31 North Fifth Street Allentown, Pennsylvania - PA18101
The print collection of the Allentown Art Museum was begun in 1966 to serve as an educational tool, at which time the SOTA Print Fund was inaugurated to build this area. From the late 1970s, the print collection has been built on the same principles of excellence as other collections of the museum. It reflects the paintings and sculpture from the collections of Samuel H. Kress, Mr. and Mrs. Fowler Merle-Smith, Mrs. Eugene Garbaty, and others, comprising the Museum’s core Old Master holdings. Prints from the Renaissance and earlier Baroque periods currently represent areas of strongest representation.
In 2010 the Museum opened a new building that ties together five historic buildings into a single 80,000 square foot complex, providing a new, visitor-friendly entrance, tripling the public space and providing new galleries, classrooms, and visitor amenities, such as a gift shop and café. This $9 million expansion project created a new 10,500 square foot building that has been certified for Leadership in Energy and Environmental Design at the Gold level—the first LEED-certified building in the City of Erie. In 2011 the federal Institute of Museum and Library Services awarded the Erie Art Museum the nation’s highest honor for museums, the National Medal for Museum and Library Service.
118 128 North Broad Street Philadelphia, Pennsylvania - PA19102
PAFA's museum is internationally known for its collections of 19th- and 20th-century American paintings, sculptures, and works on paper. Its archives house important materials for the study of American art history, museums, and art training.
2600 Benjamin Franklin Parkway Philadelphia, Pennsylvania - PA19130
The Museum is home to over 227,000 objects, spanning the creative achievements of the Western world since the first century AD and those of Asia since the third millennium BC. The European holdings date from the Medieval era to the present, and the collection of arms and armor is the second largest in the United States. The American collections are among the finest in the country, as are the expanding collections of modern and contemporary art. In addition, the Museum houses encyclopedic holdings of costume and textiles as well as prints, drawings, and photographs that are displayed in rotation for reasons of preservation.
2025 Benjamin Franklin Parkway Philadelphia, Pennsylvania - PA19130
The Barnes Foundation was established by Albert C. Barnes in 1922 to "promote the advancement of education and the appreciation of the fine arts and horticulture." The Barnes holds one of the finest collections of post-impressionist and early modern paintings, with extensive works by Pierre-Auguste Renoir, Paul Cezanne, Henri Matisse, Pablo Picasso, Henri Rousseau, Amedeo Modigliani, Chaim Soutine, and Giorgio de Chirico, as well as American masters Charles Demuth, William Glackens, Horace Pippin, and Maurice Prendergast, old master paintings, African sculpture, American paintings and decorative arts, antiquities from the Mediterranean region and Asia, and Native American ceramics, jewelry, and textiles. The Barnes Foundation's Art and Aesthetics programs engage a diverse array of audiences. These programs, occurring at the Philadelphia campus, online, and in Philadelphia communities, advance the mission through progressive, experimental and interdisciplinary teaching and learning.
Woodmere Art Museum, located in the Chestnut Hill section of Philadelphia, Pennsylvania, has a collection of paintings, prints, sculpture and photographs focusing on artists from the Delaware Valley and includes works by Thomas Pollock Anshutz, Severo Antonelli, Jasper Francis Cropsey (The Spirit of Peace), Daniel Garber, Edward Moran, Violet Oakley, Herbert Pullinger, Edward Willis Redfield, Nelson Shanks, Jessie Willcox Smith, Benjamin West (The Fatal Wounding of Sir Philip Sidney), and N. C. Wyeth (Anthony and Mr. Bonnyfeather).
Charles "Teenie" Harris (1908–1998) photographed Pittsburgh's African American community from c. 1935 to c. 1975. His archive of nearly 80,000 images is one of the most detailed and intimate records of the black urban experience known today.
117 Sandusky Street Pittsburgh, Pennsylvania - PA15212
Throughout Warhol’s career his own self-image is perhaps the most pervasive, both those of his own creation and those other photographers snapped; each portrait revealing the shifting moods and looks of different decades. The performative and photobooth-style self portraits of 1960s gave way to other explorations of self in the 70s and 80s
In 1979 Andy Warhol was one of several artists invited by the Eastman Kodak Company in Rochester, New York to work with a new large-format Polaroid camera that was in development. In a somewhat atypical stance, the resulting images from his exploration bring an almost microscopic focus to Warhol’s person. Given his well-known sensitivity about his facial features, these self-portraits turn into something akin to topographical explorations of the lunar surface. Not surprisingly, most of the work in this series depicts a pained, angst-ridden Warhol, a far cry from his usual detached self. This is contrasted with the series of Polaroid photographs showing Warhol in female drag, which are intensely poignant and look to the twilight years of femininity and lost beauty. Perhaps, he was also aping the various Park Avenue matrons with whom he lunched and from whose husbands he garnered portrait commissions in the late seventies and eighties.
Nine months before his untimely death due to complications after gall bladder surgery, Andy Warhol undertook a large series of self-portrait images. Each work centered on a levitating head surrounded by an aureole of spiky hair. This bifurcated image might be given a Freudian read separating out the public from the private man. The artist was very protective of his privacy. Even though he had lavished great time and expense on his last townhouse on New York’s Upper East Side, very few of even his closest friends were ever invited to visit. Only after his death were his generous contributions to charity and efforts on behalf of the needy made public. Indeed, camouflage could be said to be one of the leading metaphors of the artist’s career and his final self portraits the camouflage layering ultimately links the artist with his country. In a sense, Warhol acknowledges that artifice in culture, personality, or nationhood are one and the same. In each, a well-constructed exterior carries and protects that which is most cherished.
Curtin Road University Park, Pennsylvania - PA16802
Photography is a growing area of strength for the Palmer and is an important aspect of the museum’s sizable American works on paper collection. Early practitioners of the medium represented include Mathew Brady, William Henry Jackson, and Carleton Watkins. The permanent collection also includes such modern masters as Edward Steichen, Paul Strand, Karl Struss, Berenice Abbott, Lewis Hines, Walker Evans, Gordon Parks, and W. Eugene Smith. The Palmer is also dedicated to collecting photography by notable contemporary artists and has works by Cindy Sherman, Carrie Mae Weems, Ana Mendieta, William Wegman, and Bill Jacobsen. The collection also features a select number of photographs by non-American artists, including André Disderi, Pierre Petit, Henri Cartier-Bresson, Julia Margaret Cameron, and Alexander Rodchenko.