The Art Institute of Chicago
A Quick History and A Virtual Tour Into One of the Oldest and Largest Art Museums in the U.S.
The Art Institute stands tall along Michigan Avenue in Chicago. It has been a cornerstone of middle American culture since its founding in the wake of the Great Chicago Fire of 1871.
What began as a free art school and museum has evolved into one of the world's most prestigious cultural institutions, housing over 300,000 artworks across its million square feet of space. Beyond its iconic bronze lions guarding the entrance, visitors will encounter artwork that spans human history, through 5,000 years of our existence. It is truly a one of a kind museum.
Whether you're an art enthusiast or simply a curious creature waiting to delve into one of America's cultural treasures, this article serves as your educational guide through time and art.
We'll first explore the fascinating history of the museum, helping you understand how it evolved from its modest beginnings into a world-renowned institution. Then, we'll take you on a visual journey through it's greatest significant paintings and most intriguing masterpieces, with detailed descriptions and stories behind each work. Consider this your personal tour through the halls of artistic excellence.
The 19th Century
The Foundation of the Art Institute
The Art Institute of Chicago began as a fine arts academy in 1866. The images to the right is the first known picture taken of the building-- pretty neat right? The academy was entitled the Chicago Academy of Design; it was created by 35 artists, for other artists. The organization had it's own art gallery, and fine art classes went for $10 a month for students- about $400 dollars today.
The Great Chicago Fire of 1871 burned the academy to the ground. The org. went massively into debt. Eight years after the Academy of Design went under, the Chicago Academy of Fine Arts was created and bought the remaining assets. In 1882 the name was changed to what it is called today: the Art Institute of Chicago. In 1893, the academy moved to the location off of Michigan Avenue and Adams Street, where it currently resides.
The location off of Michigan Avenue and Adams Street sits on top of the traditional homelands of a council of three indigenous tribes- the Ojibwe, Odawa, and Potawatomi peoples. The placement of the Institute was contested by the native people from the beginning.
The 20th Century
The Flourishing of the Art Institute
The rapidly expanding collection of the museum required renovations. These renovations where built by demolishing the Illinois Central Railroad tracks that where to the east of the building.
During the World Fair in 1933, the museum hosted an exhibition called a Centuries Progress. The exhibit had the biggest turn out that the Art Institute has ever had to date: 1.5 million visitors.
The material scarcity of World War II caused renovations and additions to trickle out during the 1940s, but in the late 1950s new wings where added to the building. These included the B. F. Ferguson Memorial Building in 1958, and the Morton Wing which was finished by 1962.
The 1970s had another collection boom for the Institute. The school portion of the Institute had not had enormous admissions prior to the 70s, but the artsy-funky-feel of the decade attracted a lot of students who where gravitating to the arts.
The '80s brought along more expansions to the building, including a two year renovation project of the second floor, which improved the space dramatically. New additions for the school where added as admission went up, and more faculty was hired. In the 90s, the museum expanded farther to place their newly acquired Asian arts collection. In short, there was a lot of growing and changing that the museum experienced during it's mid-life years.
The 21st Century
The Modern Era of the Art Institute
The Modern wing (pictured at the bottom right) is an early 21st century addition to the institute. It was completed in 2009 by Pritzker Prize winning architect, Renzo Piano. Because of this addition, the Art Institute is the second largest art museum in the U.S; it's installation expanded the museum's size by 35%. The Modern wing has a massive collection of all things modern art- photography, sculptures, paintings, and more.
The addition of the modern wing not only expanded the museums collection of modern and contemporary art, but it added other attractions as well. The sculpture exhibit on the Bluhm Family Terrace was one of these new arrivals, along with two restaurants, a learning center, and the Nichols Bridgeway, which connected the third floor of the Modern Wing to Millenium Park.
2015 held the record for the largest donation to the Art Institute in its history: 44 iconic paintings from Stefan Edlis.
Provenance Research at the Art Institute of Chicago
Provenance research is conducted by tracking and recording the ownership of a piece of art over time.
The definition of Provenance is: place of origin.
Provenance research tracks the creation of an art piece and it's ownership from place to place. It's crucial in a museum's process to acquiring works, putting on exhibitions, and for artworks leaving their collection.
Provenance Research is used to understand the historical, social, and economical context behind an artifact, and verify it's authenticity. Art is crafted and preserved for a purpose and a reason; provenance research aids in understanding that.
At the Art Institute of Chicago provenance research begins with a deep-dive into the Institutes archives. The Art Institute Archives is one of three departments within the museum's Research Center. These archives are usually a good starting point because they detail where the Art Institute acquired the object. After this, extensive scholarly and literary research outside of the archives is necessary because these documents don't always tell the artifact's entire ownership timeline.
