83 and curated by Jonathan Brown, Jordan, Richard L. Kagan and Alfonso E. Pérez Sánchez . The exhibition was on display at the Dallas Museum of Art, the National Gallery of Art, the Prado Museum and the Toledo Museum of Art.[30]
Jordan served as the chairman of the scholars' committee that organized the exhibition and selected most works to be featured in the event.[24] He authored their entries in the accompanying catalogue.[31] With 66 paintings, the exhibition contained the "most ambitious"[29] collection of paintings by El Greco—32 of which were from Spain, and the rest from museums and private collections of Canada, England, France, Italy, Norway, Sweden, Switzerland and the United States.[32] Rick Brettell and Joe Simnacher of The Dallas Morning News described the exhibition as "historic",[2] and art critic John Russell, writing for The New York Times, said that it accomplished "a dream that has haunted the human imagination for more than 100 years".[33]
In 1985, Jordan curated Spanish Still Life in the Golden Age, 1600–1650 at the Kimbell Art Museum and the Toledo Museum of Art, the first exhibition in the United States to feature still life paintings brought in as loans from other countries.[24] The exhibition focused on works of Antonio de Pereda, de Zurbarán, Juan Fernández el Labrador, Juan Sánchez Cotán, van der Hamen and Velázquez.[34] He authored its catalogue that explored the history of still life paintings in Spain, with analysis of the paintings in the exhibition. Nina Ayala Mallory, professor of art history at Stony Brook University, critiqued that Jordan provided "a comprehensive view of this subject through a selection of paintings that combined appositeness with high artistic quality", and further added that "he has produced the most reasoned and informative text on this material to date."[35]
On February 18, 1986, Jordan 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. Jordan was on the Art Comittee of the Hispanic Society of America in 1986, and had helped the Kimbell Art Museum acquire over 30 paintings of European origin by that time.[24] The next year, he wrote an introductory essay on the museum's collection,[36] and described their works in the book, In Pursuit of Quality: The Kimbell Art Museum: an Illustrated History of the Art and Architecture.[2] In 1989, he served as an editor of A Prosperous Past: The Sumptuous Still Life in the Netherlands, 1600-1700. It was a catalogue focused on still life painters of Europe, authored by Sam Segal , a Dutch biologist and art historian, who curated the exhibition at the Fogg Art Museum, the Museum Het Prinsenhof, and the Kimbell Art Museum.[37]
While on a year long sabbatical to Spain, Jordan decided to retire and submitted his year's notice when he returned to the museum.[3] During his tenure, he acquired paintings such as Still Life with Oranges, Jars, and Boxes of Sweets (1760) by Luis Egidio Meléndez, Four Figures on a Step (1655–1660) by Murillo and Portrait of Don Pedro de Barberana y Aparregui (1631–1633) by Velázquez.[24] He also wrote descriptive labels for all European works in the museum.[2] Pillsbury stated that Jordan's "vision and imagination were indispensable to the development of the Kimbell",[3] and according to Brettell and Simnacher, he made the museum's collection "considerably more meaningful to the public".[2]
Independent work: 1990–2018
Jordan retired at age 50 in 1990—following in the footsteps of his father, who had retired at 49—and worked independently.[14][16] 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.[38] He authored an eponymous catalogue discussing paintings in the exhibition, including how Ramírez could have imitated Cotán's works,[39] life and influence of Cotán as a still life painter,[40] and his paintings in context with the development of bodegóns (still life paintings depicting pantry items) in Europe.[41]
Southern Methodist University awarded Jordan with a Doctor of Humane Letters, honoris causa in 1995 "for his contributions to the world of arts, and for the enrichment he has brought to the campus and to the city of Dallas".[42] Jordan curated Spanish Still Life from Velázquez to Goya (1995) at the National Gallery in London, which became their most-attended exhibition of the time.[1] He co-authored its accompanying catalogue with Peter Cherry, then lecturer at Trinity College Dublin.[43] The book, described by Richard G. Mann as "the first major study in English of Spanish still life painting", explored the origin and history of still life paintings and biographies of several still life artists of Spain.[44]
