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four corners and not by the walls at the ends of the vaults, thin arcs of transparent material were inserted between the curve of the shells and the end walls. Because the stiffening arches of the shells are thicker at the top, the transparent strips are tapered, thinner at the top than at the bottom. In addition, a linear transparent strip was placed between the straight bottoms of the shells and the long exterior walls to show that the shells aren't supported by those walls either. In addition to revealing the building's structure, these features bring additional natural light into the galleries in a way that is safe for the paintings.
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of footsteps on the gravel walkway echoes from the walls on either side of the courtyard and is magnified under the curved ceiling of the entry porch. After that subtle preparation, the visitor enters the hushed museum with silvery light spread across its ceiling. Harriet
Pattison played the lead role in the landscape design and is also the person who suggested that open porches flanking the entrance would create a good transition from the lawn and courtyard to the galleries inside. Pattison, who had also worked with Kahn on other projects, was an employee of Patton. She is the mother of film director
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innovative. The contract called for control over construction to be turned over to Geren when Kahn had finished the design, a provision that eventually led to conflict because Kahn felt that a design was never finished until the building was constructed. Kahn once said, "the building gives you answers as it grows and becomes itself." The museum trustees settled the issue by deciding that Geren would report directly to them instead of to Kahn, but that Kahn would have final say over the design, except that any changes would have to be approved by Brown.
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the main parking lot in the back of the building, intending for visitors to walk around the building and enter through carefully planned landscaping. Most visitors, however, entered through the back door on the ground floor, missing the entry experience that Kahn had designed. The new building will solve the problem with an underground parking garage. After visitors ascend to the gallery level of the new building, they can exit it and walk across the lawn and the courtyard to enter the original building as Kahn had intended.
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678:, whose entrance and terrace faced the Fort Worth skyline. Kahn was asked to build the Kimbell museum no more than 40 feet (12 m) high so it would not interfere with the view from the Carter Museum. Kahn initially proposed a low but very spacious building 450 feet (137 m) square, but Brown rejected that proposal and insisted that Kahn design a much smaller structure, a decision that would have repercussions several years later when a proposal to expand the building created a storm of controversy.
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perforated. The concrete surfaces of the ceiling were given a high finish to further assist the reflection of the light. The result is that the strong Texas sun enters a narrow slot at the top of each vault and is evenly reflected from a curved screen across the entire arc of the polished concrete ceiling, ensuring a beautiful distribution of natural light that had never before been achieved.
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912:"occur as a new building and be situated away from the present structure across the lawn". Esther Kahn, Louis Kahn's widow, published a letter voicing similar sentiments, noting that "there is room on the site for a separate building, which could be connected to the present museum." The project was cancelled a few months later.
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building; Ben
Fortson, a trustee; and Sue Ann Kahn, Louis Kahn's daughter and a vocal opponent of the original plan for expansion. The new proposal was exactly in line with Louis Kahn's own thoughts for expansion: a separate building. At that time, the new structure was to be sited on land to the back of the Kahn building.
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The new building should also resolve a parking issue at the museum. Kahn was deeply troubled by the negative impact of the automobile on city life; he once spoke of "the destruction of the city by the motor car." Fundamentally opposed to the idea of orienting buildings to the automobile, Kahn placed
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to design them. A firestorm of protest erupted. Critics pointed out that founding director Brown's "Pre-Architectural
Program" had specified that "the form of the building should be so complete in its beauty that additions would spoil that form," and that Kahn had achieved that goal extraordinarily
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of folded concrete plates with light slots at the top. Brown liked the light slots but rejected this particular design because it had the ceilings 30 feet (9 m) high, too high for the museum he envisioned. Further research by
Marshall Meyers, Kahn's project architect for the Kimbell museum, revealed
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The landscape has been described as "Kahn's most elegant built example of landscape planning" by
Philadelphia landscape architect George Patton. Approaching the main entrance past a lawn edged by pools with running water, the visitor enters a courtyard through a grove of Yaupon Holly trees. The sound
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In areas without art, such as the lobby, cafeteria and library, the entire reflector is perforated, making it possible for people standing beneath to glimpse passing clouds. In the gallery spaces, the central part of the reflector, which is directly beneath the sun, is solid, while the remainder is
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To prevent the shells from collapsing at the long light slots at their apexes, concrete struts were inserted at 10-foot (3 m) intervals. A relatively thick concrete arch was added to each end of the shells to stiffen them further. To make it clear that the curved shells are supported only at their
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shape that were made from hinged plywood and lined with an oily coating so they could be reused to pour concrete for multiple sections of the vaults, helping to ensure consistency. The long, straight channels at the bottoms of the shells were cast first so they could be used as platforms to support
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In 1966, before the museum even had a building, founding director Brown included this directive in his Policy
Statement: "The goal shall be definitive excellence, not size of collection." Accordingly, the museum's collection today consists of only about 350 works of art, but they are of notably high
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structure. In 2007, the
Kimbell solved that problem by announcing plans to construct an additional, separate building across the street from the original building. While this did not alter the Kahn structure, it did significantly alter Kahn's work. Kahn had designed the building to be approach from
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The schematic designs for the new
Kimbell building were made public in November 2008, and the plans were released in May 2010. The 85,000 square foot (7,900 m) structure would complement the original building but not mimic it. Unlike the original, its lines would be rectilinear, not curvilinear.
