This single file folder marks the first exhibition held after the creation of the Special Exhibitions department. "Unnatural History" was curated by Louise Lippincott and explored the them of dragons in Western art. Contents include a working draft of an article featured in an issue of the PMA Bulletin that was published in conjunction with the exhibition, press releases, and internal correspondence regarding planning and installation.

The Century IV Celebration was organized to mark the 300th anniversary of the City of Philadelphia. Contents include correspondence with the Century IV coordinator and a PMA press release highlighting the Museum's participation with a series of historic Park House Tours.

"Treasures of Ancient Nigeria," a loan exhibition from the Nigerian National Museum, was organized by the Detroit Institute of Arts and exhibited at the Philadelphia Museum of Art in 1982. These records document administrative and contractual arrangements, funding,programming, and related events and publicity.

As part of the Philadelphia tricentennial celebration, Darrel Sewell, Curator of American Art, organized an exhibition of works by Thomas Eakins. Some 125 paintings, sculptures, watercolors, drawings, and photographs created by the Philadelphia native were brought together from collections throughout the United States.

This exhibition featured 130 works by the twentieth century American photographer, Danny Lyon. Contents include planning correspondence regarding the exhibition opening and a dinner for the artist as well as press releases and a brief project description submitted to the National Endowment for the Humanities.

"Form in Art" was an occassional exhibition featuring works produced in connection with the Education Department's studio art classes for people who are blind or visually impaired. Planning documents consist of notes and internal memoranda.

This exhibition featured works commissioned by the Container Corporation of America reflecting upon the intersection of visual artists and the world's greatest thinker. Organized by the Division of Education at the close of the Philadelphia Museum of Art Institute, these records document correspondence between the Special Exhibition Department and the Division of Education, communications with the Container Corporation of America, inventories for the travelling collection of art, and exhibition publicity.

Louise Lippincott organized a small exhibition of 14 drawings and pastels in the summer of 1982; included here is the schedule of exhibitions and events highlighting the display of French drawings culled from the collections.

This exhibition was jointly organized by the Whitney Museum and the Philadelphia Museum of Art, including 24 scores and 10 series of prints by John Cage. Materials in this series include early planning documentation, and various iterations of the exhibition checklist, along with budgets, correspondence, lender lists, publicity, and documentation of the reception held in conjunction with the exhibition's opening.

Ten notable artists' books from the permanent collection were briefly exhibited in cooperation with "Bookworks: 1982" a conference of artists, writers, and publishers held in Philadelphia. Included in this series are notes, internal memoranda, and conference information.

This exhibition of Pennsylvania German art featured 333 objects, including ceramics, glass, furniture, metalwork, costumes, textiles, paintings, fraktur, and imprints. In order to support such an extensive display, the museum received grants from The Pew Memorial Trust; The Mabel Pew Myrin Trust; the Du Pont Company; and the National Endowment for the Arts, Federal agencies. Additional contributions were made by the Women's Committee of the Philadelphia Museum of Art and the Campbell Soup Fund, and two slidetapes were supported by grants from the Pennsylvania Humanities Council and the Delaware Humanities Forum.

The majority of files in this series relate to budgeting and funding. Other records include contracts, conservation information, lists, loans, installation and implementation records, attendance, programming and publicity, and tours to other participating institutions.

An exhibition of 115 American graphic prints was organized at the Philadelphia Museum of Art and exhibited from 1982 to 1983. Afterward, this exhibition traveled to the Rijksprentenkabinet, Rijksmuseum, Amsterdam; the Ackland Art Museum, The University of North Carolina at Chapel Hill; and the Minnesota Museum of Art, Saint Paul. This series includes two files folders: a general set of records relating to planning and implementation at the PMA and an entire folder devoted to plans for the traveling exhibition.

