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This article is about an American art historian. For other people with a similar name, see William Jordan.

William B. Jordan
Jordan around 2011–2013
Born(1940-05-08)May 8, 1940
Nashville, Tennessee, U.S.
DiedJanuary 22, 2018(2018-01-22) (aged 77)
Dallas, Texas, U.S.
NationalityAmerican
EducationWashington & Lee University (BA)
New York University Institute of Fine Arts (MA, PhD)
OccupationArt historian
Known forArt acquisition, curation, research
SpouseRobert Dean Brownlee

William Bryan Jordan Jr. (May 8, 1940 – January 22, 2018) was an American art historian. Considered an authority on Spanish art, he facilitated acquisitions, curated exhibitions, and authored publications on still life paintings and artists from the Spanish Golden Age.

Born and raised in Nashville, Tennessee, and later in San Antonio, Texas, Jordan studied at Washington & Lee University before completing his doctorate from the New York University Institute of Fine Arts in 1967. He became the founding director of the Meadows Museum at Southern Methodist University the same year. With Algur H. Meadows' financial support, Jordan helped the museum acquire around 75 paintings and is credited with turning its collection into one of the most prominent collections of Spanish art outside Spain. He also served as the chair of fine arts at the Meadows School of the Arts and adjunct curator of the Dallas Museum of Art.

Jordan joined the Kimbell Art Museum as the deputy director and chief curator in 1981, where he curated several exhibitions. He was involved in organizing El Greco of Toledo (1982), containing the most extensive collection of paintings by El Greco. He retired in 1990 and focused on independent exhibitions and publications. His 2005 book Juan Van Der Hamen Y León & the Court of Madrid culminated in his research work of over 40 years on the Spanish painter Juan van der Hamen. Jordan was on the board of various museums and art institutes and was made an honorary trustee of the Prado Museum in 2017. He died from complications of idiopathic pulmonary fibrosis in 2018.

Jordan was known for his ability to recognize authentic and significant paintings. He worked as an expert during acquisitions for various museums and maintained a private collection with his husband Robert Dean Brownlee, from which they donated several works. For example, Jordan purchased a then-misattributed painting—that he believed was painted by Diego Velázquez—for £1,000 in 1988. The painting was authenticated by the Prado Museum as a work of Velázquez in 2016 and subsequently valued at around US$6 million. Jordan donated the painting, now titled Portrait of Philip III (1623–1631), to the Prado Museum later.

Early life and education

The Peggy Pitman Mays Gallery at the McNay Art Museum in San Antonio, Texas, with five paintings and a sculpture on display
Jordan became interested in art while working at the McNay Art Museum during summers.

William Bryan Jordan Jr. was born on May 8, 1940, in Nashville, Tennessee, to Dixie Owen Jordan and William Bryan Jordan. He had three sisters: Ettie Lu Jordan Soard, Frances Jordan Hearn-Rigney, and Sue Jordan Rodarte. They relocated to San Antonio, Texas in 1945, where Jordan attended Alamo Heights High School.[1] Over the summers, he worked at the McNay Art Museum and was mentored by its first director John Palmer Leeper.[2] Jordan graduated cum laude in 1962 with a bachelor's degree in art history from Washington & Lee University,[3] and completed his master's and doctorate in the history of Spanish art from the New York University Institute of Fine Arts in 1964 and 1967, respectively.[2]

Under the supervision of Spanish art historian José López-Rey [es], Jordan focused on life and works of Juan van der Hamen for his doctoral thesis.[4] He spent eleven months during 1965–66 in Spain and evaluated archival sources at Archivo de Protocolos [es], Granada Cathedral, Archiepiscopal Palace of Alcalá de Henares, and Archivo General de Simancas. Documents that he found expanded upon the knowledge of van der Hamen at the time;[5] Jordan was able to describe for the first time biographical details such as the genealogy of the artist's family, details of his marriage petition and estate, personal history of his children, and paintings and catalogs found in his studio after his death.[6]

He compiled a comprehensive illustrated catalog of paintings by van der Hamen, divided into three parts: "extant works," which consisted of works he could confirm that belonged to the artist, including previously unpublished paintings,[7] "problematic works," whose attribution he could not be certain about, and "lost works."[8] While around 30 paintings attributed to the artist were known to be lost before Jordan began his research, he was able to list a total of 204 "lost works" from the archives he evaluated. [9] Jordan presented his research as an œuvre (complete body of an artist's work)[10] and monograph on the painter in his two-volume 1967 dissertation, Juan van der Hamen y León.[11] Over the years, the dissertation became a frequently cited reference in publications related to Spanish art. [5]

Career

Southern Methodist University and Dallas Museum of Art: 1967–1981

Entrance to the Meadows Museum
Jordan became the founding director of the Meadows Museum in 1967.