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A group of prominent architects signed a letter acknowledging the need for additional space but arguing that the proposed addition would compromise the proportions of the original. They noted that when Kahn himself was questioned about the possibility of a future expansion, he said that it should
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investigated over 100 approaches in their search for the proper skylight system. The goal was to illuminate the galleries with indirect natural light while excluding all direct sunlight, which would damage the artwork. Richard Kelly, lighting consultant, determined that a reflecting screen made of
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inside and out. The steel handrails were "blasted" with ground pecan shells to create a matte surface texture. The museum has three glass-walled courtyards that bring natural light to the gallery spaces. One of them penetrates the gallery floor to bring natural light to the conservation studio on
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With one exception, the art galleries are located on the upper floor of the museum to allow access to natural light. Service and curatorial spaces as well as an additional gallery occupy the ground floor. Each interior vault has a slot along its apex to allow natural light into the galleries. Air
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In 2006, the idea of an expansion surfaced once again at a dinner in Fort Worth attended by
Timothy Potts, the museum's director at the time (Eric M. Lee has been the director since March 2009); Kay Fortson, president of the Kimbell Art Foundation and a key figure in the creation of the original
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was made associate architect, a practice followed in Fort Worth for out-of-state architects. Frank
Sherwood served as their project coordinator. The Geren organization had a solid reputation for bringing in projects on time and within budget, but by their own admission they were not especially
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Brown's "Policy Statement" set a clear architectural direction by calling for the new building to be "a work of art", It was augmented by his "Pre-Architectural Program", which specified that "natural light should play a vital part" in the design and that "the form of the building should be so
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vaults would be too expensive and urged a flat roof instead. Kahn, however, insisted on a vaulted roof, which would enable him to create galleries with a comforting, room-like atmosphere yet with minimal need for columns or other internal structures that would reduce the museum's flexibility.
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curve would produce elegant galleries that were wide in proportion to their height, allowing the ceiling to be lowered to 20 feet (6 m). More importantly, that curve could also be used to produce a beautiful distribution of natural light from a slot in the top of the gallery across the entire
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The museum is composed of 16 parallel vaults that are each 100 feet (30.6 m) long, 20 feet (6 m) high and 20 feet (6 m) wide (internal measurements). Intervening low channels separate the vaults. The vaults are grouped into three wings. The north and south wings each have six vaults, with the
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Kahn was pleased with this development because it allowed him to design the museum with galleries that resembled the ancient Roman vaults he had always admired. The thin, curved shells needed for the roof were challenging to build, however, so Kahn called in a leading authority on concrete
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was a wealthy Fort Worth businessman who built an empire of over 70 companies in a variety of industries. He married Velma Fuller, who kindled his interest in art collecting by taking him to an art show in Fort Worth in 1931, where he bought a British painting. They set up the Kimbell Art
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Reflectors spread sunlight across the gallery ceilings. Kahn showed that the curved ceiling shells are supported only at their corners by allowing a thin strip of outside light to enter along the tops of the long gallery walls and a thicker arc of light to enter at the end of each
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had been chosen to design the new building. Piano was an obvious choice because he had worked in Louis Kahn's office as a young man and had later established a reputation as one of the world's leading museum architects. Piano had been particularly active in Texas, designing the
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Brown discussed the goals of the institution and its new building with the trustees and summarized them in a four-page "Policy Statement" and a nineteen-page "Pre-Architectural Program" in June 1966. After interviewing a number of prominent architects, the museum hired
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187:, hosts an art collection as well as traveling art exhibitions, educational programs and an extensive research library. Its initial artwork came from the private collection of Kay and Velma Kimbell, who also provided funds for a new building to house it.
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in October 1966. From Kahn's point of view, Brown was an ideal client. Brown had been an admirer of Kahn's work for some time, and the approach he specified for the building was very much in line with Kahn's, particularly its emphasis on natural light.
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238:, as the founding director of the museum with the task of constructing a building to house the Kimbell's art collection. Upon accepting the post, Brown declared that the new building should itself be a work of art, "as much a gem as one of the
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Like the original, however, it would have three bays with the middle bay stepped back from the other two. The new building expansion, named the Renzo Piano Pavilion, was officially inaugurated to the public on November 27, 2013.
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The museum also houses a substantial library with over 59,000 books, periodicals and auction catalogs that are available as a resource to art historians and to faculty and graduate students from surrounding universities.
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In 1989, Pillsbury announced plans to expand the museum's building to accommodate its enlarged collection, but the plan was dropped because of strong opposition to any major alteration of the original
214:. Kay left much of his estate to the Kimbell Art Foundation, and Velma bequeathed her share of the estate to the foundation as well, with the key directive to "build a museum of the first class."
1407:. The museum has no special funds for acquisitions. Museum membership is at 15,000. In 2019, the museum appointed Guillaume Kientz as the curator of European art; he had previously worked in the
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The Kimbell Art Museum derives around 65% of its $ 12 million budget from its unrestricted endowment of more than $ 400 million. The endowment fell from $ 466 million to $ 398 million during the
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curve of the ceiling. He hired a computer expert to determine the exact shape of the reflector's curve, making it one of the first architectural elements to be designed with computer technology.
