Massachusetts, since 1898 · Eight millennia of art and pioneering collection

From Goya to Signac, from Turner to Sargent, Worcester's collection connects portrait, landscape, impressionism and modernity in a museum created for the benefit of all.

The Worcester Art Museum was born from the conviction of philanthropist Stephen Salisbury III and citizens of Massachusetts that an industrial city must have a museum open to all. Founded in 1896, the institution inaugurated its first building in 1898. Its collections, initially modest, grew rapidly thanks to donations and a bold purchasing policy. The museum acquired early impressionist works still close to their creation, notably by Claude Monet and Paul Gauguin, and also constituted an important collection of photographs, Japanese prints, ancient arts, European and American paintings. Today, nearly forty thousand objects cover around eight millennia. The selection of reproductions reveals this amplitude through painting. Goya's portrait of Brother Miguel Fernandez Flores combines psychological presence and monastic sobriety. Gulf Juan de Signac builds the Mediterranean with colorful touches. Turner's Banks of the Loire dissolve the landscape in air and light. John Singer Sargent's Muddy Alligators transform an unexpected motif into a study of reflections, skin and water. Further on, Caravaggio, Rembrandt, Sorolla, Cassatt, Pissarro, Cézanne, Gauguin, Matisse, Whistler, Renoir, Kandinsky and Monet transform an unexpected motif into a study of reflections, skin and water. Further on, Caravaggio, Rembrandt, Sorolla, Cassatt, Pissarro, Cézanne, Gauguin, Matisse, Whistler, Renoir, Kandinsky and Monet compose a journey where the history of the gaze remains alive. Further on, Caravaggio, Rembrandt, Sorolla, Cassatt, Pissarro, Cézanne, Gauguin, Matisse, Whistler, Renoir, Kandinsky and Monet compose a journey where the history of the gaze remains alive. Further on, Caravaggio, R look Brother Miguel Fernandez Flores and Golfe Juan. His reading favors the material.

Worcester does not tell art like a series of borders: a monk from Goya, a coast from Signac, a Loire from Turner and the water from Sargent share the same space of discovery.