When the Meadows Museum opened at Southern Methodist University in Dallas, it was struggling with an art scandal that had damaged its reputation; 44 paintings in the museum's collection turned out to have been forgeries,[12] including counterfeits by Elmyr de Hory. [13] In 1966, while Jordan was still a doctoral student, Algur H. Meadows, the museum's founder and benefactor, offered him the position as its director. Jordan and López-Rey visited the museum to assess the collection; they concluded that many were misattributed.[14] Jordan commented that the collection "was not very good" and that he would have to "essentially build from scratch." [15] Meadows pledged US$1 million to replace their Spanish art collection, and Jordan accepted the job.[16]

In 1967, Jordan became the founding director of the Meadows Museum and chair of fine arts at the Meadows School of the Arts.[13] Meadows appointed him to the position even though he had no prior work experience, within the year Jordan had completed his doctorate.[17] The museum closed for a few months, and Jordan began evaluating its collection with help from López-Rey and Diego Angulo Íñiguez.[14] He auctioned off paintings that he deemed insignificant for a museum collection and put others in reserve for study purposes. The 35 auctioned paintings brought in only US$35,000. Jordan revamped the collection by acquiring new paintings before the museum reopened; the collection included Yard with Lunatics (1794) by Francisco Goya, and works of Bartolomé Esteban Murillo and Francisco de Zurbarán. [13]

Jordan revealed the acquisition of Jacob Laying the Peeled Rods Before the Flocks of Laban (1665) by Bartolomé Esteban Murillo in his 1968 article. The painting is one of five paintings on Jacob by Murillo, which Jordan described as the "singularly important monument in the history of Spanish XVIIth-century paintings." [18]

In a 1968 article, "A Museum of Spanish Painting in Texas" published in Art Journal, Jordan highlighted the museum's recently acquired paintings and stated that they had begun an acquisitions program to expand their collection further;[19] he followed up on the article with the 1974 book, The Meadows Museum: A Visitor's Guide to the Collection, an illustrated catalog of the works in the museum.[20] In 1971–72, Jordan organized an exhibition on a collection of works related to Dennis Hopper, and a postwar art exhibition of works by Andy Warhol, Robert Rauschenberg and Wallace Burnett at the University Gallery of Southern Methodist University. He was involved in organizing Poets of the Cities: New York and San Francisco 1950–65 (1974), an exhibition on international contemporary arts, at the University Gallery and Dallas Museum of Arts.[21]

Jordan taught courses on Spanish art history and "Museums and Collecting" at the Meadows School of the Arts, where he was appointed as a full professor in 1975.[13] Jordan joined the Dallas Museum of Art as the adjunct curator of European art in 1977, a post he held until 1982.[22] He curated Dallas Collects: Impressionist and Early Modern Masters for the 75th anniversary of the Dallas Museum of Art in 1978. Jordan assembled 115 works from private collections in Dallas for the exhibition and published their scholarly descriptions in the accompanying catalog.[23] In the subsequent years, he became a member of the Board of Trustees and member and chairman of the Committee on Collections of the Dallas Museum of Art. [22]

Jordan served as the general secretary of the American Society for Hispanic Art Historical Studies from 1976 to 1978, where he was a founding member.[24] He hosted the first exhibition of Patsy and Raymond Nasher's sculpture collection at the Owen Fine Arts Center of the Meadows School of the Arts in 1978; the Nashers encouraged by the confidence shown by Jordan, started expanding their collection, which eventually became the foundation of the Nasher Sculpture Center.[25] He also helped to develop the museum's sculpture collection at the "Elizabeth Meadows Sculpture Garden" (later renamed as "The Elizabeth Meadows Sculpture Collection"), named after Meadow's second wife.[26] The collection of modern sculptures consisted of works from Auguste Rodin, Aristide Maillol, Claes Oldenburg, David Smith, and Henry Moore.[13]

Portrait of Queen Mariana (1656) by Diego Velázquez was the last painting Jordan acquired with Meadows' support.