In 1997, the Matthiesen Gallery organized An Eye on Nature: Spanish Still-Life Paintings from Sánchez Cotán to Goya exhibition in New York City; Jordan authored its catalogue, analyzing still life paintings and biographical details of artists featured in the exhibition.[45] 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;[46] 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.[47] In 2001, he joined the Nasher Sculpture Center in Dallas as a member of the board of directors.[48] He also served as the trustee of the center and the Nasher Foundation—where he was the founding director.[49][50]
In 2005, Jordan published Juan Van Der Hamen Y León and the Court of Madrid, a monograph on Juan van der Hamen. He noted that although his 1967 dissertation had become widely available in art historical libraries, he wanted to publish a more comprehensive and updated work which could be accessed and read by the general population. Jordan continued his research on the artist throughout his career, spending numerous sabbaticals in Spain.[4] The book compiled his research work of over 40 years on van der Hamen.[51] Jordan explored van der Hamen's work as an artist that paints history and portraits, in addition to his still life and bodegón paintings that he is most known for. He focused on the life of van der Hamem, and discussed new assessments that emphasized the artist's importance during 1620s and significance of his paintings outside of still lifes.[52] The book also included recently restored and previously unpublished paintings, detailed analysis of van der Hamen's works that had not been studied before, and works that Jordan attributed to the artist which were previously attributed to others.[53]
Professor of art history at the University of Alabama Mindy Nancarrow stated that Jordan's work "redefines our understanding of painting in Madrid in the crucial decade of the 1620s",[54] and María Cruz de Carlos, professor of art of the modern age at the Autonomous University of Madrid, said in her review that it "offers a revision to the prevalent art historical view that considers him almost exclusively as a still-life painter."[55] 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 on display at the Patrimonio Nacional in Madrid and Meadows Museum in 2005–06. The exhibition featured paintings which were exhibited for the first time, in addition to known works by van der Hamen.[56] Cherry, in a review of the exhibition, summarized that "Jordan's unique familiarity with van der Hamen's body of known work" helped him select paintings that showed the artist's development and versatility, but noted that the "strength of the exhibition lies in van der Hamen's still lifes".[57]
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.[14] He headed the search committee to find a new director of the Chinati Foundation in 2010—where he was a member of the board of directors and past president—which led to the appointment of Thomas Kellein.[2][58] Jordan worked with Olivier Meslay at the Dallas Museum of Art to create an exhibition and a catalogue of modern European paintings in local private collections to promote local collecting in 2013.[16] 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.[59] In 2017, the Prado Museum appointed Jordan as an honorary trustee.[1]
Jordan died on January 22, 2018, at the William P. Clements Jr. University Hospital from complications of idiopathic pulmonary fibrosis. He was buried at the Hillcrest Mausoleum & Memorial Park in Dallas.[2][60]
Art acquisitions and philanthropy
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.[14]
Jordan was considered an authority on Spanish art,[2][14][24] and one of the foremost experts on still life paintings from the Spanish Golden Age.[17][21][61] He was also recognized for his ability to notice significant paintings that were unattributed at the time, and acquiring them at auctions for relatively little money. Jordan was frequently called upon as an expert during art acquisitions; he was known for being able to tell reproduced copies from authentic paintings.[16] Holland commented on Jordan's abilities: "He had a brilliant gift for art. There's something that's hard to quantify that sets somebody apart from the rest of us — his ability to spot authenticity on the highest level of the art world."[2]
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; there were no records in sources on Spanish art to prove it was his work. Experts that Jordan consulted suggested that the painting was "too good to be Spanish and must be Italian". However, Jordan was conceived that it was a work by Yáñez, and he made the purchase with Meadows' support. Subsequently, it was "universally regarded as one of the artist's masterpieces"; it became one of the more important works in the Meadows Museum.[12]