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and is widely recognized as one of the most significant works of architecture of recent times. It is especially noted for the wash of silvery natural light across its vaulted gallery ceilings.
282:. Construction for the Kimbell Art Museum began in the summer of 1969. The new building opened in October 1972 and quickly achieved an international reputation for architectural excellence.
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curved concrete beams, spanning an incredible 100 feet" (30.5 m), which "happened to have been the maximum distance that concrete walls or vaults could be produced without requiring
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1026:, said that the Kimbell Art Museum "is rightly considered Kahn's greatest built work" and "has been the subject of more scholarly studies than all his other works combined."
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312:. He had also been a curator at the Yale Art Gallery, Kahn's first art museum. Pillsbury continued the art acquisition program in an aggressive but disciplined fashion.
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complete in its beauty that additions would spoil that form." Brown called for a building of modest scale that would not overwhelm either the artwork or the viewer.
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After Richard Fargo Brown's death in 1979, Edmund "Ted" Pillsbury was appointed director of the museum. Previously he had been the director of the newly opened
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The vault roofs, which are visible to approaching visitors, were covered with lead sheathing inspired by the lead covering of the complexly curved roofs of the
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was the contractor for the project, with A. T. Seymour as project manager. Virgil Earp and L. G. Shaw, Byrne's project superintendents, designed forms with a
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Foundation in 1935 to establish an art institute, and by the time of his death in 1964, the couple had amassed what was considered to be the best selection of
871:, says the entry gallery is "one of the most beautiful spaces ever built", with its "astonishing, ethereal, silver-colored light." Carter Wiseman, author of
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Eventually a deal was struck whereby Geren would be responsible for the foundation and basement while Komendant would be responsible for the upper floors and
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One of the porticos at the front of the museum. This shell, like all the others, is supported only at its four corners, minimizing obstruction at floor level.
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In 1989, director Ted Pillsbury, Brown's successor, announced plans to add two wings to the north and south ends of the building and chose architect
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Kahn used several techniques to give the galleries an inviting atmosphere. The ends of the vaults, which are made of concrete block, are faced with
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cultures. The African collection consists primarily of bronze, wood, and terracotta sculpture from West and Central Africa, including examples from
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875:, said that "the light in the Kimbell gallery assumed an almost ethereal quality, and has been the distinguishing factor in its fame ever since."
699:. The central space has four vaults, with the western one open as an entry porch facing a courtyard partially enclosed by the two outside wings.
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cables, however, the curved parts of the shells carried the weight of their lower straight edges instead of the other way around.
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to illustrate how the building was constructed. The effect was, in his words, "like a piece of sculpture outside the building."
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The museum owns only a few pieces created after the mid-20th century (believing that era to be the province of its neighbor, the
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Creating a natural lighting system that has evoked such acclaim was challenging, and Kahn's office and the lighting designer
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The south wing of the museum showing a portico and five vaulted galleries. The tree-lined entry courtyard is at the far left.
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Because Kahn had a reputation for significant time and cost overruns, a local engineering and architectural firm owned by
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curve for the gallery vaults would reduce the ceiling height and provide other benefits as well. The relatively flat
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Fleming, Steven (December 2004). "Of Quotidian Proportions: the Everyday Determinants of Great Modern Architecture".
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that was only five inches thick to create gallery "vaults" that need support columns only at their four corners.
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Brown also expanded the Kimbell collection by acquiring several works of significant quality by artists like
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housed within it." The proposed museum was given space in a 9.5 acre (3.8 hectare) site in Fort Worth's
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1701:"A New Museum Network Is Focusing On the Monuments Men's Long-Overlooked Postwar Cultural Contributions"
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765:. More precisely, as professor Steven Fleming points out, the shells that form the gallery roofs are "
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1757:. Fort Worth: Kimbell Art Museum, distributed by Yale University Press, New Haven and London, 2003
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collection comprises sculptures, paintings, bronzes, ceramics, and works of decorative art from
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shells. Kahn placed one of these shells at the front of each of the three wings as a porch or
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The Geren firm, which had been asked to look for ways to keep costs low, objected that the
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The museum is part of the Monuments Men and Women Museum Network, launched in 2021 by the
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ducts and other mechanical services are located in the flat channels between the vaults.
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1933:. Perth, Australia: CSAA / Murdoch University, Centre for Everyday Life. p. 11.
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in Houston, a commission in Louis Kahn's studio at the time of Kahn's death, and the
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2019:"Kimbell Art Museum Unveils Renzo Piano's Designs for a Major New Building Project"
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intended visitors to enter through the thoughtful landscaping at the front entry...
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The foundation's board of trustees hired Richard Fargo Brown, then director of the
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with a specific curve could be used to distribute natural light evenly across the
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in October 1966. Kahn's previous works included such acclaimed structures as the
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After an extensive search that included interviews with such noted architects as
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curves. After all the concrete had been poured and strengthened with internal
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2045:"Official opening of the Expansion of Kimbell Art Museum in Fort Worth, Texas"
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in California, and he had recently been honored by being chosen to design the
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the lawn, and the new structire significanty altered that plan. Designed by
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Robert McCarter (2004). "Kahn, Louis I. 1901-74". In Sennott, Roger (ed.).