Jordan continued to acquire several prominent works at auctions and from art dealers with Meadows' financial support and significantly expanded the collection throughout his term. While they initially purchased paintings together, Meadows eventually trusted him and acquired paintings without seeing them if Jordan had vetted them. The last painting they collaborated in acquiring was Portrait of Queen Mariana (1656) by Diego Velázquez, before Meadows' death in 1978.[13] In 1980, Jordan oversaw contemporary art exhibitions Paintings and Drawings by Cy Twombly, a scholarly study on works by Cy Twombly, and Livres d'Artiste by Braque, Matisse, and Picasso from the Collection of the Bridwell Library, featuring works in the university's Bridwell Library at the University Gallery.[21]

Jordan left the museum in 1981 but continued his involvement in activities related to the museum and was a member of the executive board of the Meadows School of the Arts until 2018. He acquired around 75 works during his tenure, including paintings by Murillo, Velázquez, Jusepe de Ribera, and de Zurbarán. His acquisitions also included six paintings by Goya from the 18th  and 19th  centuries, and 20th-century works of Pablo Picasso, Joan Miró, and Juan Gris.[13] Southern Methodist University president R. Gerald Turner said that Jordan "helped build the Meadows Museum from the ground up." Sam Holland, dean of the Meadows School of the Arts, stated that his work with the museum and school was a "critical part of our success." [27] Jordan is credited for turning the Meadows Museum's collection into one of the most prominent collections of Spanish art outside Spain.[28]

Kimbell Art Museum and El Greco of Toledo: 1981–1990

South Wing of the Kimbell Art Museum
Jordan left the Meadows Museum to join the Kimbell Art Museum in 1981.

In 1981, Jordan became the deputy director and chief curator of the Kimbell Art Museum in Fort Worth, Texas,[29] after he was offered the position by the director of the museum, Edmund Pillsbury. The Kimbell Art Museum provided Jordan a bigger budget to organize exhibitions and acquire paintings at the Kimbell Art Museum than at the Meadows Museum.[17] According to Jordan, the museum had not hosted exhibitions of its own artworks before he joined, and they "began an aggressive exhibitions campaign to rebuild and expand the collection."[15]

The museum organized Jusepe De Ribera: Lo Spagnoletto, 1591-1652, the first exhibition focused only on Jusepe de Ribera in 1982. Jordan and Craig Felton, professor of art at Smith College, served as co-curators and edited the catalog published for the event.[30] An exhibition to commemorate the 400th anniversary of El Greco's move to Toledo, Spain was first proposed in 1978 at the Toledo Museum of Art in Ohio.[31] Subsequently, El Greco of Toledo was organized in 1982–83 and curated by Jonathan Brown, Jordan, Richard L. Kagan and Alfonso E. Pérez Sánchez [es]. The exhibition was on display at the Dallas Museum of Art, the National Gallery of Art, the Prado Museum and the Toledo Museum of Art. [32]

Jordan served as the chairman of the scholars' committee that organized El Greco of Toledo and selected most works featured in the event.[24] He authored their entries in the accompanying catalog.[33] With 66 paintings, the exhibition contained the most extensive collection of paintings by El Greco;[34] 32 of which were from Spain, and the rest from museums and private collections of Canada, England, France, Italy, Norway, Sweden, Switzerland, and the United States.[35] Rick Brettell and Joe Simnacher of The Dallas Morning News described the exhibition as "historic",[2] and art critic John Russell, writing for The New York Times, said that it accomplished "a dream that has haunted the human imagination for more than 100 years".[36]

Still Life with Sweets and Pottery (1627), assessed by Jordan as representing "the summit of van der Hamen's artistic output," [37] was featured in the 1985 exhibition and on the cover of its catalog.