He 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.[16] 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 bought by a local dealer. The painting was vaguely attributed to a "Flemish master" during the auction. The museum purchased the work after the painting was vetted and its attribution confirmed by Jordan and other experts.[62]
Jordan maintained an art collection with his husband Robert Dean Brownlee at their residence in Turtle Creek, Dallas which included works from artists like Eugène Delacroix and Paul Cézanne. His most notable acquisition was of Portrait of Philip III (1623–1631) by Diego Velázquez in 1988.[2][16] When Jordan found the piece at a London art auction, it was titled Portrait of a gentleman painted by a follower of Justus Sustermans. He purchased the painting for £1,000 and had it restored at the Kimbell Art Museum by Claire Barry. He believed it to be a painting by Velázquez, done in preparation of The Expulsion of the Moriscos (1627), which had won him a first prize and an appointment as gentleman usher to the king in the court of Philip IV; The Expulsion of the Moriscos is considered by historians to have been burned in the Royal Alcázar of Madrid fire of 1734.[17]
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 concluded that Velázquez's style—which is regarded to be distinctive from other portraitists of the time—was similar to his works of that period, and that the unusual depiction of Philip III looking up, instead of forward and straight, indicated that the painting was made to serve as a model to be included in a wider scene.[17] Jordan kept the painting in his private collection for almost 30 years.[27]
In 2016, the painting was sent to the Prado Museum for analytical and comparative study with other paintings by the artist in their collection. They found that anatomical details of Philip III's face match with details of his other paintings of Philip III from the same time period. They also used x-ray and infrared radiography to compare its canvas, construction and preparation to Velázquez's other works of the period, and confirmed its authenticity.[17] The painting was subsequently valued at around US$6 million.[63] Later that year, he donated it to a non-profit organization called the American Friends of Prado Museum, which then gave the painting to the museum as a long-term deposit.[17]
The Dallas Museum of Art established a Works on Paper Department with contributions from The William B. Jordan and Robert Dean Brownlee Endowment in 2019. Jordan and Brownlee 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.[22] 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 version of After the Bath, Woman Drying Herself by Edgar Degas, a print, four medals and 20 drawings.[64]
In 2020, Nasher Sculpture Center received works by Joan Miró, John Chamberlain and Oldenburg as a part of a bequest from Jordan and Brownlee. It included My Father's Watch (For Bill Jordan) by David McManaway; McManaway had made the painting for Jordan using Jordan's father's watch in 1973.[49] A Baby Rolling Over (1884–87) by Agustí Querol Subirats was donated to the Meadows Museum by art historian Michael P. Mezzatesta "in honor of William B. Jordan" in 2020; Jordan had previously donated a sculpture of Saint John the Baptist by Luisa Roldán to the museum in 1999, which was similar in style.[65]
Bibliography
Author
- Jordan, William B. (1967). Juan van der Hamen y León (Dissertation). New York University (1; Illustrated ed.). Ann Arbor, Michigan: 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, Texas: 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, Connecticut: Yale University Press. ISBN 978-0-300-11318-1.
Editor
- Felton, Craig; Jordan, William B., eds. (1982). Jusepe de Ribera, Lo Spagnoletto, 1591-1652 (1; Illustrated ed.). Fort Worth, Texas: Kimbell Art Museum. ISBN 978-0-912804-10-1.
- Segal, Sam (1989). ———————— (ed.). A Prosperous Past: The Sumptuous Still Life in the Netherlands, 1600-1700 (1; Illustrated ed.). The Hague: Sdu. ISBN 978-90-12-06238-1.
- Meslay, Olivier; ————————, eds. (2014). Mind's Eye: Masterworks on Paper from David to Cézanne (1; Illustrated ed.). Dallas Museum of Art. ISBN 978-0-300-20721-7.
Chapters
- Jordan, William B. (1980). "A note on Cy Twombly". Cy Twombly: Paintings and Drawings (1; Illustrated ed.). Dallas: Southern Methodist University.
- ———————— (1987). "Collections of the Kimbell Art Museum: Introduction". In Pursuit of Quality: The Kimbell Art Museum: an Illustrated History of the Art and Architecture (1; Illustrated ed.). New York City: Abrams. pp. 98–100. ISBN 978-0-8109-1124-6.
- ———————— (March 1, 2002). "A Forgotten Legacy: Murillo's Cabinet Pictures on Stone, Metal, and Wood". Bartolome Esteban Murillo Paintings 1617-1682: Paintings from American Collections (1; Illustrated ed.). New York City: Abrams. pp. 63–73. ISBN 978-0-8109-0390-6.