Barbara Malinski explored the history of dance in Pennsylvania with an exhibition of 77 eighteenth- to twentieth-century objects, including drawings, prints, costumes, models, and photographs organized for the Pennsylvania Ballet. "Dance in Pennsylvania" was supported by a grant from the Pennsylvania Humanities Council. These records document the agreement between the Museum and the Pennsylvania Ballet as well as the application for funding through the PHC. Further information includes internal documentation of the planning, implementation, and publicity for the show.

Peter Sutton, Associate Curator of European Painting, organized a review of the full range of Dutch painter Jan Steen's work in this exhibition, comprised of 10 paintings from the permanent collection. Originally slated to run from January to April, "Paintings by Jan Steen" was extended first through May and again through the Fourth of July weekend in response to popular demand.This folder includes internal memorada regarding both extensions as well as the official press release and a review from the "Philadelphia Inquirer".

Organized by Martha Chahroudi, Assistant Curator of Photographs, Alfred Stieglitz Center and supported by a grant from the National Endowment for the Arts, this exhibition of 108 photographs by twenthieth-century American photographer Minor White debuted at the Philadelphia Museum of Art and subsequently traveled to several locations across the country. The majority of records in this series relate to travel arrangements for the exhibition. Further information pertains to income lines the the utilization of collections grant from the National Endowment for the Arts.

In 1979, the Philadelphia Museum of Art embarked upon a collaboration with the Nelson-Atkins Museum of Art in Kansas City to bring an exhibition of the works of Jean-Baptiste Oudry, a French Rococo painter, egraver, and tapestry design prominent in the eighteenth century, to institutions in the United States. Through a planning and implementation grant from the National Endowment for the Arts, Hal N. Opperman began research for the exhibition and catalogue. In October 1982, the Oudry exhibition debuted at the Grand Palais in Paris and the travelling exhibition in the United States began in 1983. By this time, however, the Philadelphia Museum of Art had withdrew it's participation and transferred the NEA funding to the Nelson-Atkins Museum.

Records in this series include budgets and contracts, correspondence, early planning documentation, grant applications and follow up for planning and implementation grants from the National Endowment for the Arts, exhibition lists and catalog materials, and files relating to public relations and programming.

In the spring of 1983, Patricia Likos and Margaret M. Kline curated a selection of of 47 paintings, prints, and drawings suveying the life and work of Julius Bloch. Bloch was a Philadelphia artist who gained national recognition during the Great Depression for his compassionate portrayals of working class people. His career spanned the first half of the twentieth century, and his work has influenced many painters and collectors.

This small series includes correspondence, planning documents, press releases, and time sheets.

Featuring loans from major museums, archives, and private collections from around the world, this exhibition reveals over 180 photographs taken in Tibet between 1880 and 1950, many of which had never before been displayed in public. Accompanying these photographs were 30 tankas, sculpture and art objects complementing the selection of vintage photographs and silver prints. "Tibet" was directed by Michael E. Hoffman, Advisor to the Alfred Stieglitz Center and supported through a grant from The Pew Memorial Trust.

This series includes budgeting and funding files; education and programming materials with a separate file for opening events; information on packing and shipping, lenders and loans, and exhibition installation; catalogue materials; publicity; and documentation regarding the exhibition's travel to the Institute for the Arts at Rice University in Houston and the Asia Society Galleries in New York.

Drawn from the permanent collection, "Impressions of the Front" features 86 brightly colored wood-block prints chronicling the events of the Sino-Japanese War. These images are particularly notable for their portrayal of ordinary recruits displaying the traditional ideals of bravery and courage that had previously been reserved for high officers. The exhibibition was organized by Ellen Jacobowitz and supported by a grant from The Pew Memorial Trust and funds contributed by Quaker Chemical Foundation and Nippon Quaker Chemical, Ltd.

This series includes one folder of proposals, correspondence, memoranda, publicity and press materials, programming materials, photography of the exhibition installation and related events, essay drafts for the catalogue, photocopies of exhibition labels.