In 1985, Jordan curated Spanish Still Life in the Golden Age, 1600–1650 at the Kimbell Art Museum and the Toledo Museum of Art, the first exhibition in the United States to feature still life paintings brought in as loans from other countries. [38] The exhibition focused on works of Antonio de Pereda, de Zurbarán, Juan Fernández el Labrador, Juan Sánchez Cotán, van der Hamen and Velázquez.[39] He authored its catalog, critiqued by professor of art history at Stony Brook University Nina Ayala Mallory as "the most reasoned and informative text on this material to date," which explored the history of still life paintings in Spain with analysis of the paintings in the exhibition.[40]

On February 18, 1986, Jordan was knighted in the Order of Isabella the Catholic by the Spanish government at the Embassy of Spain, Washington, D.C. for his contributions to Spanish art history. Jordan was on the Art Committee of the Hispanic Society of America in 1986,[24] and had helped the Kimbell Art Museum acquire over 40 paintings of European origin in collaboration with Pillsbury by 1987. Their acquisitions included 15th and 16th century paintings by Italian artists such as Andrea Mantegna, Ercole de' Roberti, Fra Angelico, Sebastiano del Piombo, Tintoretto and Titian, as well as works by Georges de La Tour, Jacques-Louis David, Paul Cézanne, Picasso and Velázquez.[41]

Jordan wrote an introductory essay on the museum's collection. It described individual works in the book In Pursuit of Quality: The Kimbell Art Museum: an Illustrated History of the Art and Architecture in 1987.[42] He served as an editor of A Prosperous Past: The Sumptuous Still Life in the Netherlands, 1600-1700, authored by a Dutch biologist and art historian Sam Segal [nl]. The catalog focused on still-life painters of Europe and accompanied an eponymous exhibition at the Fogg Art Museum, the Museum Het Prinsenhof, and the Kimbell Art Museum in 1989.[43]

While on a year-long sabbatical to Spain, Jordan decided to retire and submitted his year's notice when he returned to the museum.[44] Jordan acquired important Spanish paintings such as Still Life with Oranges, Jars, and Boxes of Sweets (1760) by Luis Egidio Meléndez, Portrait of Heriberto Casany (1918) by Miró, Four Figures on a Step (1655–1660) by Murillo and Portrait of Don Pedro de Barberana y Aparregui (1631–1633) by Velázquez,[4] and wrote descriptive labels for all European works in the museum during his term.[2] Pillsbury stated that Jordan's "vision and imagination were indispensable to the development of the Kimbell," [44] and according to Brettell and Simnacher, Jordan made the museum's collection "considerably more meaningful to the public." [2]

Independent work: 1990–2018

Still Life with Cardoon and Francolin (1628) by Felipe Ramírez
Still Life with Game Fowl, Fruit and Cardoon (1602) by Juan Sánchez Cotán
Jordan included Ramírez's still life because he hypothesized that it was either a modification of Cotán's painting featured in the 1992 exhibition or a reproduction of one of his lost works.[45]

Jordan retired at age 50 in 1990—following in his father's footsteps, who had retired at 49—and worked independently.[46] In 1992, Jordan curated La imitación de la naturaleza: los bodegones de Sánchez Cotán (The Imitation of Nature: The Still Life of Sánchez Cotán) at the Prado Museum, which included six still life paintings by Juan Sánchez Cotán, and one by Felipe Ramírez.[47] He authored an eponymous catalogue discussing paintings in the exhibition, including how Ramírez could have imitated Cotán's works,[45] life and influence of Cotán as a still-life painter,[48] and his paintings in context with the development of bodegóns (still life paintings depicting pantry items) in Europe.[49]

Southern Methodist University awarded Jordan with a Doctor of Humane Letters, honoris causa in 1995 "for his contributions to the world of arts and for the enrichment he has brought to the campus and the city of Dallas." [50] Jordan and Peter Cherry. Lecturer at Trinity College Dublin, curated Spanish Still Life from Velázquez to Goya (1995) at the National Gallery in London,[51] which became their most-attended exhibition of the time.[52] Its accompanying catalog, described by Richard G. Mann as "the first major study in English of Spanish still life painting," explored the origin and history of still life paintings and biographies of several still-life artists of Spain. [53]

In 1997, the Matthiesen Gallery organized An Eye on Nature: Spanish Still-Life Paintings from Sánchez Cotán to Goya exhibition at the Stair Sainty Matthiesen Gallery in New York City;[54] Jordan authored its catalog, analyzing still life paintings and biographical details of artists featured in the exhibition.[55] Jordan attributed two paintings in the exhibition, by a then-unknown artist, to "Pseudo-Hiepes" due to similarities in their themes to Tomás Hiepes' work. He speculated that the artist most likely belonged to Aragon, owing to the style of the paintings;[56] after a signed painting by Bernardo Polo of Zaragoza, Aragon was discovered in 2009, Jordan determined that the two unattributed works belonged to Polo because of their nearly identical compositions.[57] In 2001, he joined the Nasher Sculpture Center in Dallas as a member of the board of directors.[58] He also served as the trustee of the center and the Nasher Foundation;[59] he was the founding director of the latter.[60]