- ———————— (2004). "La aparición de la Inmaculada a San Francisco de Juan van der Hamen del Convento de Santa Isabel de los Reyes de Toledo" [The Appearance of the Immaculate to Saint Francis by Juan van der Hamen from the Convent of Santa Isabel de los Reyes of Toledo]. Juan van der Hamen: La aparición de la Inmaculada a San Francisco, Convento de Santa Isabel de los Reyes, Toledo [Juan van der Hamen: The Appearance of the Immaculate to Saint Francis, Convent of Santa Isabel de los Reyes, Toledo] (in Spanish) (1; Illustrated ed.). Madrid: Área de Comunicación e Imagen BBVA, Departamento de Actividades Culturales. pp. 9–15.
- ———————— (2008). "La Galería del Mediodía de El Pardo y los orígenes de la naturaleza muerta en Madrid" [The Pardo's Galería del Mediodia and the Origins of Still Life in Madrid]. Los pintores de lo real [The Painters of the Real] (in Spanish) (1; Illustrated ed.). Barcelona: Galaxia Gutenberg. pp. 119–138. ISBN 978-84-8109-777-1.
- ———————— (2017). "Un cuadro perdido de Velázquez: la expulsión de los Morisco" [A Lost Painting by Velázquez: The Expulsion of the Moriscos]. Felipe III de Velázquez: donación de William B. Jordan [Philip III by Velázquez: Donated by William B. Jordan] (in Spanish) (1; Illustrated ed.). Madrid: Prado Museum. ISBN 978-84-8480-366-9.
Articles
- Jordan, William B. (1964–65). "Juan van der Hamen y León: A Madrillenian Still-Life Painter". Marsyas. XII. New York University Institute of Fine Arts: 52–69. ISSN 0076-4701.
- ———————— (1968). "Murillo's Jacob Laying the Peeled Rods Before the Flocks of Laban". ARTnews. 67. New York City: Penske Media Corporation: 31. ISSN 0004-3273.
- ———————— (1968). "A Museum of Spanish Painting in Texas". Art Journal. 27 (3). New York City: College Art Association: 288–296. doi:10.2307/775090. ISSN 0004-3249. JSTOR 775090.
- ———————— (1970). "The Meadows School of the Arts at SMU: Progress Report on a New Enterprise". Art Journal. 29 (3). New York City: College Art Association: 352. doi:10.2307/775474. ISSN 0004-3249. JSTOR 775474.
- ———————— (December 1981). "Velazquez's Portrait of Don Pedro de Barberana". Apollo. No. 238. Jersey: Press Holdings. pp. 378–379. ISSN 0003-6536.
- Pillsbury, Edmund; ———————— (November 1987). "Recent Painting Acquisitions-III: The Kimbell Art Museum: Supplement". The Burlington Magazine. Vol. 129, no. 1016. London. pp. 767–776. ISSN 0007-6287. JSTOR 883245.
- ———————— (February 1990). "A Newly-Discovered Still Life by Juan Sánchez Cotán". The Burlington Magazine. Vol. 132, no. 1043. London. pp. 96–99. ISSN 0007-6287. JSTOR 884174.
- ———————— (September 1992). "Ribera. Naples, Madrid and New York". The Burlington Magazine. Vol. 134, no. 1074. London. pp. 622–625. ISSN 0007-6287. JSTOR 885343.
- ———————— (October 1992). "Reviewed Work: Wadsworth Atheneum Paintings II. Italy and Spain Fourteenth Through Nineteenth Centuries by Jean K. Cadogan". The Burlington Magazine. Vol. 134, no. 1075. London. p. 675. ISSN 0007-6287. JSTOR 885287.
- ———————— (1999). "Algur Meadows: un recuerdo personal" [Algur Meadows: A Personal Memory]. Goya: Revista de arte (in Spanish) (273). Madrid: Lázaro Galdiano Foundation: 343–352. ISSN 0017-2715.
- ———————— (2009). "El Pseudo-Hiepes es Bernardo Polo" [The Pseudo-Hiepes is Bernardo Polo]. Archivo Español De Arte (in Spanish). 82 (328). Madrid: Spanish National Research Council: 393–403. doi:10.3989/aearte.2009.v82.i328.311. ISSN 0004-0428.
References
Citations
- ^ a b c d San Antonio Express-News (2018).
