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The Museum Receives a Major Bequest of American Paintings
The Museum recently announced the bequest of more than fifty works of American art from the late philanthropist and art collector Daniel W. Dietrich II. It has also received an endowment gift from Mr. Dietrich’s charitable funds to support initiatives in the field of contemporary art.

The bequest includes works by contemporary artists Cy Twombly, Philip Guston, Paul Thek, Agnes Martin, and Eva Hesse and major twentieth-century American artists Edward Hopper, Horace Pippin, Marsden Hartley, and Charles Demuth. A lifelong admirer of the nineteenth-century Philadelphia realist Thomas Eakins, Mr. Dietrich also bequeathed a major portrait by Eakins as well as photographs, drawings, and a large cache of Eakins-related archival materials.
The Museum Acquires Important Paintings by Cézanne, Manet, Pissarro, Morisot, and Duchamp
The Museum recently announced several important gifts to its collection. Five paintings were acquired as a bequest from longtime supporter Helen Tyson Madeira. They include Mont Sainte-Victoire (1902–6) by Paul Cézanne; Basket of Fruit (1864) by Édouard Manet; Railroad to Dieppe (1886) and Avenue de l’Opéra: Morning Sunshine (1898), both by Camille Pissarro; and Young Girl with Basket (1892) by Berthe Morisot. In addition, two rare early portraits by Marcel Duchamp have been received from Yolande Candel, daughter of Duchamp’s lifelong friend Gustave Candel. They depict her grandparents and were painted in Paris in 1911–12.

These works, currently on view in the galleries, add greater depth to areas of the collection that are already very strong. The Museum has extensive holdings of the works of Cézanne and houses the world’s largest collection of works by Duchamp.
The Keith L. and Katherine Sachs Collection of Contemporary Art
The Museum has recently acquired one of the country’'s leading private collections of contemporary art, formed by Keith L. and Katherine Sachs. The Sachs Collection, a promised gift of nearly one hundred works from the 1950s to the present, is exceptional for its concentration of art by American masters Jasper Johns and Ellsworth Kelly. It also reflects a strong focus on major British and German artists such as Richard Hamilton and Joseph Beuys, important outdoor sculpture including those by Richard Serra and Tony Smith, large-scale photography by artists such as Jeff Wall and Andreas Gursky, and video art by celebrated figures Bill Viola and Steve McQueen, among others.

Closely associated with the Museum for decades, Keith (a Trustee since 1988) and Katherine Sachs have been collecting art with great dedication for more than forty years. To celebrate this transformative gift and the couple’s exceptional generosity, the Museum has named its renowned modern and contemporary art galleries The Keith L. and Katherine Sachs Galleries. The Museum will present a full-scale exhibition devoted to The Sachs Collection, and an accompanying scholarly catalogue, in the summer of 2016.
The Paul Strand Collection
The Philadelphia Museum of Art has acquired, through several gifts and a purchase agreement with the Aperture Foundation, the core collection of photographs by Paul Strand, one of the preeminent photographers of the twentieth century. As a whole, this acquisition comprises more than 3,000 prints and lantern slides, including the finest examples of every image in the Archive. Joining the more than six hundred Strand photographs already in the Museum's collections, this acquisition makes the Philadelphia Museum of Art the world's most important repository for the study of his work.
Gallery 101, American Art, first floor

Yarrow Mamout, an African American Muslim who won his freedom from slavery, was reputedly 140 years old in 1819, when Charles Willson Peale painted this portrait for display in his Philadelphia Museum. Although Peale learned this was a miscalculation, the story of eighty-three-year-old Yarrow (c. 1736–1823), a native of the West African country of Guinea who was literate in Arabic, was still remarkable. As Peale noted, Yarrow was “comfortable in his Situation having Bank stock and [he] lives in his own house.”

A rare representation of ethnic and religious diversity in early America, and an outstanding example of Peale’s late naturalistic style, the picture is distinguished by the direct and sympathetic encounter between the artist and his subject and the skilled rendering of the details of physiognomy and age. Yarrow’s knit cap suggests a kufi, a hat traditionally worn by African Muslim men to assert their religion or African identity, but Peale artfully employs its yellow band to highlight his steady gaze with its glint of humor and wisdom.

Seventy-seven years old when he created this portrait, Peale was seeking a record of the personal traits that he believed supported a long life. In his writings and museum displays Peale celebrated making wise choices to maintain good health and a positive attitude, and he perceived Yarrow’s perseverance through his difficult life as a model of resourcefulness, industriousness, sobriety, and an unwillingness to become dispirited.

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