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Top Companies, Trends, Growth Factors Details by Regions, Types and Applications

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Global Museum Art Market Report Added By Offers Analysis Of Industry Size, Share, Growth, Trends And Forecast Till 2026. Museum art market also covers the major key players, five forces analysis and market segmentation in detail. This report examines the global museum art market and provides revenue information for the period 2021 to 2026.

The research report on the Museum Art Market involves a thorough analytical examination and presentation of the current and future scenario of this industry vertical. According to the study, the market is expected to exhibit a healthy growth rate and generate substantial returns during the analysis period.

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Valuable insights regarding key industry trends, market size, growth opportunities, and industry revenue projections are also included in the market analysis. The report further draws attention to various industry segmentations and competitive backdrop of major players.

In addition, the report discusses the various changes brought about by the COVID-19 pandemic to provide a conclusive analysis of this commercial sphere.

Other takeaways from the museum’s art delivery market:

  • The report comprises a comprehensive examination of the competitive landscape of the Art Museum Handing Market defined by companies like
    • Agility
    • DHL
    • DB Schenker
    • Iron Mountain (Crozier)
    • Crown
    • MTAB
    • Freight systems
    • Etna
    • Fine arts logistics
    • Workshop 4
    • Grace
    • Helu-Trans
    • USArt
    • Yamato
    • Katolec
    • Mithals
    • Sinotrans
    • Deppon
    • Globaliner
    • Michele


  • The product catalog of listed companies, along with product specifications and main applications are illustrated in the report.
  • Other critical aspects such as the product pricing model, market position and revenue margins of each company are presented.
  • Based on product line, the museum art delivery market is classified into
    • Transport
    • Packaging
    • Storage
    • Other


  • Details regarding market share, sales model and compensation for each product segment are well documented in the report.
  • In terms of scope, the museum art delivery market is divided into
    • Public museum
    • Private museum
    • Museum exhibition


  • Substantial information regarding the sales volume and total revenue represented by each application during the study period is provided.
  • The business aspects such as the rate to market and the market concentration rate are also analyzed in depth.
  • Additionally, the study examines the market strategies employed by key industry competitors.

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An overview of the regional landscape of the museum art delivery market:

  • According to the report, the regional terrain of the Art Museum Handling market is divided into several regional markets including North America, Europe, Asia-Pacific, South America, Middle East, and Africa .
  • The market shares and returns accumulated by each region in recent years are taken into account.
  • Informative data affirming the revenue projections and estimates of the growth rate to be recorded by each region during the forecast period is highlighted in the report.


Study coverage: It includes key manufacturers covered, key market segments, the range of products offered in the Museum Art market, years considered, and study objectives. In addition, it touches on the segmentation study provided in the report based on product type and application.

Summary: It gives a summary of key studies, Art Museum market growth rate, competitive landscape, market drivers, trends and issues, and macroscopic metrics.

Production by region: Here, the report provides import and export information, production, revenue, and major players in all regional markets studied.

Manufacturer Profile: Each player presented in this section is studied on the basis of a SWOT analysis, its products, production, value, capacity and other vital factors.

For more details on this report:

Some of the main highlights of the table of contents cover:

Regional Museum Art Delivery Market Analysis

  • Museum art production by region
  • World production of works of art presented to museums by region
  • Global revenue from the distribution of works of art in museums by region
  • Consumption of works of art in museums by region

Museum Art Delivery Segment Market Analysis (by Type)

  • Global Museum Art Presentation Production by Type
  • Global Museum Art Distribution Revenue by Type
  • Award of the presentation of works of art to the museum by type

Museum Art Delivery Segment Market Analysis (By Application)

  • Global Museum Art Presentation Consumption By Application
  • Global Museum Art Consumption Market Share by Application (2014-2019)

Major Manufacturers Analysis of Museum Art Shed

  • Museum art production sites and area served
  • Product overview, application and specifications
  • Production, Revenue, Ex-factory Price and Gross Margin of Museum Works of Art Management (2014-2019)
  • Main activities and markets served