In celebration of the centennial anniversary of the Women's Committee, the Philadelphia Museum of Art brought together 100 art objects from the permanent collection that were acquired throughout the Committee's history. The selection reflected the wide range of the Museum's collections and featured both industrial and fine arts. Darrel Sewell, Curator of American Art, collaborated with the curatorial staff and the Director, Anne D'Harnoncourt, to choose exemplary pieces from over 600,000 items in the permanent collection. The exhibition was also supported through a grant from The Pew Memorial Trust.

Records include memoranda, object lists, exhibition labels, event planning, and publicity.

Joseph Rishel, Curator of European Paintings before 1900, worked closely with the Barnes Foundation and several local private collectors to bring 45 works by Paul Cézanne to the Philadelphia Museum of Art. This exhibition, which celebrates the extensive collections of Philadelphia-area institutions and individuals, reveals the city as one of the most impressive gathering places of the Cézanne's work. Included in this subseries are funding records relating to a grant from the National Endowment for the Arts, general correspondence, budgeting materials, conservation records, education and programming files, and materials relating to public relations and opening events.

Charles Demuth was born in Lancaster, Pennsylvania in 1883 and later studied art in Philadelphia. Over the course of his life, he traveled Europe and created over 900 works of art before dying in 1935 at the age of 52. Organized by Betsy Fahlman, Assistant Professor of Art History, Old Dominion University, Norfolk, in collaboration with Ann B. Percy, Acting Curator of Drawings, and Christine Armstrong, Acting Assistant Curator of Prints and Drawings, this exhibition celebrated the hundredth anniversary of the artist's birth and focused on works created in Lancaster Country or featuring Lancaster as a primary subject. The Pew Memorial Trust and the Commonwealth of Pennsylvania Council on the Arts supported the show with grant funding. After closing in Philadelphia, "Pennsylvania Modern" also traveled to The Heritage Center of Lancaster County and the Museum of Art at the Carnegie Institute in Pittsburgh.

The George Eastman House of Rochester, New York organized this exhibition of 168 nineteenth- and twentieth-century photographs from the Miller-Plummer Collection. It later traveled to the Philadelphia Museum of Art and the Wellesley College Museum. Upon its arrival in Philadelphia, Martha Chahroudi, Assistant Curator of Photographs at the Alfred Stieglitz Center, installed the exhibition in the Prints and Drawings Gallery. These records include a general file of preparatory materials and a file dedicated to the opening events affiliated with the show.

Kathryn Hiesinger, Curator of Decorative Arts after 1700, organized an comprehensive survey of design from 1945 to 1983 featuring over 400 objects ranging from furniture and lighting to metalwork and plastics that were produced for mass consumption in the wake of World War II. This exhibition examined both the design process and the vital role that these objects play in every day life. Best Products Company, Inc., The Pew Memorial Trust, and the National Endowment for the Humanities provided generous grants in support of the exhibition. Further support for the accompanying catalogue was provided by the Graham Foundation for Advanced Studies, COLLAB: The Contemporary Design Group, and the Design Arts program of the National Endowment for the Arts.

Soon after the breakout of World War I, Jean Crotti emigrated from Paris to New York and there met Suzanne Duchamp, sister of Marcel Duchamp and Crotti's future wife. This exhibition featured 69 examples of the couple's work from their associations with the Dada movement to Crotti's invention of "TABU" in the 1920s. Originally organized by and exhibited at the Kunsthalle Bern and the Centre Georges Pompidou, Mark Rosenthal, Curator of Twentieth-Century Art, installed the travelling exhibition at the Philadelphia Museum of Art in 1983.