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The European collection is the most extensive in the museum and includes
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in 1972 for the "innovative construction techniques" used on the museum.
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2202:"Guillaume Kientz Named Curator of European Art at Kimbell Art Museum"
2021:(Press release). Kimbell Art Museum. November 18, 2008. Archived from
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1679:"Piano Conceives a Respectful Addition to Kahn's Kimbell Masterpiece"
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1652, Chinese, Qing dynasty (1644–1911), Hanging scroll; ink on paper
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1995:(Press release). Kimbell Art Museum. April 5, 2007. Archived from
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Cultural Studies Association of Australasia Annual Conference 2004
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c. 1650, ink on silk painting, Chinese, Qing dynasty (1644–1911)
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1629:"Ted Pillsbury, longtime director of Kimbell Art Museum, dies"
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506:. Works from the classical period include antiquities from
753:). Kahn generally referred to the museum's roof form as a
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The new museum was to be built on a gentle slope below the
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Kahn's first design for the galleries called for angular
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on exhibit in the Americas. It also includes works by
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for what would become the capital of the new nation of
2102:(Spring). Phillips Exeter Academy: 25. Archived from
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Monuments Men Foundation for the Preservation of Art
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How the richest US museums are weathering the storm
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The Three Stars of Happiness, Wealth, and Longevity
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1952:Johnson, Philip; et al. (December 24, 1989).
1768:"Acquisitions of the month: August-September 2018"
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2147:Critic's Notebook: Timothy Potts' past and future
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1311:Portrait of May Sartoris at about 15 years of age
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1861:. New York: Rizzoli International Publications.
1831:. New York: George Braziller, Inc. p. 274.
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582:sculpture, as well as pieces from the Conte and
3450:Former private collections in the United States
3231:College of Saints John Fisher & Thomas More
3215:University of North Texas Health Science Center
2727:Naval Air Station Joint Reserve Base Fort Worth
3354:National Multicultural Western Heritage Museum
1993:"Renzo Piano Chosen as New Building Architect"
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3460:Mesoamerican art museums in the United States
3425:Art museums and galleries established in 1972
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2183:How an Acquisition Fund Burnishes Reputations
2123:. Byrne Construction Services. Archived from
1954:"Kimbell Museum; In Praise of the Status Quo"
1755:Kimbell Art Museum Handbook of the Collection
8:
1829:Louis I. Kahn:Building Art, Building Science
863:David Brownlee and David DeLong, authors of
19:
2066:Kahn, Louis (2003). Twombly, Robert (ed.).
1905:
1903:
1886:. New York: Fitzroy Dearborn. p. 724.
1859:Louis I. Kahn: In the Realm of Architecture
1852:
1850:
1848:
1594:
1497:"New Art Museum Aids Culture in Fort Worth"
865:Louis I. Kahn: In The Realm of Architecture
3440:Buildings and structures completed in 1972
3220:
2945:
2936:
2793:
2761:
2695:
2545:
2531:
2523:
2337:Tribune Review Publishing Company Building
2278:
2264:
2256:
2234:
1912:"Louis I. Kahn and the Nature of Concrete"
1592:
1590:
1588:
1586:
1584:
1582:
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1548:
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1544:
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1534:
1532:
1530:
165:
25:
18:
1884:Encyclopedia of 20th Century Architecture
1528:
1526:
1524:
1522:
1520:
1518:
1516:
1514:
1512:
1510:
1501:Gettysburg Times (Associated Press story)
1490:
1488:
1041:Associated General Contractors of America
959:In April 2007, the museum announced that
3349:National Cowgirl Museum and Hall of Fame
3314:Fort Worth Museum of Science and History
2428:Franklin D. Roosevelt Four Freedoms Park
2163:Jason Edward Kaufman (January 8, 2009),
1918:(December). American Concrete Institute.
1857:Brownlee, David; De Long, David (1991).
2181:Judith H. Dobrzynski (March 14, 2012),
1436:
1358:1577, Chinese, Ming dynasty (1368–1644)
1325:
1180:
1054:
190:The building was designed by architect
3435:Asian art museums in the United States
2397:Temple Beth El of Northern Westchester
2331:Richards Medical Research Laboratories
2070:. New York: W. W. Norton. p. 73.
1254:Portrait of a Boy with Long Blond Hair
3299:Botanical Research Institute of Texas
2355:Salk Institute for Biological Studies
2145:Christopher Knight (March 11, 2012),
1973:Kahn, Esther I. (November 26, 1989).
823:the workmen pouring concrete for the
7:
2091:James-Chakraborty, Kathleen (2004).