To learn more about related reports, please visit: growing-in-key-regions- reaching-to-the-next-level-in-the-coming-years-2021-07-24

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Isabella Stewart Gardner Museum Art Heist gets another narrative in new Netflix docuseries

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After more than 30 years, the story of the Isabella Stewart Gardner museum burglary has all the attributes of a spectacular drama about a real crime. The thief’s disguises, thugs and missing artwork valued at over $ 500 million have captivated and baffled law enforcement, journalists, book authors and podcast hosts. Yet no matter how many people look into the facts, the crime remains unsolved.

The new four-part Netflix docuseries “This Is a Robbery: The World’s Biggest Art Heist,” which premieres April 7, isn’t expected to put anyone behind bars anytime soon. But it will potentially introduce a new audience to the remarkable event and its seemingly endless number of weird characters and rabbit hole theories. Besides getting an entertaining fix and then spending the night, the hope of another Gardner tale, one presumes, is that the show could finally get someone who knows something to talk.

Told in four “chapters” of over 50 minutes, the first tells the story of the crime through a combination of dramatization, archival photographs, television news footage and ongoing interviews. At a minimum, the visual juxtaposition of yesterday and today serves as a stark reminder of the time that has passed. The people originally involved in the case have retired; suspects were murdered or died of natural causes. Even the boxy cars and clunky technology (convincingly portrayed in the scenes staged by the Berkshire Theater Group) suggest it’s time to pass the torch to a new generation of sleuths who are getting closer with each passing year.

The series opens with witnesses who say they saw two men dressed as Boston police officers sitting in a hatchback on Palace Road just outside the museum in the wee hours of March 18, 1990. A scene recreated shows the “officers” entered by telling museum security guard Richard Abath that they were investigating a disturbance. After handcuffing and blindfolding Abath and another guard, the thieves moved between the galleries for over an hour, littering the floor with broken glass and emptying the golden frames. A total of 13 pieces left the venue that night, including Rembrandt’s unique Seascape (“Christ in the Storm on the Sea of ​​Galilee”) and a Vermeer (“The Concert”), precious for its stunning sound. use of light and the limited number of his paintings in circulation.

While the first chapter drops several suspicious seeds to nurture later in the series, it does so impartially, without the thrilling music or sticky storytelling that makes other true crime dramas feel forced (strangely, both appear in the trailer). Instead, and preferably, it allows interviewees to showcase the museum’s intimidating Italian-inspired architecture, the incomparably arranged collection and the mastermind behind it, Isabella Stewart Gardner. Other reports on the heists, such as WBUR and The Boston Globe’s in depth Last seen podcast of 2018, gave him the same respect.

After a year without an actual gallery tour, seeing the interior of the museum was surprisingly poignant. So is Anne Hawley, former director of the Gardner and lead interviewee who recaps the crime and briefly points out that she is the first woman to oversee the world-class museum. She took the reins just six months before the heist, and footage presumably filmed the next morning shows her in shock. What a plate she was served and what a life she gave to the Gardner during her 25-year tenure.

Not all true crime aficionados will patiently wait for the juiciest stuff from who did it and why. The second chapter gets bogged down somewhat trying to explore the vulnerabilities of the museum and the more obvious theory that, like the majority of art thefts, this was internal work. For this reason, Abath always has sidelong glances. (Okay, he would go to work stoned sometimes, and photos from that night show him with long, curly hair, a tie-dyed t-shirt and a fanny pack, ready to attend a Grateful Dead concert.) former colleague Net describes him as the “type of hippie who’s good at chess,” a combo as overwhelming as the one who let thieves in. The series spices up with absurd humor.