San Isidro (1620–1622)
Jean de Croÿ, Count of Solre (1626)
In his 2005 book, Jordan used van der Hamen's San Isidro, which helped Philip IV canonize Isidore the Laborer, and Jean de Croÿ, Count of Solre, considered by art historians as one of the most important Spanish paintings from the 1620s to illustrate the artist's versatility as a history painter and portraitist, respectively.[61]

In 2005, Jordan published Juan Van Der Hamen Y León and the Court of Madrid, a monograph Juan van der Hamen. He noted that although his 1967 dissertation had become widely available in art historical libraries, he wanted to publish a more comprehensive and updated work that the general population could access and read. Jordan continued his research on van der Hamen throughout his career, spending numerous sabbaticals in Spain,[5] and presented the results of his work of over 40 years through the publication.[62]

In Juan Van Der Hamen Y León and the Court of Madrid, Jordan explored van der Hamen's work as an artist who paints history and portraits, and his still life and bodegón paintings are most known for. He focused on the life of van der Hamen and discussed new assessments that emphasized his importance in the court of Philip IV during the 1620s and the significance of his paintings outside of still lifes.[63] Professor of art history at the University of Alabama Mindy Nancarrow stated that Jordan's work "redefines our understanding of painting in Madrid in the crucial decade of the 1620s" and added that it provides "new directions for future scholarships."[62]

Jordan curated an eponymous exhibition on the occasion of the book's publication. It was the first monographic exhibition of van der Hamen's paintings and was displayed at the Patrimonio Nacional in Madrid and Meadows Museum in 2005–06. The exhibition featured paintings that were exhibited for the first time, in addition to known works by van der Hamen.[64] Cherry, in a review of the exhibition, summarized that "Jordan's unique familiarity with van der Hamen's body of known work" helped him select paintings that showed the artist's development and versatility, but noted that the "strength of the exhibition lies in van der Hamen's still lifes." [65]

A main exhibition of the Prado Museum. Several visitors examine paintings hanging on the walls.
Jordan was appointed as an honorary trustee of the Prado Museum in 2017.

In a 2007 KERA interview at the Kimbell Art Museum, Jordan considered that he published his "most important books" and organized his "most important exhibitions" after he retired.[15] He headed the search committee to find a new director of the Chinati Foundation in 2010—where he was a member of the board of directors and past president—which led to the appointment of Thomas Kellein. [66] Jordan worked with Olivier Meslay at the Dallas Museum of Art to create an exhibition and a catalog of modern European paintings in local private collections to promote local collecting in 2013.[17] They curated Mind's Eye: Masterworks on Paper from David to Cézanne the following year with over 120 works on paper of 70 artists from the 18th to 20th century, taken from local private collections and the museum.[67] In 2017, the Prado Museum appointed Jordan as an honorary trustee.[1]

Jordan died on January 22, 2018, at the William P. Clements Jr. University Hospital from complications of idiopathic pulmonary fibrosis.[2] He was buried at the Hillcrest Mausoleum and Memorial Park in Dallas.[68] Jordan was compiling a catalogue raisonné of van der Hamen when he died.[4]

Art acquisitions and philanthropy

There's a lot wrong about art now. I mean, so much of the art today is silly. It's hard to find the art of very great quality today. But it does exist.

— William B. Jordan, 2007.[15]

Jordan was considered an authority on Spanish art,[69] and one of the foremost experts on still life paintings from the Spanish Golden Age.[70] He was also recognized for his ability to notice significant paintings that were unattributed at the time and acquiring them at auctions for relatively little money. Jordan was frequently called upon as an expert during art acquisitions; he was known for telling reproduced copies from authentic paintings.[17] Holland commented on Jordan's abilities: "He had a brilliant gift for art. There's something hard to quantify that sets somebody apart from the rest of us — his ability to spot authenticity on the highest level of the art world."[2]

