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42-519: Providing a constantly changing landscape of large-scale, outdoor, modern and contemporary sculpture and site-specific installations, the Sculpture Park displays more than 60 works, most on loan to the museum. Inside, the museum features rotating exhibitions. DeCordova's permanent collection focuses on works in all media, with particular emphasis on photography and works by artists with connections to New England. deCordova Sculpture Park and Museum

84-461: A construction technique, which Dehner did not embrace. In 1981 she took her sculpture to the next level, literally, and experimented with massive steel sculptures. She received a Lifetime Achievement Award in 1983 from the Women's Caucus for Art . In 1988 Dehner had solo exhibitions featuring her large welded pieces at Twining Fine Art, New York, and at Muhlenberg College, Allentown, Pennsylvania. This

126-416: A cross-section of how contemporary artists work outdoors, and how outdoor art enters into complex dialogues with sites and environmental conditions. This is accomplished with a three-tiered program of collection works, loans, and site-specific projects and commissions. The collection includes works by significant twentieth- and twenty-first-century artists that provide an art-historical context for other work in

168-550: A decade earlier. In 1966 she had a solo exhibition, "Dorothy Dehner: Recent Bronzes." It was held in Willard Gallery, New York City. Dehner began experimenting with wood sculpture in 1974, following the death of her second husband. Much of Dehner's sculpture can be identified by its totemic qualities and emphasis on Constructivist principles. Additionally, it differs uniquely from Smith's work in its medium and construction. Much of Smith's sculpture employed welding as

210-534: A farm in Bolton Landing in upstate New York in 1929 and spent much of their married life there. To sustain themselves during the Depression , both Smith and Dehner took on commercial jobs. However, as a result of some family land holdings, Dehner received an annual check for $ 2,000, which helped support them financially and allowed Smith to focus on his art. In 1931, they dropped everything and took

252-405: A gift for writing. Because of her lingual acuity, Smith asked her to name many of his works. Her interest in writing culminated in her becoming a published poet later in life. In 1950, Smith had another rage-fueled outburst and Dehner left permanently. The couple divorced in 1951. Despite the dramatic ups and downs of their marriage, the twenty three years Dehner spent with Smith contributed to

294-595: A land conservation and historic preservation non-profit. DeCordova is under the direction of Michael Busack, Museum Director for the Trustees and Senior Curator Sarah Montross. The prior director of deCordova was John Ravenal , who was appointed in 2015. In 2023, the museum building was closed to permit an upgrade to its HVAC (Heating, Ventilation, and Air Conditioning) systems, which was expected to last for two to three years. The outdoor sculpture park remains open. The New England architect John Quincy Adams designed

336-458: A new studio, a store, and a gallery dedicated to exhibitions by School instructors and students. The Museum’s exhibition space was expanded with a 20,000 square foot addition and a roof terrace to provide views of the Park. The main galleries were renovated to install a climate control system, a café, and a library. DeCordova's emphasis on modern and contemporary art fueled its rapid popularity during

378-491: A nine-month trip to St. Thomas in the Virgin Islands . Here, without the distractions of modern life, Dehner was able to focus on her painting. She primarily focused on her still life art. Her subject matter consisted of mostly natural forms, such as shells and aquatic life, while her style remained heavily cubist . Indeed, her work during this time was heavily influenced by the abstraction taught by Matulka at

420-618: A permanent installation by sculptor Andy Goldsworthy . Julian de Cordova Julian de Cordova (January 2, 1851 – November 23, 1945) was an American businessman and art collector. He bought the Union Glass Company in 1893, and was its president until its 1924 closure. He donated the land on which the DeCordova Sculpture Park and Museum now stands in Lincoln, Massachusetts . de Cordova became

462-452: A progression to more consistent abstraction in Dehner's work. Smith was heavily influenced by her 1948 watercolor Star Cage and eventually made a sculpture one year later of the same name. Dehner had suggested a collaborative work but Smith refused and later denied his sculpture had any connection to Dehner's watercolor. Dehner also embraced other forms of personal expression and possessed