Carl Strehlke, Assistant curator of the Johnson Collection, organized an exhibition of 24 fourteenth- and fifteenth-century narrative paintings from the golden age of Sienese art. In addition to items culled from the permanent collection, a private collector lent a pair of panels by Pietro Lorezetti to complete the center section of an altarpiece entitled "Madonna and Child" acquired by the Museum in 1910. Two years later, the museum purchased the panels, thus reuniting the seperated elements of the altarpiece permanently. Materials in this section include information on the 1983 exhibit as well as a press release for the 1985 acquisition.

The Whitman Sampler Collection was originally exhibited at the Philadelphia Museum of Art in 1971. In the 1980s, a selection of about 35 American and European samplers dating from the seventeenth-century to the twentieth-century travelled to various location throughout the United States. Contents of this subseries include travel schedules, notes, and memoranda.

In 1984, the Philadelphia Museum of Art collaborated with the Gemäldegalerie, Staatliche Museen Preussischer Kulturbesitz of West Berlin, Germany and the Royal Academy of Arts in London, England to organize and exhibit an exhibition of 118 Dutch genre paintings. Peter Sutton, Associate Curator of European Paintings before 1900, installed the exhibition in Philadelphia and wrote the award-winning catalogue that accompanied the show. This exhibition was made possible by a grant from Mobil Corporation and supported by the National Endowment for the Arts, The Pew Memorial Trust, and an indemnity from the Federal Council on the Arts and the Humanities. Lufthansa German Airlines, Pan American World Airways, and Schenker ARTtrans also helped fund the exhibition's international transport.

Ella Schaap, Curatorial Associate, chose approximately 1500 Dutch tiles from the permanent collection for an exhibition designed to coincide with "Masters of Seventeenth-Century Dutch Genre Painting." The tiles date from 1570 to 1850 and represent one of the earliest forms of mass-produced interior decoration designed for middle class homes. The National Endowment for the Arts provided initial funding, and the exhibition was made possible by grants from The Mobil Corporation, the National Endowment for the Humanities, and The Pew Memorial Trust.

"Form in Art" was an occassional exhibition featuring works produced in connection with the Education Department's studio art classes for people who are blind or visually impaired.

This exhibition of 79 prints and watercolors by John Marin was organized by Sarah Anne McNear, National Endowment for the Arts Intern and installed in the Muriel and Philip Berman Gallery.

Martha Chahroudi, Assistant Curator of Photographs, organized "Beyond a Portrait" to inaugurate a new gallery for the Alfred Stieglitz Center and highlighted photographs by Stieglitz and Dorothy Norman during their years of collaboration and companionship.

In 1784 the first American ship sailed to China and began a lively trade relationship. This exhibition celebrate the two hundredth anniversary of that voyage and explores the relationship between Chinese craftsmanship and the taste of wealthy Philadelphians through nearly 300 decorative art objects commissioned for export to the city. Jean Gordon Lee, Curator of Far Eastern Art, drew upon 15 years of research to organize the show, which was supported by the bequest of Frances C. Gaskill and grants form The Pew Memorial Trust and the National Endowment for the Humanities.

Notably, "The Canton Connection: Ships, Captains, and Cargoes" (July 1-September 16, 1984) also displayed a selection of ships' manifests, maps and documents of shipping routes, views of Canton Harbor, and exchange goods demonstrating the nautical aspects of the China trade in conjunction with the exhibition at the Philadelphia Museum of Art. Documentation of correspondence and a contract between the PMA and the Martime Museum are included in this subseries.

Joseph J. Rishel and Carl B. Strehlke organized 15 paintings spanning the English landscape artist's career, drawn from the Museum's holdings and those of the John G. Johnson Collection, together one of the richest collections of Constable's work in the country.

The only documentation in this subseries is a press release announcing the exhibition.

Martha Chahroudi, Assistant Curator of Photographs, organized this exhibition of 29 photographs by Ansel Adams, including his celebrated images of the American West, shown as a memorial to this master photographer.