In 1976, Jordan noticed San Sebastián (1506) by Fernando Yáñez in a gallery in Madrid. The painting was not published previously or attributed to Yáñez at the time; there were no records in sources on Spanish art to prove it was his work. Jordan consulted suggested that the painting was "too good to be Spanish and must be Italian." [clarification needed] However, Jordan was convinced that it was a work by Yáñez, and Jordan made the purchase with Meadows' support. Subsequently, it was "universally regarded as one of the artist's masterpieces"; it became one of the more important works in the Meadows Museum.[13]

He helped the Dallas Museum of Art acquire Fox in the Snow (1860) by Gustave Courbet in 1979, a painting that was outside his area of expertise.[17] In 1990, he was called as an expert by the San Diego Museum of Art during their acquisition of The Adoration of the Shepherds (1572–74) by El Greco and St. Sebastian (1604) by Cotán. Jordan had noticed St. Sebastian at an auction in New York, where a local dealer bought it. The painting was vaguely attributed to a "Flemish master" during the auction. The museum purchased the work after the painting was vetted and its attribution confirmed by Jordan and other experts. [71]

Portrait of Philip III (1623–1631) by Velázquez; according to Jordan, Philip III's depiction of looking upwards suggested that it was not a portrait.

Jordan maintained an art collection with his husband Robert Dean Brownlee at their residence in Turtle Creek, Dallas which included works from artists like Eugène Delacroix and Cézanne. His most notable acquisition was of Portrait of Philip III (1623–1631) by Diego Velázquez in 1988.[72] When Jordan found the piece at a London art auction, it was titled Portrait of a gentleman painted by a follower of Justus Sustermans. He purchased the painting for £1,000 and restored it at the Kimbell Art Museum by Claire Barry. He believed it to be a painting by Velázquez, done in preparation of The Expulsion of the Moriscos (1627), which had won him the first prize and an appointment as gentleman usher to the king in the court of Philip IV; The Expulsion of the Moriscos is considered by historians to have been burned in the Royal Alcázar of Madrid fire of 1734.[73]

Jordan found that historical descriptions of Philip III in The Expulsion of the Moriscos match the expressions and direction of Portrait of Philip III. He concluded that Velázquez's style—which is regarded to be distinctive from other portraitists of the time—was similar to his works of that period and that the unusual depiction of Philip III looking up, instead of forward and straight, indicated that the painting was made to serve as a model to be included in a wider scene.[73] Jordan kept the painting in his private collection for almost 30 years.[74]

In 2016, Jordan sent the painting to the Prado Museum for analytical and comparative study with other artists' paintings in their collection. They found that anatomical details of Philip III's face match with details of his other paintings of Philip III from the same time period. They also used x-ray and infrared radiography to compare its canvas, construction, and preparation to Velázquez's other works of the period and confirmed its authenticity.[73] The painting was subsequently valued at around US$6  million.[75] Later that year, he donated it to a non-profit organization called the American Friends of Prado Museum, which then gave the painting to the museum as a long-term deposit.[73]

The Dallas Museum of Art established a Works on Paper Department with contributions from The William B. Jordan and Robert Dean Brownlee Endowment in 2019. Jordan and Brownlee donated over 80 different works of art to the museum; 58 of them were works on paper. Their donation included oil paintings and furniture from the 19th  and 20th  centuries and other antiquities such as silver works, ceramics, and sculptures.[22] The National Gallery of Art received a bequest from Jordan and Brownlee containing works by Alberto Giacometti, Delacroix, Ellsworth Kelly, František Kupka, Jacques-Louis David, John Cage, Pierre Bonnard, Picasso, and Twombly in 2019. The bequest included a 1900 sketch by Edgar Degas which was a part of the series related to his After the Bath, Woman Drying Herself, a print, four medals, and 20 drawings.[76]

In 2020, Nasher Sculpture Center received works by John Chamberlain, Miró and Oldenburg as a part of a bequest from Jordan and Brownlee. It included My Father's Watch (For Bill Jordan) by David McManaway; McManaway made the painting for Jordan using Jordan's father's watch in 1973.[59] A Baby Rolling Over (1884–87) by Agustí Querol Subirats was donated to the Meadows Museum by art historian Michael P. Mezzatesta "in honor of William B. Jordan" in 2020; Jordan had previously donated a sculpture of Saint John the Baptist by Luisa Roldán to the museum in 1999, which was similar in style.[77]

