Whitney, Gertrude Vanderbilt

orig. Gertrude Vanderbilt

born Jan. 9, 1875, New York, N.Y., U.S.

died April 18, 1942, New York City

U.S. sculptor and art patron.

Great-granddaughter of Cornelius Vanderbilt, she was born to great wealth and studied sculpture in New York City and Paris. Among her major works were the Titanic Memorial (1914–31) in Washington, D.C., and Victory Arch (1918–19) in New York. All her works were simple, direct, and traditional. In 1929 she offered to donate her collection of about 500 works by modern American artists to the Metropolitan Museum of Art but was refused by the traditionalist director. The next year she founded the Whitney Museum of American Art, also in New York City, which opened in 1931; today it is the foremost museum of American art.

* * *

▪ American sculptor

original name  Gertrude Vanderbilt  

born January 9, 1875, New York, New York, U.S.

died April 18, 1942, New York City

 American sculptor and art patron, founder of the Whitney Museum of American Art in New York City.

      Gertrude Vanderbilt was a great-granddaughter of Commodore Cornelius Vanderbilt (Vanderbilt, Cornelius), founder of one of America's great fortunes. From her early years she was interested in art, and after her marriage in 1896 to Harry Payne Whitney, she began to pursue sculpture seriously, studying in New York and Paris.

      In 1907 she opened a studio in Greenwich Village and the following year won her first prize, for a sculpture entitled Pan. Among her later notable creations were the Aztec Fountain (1912) for the Pan American Building and the Titanic Memorial (1914–31), both in Washington, D.C.; the Victory Arch (1918–20), the Washington Heights War Memorial (1921), and the Peter Stuyvesant Monument (1936–39), all in New York; the Saint-Nazaire Monument (1924) in Saint-Nazaire, France; and the Columbus Memorial (1928–33), in Palos, Spain. All her works are simple, direct, and for the most part traditional in character. She also worked on a more modest scale, creating many sculptures in reaction to World War I, which deeply affected her. In 1923 she had a major exhibition of works on this subject at the Art Institute of Chicago.

      At her Greenwich Village studio she came in contact with progressive young artists such as Robert Henri, William J. Glackens, John Sloan, George Luks, and Arthur B. Davies. She bought many of their works and, in reaction to their trouble finding an exhibition space, opened the Whitney Studio in a building adjoining her work studio in 1914. She prevailed upon her sister-in-law's secretary, Juliana R. Force, to help manage it.

      From that beginning, the Whitney Studio Club evolved in 1918 and the Whitney Studio Galleries came into being in 1928. Whitney's encouragement and tangible assistance helped a great many young artists—including, in addition to those aforementioned, Joseph Stella, Charles Sheeler, Reginald Marsh, Edward Hopper, John Steuart Curry, and Stuart Davis.

      Whitney's own collection of contemporary American art grew as she became involved in the New York art world. In 1929, believing that American modernists deserved greater recognition, she offered to donate her entire collection of about 500 works of American artists to the Metropolitan Museum of Art in New York. The conservative director of the Metropolitan refused the offer, whereupon Whitney set about the next year founding her own institution, the Whitney Museum of American Art, which was founded in 1930. The museum opened in November 1931 in Greenwich Village and moved in 1954 to West 54th Street and then, in 1966, to West 75th Street and Madison Avenue. She also helped fund the Whitney Wing of the American Museum of Natural History in New York.

Additional Reading

B.H. Friedman, Gertrude Vanderbilt Whitney (1978); Flora Miller Biddle, The Whitney Women and the Museum They Made: A Family Memoir (1999); Gertrude Vanderbilt Whitney Conner, Those Early Years (1999).

* * *