The Institute uses anthropological methods as well, such as analyzing signatures, or determining the time period off of the material used. Auction catalogues, public record searches, excavation records are all used frequently too. The Art Institute collaborates often with other museums and those in the field of research to determine an object's origins.
It's important to note that, like many other museums established in the 19th century, a lot of the works in certain collections where obtained through colonization and conquest where little or no provenance research was kept or recorded.
Let's take a look at a few of the museum's pieces and their journey.
The Old Guitarist, 1903/1904
by Pablo Picasso
Picasso painted The Old Guitarist in Barcelona during his 'Blue Period'. Between 1901-1904 Picasso created strictly monochromatic blue paintings, with only infrequent touches of warm colors.
The Old Guitarist captures Picasso's plight with painting and the financial strain it had on him. The dimensions are flat, and the colors are dulled, cold blues. The elongation and angular shape of the figure derives from Picasso's interest in the 16th century Spanish Renaissance painter, El Greco.
Ambroise Vollard was an art collector of the time period who acquired the painting from Picasso in 1906. The Old Guitarist traveled with Vollard to Paris, and in 1915 it was sold to John Quinn of Carroll Galleries in New York. It bounced between France and New York, being acquired by different galleries for about ten years, and then it made it's way to the Art Institute by acquisition.
You can find this piece in the Modern Art section, Gallery 391
American Collectors, 1968
by David Hockney
David Hockney is an English artist known for his work in Britain, and his contributions to the American pop art movement of the 1960s. He is a well-versed painter and photographer and a print making aficionado. He also does stage design.
Hockney moved to Los Angeles four years before this exquisite piece. Ten years after creating American Collectors he would become one of the founders of the Museum of Contemporary Art in California.
American Collectors is a painted double portrait. The two people are Fred and Marcia Weisman; the place is their L.A residence. The Weismans' where contemporary-art collectors who where friends of Hockney.
This piece doesn't attempt to capture the social discourse of the 60s in California. It highlights the opposite by capturing the other side of California- life of the upper crust.
American Collectors was donated to the Art Institute by Francis Weis Pick in 1984.
You can find this piece in the Contemporary Art section, Gallery 289.
The Annunciation, 1583
By Alessandro Vittoria
Vittoria was an Italian sculpture of the 16th century Italian High Renaissance era. He captured the Venetian classical style of the renaissance, and became notable for it. The Annunciation is a sculpture made of Bronze which Vittoria cast from a wax mold.
The Annunciation was commissioned by Hans Fugger for the Fugger Family Chapel in Augsburg, Germany. The Chapel was demolished in 1908, and ended up in a German art market until 1930, where it was then acquired by French & Co in New York. In 1942 it was sold to the art institute.
This sculpture can be viewed in the Painting & Sculptures of Europe section, Gallery 206.
The Great Wave, 1830
By Katsushika Hokusai
This painting is part of Hokusai's series Thirty-Six Views of Mount Fuji. Hokusai was 70 years old when she began painting this set. It is made of color woodblock print. It was one of the establishers of Japanese landscape prints.
The Great Wave depicts Mountain Fuji from different angles, this one, capturing a magnificent wave with Mt. Fuji residing far in the back.
Although the provenance of how the piece left Hokusai's ownership is unclear, it ended up in the ownership of Yamanaka & Co in New York by 1905. By 1925 it was sold to Clarence Buckingham in Chicago. Kate S. Buckingham donated it to the Art Institute of Chicago the same year.
Check it out before it's gone! On view through January 6th.
Click below to check out the provenance of other works at the Art Institute of Chicago
Welcome To the Tour Of the Art Institute
The Art Institute of Chicago is a treasure trove of human magnificence. Each floor unveils artwork that spans both space and time-- continents and centuries-- from the ancient Egyptian galleries, with mummies and intricate hieroglyphics, to the meticulously crafted Thorne Miniature Rooms that capture architectural history at an itty-bitty scale. The museum offers crazy amounts of 'woah' for the artistic ability that's on display. This curated tour highlights not just individual masterpieces, but the universal human drive to create beauty and meaning visible in entire collections of certain place and era. Each gallery represents the pinnacle of its respective art form as well, and as we explore these spaces we'll discover how these collections speak to each other across generations, countries, etc., creating a rich portrayal of human expression. The Art Institute doesn't simply display art; it weaves together the most extraordinary bits of it to tell a story about ourselves.
Statue of Horus is a piece in the arts of Africa exhibit at the art institute. This particularly piece is dates back to 30 BCE in Egypt. Horus is a god which represents divine kingship. How the object is so smooth considering the time period it was developed in is mystical. The Arts of Africa exhibit has a plethora of ancient objects that are meticulously crafted. There are also pieces of modern African art from different parts of the continent. It is an exhibit worth your time.