1788:. Kimbell Art Museum. Archived from
1731:. Kimbell Art Museum. Archived from
1555:Louis I. Kahn: Beyond Time and Style
1473:. Texas State Historical Association
1451:. Texas State Historical Association
1356:Landscape in the Style of Dong Yuan,
1031:Louis I. Kahn: Beyond Time and Style
873:Louis I. Kahn: Beyond Time and Style
566:works in ceramic, stone, shell, and
3334:Lenora Rolla Heritage Center Museum
3289:American Airlines C.R. Smith Museum
2349:First Unitarian Church of Rochester
2325:Fred E. and Elaine Cox Clever House
1651:"Piano Designing Kimbell Expansion"
3430:Art museums and galleries in Texas
3294:Amon Carter Museum of American Art
1216:Portrait of Don Pedro de Barberana
1001:gave the museum their prestigious
14:
2744:Bureau of Engraving and Printing
2736:Federal Medical Center, Carswell
2200:Greenberger, Alex (2019-01-30).
1382:
1363:
1344:
1328:
1299:
1280:
1261:
1242:
1223:
1204:
1196:Portrait of Dr Francisco de Pisa
1183:
1156:
1137:
1116:
1095:
1076:
1057:
999:American Institute of Architects
936:
919:
658:, the commission was awarded to
596:Democratic Republic of the Congo
236:Los Angeles County Museum of Art
3465:Modernist architecture in Texas
3371:Texas Rodeo Cowboy Hall of Fame
3344:Modern Art Museum of Fort Worth
2379:Phillips Exeter Academy Library
2242:QTVR walk-through of the museum
2121:"The First Build/America Award"
2047:. Renzo Piano Building Workshop
1627:Scott Cantrell (Mar 26, 2010).
1426:Modern Art Museum of Fort Worth
1069:The Cheat with the Ace of Clubs
1011:, architectural critic for the
611:Modern Art Museum of Fort Worth
252:Modern Art Museum of Fort Worth
2367:Indian Institute of Management
1649:David Dillon (July 12, 2007).
1048:European collection highlights
1:
2500:My Architect: A Son's Journey
1677:David Dillon (May 28, 2010).
1495:Mike Cochran (Jan 26, 1966).
384:, oil on canvas, 70.2 x 62 cm
348:Joseph Mallord William Turner
258:, specializing in art of the
50:
3470:Museums in Fort Worth, Texas
3420:1972 establishments in Texas
2468:Architectural Research Group
2451:Flora Lamson Hewlett Library
1391:Bamboo, Rock, and Narcissus,
1017:Pulitzer Prize for Criticism
399:The Torment of Saint Anthony
382:Portrait of Heriberto Casany
227:The Torment of Saint Anthony
2742:Western Currency Facility (
2403:Yale Center for British Art
2307:Yale University Art Gallery
2068:Louis Kahn: Essential Texts
1322:Asian collection highlights
1022:Robert McCarter, author of
976:and was co-designer of the
369:, oil on canvas, 55 x 43 cm
306:Yale Center for British Art
93:32.74856889°N 97.36492111°W
3496:
3309:Fort Worth Design District
3205:Texas Christian University
3071:Eagle Mountain-Saginaw ISD
2385:Olivetti-Underwood Factory
1405:2007–2008 financial crisis
1029:Carter Wiseman, author of
690:Kimbell Art Museum at dusk
354:, oil on panel, 77 × 78 cm
276:National Assembly Building
38:Interactive fullscreen map
3445:Concrete shell structures
3400:
3376:Texas Cowboy Hall of Fame
3304:Fort Worth Botanic Garden
3251:Fort Worth Public Library
3210:Texas Wesleyan University
2251:Google Arts & Culture
1910:McCarter, Robert (2009).
1603:. London: Phaidon Press.
1599:McCarter, Robert (2005).
396:'s first known painting,
98:32.74856889; -97.36492111
36:
24:
3402:This list is incomplete.
3319:Fort Worth Water Gardens
3272:Fort Worth Star-Telegram
1553:Wiseman, Carter (2007).
974:Art Institute of Chicago
771:expansion control joints
602:art is represented by a
2876:Trinity Railway Express
2731:Carswell Air Force Base
2343:Margaret Esherick House
2319:Wharton Esherick Studio
1168:On the Pont de l’Europe
970:Nasher Sculpture Center
794:post-tensioned concrete
402:, the only painting by
16:Art museum in Texas, US
3200:Tarrant County College
2886:CentrePort/DFW Airport
2774:(near the city limits)
2405:(1966, completed 1974)
1916:Concrete International
1681:. Architectural Record
1653:. Architectural Record
1088:The Raising of Lazarus
1003:Twenty-five Year Award
860:
781:
761:playing the role of a
695:western one open as a
691:
656:Edward Larrabee Barnes
562:art is represented by
385:
370:
355:
231:
3480:Thin-shell structures
3475:Renzo Piano buildings
3364:Sid Richardson Museum
2373:Jatiya Sangsad Bhaban
1235:Young Student Drawing
1149:Happy Age! Golden Age
1084:Duccio di Buoninsegna
857:
779:
689:
376:
361:
346:
220:
3455:Louis Kahn buildings
3157:White Settlement ISD
2484:Nathaniel Kahn (son)
2025:on December 27, 2010
1999:on December 27, 2010
1975:"The Kimbell Museum"
1735:on December 27, 2010
1557:. New York: Norton.
1449:"Kimbell Art Museum"
1145:Jean-Antoine Watteau
1037:Thos. S. Byrne, Ltd.
