The History of Delaware Art Museum
Located on the Kentmere Parkway in Wilmington, Delaware, the Delaware Art Museum traces its origins to a specific moment of loss and communal intent. The institution was founded in 1912 as the Wilmington Society of the Fine Arts. This establishment followed the death of the artist Howard Pyle in November 1911. The museum was created to honor his memory and the artistic legacy he left behind in the region.
The founding charter established a clear purpose for the institution. It sought to promote the knowledge and enjoyment of the fine arts within the State of Delaware. This mission drove the early efforts of the society to gather and preserve works that would resonate with the local community. The museum has remained a steady presence in Wilmington, growing from those initial intentions into a significant repository for diverse artistic movements.
A Significant Pre-Raphaelite Collection
The museum holds the largest and most important collection of British Pre-Raphaelite art and manuscript materials in the United States. This assembly originated through the efforts of Samuel Bancroft, Jr., who began acquiring these works in the 1890s. His interest in the movement led to a substantial accumulation of pieces that eventually reached the Wilmington Society of the Fine Arts in 1935 through a donation from the Bancroft family. The collection focuses on the English Pre-Raphaelite Brotherhood, a group of young British painters who formed in 1848 to challenge the traditional historical painting styles of the Royal Academy.
To stand before these works is to encounter the specific intensity of the mid-19th century. The presence of the original manuscript materials provides a direct connection to the creative processes of the Brotherhood. The collection includes significant works by Dante Gabriel Rossetti, such as:
- La Bella Mano, 1874
- Veronica Veronese, 1872
- Hesterna Rosa, about 1865
- Water Willow, 1871
- Mary in the House of John, 1858
- Mnemosyne, 1881
The paintings by Edward Burne-Jones and Ford Madox Brown also reside here, offering a continued look at the movement's development. These works exist as physical presences that reflect the aesthetic shifts of the era. The depth of the holdings allows for a sustained study of the artists' intentions and their departure from the academic conventions of their time.
American Art and Illustration Collections
The American art collection spans more than 200 years, tracing a lineage from the early 19th century through to the 21st century. This breadth allows for a direct encounter with the evolution of American visual language. The museum was founded to preserve the work of Wilmington-based artist Howard Pyle, whose presence remains central to the institution's identity. His influence extends through the generations of illustrators who studied under him, such as N. C. Wyeth, whose dramatic narratives helped define the golden age of American illustration.
The holdings include works by masters such as Raphaelle Peale, Edward Hopper, and Loïs Mailou Jones. These artists represent a significant portion of the American experience, from early portraiture to modern explorations of light and form. The collection also features significant holdings of work by John Sloan, a key figure associated with the Ashcan school. His paintings often capture the grit and atmosphere of urban life, providing a grounded perspective alongside the more polished traditions of American painting.
Major Acquisitions and Donations
The foundation of the collection rests upon the generosity of those who recognized the importance of preserving specific artistic legacies. Following the death of Howard Pyle, his widow, Anne, provided over one hundred drawings, paintings, and prints to the institution. This initial gift helped establish a permanent home for works that might otherwise have been dispersed. The museum now holds more than 12,000 objects, a breadth of material that reflects decades of focused acquisition and the continued interest of local patrons.
The landscape of the museum is also a product of significant land donations. The estate of Samuel Bancroft, Jr. offered a collection of Pre-Raphaelite works along with eleven acres of land to the Wilmington Society of the Fine Arts. This gift included eleven acres of gently rolling countryside near Kentmere Parkway, which the Bancroft family later donated to ensure the collection had a dedicated space. These physical holdings provide the necessary environment for the study of the many artists represented within the walls, including N.C. Wyeth and Frank Schoonover.