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504-433: A reputation for ground-breaking exhibitions that introduced New England audiences to important trends within contemporary art both regionally and nationally, including Pop Art and Boston's post-war expressionist movement. It changed its name to the deCordova Museum and Sculpture Park in around 1989. Georgia Litwack taught photography courses at the deCordova. In 2019, deCordova was acquired by The Trustees of Reservations ,

546-399: A shift in primary medium but also an end to a period of particular psychological distress . Over the next twenty years her reputation as a sculptor would skyrocket and she would hold exhibitions at the prestigious Willard Gallery in 1957, 1959, 1960, 1963, 1970, and 1973. Dehner's medium eventually shifted from cast metal to wood in 1970s, and eventually Cor-Ten and black painted steel in

588-507: A solo exhibition at Skidmore College which was well received. As a result, her confidence rose. Following this well-received exhibition, she read Ernst Haeckel 's Kunst formen der Nature , a book of biological prints, and proceeded to incorporate these organismal forms into her artwork. This return to naturalistic forms is reminiscent of her still life from her time in the Virgin Islands. However, reading Haeckel's work marked

630-670: A successful tea broker, wholesale merchant and investor. He lost his fortune in the financial panic of 1884 , but managed to build it back up again. In 1893, he bought the Union Glass Company in Somerville, Massachusetts . He was its president until 1924, when it closed. Julian de Cordova was born in 1851, to Raphael Joshua de Cordova, a Jamaican merchant, and Fanny Blume Nathan, an Englishwoman. They were wed three years earlier. He attended Harvard University between 1880 and 1882. In 1876, de Cordova married Mary Elizabeth Dana, with whom he had one child: Julian Dana de Cordova, who

672-581: A tour of the Soviet Union in June 1936. In Russia they reunited with Graham and his wife, who focused their attention on the art of Russia and the link between modernist techniques and leftist political messages. On July 9, 1936, the couple returned to New York. In the spring of 1940 the couple made their permanent residence in Bolton Landing. Dehner was constrained in her artwork both by

714-539: Is located on the former estate of Julian de Cordova . Independent appraisers determined that de Cordova's collections were not of substantial interest or value, so the collection was sold and the proceeds were used to create a museum of regional contemporary art. The Trustees reached this decision after they noticed the near absence of modern art exhibitions in the Boston area, and the lack of venues for works by regional contemporary artists. When it officially opened in 1950 as

756-554: The Annual Exhibition , formerly Artist/Visions , which featured works by emerging New England artists and provided an annual snapshot of regional talent. To maintain the institution’s connection to New England and its support for local emerging artists, former director Dennis Kois (appointed in 2008) established the PLATFORM series, an ongoing exhibition series of site-specific installations by New England artists. In 2010

798-644: The Art Students League . After a brief sojourn back home in New York, Dehner returned to Europe in 1935 on an extensive tour with Smith. There, John D. Graham took Dehner and Smith all around Paris exposing them to modernist art as well as African sculpture. Following their stay in Paris, in which they were immersed in avant-garde art, particularly in influences of Surrealism and Cubism, Dehner and Smith toured Greece . Dehner entrenched herself in

840-526: The Museum of Fine Arts , Boston. Dehner's sculptures were also on display at the 1960 Paris exhibition "Aspects of American Culture." Like many of the other works included, hers were primarily distinguished by their improvisation. In 1965, The Jewish Museum in New York City put on a retrospective exhibit of Dehner's sculpture. This achievement is miraculous considering that she only began sculpture

882-654: The deCordova Biennial replaced the Annual Exhibition series to expand the curatorial voice, allowing for an advisory board and co-curator opportunities. Now occurring every other year, the deCordova Biennial displays New England’s leading emerging to mid-career artists, emphasizing the quality and vitality of the art created in this region. In order to emphasize its focus, the Museum officially changed its name in 2009 from deCordova Museum and Sculpture Park to deCordova Sculpture Park and Museum. The landscaped lawns, forests, fields, and terraces of deCordova's Sculpture Park reveal

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924-498: The deCordova and Dana Museum , it was the only museum to focus its exhibitions and collecting activities on living New England artists, while also offering an educational program in the visual arts. The founding director was Frederick P. Walkey, a graduate of the School of the Museum of Fine Arts, Boston . He aggressively organized an exhibition schedule and arts instruction program with a clear educational mandate. DeCordova established