951:Renzo Piano Pavilion
816:Thos. S. Byrne, Ltd.
123:European Old Masters
2968:Diamond Hill-Jarvis
2638:Polytechnic Heights
2618:Fairmount–Southside
2100:The Exeter Bulletin
1753:Timothy Potts, ed.
1633:Dallas Morning News
1292:Man in a Blue Smock
1231:Jean Siméon Chardin
1164:Gustave Caillebotte
844:St. Mark's Basilica
148:On site (no charge)
89: /
21:
3329:Kimbell Art Museum
2891:Fort Worth Central
2854:Fort Worth Central
2502:(2003 documentary)
2409:Arts United Center
2391:Kimbell Art Museum
2361:Norma Fisher House
2313:Trenton Bath House
2247:Kimbell Art Museum
1979:The New York Times
1959:The New York Times
1447:Edmund Pillsbury.
1421:Amon Carter Museum
1250:Théodore Géricault
1129:The Butcher's Shop
1065:Georges de La Tour
1015:and winner of the
861:
846:in Venice, Italy.
782:
711:the ground floor.
692:
676:Amon Carter Museum
615:Amon Carter Museum
386:
371:
356:
352:Glaucus and Scylla
256:Amon Carter Museum
232:
177:Kimbell Art Museum
20:Kimbell Art Museum
3407:
3406:
3339:Log Cabin Village
3259:
3258:
3239:
3238:
3188:
3187:
2958:Arlington Heights
2928:
2927:
2859:Mercantile Center
2810:
2809:
2753:
2752:
2711:Police Department
2678:Westworth Village
2588:Arlington Heights
2554:Fort Worth, Texas
2520:
2519:
2169:The Art Newspaper
2151:Los Angeles Times
1564:978-0-393-73165-1
1307:Frederic Leighton
1124:Annibale Carracci
885:anodized aluminum
741:gallery ceiling.
644:Mies van der Rohe
367:Girl with a Cross
248:Cultural District
173:
172:
3487:
3221:
3180:Masonic Home ISD
2963:Carter-Riverside
2946:
2937:
2803:Greater SW Int'l
2794:
2762:
2696:
2547:
2540:
2533:
2524:
2512:Harriet Pattison
2494:August Komendant
2280:
2273:
2266:
2257:
2238:
2233:
2232:
2230:Official website
2216:
2215:
2213:
2212:
2197:
2191:
2179:
2173:
2161:
2155:
2143:
2137:
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2081:
2063:
2057:
2056:
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2035:
2034:
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2030:
2015:
2009:
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1989:
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1970:
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1799:
1797:
1792:on June 29, 2011
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1227:
1208:
1187:
1160:
1141:
1120:
1099:
1080:
1061:
966:Menil Collection
940:
923:
905:Romaldo Giurgola
747:August Komendant
668:Preston M. Geren
648:Pier Luigi Nervi
314:Richard Brettell
169:
164:
161:
159:
145:Nearest car park
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3409:
3408:
3403:
3396:
3380:
3359:Sundance Square
3277:
3255:
3235:
3219:
3184:
3168:
3054:Castleberry ISD
3017:
2941:
2924:
2907:
2837:
2825:Heartland Flyer
2806:
2792:
2749:
2715:
2706:Fire Department
2687:
2607:Sundance Square
2574:
2556:
2551:
2521:
2516:
2507:Greenbelt Knoll
2472:
2456:
2445:Hurva Synagogue
2433:
2420:
2414:
2289:
2284:
2228:
2227:
2224:
2219:
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2208:
2199:
2198:
2194:
2180:
2176:
2162:
2158:
2144:
2140:
2130:
2128:
2127:on July 4, 2010
2119:
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2106:
2095:
2093:"Our Architect"
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1772:Apollo Magazine
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1009:Robert Campbell
994:
978:Pompidou Centre
953:
948:
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945:
944:
941:
932:
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930:
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852:
829:post-tensioning
790:concrete shells
725:
684:
652:Gordon Bunshaft
632:
627:
341:
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156:
129:Collection size
97:
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3324:Fort Worth Zoo
3321:
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3147:
3137:
3135:Lake Worth ISD
3132:
3127:
3126:
3125:
3120:
3115:
3105:
3100:
3095:
3094:
3093:
3088:
3086:Eagle Mountain
3083:
3081:Chisholm Trail
3078:
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3000:
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2950:Fort Worth ISD
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2759:
2758:Transportation
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2700:
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2680:
2675:
2673:Westover Hills
2670:
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2660:
2655:
2650:
2645:
2640:
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2615:
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2598:Crawford Farms
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2260:
2254:
2253:
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2239:
2223:
2222:External links
2220:
2218:
2217:
2192:
2187:New York Times
2174:
2156:
2138:
2112:
2109:on 2010-05-27.