Anne Hawley, Director Emeritus of the Isabella Stewart Gardner Museum, shown at a post-theft press conference in an image from “This Is a Robbery: The World’s Biggest Art Heist”. (Courtesy of Netflix)

No charges have ever been laid against Abath for this crime and the series sidesteps the dramatic potential to convey the terror he and his guard mate must have felt that night. (The other guard does not appear and often refuses interviews.) Although chapter two points out a number of peculiarities of the case (such as the disappearance of the duct tape used on the guards), this did not please me. left hanging as I hope to watch serial programs. I rarely want to hold my hand, but at the time it felt necessary.

Chapter Three redeemed that desire with a captivating glimpse into the range of known criminals with Mafia connections who have at one time or another been in the circle of heist suspects. The last chapter narrows down that list. There is a suggestion that in order to resolve this matter the answers must be found among the living. Once again, I found myself wanting something that I don’t usually have, a tidier ending like one of those pesky reporter ambush scenes that catch a suspect in his robe, searching for the newspaper. in the morning.

Series director Colin Barnicle, who produced “This Is a Robbery” through his production company he started with his brother Nick Barnicle, told The Berkshire Eagle that he has been working on the series for five or six. years. (The brothers also produced “Billy Joel: New York State of Mind,” a chronicle of the singer’s sold-out shows at Madison Square Garden.) For this series, Barnicle used comments from several current and former Boston Globe reporters. , including Stephen Kurkjian. , who wrote “Master Thieves: The Boston Gangsters Who Pulled Off the World’s Greatest Art Heist” and was a consultant producer on “Last Seen”. Globe’s parent company CEO Linda Pizzuti Henry was executive producer of the Netflix series.

Without making any shocking discoveries, “This Is a Robbery” offers a glimpse into what has happened then and since and may lead some viewers to further research. At this point, the heist has become a staple in Boston lore. As always, Boston can’t shake the lure of its history of white gangsters, especially when Irish and Italian crowds clash with each other or with elite institutions. With theories like these in the mix, the Gardner Heist story finds people unwittingly rooted for criminals, or art, or maybe both. We may never know exactly what happened that morning on Palace Road. But the mystery of the heist proved to be both intoxicating and enduring.

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Things to do in Chicago April 1-7: The WNDR Museum, Art on theMart and more

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Immerse yourself

The WNDR Museum, an immersive artistic and technological experience, has reopened its doors with new exhibitions featuring unique new and ongoing installations created by local and international artists, collectives and studios. New exhibits include the Flux Room, a 360-degree multisensory immersive experience curated by Chicago artist Santiago X, and “I Heard There Was a Secret Chord,” a piece created by Montreal design studio Daily every year. days, which invites participants to participate in a virtual choir hosted by people from all over the world listening to Leonard Cohen’s “Hallelujah” at any time. Among the current exhibitions is the fabulous immersive work of Japanese artist Yayoi Kusama “Let’s Survive Forever”. In addition, “Untitled (FDR NY) # 23 and # 24” by Keith Haring is now on display outside the museum. Find out all about it at the WNDR Museum, 1130 W. Monroe. Timed tickets, $ 30, must be purchased in advance. Visit

Across the universe

Art on theMart returns with “Astrographics” from the Adler Planetarium.

Art on theMart returns with “Astrographics” from the Adler Planetarium.
Courtesy art on theMart

Art on theMART is collaborating with the Adler Planetarium to transform the facade of the Merchandise Mart into a blend of art and science. The new projection on the art deco building, entitled “Astrography”, consists of four movements – Earth, other worlds, stars and beyond – which take the viewer from Earth to planets and stars and into the depths of the galaxy. The projections were created using real data showing the scale of the universe as well as images from telescopes of the world and Adler’s paper works. The exhibition will be accompanied by music from the archives of Sun Ra Arkestra at the Experimental Sound Studio. The 30-minute “Astrography” takes place every evening at 8:30 pm and 9 pm from April 1 to July 4. For more information, visit