966-401: The 1950s and 1960s, but by the 1980s, the Museum faced competition from a growing number of local museums, universities, and private galleries all of which shared a similar artistic mission. With the arrival of director Paul Master-Karnik in 1982, deCordova initiated a series of curatorial programs to further strengthen its commitment to New England’s contemporary artists. Master-Karnik introduced

1008-522: The 1980s. Despite the change in material, many elements remained iconic in her works, and they retained the same overall composition of form. Dehner's belief in the communicative power of sculpture caused her to highlight contour over mass. She chose to construct her works from varying parts, a distinctly Constructivist quality. Dehner's sculptures emphasized line and plane over volume and exhibited an assembled as opposed to modeled quality. Despite being abstract, her sculptures are constantly reminiscent of

1050-849: The Pasadena Playhouse. In 1922, she pursued studies in theater at the University of California Los Angeles , but dropped out after one year to explore a stage career in New York. While in New York, she studied at the American Academy of Dramatic Arts and starred in some off-Broadway productions. Despite her moderate success as an actress, Dehner felt her expression was stifled by the theater. She was, to an extent, dictated by director, script, and venue. Following her brief stint with theater, Dehner decided to adventure to Paris to seek new inspiration. She traveled alone as not to be hindered by any travel companions. Her first stop

1092-565: The Rose Fried Gallery. She continued at Atelier 17 until it moved to Paris in 1955, then worked at Pratt Graphics Center until 1960. She was also a member of the Society of American Graphic Artists . While at Atelier, Dehner learned wax sculpting techniques from a fellow student and in 1955 gained enough confidence to pursue casting her wax sculptures in bronze . This shift from drawing and painting to sculpture marked not only

1134-494: The United States, Dehner enrolled at the Art Students League and briefly studied sculpture. However, she found the teaching methods overly conventional and ended up setting sculpture aside and focusing on drawing, under the instruction of Jan Matulka , Kenneth Hayes Miller , John Graham and Kimon Nicolaides . It was here she met David Smith . Dehner married Smith on Christmas Eve , 1927. Smith and Dehner bought

1176-528: The culture and traditional sculpture of Greece . The sketches she made while in Greece served as the foundational designs for later sculpture based on that trip. The titles of these sculptures, such as Minotaur and Demeter's Harrow reveal clear Greek influence. Despite their avant-garde influences, works of Dehner during this period reflect a focus on naturalism and a desire to depict direct observations. Her work during this trip to Europe highlights

1218-558: The equipment standards of a professional art studio. In the early 1980s, the Museum consolidated and renovated two existing buildings to form administrative offices for the School and its outreach programs. In 1998, the institution completed the New Century Campaign for deCordova , an $ 8 million effort to upgrade its building. Kallmann McKinnell & Wood modernized and expanded deCordova’s educational facilities to include

1260-434: The extensive renovations that transformed Julian de Cordova's mansion into a public museum prior to its opening in 1950. The lower floors housed galleries, while the third floor offered studio art classes. The School attracted hundreds of students, eventually overwhelming the limited space within the Museum. In 1966, deCordova constructed a complex of four studio buildings to accommodate its expanded educational programs and meet

1302-587: The formation of her own distinct style. Following her divorce from Smith, Dehner earned a degree from Skidmore and began teaching at Barnard College , among other schools. Although an extremely busy and stressful time for Dehner, the two years following her divorce proved vital to her career for she finally felt free to pursue her artistic passions. During this time she experimented with new mediums, engraving and print making, with Stanley William Hayter at Atelier 17. She made intaglio prints at Atelier 17 from 1952, and that same year, had her first solo exhibit at

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1344-643: The increased abstraction Smith advocated, as evidenced in her Life on the Farm series of drawings. Some interpret this series as a simple representation of idyllic American farm life but others see it as a commentary on American social life through a Marxist lens. Although the messages of her Life on the Farm series may not be crystal clear, it was evident that during the late 1940s, Dehner underwent serious mental turmoil. She produced many provocative works that expressed this mental fatigue, such as her "Damnation Series" and "Dances of Death." In 1948, Dehner held