2083:
2076:
2058:
2036:
2010:
1984:
1965:
1944:
1921:
1899:
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1867:
1844:
1837:
1825:Leslie, Thomas
1803:
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1199:, c. 1610–1614
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767:post-tensioned
745:construction,
724:
721:
717:Nathaniel Kahn
683:
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363:Georges Braque
340:
339:The collection
337:
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81:32°44′54.848″N
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3141:
3140:Northwest ISD
3138:
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3133:
3131:
3130:Kennedale ISD
3128:
3124:
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3064:North Crowley
3062:
3061:
3060:
3057:
3055:
3052:
3050:
3047:
3045:
3044:Birdville ISD
3042:
3040:
3037:
3035:
3034:Arlington ISD
3032:
3030:
3027:
3026:
3024:
3020:
3014:
3011:
3009:
3006:
3004:
3001:
2999:
2996:
2994:
2991:
2989:
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2984:
2981:
2979:
2978:Eastern Hills
2976:
2974:
2971:
2969:
2966:
2964:
2961:
2959:
2956:
2955:
2953:
2951:
2947:
2944:
2942:and secondary
2938:
2935:
2931:
2920:
2919:Trinity Metro
2917:
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2899:
2897:
2896:Trinity Lakes
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2844:
2842:Commuter rail
2840:
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2822:
2821:
2819:
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2813:
2804:
2801:
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2784:
2783:Meacham Int'l
2781:
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2581:
2580:Neighborhoods
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2079:
2077:0-393-73113-8
2073:
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2046:
2040:
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2024:
2020:
2014:
2011:
1998:
1994:
1988:
1985:
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1976:
1969:
1966:
1961:
1960:
1955:
1948:
1945:
1940:
1939:1959.13/35507
1936:
1932:
1925:
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1906:
1904:
1900:
1895:
1893:1-57958-434-9
1889:
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1868:0-8478-1330-4
1864:
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1838:0-8076-1543-9
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1634:
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1612:
1610:0-7148-4045-9
1606:
1602:
1601:Louis I. Kahn
1595:
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1472:
1471:"Kay Kimbell"
1466:
1463:
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1431:
1427:
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1389:Chen Jiayen,
1385:
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1273:Self-Portrait
1270:
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1035:
1032:
1028:
1025:
1024:Louis I. Kahn
1021:
1018:
1014:
1010:
1007:
1004:
1000:
997:In 1998, the
996:
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989:
985:
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890:
886:
881:
880:Richard Kelly
876:
874:
870:
869:Louis I. Kahn
866:
856:
849:
847:
845:
841:
840:Doge's Palace
836:
832:
830:
826:
821:
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813:
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732:that using a
730:
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688:
681:
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672:
669:
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657:
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649:
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640:Marcel Breuer
636:
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541:
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513:
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508:Ancient Egypt
505:
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311:
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296:
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288:
283:
281:
277:
273:
269:
268:Louis I. Kahn
263:
261:
260:American West
257:
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245:
241:
237:
229:
228:
223:
219:
215:
213:
209:
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197:
195:
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192:Louis I. Kahn
188:
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168:
163:
155:
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147:
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127:
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107:
102:
74:
72:
68:
65:
61:
57:
54:
46:
42:
35:
28:
23:
3328:
3270:
3123:Timber Creek
3118:Fossil Ridge
3049:Burleson ISD
3022:Other public
3008:Trimble Tech
2830:
2823:
2499:
2390:
2301:Carver Court
2209:. Retrieved
2205:
2195:
2185:
2177:
2167:
2159:
2149:
2141:
2129:. Retrieved
2125:the original
2115:
2104:the original
2099:
2086:
2067:
2061:
2049:. Retrieved
2039:
2027:. Retrieved
2023:the original
2013:
2001:. Retrieved
1997:the original
1987:
1978:
1968:
1957:
1947:
1930:
1924:
1915:
1883:
1877:
1858:
1828:
1794:. Retrieved
1790:the original
1780:
1771:
1762:
1754:
1749:
1737:. Retrieved
1733:the original
1729:"Collection"
1709:. Retrieved
1707:. 2021-06-17
1704:
1695:
1683:. Retrieved
1655:. Retrieved
1632:
1600:
1554:
1500:
1475:. Retrieved
1465:
1453:. Retrieved
1402:
1390:
1374:
1355:
1354:(Wen Chia),
1336:
1310:
1291:
1288:Paul Cézanne
1272:
1269:Paul Gauguin
1253:
1234:
1215:
1194:
1167:
1148:
1127:
1106:
1087:
1068:
1030:
1023:
1013:Boston Globe
1012:
986:
982:
958:
954:
910:
902:
893:
877:
872:
868:
864:
862:
837:
833:
814:
798:
783:
743:
726:
713:
705:
701:
693:
682:Architecture
673:
665:
637:
633:
625:The building
619:
608:
560:Precolumbian
464:Vigée-Lebrun
460:Gainsborough
412:Fra Angelico
404:Michelangelo
397:
394:Michelangelo
391:
387:
381:
366:
351:
330:
318:
303:
284:
264:
233:
225:
222:Michelangelo
201:
189:
176:
174:
3282:Attractions
3098:Everman ISD
3059:Crowley ISD
2998:South Hills
2993:Polytechnic
2832:Texas Eagle
2648:Sansom Park
2447:(1968–1974)
2430:(1972–1974)
2399:(1966–1972)
2393:(1966–1972)
2381:(1965–1971)
2375:(1962–1974)
2357:(1959–1965)
2333:(1957–1965)
2309:(1951–1953)
2206:ARTnews.com
1705:Artnet News
1335:Wang Zhao,
1294:, 1896–1897
1256:, 1819–1820
1170:, 1876–1877
1151:, 1716–1720
992:Recognition
961:Renzo Piano
883:perforated
630:Preparation
480:Caillebotte
365:, 1911–12,
326:Renzo Piano
208:old masters
203:Kay Kimbell
160:.kimbellart
140:Eric M. Lee
119:Collections
96: /
71:Coordinates
44:Established
3414:Categories
3108:Keller ISD
2983:North Side
2864:North Side
2692:Government
2663:Tanglewood
2653:Stockyards
2643:River Oaks
2633:Lake Worth
2287:Louis Kahn
2211:2020-12-29
1711:2021-07-14
1432:References
1399:Management
1375:Landscape,
1103:Caravaggio
980:in Paris.