Statue of Horus is a piece in the arts of Africa exhibit at the art institute. This particularly piece is dates back to 30 BCE in Egypt. Horus is a god which represents divine kingship. How the object is so smooth considering the time period it was developed in is mystical. The Arts of Africa exhibit has a plethora of ancient objects that are meticulously crafted. There are also pieces of modern African art from different parts of the continent. It is an exhibit worth your time.
Ballet at the Paris Opéra is the title of this piece. It was painted in 1977 by French artist Edgar Degas. Degas was known for putting a spin on traditional techniques. He used monotype in this piece which was rare for the time period, and he combined this style with pastels. The piece captures what seems to be a rehearsal, angled from the view of the orchestra pit. The Paris Opera was the first official state school for ballet. This piece can be viewed in the Prints and Drawings exhibit.
Ballet at the Paris Opéra is the title of this piece. It was painted in 1977 by French artist Edgar Degas. Degas was known for putting a spin on traditional techniques. He used monotype in this piece which was rare for the time period, and he combined this style with pastels. The piece captures what seems to be a rehearsal, angled from the view of the orchestra pit. The Paris Opera was the first official state school for ballet. This piece can be viewed in the Prints and Drawings exhibit.
Shiva as Lord of the Dance (Nataraja) is the name of this piece. It was crafted around the 10th century in India, and it is one of many Asian art pieces in the Arts of Asia gallery. Shiva is a significant divinity in Hindu, and the god is commonly known as the Lord of the dance. His right hand is raised in a position that indicates "fear not" and his left hand is pointed downwards, towards his foot, to represent ignorance which hinders one's ability to see ultimate reality. This gallery is full of objects that have intense meaning, much of the time connecting to a religious power.
Shiva as Lord of the Dance (Nataraja) is the name of this piece. It was crafted around the 10th century in India, and it is one of many Asian art pieces in the Arts of Asia gallery. Shiva is a significant divinity in Hindu, and the god is commonly known as the Lord of the dance. His right hand is raised in a position that indicates "fear not" and his left hand is pointed downwards, towards his foot, to represent ignorance which hinders one's ability to see ultimate reality. This gallery is full of objects that have intense meaning, much of the time connecting to a religious power.
Looking Upon the River is the title of this painting. Created by American artist Julie Hart Beers in 1880, it captures the the lush vegetation of the early United States by the style of swift and rapid brushstrokes. This piece can be viewed in the Arts of America gallery on the first floor. The gallery is a compilation of American art from the late 1600s to 1900. The pieces range from beautiful paintings to carefully crafted furniture, and highlights the art of the U.S through it's historical context.
Looking Upon the River is the title of this painting. Created by American artist Julie Hart Beers in 1880, it captures the the lush vegetation of the early United States by the style of swift and rapid brushstrokes. This piece can be viewed in the Arts of America gallery on the first floor. The gallery is a compilation of American art from the late 1600s to 1900. The pieces range from beautiful paintings to carefully crafted furniture, and highlights the art of the U.S through it's historical context.
An piece entitled 'Hartwell Memorial Window' from 1917 in Gallery 200. The piece is made of 48 separated window panels. The panels are made of stained glass, which is then soldered together piece by piece. It wa designed by Agnes F. Northrop, who was commissioned for the piece by Marty Hartwell in honor of Northrop's husband, Frederick Hartwell. Frederick was known for his work in the Central Baptist Church of Providence in Rhode Island. In 2018 the congregation of the church donated it to the Art Institute of Chicago in order to preserve the glass and remain on public view.
An piece entitled 'Hartwell Memorial Window' from 1917 in Gallery 200. The piece is made of 48 separated window panels. The panels are made of stained glass, which is then soldered together piece by piece. It wa designed by Agnes F. Northrop, who was commissioned for the piece by Marty Hartwell in honor of Northrop's husband, Frederick Hartwell. Frederick was known for his work in the Central Baptist Church of Providence in Rhode Island. In 2018 the congregation of the church donated it to the Art Institute of Chicago in order to preserve the glass and remain on public view.
The Roman Sculptor exhibit is one of the most extensively researched exhibits. It's an open spaced gallery of Roman and a few Greek sculptor pieces that is referred to as 'the sculptor court'. There are over 150 pieces to observe. The material of the pieces vary from marble to bronze to terra-cotta and other mediums. Many notable pieces reside here, including the well-known bust of Marcus Aurelias.
The Roman Sculptor exhibit is one of the most extensively researched exhibits. It's an open spaced gallery of Roman and a few Greek sculptor pieces that is referred to as 'the sculptor court'. There are over 150 pieces to observe. The material of the pieces vary from marble to bronze to terra-cotta and other mediums. Many notable pieces reside here, including the well-known bust of Marcus Aurelias.