For Oscar votes

“A love song for Latasha”
Copyright ShortsTV

Get a head start in your Oscar pool by projecting the Short films nominated for the 2021 Oscars presented by ShortsTV. Documentaries include “A Love Song for Latasha,” a portrait of a young girl whose gunshot death sparked the 1992 LA riots, and “Do Not Split,” the story of the 2019 Hong Kong protests. . Live-action films include “Feeling Through,” about a teenager’s connection to a deafblind man, and “White Eye,” which follows a man as he tries to retrieve his stolen bicycle. Nominated in the animation category is Disney-Pixar’s “Burrow”, about a young rabbit’s desire to build the burrow of his dreams. The films are available from April 2 in various Chicago and suburban theaters and on their virtual platforms. The 93rd The Oscars take place on April 25. For more information, visit

Young circus artists


Dan Roberts

CircEsteem, the Uptown organization whose mission is to unite young people and promote self-esteem and mutual respect through the circus arts, presents Celebration of the social circus day, an online event featuring social circuses from around the world. In addition to live segments, the lineup includes performances recorded by the performance group Youth Acts of CircEsteem, Circus Harmony (St. Louis), ENC of Puerto Rico, Fern Street Circus (San Diego), Red Nose Foundation (Indonesia), Trenton Circus Squad (New Jersey) and Zip Zap Circus (South Africa). Broadcasts at 5 p.m. on April 3. Tickets: free or pay what you can. Visit

Color your world

“Maybe Something Beautiful” is a collaboration between the Chicago Children's Theater and musicians from CSO.

“Maybe Something Beautiful” is a collaboration between the Chicago Children’s Theater and musicians from CSO.

The Chicago Children’s Theater and the Chicago Symphony Orchestra’s Negaunee Music Institute collaborated on “Maybe something beautiful” a new virtual short film for children and families. Inspired by the award-winning book by F. Isabel Campoy and Theresa Howell, illustrated by Rafael López, the film brings together five CSO musicians performing classic works by Latino composers, bilingual English-Spanish narration and colorful puppets to tell a true story about the how art can transform a neighborhood into a world of hope and beauty. The free movie debuts at 10 a.m. on April 1 at an event co-hosted by CCT and CSO and available on demand thereafter. Visit or

biblical inspiration

The Conspirators present the

David Cerda (center) and his friends perform “This Jesus Must Die” from “Jesus Christ Superstar Do-It-Yourself Messiah Complex”.
Candice Conner

The Conspirators present the return of “Jesus Christ Superstar Do-It-Yourself Messiah Complex,” its annual Easter variety and sing-along extravaganza. The vaudeville-style show features performances of songs from the 1970 recording of the classic musical by Tim Rice and Andrew Lloyd Webber. Performances can range from a simple song on a karaoke track to a modern or burlesque dance piece. On the program: Saint Sparklebear, the Cryptid Kid, David Cerda & Friends, Mari DeOleo, Sid Feldman, les Vaudettes, Danielle Levsky, Nathaniel Fishburn, Carey Farrell & the Clamor & Lace Noise Brigade, Sarah Bullion, Gail Gallagher, Jeff Churchwell, Caroline Shaul, Cocktail Jordan & Pearly White, Brian Nemtusak and Rose Freeman, all hosted by Wm. Lingots. Stream for free at 7 p.m. on April 4. Visit

Virtual stage

Julian Parker will play the title role in the Chicago Shakespeare Theater production of I, Cinna, written by Tim Crouch and directed by Tyrone Phillips.  Photo courtesy of the Chicago Shakespeare Theater.