- ^ a b c d e f g h i j k l m n Brettell & Simnacher (2018).
- ^ a b c Brock (2006).
- ^ a b c Jordan (2005), p. 17.
- ^ Jordan (1967), pp. v–vii.
- ^ Jordan (1967), pp. 331, 400.
- ^ Jordan (1967), pp. 323–324.
- ^ Jordan (1967), pp. vi–vii.
- ^ Jordan (1967), pp. i, iv–v.
- ^ Zirpolo (2006), p. 1211.
- ^ Wecker (2017).
- ^ a b c d e f g h i Meadows Museum2.
- ^ a b c Curlee (1995).
- ^ a b c d e f Bothwell (2018).
- ^ McWhirter (1967), p. 58.
- ^ a b c d e f g h i Edith O'Donnell Institute of Art History (2018).
- ^ a b c d e f Prado Museum (2016).
- ^ Jordan (1968a), pp. 288–296.
- ^ Jordan (1974), pp. 7–11.
- ^ a b Dallas Museum of Art.
- ^ a b c d Southern Methodist University (2018).
- ^ a b c Dallas Museum of Art (2019).
- ^ Jordan (1978), pp. 3–5.
- ^ a b c d e f g North San Antonio Times (1986).
- ^ The Nasher (2018), pp. 70–72.
- ^ Meadows Museum1.
- ^ a b Pulido (2016).
- ^ Felton & Jordan (1982), pp. 3–5.
- ^ a b Markham (1982).
- ^ National Gallery of Art.
- ^ National Gallery of Art (1982), pp. 3–4.
- ^ National Gallery of Art (1982), p. 2.
- ^ Russell (1982).
- ^ Mallory (1985), pp. 353–356.
- ^ Mallory (1985), p. 353.
- ^ Jordan (1987), pp. 98–100.
- ^ Segal (1989), pp. 3–4.
- ^ Serraller (1992).
- ^ Jordan (1992a), pp. 58–85.
- ^ Jordan (1992a), pp. 13–18.
- ^ Jordan (1992a), pp. 19–29.
- ^ Southern Methodist University (1995), p. 8.
- ^ Yale University Press.
- ^ Mann (1997), pp. 941–942.
- ^ Jordan (1997), pp. 13–15.
- ^ Jordan (1997), pp. 116–120.
- ^ Jordan (2009), pp. 393–403.
- ^ Nasher Sculpture Center (2001).
- ^ a b Nasher Sculpture Center (2020).
- ^ The Nasher (2018), p. 72.
- ^ Jordan (2005), p. Cover.
- ^ Zirpolo (2006), pp. 1211–1212.
- ^ Landeira (2007), p. 67.
- ^ Nancarrow (2007), p. 135.
- ^ de Carlos (2007), p. 298.
- ^ Jordan (2005), pp. 19–20.
- ^ Cherry (2006), p. 298.
- ^ Thomson (2010).
- ^ Dallas Museum of Art (2014).
- ^ Dignity Memorial.
- ^ Cherry (2006), p. 299.
- ^ Freudenheim (1990).
- ^ Sullivan (2017).
- ^ National Gallery of Art (2019).
- ^ Artfix Daily (2020).
Sources
- News
- Bothwell, Anne (January 26, 2018). "Remembering William Jordan, An Art Authority". Art&Seek. Dallas: KERA. Archived from the original on June 12, 2020. Retrieved September 19, 2020.
{{cite news}}
:|archive-date=
/|archive-url=
timestamp mismatch; June 12, 2018 suggested (help) - Brettell, Rick; Simnacher, Joe (January 23, 2018). "William Jordan, art historian and philanthropist who enriched Dallas-Fort Worth museums, dies at 77". The Dallas Morning News. A. H. Belo. Archived from the original on September 10, 2020. Retrieved September 10, 2020.
- Brock, Jessica (March 28, 2006). "Jordan's Spanish art knowledge brings elegance to exhibition". The Daily Campus. Dallas: Southern Methodist University. Archived from the original on January 21, 2018. Retrieved September 24, 2020.
- Freudenheim, Susan (November 30, 1990). "Museum Buys Early Painting by El Greco : Art: San Diego Museum of Art also acquires piece by 17th-Century Spanish still-life painter Juan Sanchez Cotan". Los Angeles Times. Archived from the original on September 26, 2020. Retrieved September 10, 2020.