1386-498: The inspiration for Dehner's solo trip to Europe in 1925. In 1915, as a result of her mother's declining health, the family of four moved to Pasadena, California , where Dehner actively studied theater at the Pasadena Playhouse . Dehner experienced heavy emotional loss over the next two years in which both her sister and mother died. In 1918, she moved to California to pursue her acting career and attended classes at

1428-500: The natural world, invoking both totemic presences and references to the assumption of a landscape. Her work "Rites at Sal Safaeni Number 2" (1958) was included in "Recent Sculpture USA", a 1959-1960 US travelling exhibition that was presented at the Museum of Modern Art , New York, the Denver Art Museum , Denver, Los Angeles County Museum of Art , Los Angeles, City Art Museum (now Saint Louis Art Museum ), St. Louis, and

1470-548: The park, and include sculptures by Dorothy Dehner , Antony Gormley , Dan Graham , Hugh Hayden, Sol LeWitt , Beverly Pepper , Jaume Plensa , Ursula von Rydingsvard , and John Wilson. Artists with sculptures on loan to deCordova include Jim Dine , Paul Matisse , Kathy Ruttenberg, and Arlene Shechet. Site-specific projects and special installations designed and implemented especially for the Sculpture Park have included works by Orly Genger, Maren Hassinger, Leeza Meksin, and many more. In 2019, deCordova completed work on Watershed ,

1512-407: The stress of farm life and by the often aggressive mood swings of Smith. As a result of the pressure Dehner was put under, she was unable to pursue her passion for sculpture until after their divorce. One outburst on Smith's part caused Dehner to flee Bolton Landing in 1945. After Smith went after her and brought her back to the farm, their relationship remained particularly fragile. She rejected

1554-662: The vast range of technique Dehner possessed. However her second trip to Europe with Smith did more than expose her to the modern and historical art of the continent. While in Europe, Dehner also found reinforcement for her leftist political views. Dehner and Smith both began to link their style of art with their particular political agenda . Many of the Smith's photographs from their travels are of refugee settlements, which were typically epicenters of communist beliefs. The couple acted on this leftward leaning ideology and went on

1596-479: Was Florence , Italy, where she absorbed much of Italy's historic architecture. Following a quick stop in Switzerland, she flew to Paris where she was heavily influenced by Cubism , Fauvism , and Constructivism . She was particularly taken with works by Picasso and committed herself to drawing throughout her year of travel. The 1925 Art Deco show in Paris particularly overwhelmed her. Upon her return to

1638-689: Was Rudolph de Cordova , the Jamaican-born British writer and actor. de Cordova died at Ring Sanatorium in Arlington, Massachusetts , in 1945, aged 94. He had been ill for some time. He was interred in Mount Auburn Cemetery in Cambridge, Massachusetts , alongside his wife, who preceded him in death by twenty-three years, and son, who died the year after his mother. Dorothy Dehner Dorothy Dehner (1901–1994)

1680-473: Was an American painter and sculptor . Dorothy Dehner was born on December 23, 1901, in Cleveland, Ohio . Her father was a pharmacist and her mother was a passionate suffragette . When Dehner was ten years old, her father died and her two aunts, Flo and Cora, moved in. Cora aroused Dehner's curiosity about foreign culture with extravagant tales of her travels abroad. Cora's tales would later provide

1722-576: Was born on Christmas Day 1877. The family summered in Lincoln, Massachusetts , where in 1910 they remodeled their home of twenty-seven years to resemble a European castle. In 1930, de Cordova donated his home and 22 acres (8.9 ha) of land to the Town of Lincoln on the condition that a museum be founded upon his death. Although his collection of paintings was substantial, they were not altogether valuable. Their sale did help fund today's DeCordova Sculpture Park and Museum , however. de Cordova's cousin

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1764-500: Was the first time in her life that Dehner had a generous personal income. By 1991 Dehner had lost nearly all of her vision and stopped sculpting. By 1990, however, Dehner was working with fabricators who helped transform some of her earlier drawings into sculptures such as the painted aluminium wall piece. After a prominent career in art, Dehner was found dead in a stairwell outside her apartment in Manhattan on September 22, 1994, at

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