708:travertine
660:Louis Kahn
594:, and the
428:Caravaggio
321:Louis Kahn
310:Louis Kahn
280:Bangladesh
254:) and the
240:Rembrandts
181:Fort Worth
113:Art museum
56:Fort Worth
3244:Libraries
3150:Northwest
3103:H-E-B ISD
3029:Aledo ISD
3003:Southwest
2933:Education
2772:DFW Int'l
2683:Woodhaven
2613:Eastchase
2489:Anne Tyng
2419:Parks and
2294:Buildings
2131:August 3,
1786:"Library"
1371:Gong Xian
1237:, c. 1738
899:Expansion
850:Skylights
468:Friedrich
452:Rembrandt
448:Velázquez
389:quality.
378:Joan Miró
299:Rembrandt
244:Van Dycks
230:, 1487-88
212:Southwest
3193:Tertiary
3039:Azle ISD
2778:Alliance
2765:Airports
2729:/former
2668:Wedgwood
2658:Stop Six
2628:Heritage
2603:Downtown
2570:Timeline
2438:Proposed
1827:(2005).
1477:July 12,
1455:July 12,
1415:See also
1191:El Greco
859:gallery.
606:figure.
556:Thailand
552:Cambodia
492:Mondrian
436:Guercino
424:Carracci
420:El Greco
416:Mantegna
380:, 1918,
350:, 1841,
291:El Greco
137:Director
52:Location
3385:Society
3113:Central
3076:Boswell
2988:Paschal
2940:Primary
2921:(The T)
2901:T&P
2869:T&P
2849:TEXRail
2720:Federal
2623:Handley
2562:History
2477:Related
2461:Founded
2421:gardens
2051:22 July
2029:July 7,
2003:July 7,
1796:July 6,
1739:July 6,
1685:July 7,
1657:July 7,
1352:Wen Jia
889:cycloid
825:cycloid
820:cycloid
810:portico
806:cycloid
801:cycloid
751:Estonia
738:cycloid
734:cycloid
697:portico
600:Oceanic
588:Nigeria
576:Zapotec
512:Assyria
504:Picasso
488:Bonnard
484:Matisse
472:Cézanne
456:Boucher
444:Poussin
440:La Tour
210:in the
198:History
153:Website
3392:People
3224:Closed
3173:Closed
3162:Brewer
3091:Watson
2973:Dunbar
2816:Amtrak
2797:Closed
2788:Spinks
2453:(1972)
2411:(1973)
2387:(1966)
2369:(1961)
2363:(1960)
2351:(1959)
2345:(1959)
2339:(1958)
2327:(1957)
2321:(1956)
2315:(1955)
2303:(1944)
2074:
1890:
1865:
1835:
1607:
1561:
1409:Louvre
1313:, 1860
1275:, 1885
1218:, 1632
1132:, 1580
1111:, 1594
1090:, 1310
908:well.
786:vaults
729:vaults
723:Vaults
598:, and
592:Angola
578:, and
554:, and
522:. The
516:Greece
496:Braque
432:Rubens
408:Duccio
297:, and
295:Rubens
287:Duccio
3264:Media
3145:Eaton
3013:Wyatt
2107:(PDF)
2096:(PDF)
784:True
759:shell
755:vault
604:Maori
584:Huari
580:Aztec
572:Olmec
548:Tibet
544:Nepal
540:India
536:Japan
532:Korea
528:China
524:Asian
476:Monet
185:Texas
60:Texas
2881:Bell
2699:City
2593:Como
2133:2010
2072:ISBN
2053:2014
2031:2010
2005:2010
1888:ISBN
1863:ISBN
1833:ISBN
1798:2010
1741:2010
1687:2010
1659:2010
1605:ISBN
1559:ISBN
1479:2010
1457:2010
927:Kahn
842:and
763:beam
654:and
568:jade
564:Maya
520:Rome
518:and
502:and
500:Miró
175:The
162:.org
109:Type
47:1972
2912:Bus
1935:hdl
617:).
242:or
179:in
158:www
132:350
64:USA
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1439:^
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2033:.
2007:.
1981:.
1962:.
1941:.
1937::
1896:.
1871:.
1841:.
1800:.
1774:.
1743:.
1714:.
1689:.
1661:.
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1567:.
1503:.
1481:.
1459:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
