Building of the Day: 200 Eastern Parkway
(Photo: Wikimedia, 2008) Brooklyn, one building at a time. Name: Brooklyn Museum of Art, built as Brooklyn Institute of Arts and Science Address: 200 Eastern Parkway, corner of Washington Avenue Neighborhood: Prospect Heights Year Built: 1893-1915, new entry pavilion and plaza: 2004 Architectural Style: Beaux-Arts Classical Architects: McKim, Mead & White, new entry pavilion and…
(Photo: Wikimedia, 2008)
Brooklyn, one building at a time.
Name: Brooklyn Museum of Art, built as Brooklyn Institute of Arts and Science
Address: 200 Eastern Parkway, corner of Washington Avenue
Neighborhood: Prospect Heights
Year Built: 1893-1915, new entry pavilion and plaza: 2004
Architectural Style: Beaux-Arts Classical
Architects: McKim, Mead & White, new entry pavilion and plaza: Arata Isosaki/Polshek Partnership
Other buildings by architects: MM&W: Municipal Building, Farley Post Office, Old Penn Station, entrance to Prospect Park. Polshek Partnership: Rose Center for Earth and Space/Hayden Planetarium, New Academic Building, Medgar Evers College.
Landmarked: Yes
The story: In honor of the FIRST YEAR ANNIVERSARY of the BOTD, I give you Brooklyn’s masterpiece of civic architecture, the Brooklyn Museum. The story of how the museum came about, from humble beginnings as a library, to what we have today, was told here, here, and here. Charles Follen McKim, who is often overshadowed in reputation by his flashier partner, Stanford White, actually designed the museum. He was a master of the classical elements of the Beaux-Arts School. He purposely designed the building in quadrants, so each section could be built at different times, without leaving the building looking unfinished. The building, as many know, was never finished. Had all four quadrants been built, the Brooklyn Institute would have been the largest museum of its kind in the world, housing not only its vast art collections, but painting and sculpting schools, and centers for the study of various branches of science, mathematics, architecture and technology. When the plans were drawn up, Brooklyn was an independent city. By the time the first quarter of the building was finished, Brooklyn was part of greater New York City, and the powers that be were not willing to keep funding such a project for a borough, fearing it would eclipse the Met, and Manhattan in general. OK, there was more to it than that, but that was certainly a big factor. Another reason why the Big Mistake still reverberates in some corners.
One of the most striking things about this gleaming temple on Eastern Parkway are the 30 statues that line the attic level, representing historical and mythological figures in Eastern and Western philosophy, in law, science, and art. They were sculpted by the finest artists of the day, all worthy works to reside inside the museum, not just outside. In 1934-35, the grand front staircase was removed, as architect William Lescaze, a Modernist in the school of Le Corbusier, reconfigured the lower floors and the entrance. By the beginning of the 21st century, plans were made to add a modern entrance that would once again make entering the building an experience. The Isosaki/Polshek entry is either much loved or vociferously hated, depending on who you talk to. We’ll never get buildings like this again.
(Postcard: CardCow. Shows what museum would have looked like if completed.)
(Botanic Garden side of the museum)
When they rebuilt the long-gone front steps on the Tweed Courthouse they narrowed Chambers Street. Where there’s a will there’s a way.
bxgirl, that is so interesting!
It is so sad that the museum has gone in a direction that has left many of its fans disappointed. I hope it finds new audiences but I have my doubts.
I apprenticed with the last conservator of the costume collection at the end of the 80’s, then she oeft for the Smithsonian and I had to step in as textile conservator/restorer for the costumes for their last major show, the Opulent Era. One of the best years of my life and I can tell you from first hand experience, their collection was so magnificent it made my eyes water. It gave me chills to work on a dress once worn by the empress Josephine.
The attic is immense. We had some of the collection stored up there and I remember you go up the staircase in one of the old colonial buildings. When you stepped into the attic is was filled with chairs- Chippendales, Ballrooms, Windsors, Thonets, Belters- it was called Chair Heaven- as far as I could see. All the dust motes dancing in the air under the dirty attic windows. I swear Mimi could have died there, it was so Victorian garret.
Favorite building in Brooklyn!!!
ENY – I have to agree with you – the interior is underwhelming – but unless some wealthy private donors want to donate millions for an upgrade – I guess we will have to wait
Sorry but the new entry pavillion is god awful.
Congrats on a year – Great Job MM
Arkady, I personally would never use the phrase “screw up the facade” in this context. The new entrance turned out better than the renderings, and how often does that happen?
But to answer your question: since the original entrance was gone and could not be replaced (The required step-to-riser ratio would have had the stairs out to the middle of Eastern Parkway.) a new entrance that clearly was not part of the historic fabric was approvable by LPC. I could elaborate, but some times less is more.
The BM’s costume gallery put on a truly spectacular show (with music) throughout much of the ’70s.
If it’s landmarked, how on earth were they allowed to screw up the facade the way they did? It looks like construction scaffolding & is utterly unsuited to the building. (I do like the little dancing fountain over to the left, though.)
They just gave away their entire costume collection to the Met. Do you think maybe some people would have come to see it in Brooklyn if they had PUT IT ON DISPLAY?