Julian Parker stars in the Chicago Shakespeare Theater production of “I, Cinna”, written by Tim Crouch and directed by Tyrone Phillips.
Courtesy of the Chicago Shakespeare Theater

In the filmed setting of the Chicago Shakespeare Theater by Tim Crouch “Me, Cinna (the poet)”, the apolitical poet Cinna from “Julius Caesar” seeks the subject of his new poem in this exploration of words and actions, protests and power. Broadcasts from April 5 to May 2. Tickets: $ 25. Visit … The Remy Bumppo Theater presents “Artist descending a staircase”, a first radio play by Tom Stoppard in which two elderly artists examine their emotional and artistic histories. Free broadcast from April 5 to 18. Visit … Ghostlight Ensemble’s launches its new reading series “For Your (Re) Consideration” with Margaret Cavendish’s “The convent of pleasure”, a play about a group of single women who create their own perfect, self-sustaining society. Broadcast live at 2 p.m. on April 4 and on demand until April 30. Tickets: $ 5 or pay what you can. Visit

Mary Houlihan is a local freelance writer.

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The story of the Berkshire Museum art auction comes to the symposium circuit. Critics Denied Place on Panel | Local News

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Berkshire Museum (copy)

At an online symposium this week, two former Berkshire Museum executives – Van Shields, its executive director, and Elizabeth McGraw, its board chair – are expected to discuss the institution’s art sale in 2018 .

PITTSFIELD – Although Van Shields and Elizabeth McGraw are no longer at the Berkshire Museum, they will come together this week to explain the museum’s drive to sell its most valuable art a few years ago. Those who opposed this sale may or may not be heard.

Shields and McGraw will appear on Thursday as members of an online panel in a symposium titled “Dismissal after 2020,” sponsored by the College of Law and the Graduate Program in Museum Studies at the University of Syracuse.

The Berkshire Museum sale predates the coronavirus pandemic. Claiming it needed to get its finances back on track, the museum fended off legal challenges and opposition from local group Save the Art to sell famous works by Norman Rockwell, Alexander Calder and Albert Bierstadt, among others, raising $ 53.25 million. dollars.

Almost three years later, Shields and McGraw will be part of a panel titled “Regional Museums Make Tough Decisions and Broaden Their Horizons”. It is believed to be the first time the two – Shields, the museum’s former executive director, and McGraw, its former board chair – have joined together to speak publicly about the controversial sale.

When Hope Davis of the Save the Art group learned of the panel’s existence, she asked her organizers to be included. The dean of Syracuse Law School refused, saying the panel was not supposed to debate the merits of the sale.

“This session is not a forum to debate the good or the bad – nor the good or the bad – of these decisions,” wrote Craig M. Boise, the dean, in an e-mail to Davis, declining his request. to join the panel.

Davis said in an interview that she believes the museum divestiture still deserves debate. And she believes the panel’s design, which includes the experience of a small Syracuse museum that sold an artwork in 2020, could distort the context for the Pittsfield sale.

Van Shields Elizabeth McGraw Mark Gold.jpg

Syracuse University Symposium panelists with links to the Berkshire Museum, from left to right: Van Shields, former executive director; Elizabeth McGraw …

“They are de facto trying to legitimize what they have done,” Davis said. “The Berkshire Museum remains very much in people’s minds. Even though it was an outlier, it was the forerunner of what we are seeing now. “

Boise could not be reached on Tuesday to comment on the composition of the panel.

In two messages to Davis, Boise said that an opponent of the Berkshire Museum art sale was pictured on another panel. This is Nicholas O’Donnell, the Boston attorney who represented three Lenox residents who sought, unsuccessfully, to block the sale.

Boise also said the symposium includes “at least two distinguished museum executives – Michael Conforti and Tom Campbell – who are very conservative in their outlook.” Conforti is a former director of the Clark Art Institute in Williamstown.

If organizers intended to foster debate at Thursday’s panel with Shields and McGraw, Boise said a group like Save the Art would have been included, along with people critical of a sale by the other museum represented on the same panel, the Everson Museum of Art. in Syracuse.

“We would certainly have reached out to those who opposed the actions of these two museums,” Boise wrote to Davis. Copies of their electronic correspondence were obtained by The Eagle.

