An Artist’s Take on the Texas Grasslands: Milkweed, Fire, and Flowers

I haven’t been to the Amon Carter Museum in Fort Worth, Texas, for a couple of years. It’s one of a dozen or so museums dedicated exclusively to American art, so, having been a curator of American art and the director of the Addison Gallery, I’ve always viewed the place with great fondness. The collection, initially heavy on the cowboy art owned by Amon Carter, who also owned Fort Worth’s premier newspaper, evolved to become superb and encyclopedic.

I adore the place, as I did Ruth Stevenson, Carter’s daughter, who chaired the museum board and piloted and financed its ascent. Last week, I wrote about Kay Fortson, who chaired the Kimbell board and was, over nearly 50 years, the mastermind of its development into a national treasure. I’ve met Fortson but knew Ruth Stevenson well, both as an art potentate and a good donor to one of my museums.

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Brian T. Allen

Brian T. Allen is National Review’s art critic.

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I haven’t been to the Amon Carter Museum in Fort Worth, Texas, for a couple of years. It’s one of a dozen or so museums dedicated exclusively to American art, so, having been a curator of American art and the director of the Addison Gallery, I’ve always viewed the place with great fondness. The collection, initially heavy on the cowboy art owned by Amon Carter, who also owned Fort Worth’s premier newspaper, evolved to become superb and encyclopedic.

I adore the place, as I did Ruth Stevenson, Carter’s daughter, who chaired the museum board and piloted and financed its ascent. Last week, I wrote about Kay Fortson, who chaired the Kimbell board and was, over nearly 50 years, the mastermind of its development into a national treasure. I’ve met Fortson but knew Ruth Stevenson well, both as an art potentate and a good donor to one of my museums.