A multi-media installation surveying the work of Jonathan Borofsky midway through his career was organized by Mark Rosenthal, Curator of 20th-Century Art at the Philadelphia Museum, and Richard Marshall, Associate Curator of Exhibitions the the Whitney Museum of American Art in New York. First displayed in Philadelphia, the show then traveled to the Whitney Museum, the Berkeley Art Museum, the Walker Art Center, the Corcoran Gallery of Art, and the Museum of Contemporary Art in Los Angeles.

This exhibition, organized through a collaboration between the Philadelphia Museum of Art and the Victoria and Albert Museum in London, explored the Victorian fasination with photography, from its earliest invention in 1839 through the end of the nineteenth century. Some 240 extraordinary 19th-century photographs by such photographers as William Henry Fox Talbot, Roger Fenton, John Murray, Oscar G. Rejlander, and Julia Margaret Cameron were brought together by Michael E. Hoffman, Adjunct Curator, Alfred Stieglitz Center, and Martha Chahroudi, Associate Curator of Photographs. Following the show in Philadelphia, the exhibition then traveled to the Museum of Fine Arts, Houston, the Minneapolis Institute of Arts, the Pierpont Morgan Library, and the Museum of Fine Arts, Boston. The Pew Memorial Trust and the National Endowment for the Arts and the National Endowment for the Humanities each supported "The Golden Age of British Photography" through generous grants.

Burk Uzzle, American photographer and social documentarian, turned his lens upon all aspects of American life throughout his career. Martha Chahroudi chose 77 examples of his work for display in this exhibition.

J. M. W. Turner's paintings documenting the burning of the Houses of Parliament on October 16, 1834 were featured in an exhibition organized by the Cleveland Museum of Art in association with the Philadelphia Museum of Art to commemorate the 150th anniversary of the fire. The Philadelphia installation was supported through a grant from The Pew Memorial Trust.

The year 1984 marked the centennial birthday of the late Carl Otto Kretzschmar von Kienbusch, a prominent collector of arms and armor. The Philadelphia Museum of Art acquired the Kienbusch collection by bequest, and it has been a focal point of the Museum since its earliest display in 1964. This subseries includes a small collection of memoranda discussing the possibility of arranging an exhibition in honor of Kienbusch on the hundredth anniversary of his birth. Sadly, this exhibition was never realized.

In 1984, the Prints, Drawings, and Photographs department proposed an exhibition of early 20th-century Russian paintings, drawings, prints, and illustrated books from the collection of Christian Brinton, a Philadelphia art critic. Though the exhibition was never realized, early preparatory materials, including a 1985 review of the collection and internal memoranda.

This installation in the "Pertaining to Philadelphia" series featured a set of paintings by Sidney Goodman on the subject of the Four Elements--earth, water, fire, and air--with a fifth canvas in the series representing the human component. Mark Rosenthal, Curator of 20th-Century Art at the Philadelphia Museum, organized the exhibition.

Carl Strehlke, Assistant Curator of the Johnson Collection, organized this exhibition featuring paintings from the collection executed in Spain during the 14th and 15th centuries. Each of the 15 paintings provides insight into the geographic and cultural diversity of Spanish interpretations appled to the International Gothic Style.

Mary Cassatt, Philadelphia-born artist, was the only American ever invited to exhibit with the French Impressionists. Eventually, she settled in Paris, but Philadelphia remains the largest repository of her work, and she played a pivotal role in encouraging Philadelphia-area collectors to acquire Impressionist paintings despite the critical attitudes taken by her contemporaries. Suzanne G. Lindsay, a guest curator and specialist in 19th-century art, organized the exhibition selected 52 paintings, drawings, and prints for display, each chosen to emphasize the artist's connections with the city that she considered her American home. The exhibition was supported by Mellon Bank, The Bohen Foundaion, and The Pew Memorial Trust, with additional funding from the Women's Committee of the Philadelphia Museum of Art.