In October, the Eversons sold a Jackson Pollock painting, “Red Composition, 1946,” for $ 12 million through Christie’s auction house. The museum said in a statement at the time that it would use the proceeds to diversify its collection “to focus on the work of artists of color, women artists and other under-represented, emerging and mid-level artists. -career”.

Some of the proceeds from the sale, he said, will also be spent on maintaining his 10,000-piece collection, a use sanctioned by the American Alliance of Museums and New York State Regents. .

Van Shields, supporter of controversial art sales, bows out at Berkshire Museum

PITTSFIELD – After taking over as head of the Berkshire Museum in 2011, Van Shields surprised his new colleagues by talking about “monetizing” the collection of the Pittsfield institution. It took six …

The sale of the Berkshire Museum, by contrast, has been criticized by directors of the Association of Art Museum Directors for violating its policy on art sales.

The group ordered its 243 members not to collaborate with the Pittsfield institution. The sale also met with opposition from the executive director of the Massachusetts Cultural Council and the American Alliance of Museums. This led the Smithsonian Institution to terminate its affiliation with the Berkshire Museum.

The museum is spending around $ 3.5 million on repairs to its home at 39 South Street, including a sewer line, waterproofing and installing a freight elevator and is now redeveloping the space from its second floor.

The panel

Thursday’s panel with Shields and McGraw is described by the symposium as a time to hear from people who “have been there and done this” and will share what went into their decision-making and experiences, providing important lessons for others involved in the leadership of similar institutions.

In addition to former Berkshire Museum officials, viewers will hear from Everson’s Executive Director Elizabeth Dunbar and Chairman of its Board of Trustees Jessica Arb Danial.

The symposium describes panel participants as people who have worked in smaller communities and on tighter budgets than museum executives in large cities.

“One could argue that museums in places like Syracuse, New York and Pittsfield, Massachusetts, are more closely linked – and perhaps more essential – to their communities than their counterparts in large metropolitan areas,” the panel’s program states. “Their volunteer councils are usually not people who can afford to fill structural deficits or fund bold and important initiatives. “

He continues, “These museums are where the ‘rubber hits the road’ in terms of professional standards and the ability of these museums to survive and thrive in the service of their communities, all within the context of their legal obligations to their institutions. . “

McGraw and Shields aren’t the only local names to participate.

Joseph Thompson, founding director of the Massachusetts Museum of Contemporary Art in North Adams, will participate in a panel Thursday titled “Allocation of Museum Resources: The Cost of Collection.”

And two people who have spent long hours on the disputed Berkshire Museum sale – from different perspectives – will sit on the same panel. A session titled “Legal Issues, Strategies and the Role of the Courts” includes Courtney Aladro of the State Attorney General’s Office, who worked in 2017 and 2018 to ensure the Pittsfield Museum follows the law.

On that same program will be the man who initially informed Attorney General Maura Healey’s office of the museum’s plan to sell works of art: Mark Gold, of the law firm of Pittsfield Smith Green & Gold LLP. They will be joined in the four-member panel by O’Donnell, the Boston attorney who filed a lawsuit against the sale.

Gold will also host a Friday morning panel on the ethics of museum sales of works of art. Its title refers to “direct care,” a term used to describe the proper use of proceeds from sales. The panel is titled “Direct care: a critical concept that still struggles to make sense”. And Gold and O’Donnell will be part of an “Ask the Lawyers” panel on Friday.

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Hassrick is known as a “giant” in the world of museums and art | Local News

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A true leader in the world of museums and art, Peter Hassrick died on Friday at the age of 78.

“Peter was truly one of the giants of the museum world,” said Peter Seibert, executive director of the Buffalo Bill Center of the West. “The world of museums, especially in the Rocky States, is small and there are many interconnected circles. He was regarded by everyone not only as a brilliant scholar, but also as a true gentleman in every sense of the word.

Hassrick began working as a high school history and Spanish teacher in the 1960s, but then found his true calling in art history.