- Markham, James M. (April 3, 1982). "El Greco exhibition opens in Madrid". The New York Times. Archived from the original on May 24, 2015. Retrieved September 24, 2020.
- Pulido, Natividad (December 19, 2016). "William B. Jordan: "No creo que haya mucho debate sobre la autoría del retrato de Felipe III de Velázquez"" [William B. Jordan: "I don't think there is much debate about the authorship of Velázquez's portrait of Philip III"]. ABC (in Spanish). Madrid: Grupo Vocento. Archived from the original on March 14, 2018. Retrieved September 25, 2020.
- Russell, John (July 18, 1982). "Art view; seeing the art of El Greco as never before; Washington". The New York Times. Archived from the original on August 4, 2020. Retrieved September 24, 2020.
- Serraller, Francisco Calvo (November 18, 1992). "Los bodegones de Sánchez Cotán, en el Prado" [The Still Lifes of Sánchez Cotán, in the Prado]. El País (in Spanish). Madrid: PRISA. Archived from the original on May 5, 2021. Retrieved May 5, 2021.
- Sullivan, Paul (August 11, 2017). "Even for Philanthropists, Museums Can Make Art a Tough Give". The New York Times. Archived from the original on August 5, 2019. Retrieved September 24, 2020.
- Thomson, Steven (August 24, 2010). "Westphalia meets West Texas: Marfa's Chinati Foundation selects German director". CultureMap Houston. Gow Media. Archived from the original on September 26, 2020. Retrieved September 24, 2020.
- Wecker, Menachem (November 17, 2017). "Praying for Success: In the Wake of Scandal, Can the Museum of the Bible Find Mass Appeal?". Artnet. New York City. Archived from the original on June 19, 2020. Retrieved September 15, 2020.
- "Spain honors Alamo Heights graduate". North San Antonio Times. Hearst. May 3, 1986.
- "Spanish Art Acquisitions Enhance Meadows Museum Collection". Artfix Daily. Dallas: Wildfire Media. August 20, 2020. Archived from the original on August 28, 2020. Retrieved September 24, 2020.
- "William Bryan Jordan 1940–2018". Obituaries. San Antonio Express-News. Hearst. November 11, 2018. Archived from the original on May 28, 2021. Retrieved May 28, 2021 – via Legacy.com.
{{cite news}}
:|archive-date=
/|archive-url=
timestamp mismatch; May 29, 2021 suggested (help)
- Periodicals
- Cherry, Peter (2006). "Juan van der Hamen y León and the Court of Madrid". The Burlington Magazine. Vol. 148, no. 1237. London. pp. 297–299. JSTOR 20074393. ISSN 0007-6287.
- de Carlos, María Cruz (2007). "Reviewed Work: Juan van der Hamen y León and the Court of Madrid by William B. Jordan". Sixteenth Century Journal. 38 (1). Kirksville, Missouri: Truman State University Press: 297–298. ISSN 0361-0160. JSTOR 20478354.
- Landeira, Joy (2007). "Reviewed Work: Juan van der Hamen y León and the Court of Madrid by William B. Jordan". Hispania. 90 (1). Birmingham, Alabama: American Association of Teachers of Spanish and Portuguese: 66–67. ISSN 0018-2133. JSTOR 20063443.
- Mallory, Nina Ayala (1985). "Reviewed Work: Spanish Still Life in the Golden Age, 1600-1650 by William B. Jordan". Art Journal. 45 (4). New York City: College Art Association: 353–356. doi:10.2307/776812. ISSN 0004-3249. JSTOR 776812.
- Mann, Richard G. (1997). "Reviewed Work: Spanish Still Life from Velázquez to Goya. by William B. Jordan, Peter Cherry". Renaissance Quarterly. 50 (3). The Bornx: The Renaissance Society of America: 941–942. doi:10.2307/3039315. ISSN 1935-0236. JSTOR 3039315.
- McWhirter, William (July 7, 1967). "Art Swindle". Life. Vol. 63, no. 1. New York City: Time Inc. pp. 52–61. ISSN 0024-3019.