A comprehensive exhibition of prints by Edgar Degas was organized at the Museum of Fine Arts, Boston in celebration of the 150th anniversary of the artist's birth. Ellen S. Jacobowitz installed the exhibition in Philadelphia, and the show later traveled to the Hayward Gallery in London. This display of 225 images, comprising all Degas' known etchings and lithographs, was made possible by grants from the National Endowment for the Arts and supported in Philadelphia by The Pew Memorial Trust.

This exhibition featured some 80 popular Japanese woodblock prints from the early 1700s to 1860. Sarah Thompson organized "Fleeting Moments" while working as a cataloguer for the Museum's collections of Oriental prints.

This exhibition was conceived as a retrospective of the works by Marc Chagall, the last living member of a generation of artists who shaped the concept of modern art in the twentieth century. Unfortunately, Chagall died on March 28, 1985 at the age of 97, and the exhibtion in Philadelphia became a tribute to his life's work and the full range of his career. Guest curator, Susan Compton, installed the exhibition, which was jointly organized by the Royal Academy of Arts in London and the Philadelphia Museum of Art. The Pew Memorial Trust, The Bohen Foundation, Pincus Brothers Maxwell, Inc., CIGNA Corporation, and Knight Foundation provided generous financial support along with an indemnity from the Federal Council on the Arts and Humanities.

"Form in Art" was an occassional exhibition featuring works produced in connection with the Education Department's studio art classes for people who are blind or visually impaired.

Michael E. Hoffman and Jan Howard, National Endowment for the Arts Curatorial Intern, organized an exhibition of 139 vintage images by Bill Brandt. The British photographer's work was arranged into series chronicling English life between the wars, wartime London, portraits, romantic landscapes, and studies of the nude. In the years following the 1985 show in the Philadelphia, the exhibition toured to several locations throughout the United States.

As part of an ongoing effort to highlight particularly strong aspects of the permanent collection, Carl Strehlke organized a small exhibition of eleven paintings and one bronze bust that exemplify Italian protraiture during the 15th and 16th centuries.

Exploring the themes of Anatomy; Healers; Disease, Disability, and Madness; and the Cycle of Life, this exhibition displayed 140 works spanning five centuries of medical and art history from the Renaissance to the present. Diane R. Karp, Assistant Curator for the Ars Medica Collection, selected works from the museum's permanent collection for an exhibition that would later travel to Cleveland, San Francisco, Edinburgh, and Tokyo. "Ars Medica" was made possible by SmithKline Beckman Corporation, and supported by grants from the National Endowment for the Humanities and The Pew Memorial Trust.

This retrospective of 250 works by W. Eugene Smith, American photojournalist, was organized by Michael E. Hoffman in association with the Center for Creative Photography and with the assistance of Martha Chahroudi and Leslie M. Mitchell, Traveling Exhibition Coordinator at the Alfred Stieglitz Center. The exhibition was made possible through loans from the W. Eugene Smith Archive at the Center for Creative Photography, University of Arizona, and funding was provided by the Atlantic Richfield Foundation, The Pew Memorial Trust, and the National Endowment for the Arts. Following its run in Philadelphia, "Let Truth be the Prejudice" traveled through the United States and Canada.

The Museum of Fine Arts, Houston organized this exhibition of photographs by Ray K. Metzker. The majority of documents refer here to the exhibition in Houston, planning documentation for installation at the Philadelphia Museum of Art, and the traveling exhibition agreement.

In honor of the 300th birthday of Johann Sebastian Bach, the museum presented an exhibition including 3 18th century stringed instrucents, a painted portrait of Bach by Elias Gottlieb Haussman, and 30 prints, drawings, sculpture, and works of decorative art from the permanent collection.

Curator Emeritus of Indian Art, Dr. Stella Kramrish organized an exhibition of 138 Indian paintings dating from the 15th through the 19th centuries as a contribution to the nationwide "Festival of India" jointly initiated by the governments of India and the United States. Each of the works on display were drawn from collections throughout the Philadelphia area.