The Finest of the Second Floor
Applied Arts of Europe- 1100 to 1900
The Applied Arts of Europe is a collection of 8,500 pieces that range from furniture, as seen to the left, to ceramics, metalwork, glass and wallpaper. The exhibit is best known for it's leading collection of North American arms and armory.
The piece to the left is entitled Fall-Front Desk. It's origins lie in Vienna, Austria, and it was crafted in 1810. This piece has the essence of the time it was made- the Napoleonic era. There are certain characteristic's that are telling of the piece's provenance- griffins, cornucopias, paw feet, and interior figures are classic to the Empire and Neoclassical techniques of the time.
Chicago Architectural Fragments
This exhibit is a collection of different portions of architecture and design. Many works are displayed from highly reputable designers, to lesser-known talented designers. All of the pieces are collected locally- in Chicago.
These three fragments where gathered from historical buildings, and all of the works depicted where by Adler and Louis H. Sullivan. Sullivan was one of the most well established architects and designers in Chicago; he's responsible for the creation of the commercial 'Chicago Style' design which is used across the U.S.
The piece on the top left is from the Frieze Section of the Rothschild Store. The top right shows a Newel Post from the Morris Selz House, and. the bottom piece is. a Spandrel Panel from the Rosenfield Building.
Arms and Armory
Is an exhibit that shows off a mass collection of metalwork in the form of armory. Many of the pieces are from the 16th and 17th century.
This piece is entitled Cuirass from an Armor of Tsar Dmitry I. It is from 1605 Milan, Italy, and is made of pure steel. The double headed eagle identifies the owner as Dmitry I, the Tsar of Russia who made false claims as to who is father was. After a little under a year of rule, he was shot and killed for his lie. The origins of the armor being in Italy may suggest that this piece was a diplomatic gift.
A Sunday on La Grand Jatte, 1884
This piece was painted by French artist Georges Seurat. His work was very post-impressionist, and where made by chromoluminarism- which is the separation of colors by making itty-bitty, individual dots. These individual dots are singular in color, but the farther the viewer steps from the painting these dots appear combined, create a mixture of colors and a sense of unison . If you look closely at the painting, you can see the millions of dots that comprise the piece.
This is the view that the painting captures. It's of a park on an island outside of France entitled Île de la Grande Jatte.
The painting highlights the different social classes conjugating in an urban center that draws people from all walks of life, most notable in this section of the painting. A well-dressed gentleman sits with his cane who sits next to a blue collared type smoking his pipe, while a prestigious lady strolls by on the right with her costly pet monkey and fanciful dog.
As we conclude our journey through these halls, it becomes clear that this museum is far more than a collection of paintings and sculptures. It is a living testament to humanity's endless pursuit of creativity. From its humble beginnings as a private collection in the late 1800s, to its current status as a global cultural landmark, the museum has evolved while staying true to its founding mission: showing the crème de la crème of art.
Whether standing before Monet's water lilies, or losing oneself in the abstract expressions of Kandinsky, it is clear that you will forge your own personal connection with the museum and what's inside of it. While we've highlighted some of the most renowned works—from the Renaissance to Contemporary Art—no article can truly capture the experience of witnessing these works of art in person. I highly recommend visiting in the flesh.
Beyond the permanent collection, the museum's dedication to education and community engagement has created a vibrant culture at the museum. They have workshops, lectures, and youth programs; a library, and plenty of third spaces. The museum nurtures the next generation of both artists and art lovers. The museum's digital initiatives—from virtual tours to interactive exhibits—demonstrate its commitment to embracing innovation yet honoring tradition.
I hope this article has informed you of the deeper story behind the institute. If you end up planning a visit, remember that no matter how long you meander the halls, the art will always reveal something new—another detail, another perspective, another moment of wonder.
Photo Credit: "Art Institute of Chicago Lion Statue (2-D)" by Kim Scarborough is licensed under CC BY-SA 3.0.
Photo Credit: Art Institute of Chicago (51575570710)"by ajay_suresh is licensed under CC BY 2.0.
Photo Credit: "20080602 Art Institute of Chicago Modern Wing From Lurie Garden" by TonyTheTiger (t/c/bio/WP:CHICAGO/WP:LOTM) is licensed under CC BY-SA 3.0.
Photo Credit: "The Old Guitarist, Pablo Picasso, 1903-04" by thingsworthdescribing is licensed under CC BY 2.0.
Photo Credit: "David Hockney English, born 1937 American Collectors (Fred and Marcia Weisman), 1968" by Ed Bierman is licensed under CC BY 2.0.
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