“Peter was truly one of the most important art historians of his day and no one worked more passionately than he to bring international attention to West American art,” said Karen McWhorter , curator of the Whitney Western Art Museum. “This unprecedented passion combined with a singular intellect has inspired a multitude of influential exhibitions, conferences and publications.”

His career began in Fort Worth at the Amon Carter Museum as curator of collections. In 1976, Hassrick became director of what was then the Buffalo Bill Historical Center, a position he held for 20 years.

“During his tenure, he catapulted the Center into national and international spotlight, consolidated the institution’s finances, oversaw an impressive improvement in the physical facility of the museum, and fostered the growth of collections and staff,” said McWhorter said. “It is important to note that he oversaw the founding of the Plains Indian Museum in 1979, working hand-in-hand with an advisory board made up of representatives of the Plains Tribes to create an award-winning installation.”

Hassrick also helped establish a research library in the Center.

“Over time, he was responsible for encouraging large donations of rare books and unique archival collections to the library,” said Mary Robinson, Housel director of the McCracken Research Library. “Without his persistent efforts and generous contributions, the McCracken Research Library would not be what it is today, a solid and consistent resource for scholarship on the American West. Peter Hassrick was a unique person. In him we have lost a beloved scholar and colleague.

Hassrick also shaped the Whitney Western Art Museum through his acquisition of works of art; published articles, essays, books and online resources inspired by the collection, and organized numerous exhibitions including, most recently, Painted Journeys: The Art of John Mix Stanley (2015) and Albert Bierstadt: Witness to a Changing West (2018).

“Peter was full of ideas and was never without an exciting project,” said McWhorter. “He was the kind of person who could easily inspire a room full of people to join him in any business. When Pierre spoke, people listened. When Peter spoke, it was a difficult act to follow.

After leaving the Center, Hassrick became the founding director first of the Georgia O’Keeffe Museum in Santa Fe, NM, and then of the Charles Russell Center for the Study of Western American Art at the University of Oklahoma in Norman. He then established the Petrie Institute of American Western Art at the Denver Art Museum.

Since 2011, Hassrick has served as Director Emeritus and Principal Investigator of the Buffalo Bill Center of the West.

“We were so lucky that he decided to go back to Cody to retire in 2011, although to Peter retirement seemed a little different than it is for most. He kept an office at the Center and worked longer hours than many paid employees, ”said McWhorter. “Peter was my Google… really, he was better than Google. If I had a question related to museum work or West American art or history, I would ask Peter and be completely confident in his answer.

“He was the last word on countless subjects, and I was fortunate to count him as a friend and colleague for a decade, someone who would always take time for me and my questions.”

Seibert became executive director in November 2018 and said he spoke with Hassrick frequently.

“He was a great personal resource for me and was totally dedicated to the best interests of the institution,” he said. “Together, we found common ground on the story of Joseph Henry Sharp, the artist from New Mexico and Montana, who was Peter’s passion last year. I was honored in my first few months here that he asked me to write a foreword to the book he wrote on this subject.

Hassrick is widely acclaimed for his reasoned books and catalogs on Albert Bierstadt, Charlie Russell and Frederic Remington, George Carlin and Buffalo Bill, among others.

“He literally ‘wrote the book’ – in his case books (over 25 and contributed to over 50) – about many Western American artists, including Frederic Remington, Charles M. Russell, AP Proctor, Ernest L Blumenschein, John Mix Stanley and others, ”McWhorter said.

He also gave time to young academics equally enamored of the West, the so-called “Hassrick mentees”.

“While others might have rightly rested on their laurels, Peter has worked tirelessly to raise the next generation of West American art lovers,” said McWhorter. “He was a busy man, but he always gave generously of his time and advice and provided great advice and important connections to many people at critical times in their careers. I am one of this group of ‘Hassrick mentees’ and couldn’t be more grateful for the decade I spent learning alongside Peter. “

Hassrick leaves behind his wife Buzzy, his two sons and their families. Plans for a celebration of life are pending.

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