The Corcoran’s demise is a sad reminder that many cultural institutions in America skitter on the brink of insolvency.
Simplon Pass, 1911, John Singer Sargent, has gone to the National Gallery.
In 2014, the board of trustees for the Corcoran Gallery of Art in Washington, DC, announced that they were closing that venerable institution and offering its assets—for free—to other agencies to manage. That meant its school, its Beaux Arts building, and its collection would all be given away. The assets were staggering, somewhere around $2 billion, and somehow the money machine would be kept out of the process.
This week the deal became final, with the Corcoran board announcing the dispensation of the final 11,000 artworks. (The National Gallery had first dibs and took about 40% of the collection.) The art school, the building, and about 800 works go to George Washington University. Much of the rest of the collection is headed to the American University Museum, with the Smithsonian American Art Museum and other institutions rounding out the list. The art will stay in Washington, in the public view.
Niagara, 1857, by Frederic Edwin Church, has gone to the National Gallery.
The Corcoran was one of America’s oldest art museums, founded to house the private collection of a 19th century financier, William Wilson Corcoran. Doing nothing by half-measures, Corcoran hired James Renwick, designer of St. Patrick’s Cathedral in New York and the Smithsonian ‘Castle’ in Washington, to build his museum.
Corcoran made his fortune on war bonds and retired to a life of philanthropy by 1854. His good works were legion. They included the land and chapel for Oak Hill Cemetery, a benevolent fund for the poor of Georgetown, innumerable gifts to universities, and securing Mount Vernon for the nation. He was also a southern sympathizer who left for Paris at the outbreak of war.
Forty-two Kids, 1907, George Bellows, has gone to the National Gallery.
Corcoran was also an early patron of American art. He counted painters Albert Bierstadt, Frederic Edwin Church, Thomas Doughty, and George Inness among his friends. The Corcoran was established in 1869. Its School of Art was founded in 1878.
Fast forward a century and Corcoran’s vision was showing signs of financial strain. “When news broke that Board was considering selling the building, it felt like every conversation I had placed the beginning of the Museum’s decline to an earlier and earlier point,” wrote Blair Murphy. “One D.C. artist I spoke with argued that the Museum had never recovered from declining to purchase the collection of the shuttered Washington Gallery of Modern Art. That was in 1968.”
Ground swell, 1939, Edward Hopper, has gone to the National Gallery.
In 1989, the gallery agreed to host Robert Mapplethorpe’s The Perfect Moment. Worse, it cancelled the show when trustees and supporters voiced opposition. A change in leadership staved off bankruptcy temporarily. But history conspired against the institution. Rerouted traffic after 9/11 made it harder to get to. In 2005, the museum was unable to raise funds for a highly-touted addition by Frank Gehry. The financial crisis of 2008 hit cultural institutions hard. Giving to the Corcoran fell off sharply.
The Last of the Buffalo, 1888, Albert Bierstadt, has gone to the National Gallery.
Washington is a city of free, government-subsidized museums. The Corcoran was neither. By the end, in 2014, the admission fee was $10. Why pay that when there are so many other options that cost nothing?
The Corcoran’s demise is a sad reminder that many cultural institutions in America skitter on the brink of insolvency. What do we do about that?