Bibliography

Author

Editor

Chapters

Articles

References

Citations

  1. ^ a b San Antonio Express-News (2018).
  2. ^ a b c d e f g Brettell & Simnacher (2018).
  3. ^ San Antonio Express-News (2018); Brock (2006).
  4. ^ a b c Cherry (2018), p. 440.
  5. ^ a b c Jordan (2005), p. 17.
  6. ^ Jordan (1967), pp. v–vii.
  7. ^ Jordan (1967), pp. 331, 400.
  8. ^ Jordan (1967), pp. 323–324.
  9. ^ Jordan (1967), pp. vi–vii.
  10. ^ Zirpolo (2006), p. 1211.
  11. ^ Jordan (1967), pp. i, iv–v.
  12. ^ Wecker (2017).
  13. ^ a b c d e f g h Meadows Museum2.
  14. ^ a b Curlee (1995).
  15. ^ a b c d Bothwell (2018).
  16. ^ McWhirter (1967), p. 58.
  17. ^ a b c d e Edith O'Donnell Institute of Art History (2018).
  18. ^ Jordan (1968a), pp. 289–290.
  19. ^ Jordan (1968a), pp. 288–296.
  20. ^ Jordan (1974), pp. 7–11.
  21. ^ a b Dallas Museum of Art.
  22. ^ a b c Dallas Museum of Art (2019).
  23. ^ Jordan (1978), pp. 3–5.
  24. ^ a b c North San Antonio Times (1986).
  25. ^ The Nasher (2018), pp. 70–72.
  26. ^ Meadows Museum1.
  27. ^ Southern Methodist University (2018).
  28. ^ Brettell & Simnacher (2018); Curlee (1995); North San Antonio Times (1986).
  29. ^ Brettell & Simnacher (2018); Pulido (2016).
  30. ^ Felton & Jordan (1982), pp. 3–5.
  31. ^ Markham (1982).
  32. ^ Ostrow (1982).
  33. ^ Russell (1982).
  34. ^ Jordan (1967), p. 333.
  35. ^ North San Antonio Times (1986).
  36. ^ Mallory (1985), pp. 353–356.
  37. ^ Mallory (1985), p. 353.
  38. ^ Pillsbury & Jordan (1987), p. 767.
  39. ^ Jordan (1987), pp. 98–100.
  40. ^ Segal (1989), pp. 3–4.
  41. ^ a b Brock (2006).
  42. ^ a b Jordan (1992a), pp. 82–84.
  43. ^ Bothwell (2018); Edith O'Donnell Institute of Art History (2018).
  44. ^ Serraller (1992).
  45. ^ Jordan (1992a), pp. 13–18.
  46. ^ Jordan (1992a), pp. 19–29.
  47. ^ Southern Methodist University (1995), p. 8.
  48. ^ Yale University Press.
  49. ^ San Antonio Express-News (2018).
  50. ^ Mann (1997), pp. 941–942.
  51. ^ Jordan (1997), title page.
  52. ^ Jordan (1997), pp. 13–15.
  53. ^ Jordan (1997), pp. 116–120.
  54. ^ Jordan (2009), pp. 393–403.
  55. ^ Nasher Sculpture Center (2001).
  56. ^ a b Nasher Sculpture Center (2020).
  57. ^ The Nasher (2018), p. 72.
  58. ^ Zirpolo (2006), p. 1212; Jordan (2005), p. 171.
  59. ^ a b Nancarrow (2007), p. 135.
  60. ^ Zirpolo (2006), pp. 1211–1212.
  61. ^ Jordan (2005), pp. 19–20.
  62. ^ Cherry (2006), p. 298.
  63. ^ Brettell & Simnacher (2018); Thomson (2010).
  64. ^ Dallas Museum of Art (2014).
  65. ^ Dignity Memorial.
  66. ^ Bothwell (2018); Brettell & Simnacher (2018); North San Antonio Times (1986).
  67. ^ Cherry (2006), p. 299; Prado Museum (2016); Southern Methodist University (2018).
  68. ^ Freudenheim (1990).
  69. ^ Brettell & Simnacher (2018); Edith O'Donnell Institute of Art History (2018).
  70. ^ a b c d Prado Museum (2016).
  71. ^ Pulido (2016).
  72. ^ Sullivan (2017).
  73. ^ Artfix Daily (2020).

Sources

News
Periodicals
Websites
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