Everything about Thomas Hoving totally explained
Thomas P.F. Hoving (born
January 15,
1931), is an American museum executive and consultant and the former director of the
Metropolitan Museum of Art.
Biography
He was born in
New York City to Walter and Mary (Osgood Field) Hoving. As the son of
Walter Hoving, the successful head of
Tiffany & Company, Thomas grew up surrounded by New York's upper social strata. As recounted in his memoir,
Making the Mummies Dance, this early experience would be invaluable in his later dealings with the Met's donors and trustees.
After graduating from
Hotchkiss School in
1949, he received a B.A. in
1953, a M.F.A. in
1958, and a Ph.D. in
1959, all from
Princeton University. He went to work for the Met in
1959, serving on the staff of the medieval department at
The Cloisters until
1965, when he became curator of the department. He left the Met in
1966 to become New York Mayor
John V. Lindsay's parks commissioner, but in
1967 returned to the Met as director after the incumbent,
James J. Rorimer, died suddenly on
March 11,
1966. He assumed the directorship on
March 17,
1967 and presided over a massive expansion and renovation of the museum, successfully adding many important collections to its holdings.
He left the Met on
June 30,
1977 to start an independent consulting firm for museums, Hoving Associates. From
1978 to
1984 he was an arts correspondent for the
ABC newsmagazine 20/20. He edited Connoisseur Magazine from
1981 to
1991; along with his memoirs of his time at the Met, he's also the author of books on a number of art-related subjects, including
art forgeries,
Grant Wood,
Andrew Wyeth,
Tutankhamen, and the 12th-century walrus ivory crucifix known as the
Bury St. Edmunds Cross. Additionally, in 1999, he wrote the text for the
Art For Dummies book in the "
...For Dummies" series.
Career at the Met
Hoving's tenure at the Metropolitan Museum of Art was characterized by his distinctive approach to expanding the Met's collections. Rather than build more comprehensive holdings of relatively modest works, he pursued a smaller number of what he termed "world-class" pieces. This course of action, which often involved spending well in excess of the Met's customary budgets, caused considerable controversy among the museum's
trustees and in the greater art world. However, many of the pieces that Hoving personally pursued for the Met, including the
Euphronios krater depicting the death of
Sarpedon,
Velázquez's Juan de Pareja, and the
Temple of Dendur, now rank among the museum's most popularly acclaimed acquisitions.
The expansion of the Met during Hoving's directorship wasn't confined to its collections. Hoving also spearheaded a number of building projects and renovations of the Met itself, from a controversial expansion of its galleries into Central Park to the construction of its underground parking garage. In fact, two of the building's most characteristic features – the huge exterior banners announcing current shows, and the broad plaza and steps leading from Fifth Avenue to the Met's entryway – are products of Hoving's tenure. At one point, he even floated a plan to remove the Met's "great staircase" leading from the central lobby to the second-floor galleries. That particular project, at least, remained unrealized.
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