- Nancarrow, Mindy (2007). "Reviewed Work: Juan van der Hamen y León and the Court of Madrid by William B. Jordan". Renaissance and Reformation. 30 (3). Toronto: Iter Press: 133–135. ISSN 0034-429X. JSTOR 43446059.
- Zirpolo, Lilian H. (2006). "Reviewed Work: Juan van der Hamen y León and the Court of Madrid by William B. Jordan". Renaissance Quarterly. 59 (4). The Bronx: The Renaissance Society of America: 1211–1212. doi:10.1353/ren.2008.0560. ISSN 1935-0236. JSTOR 10.1353/ren.2008.0560.
- "The Legacy of William B. Jordan". The Nasher. Dallas: Nasher Sculpture Center. Summer 2018. pp. 68–73 – via Issuu.
- Websites
- Curlee, Kendall (April 1, 1995). "Meadows Museum". Handbook of Texas Online. Austin: Texas State Historical Association. Archived from the original on May 23, 2021. Retrieved September 27, 2020.
- "Dallas Museum of Art Receives Transformative Gifts to Establish New Department and Curatorial Position Dedicated to Works on Paper". Dallas Museum of Art. November 26, 2019. Archived from the original on September 26, 2020. Retrieved September 25, 2020.
- "Mind's Eye: Masterworks on Paper from David to Cézanne". Dallas Museum of Art. June 26, 2014. Archived from the original on September 26, 2015. Retrieved June 1, 2021.
- "University Communities: Shaping the Future". Dallas Museum of Art. Archived from the original on May 20, 2021. Retrieved May 20, 2021.
- "William Jordan Obituary". Dignity Memorial. Houston: Service Corporation International. Archived from the original on November 30, 2020. Retrieved November 30, 2020.
- "Farewell to Bill Jordan". Dallas: Edith O'Donnell Institute of Art History. February 1, 2018. Archived from the original on May 23, 2019. Retrieved September 10, 2020.
- "Kimbell Art Museum". Fort Worth, Texas: Kimbell Art Museum. January 25, 2018. Archived from the original on March 22, 2021. Retrieved March 22, 2021 – via Facebook.
- "Collections". Dallas: Meadows Museum. Archived from the original on April 14, 2021. Retrieved May 8, 2021.
{{cite web}}
:|archive-date=
/|archive-url=
timestamp mismatch; April 17, 2021 suggested (help) - "Mission and History". Dallas: Meadows Museum. Archived from the original on September 15, 2020. Retrieved September 15, 2020.
- "Nasher Sculpture Center Announces Recent Acquisitions and Gifts to the Collection". Dallas: Nasher Sculpture Center. February 10, 2020. Archived from the original on September 26, 2020. Retrieved September 24, 2020.
- "The Nasher Foundation Appoints Board". Dallas: Nasher Sculpture Center. June 29, 2001. Archived from the original on November 27, 2010. Retrieved September 10, 2020.
- "El Greco of Toledo". Washington, D.C.: National Gallery of Art. Archived from the original on May 2, 2021. Retrieved May 31, 2021.
- "El Greco of Toledo, an International Exhibition" (pdf). Washington, D.C.: National Gallery of Art. 1982. Archived (pdf) from the original on March 27, 2021. Retrieved May 31, 2021.
- "The National Gallery of Art Acquisition Announcements 2019". Washington, D.C.: National Gallery of Art. November 5, 2019. Archived from the original on March 21, 2021. Retrieved May 24, 2021.
- "The Museo del Prado is presenting an unpublished work by Velázquez donated to American Friends by William B. Jordan". Madrid: Prado Museum. December 14, 2016. Archived from the original on July 25, 2019. Retrieved September 10, 2020.
- "Eightieth Annual Commencement Convocation" (pdf). Dallas: Southern Methodist University. May 20, 1995. Archived (pdf) from the original on September 24, 2015. Retrieved March 22, 2021.
- "SMU and the Meadows Community Mourn the Passing of an Icon". Dallas: Southern Methodist University. 2018. Archived from the original on May 23, 2019. Retrieved September 10, 2020.
- "Spanish Still Life from Velázquez to Goya". New Haven, Connecticut: Yale University Press. Archived from the original on May 5, 2021. Retrieved May 22, 2021.