FRIDAY EVENING LECTURE

A Conversation about Louis I. Kahn and His Last Notebook on His 125th Birthday

On the 125th anniversary of Louis I. Kahn’s birth, enjoy a special conversation and book event with editor Sue Ann Kahn, Louis I. Kahn’s daughter, and the Kimbell Art Museum’s director, Eric Lee, about Kahn’s publication Louis I. Kahn: The Last Notebook, a facsimile of her father’s private sketchbook from the last year of his life.

An artifact of historical importance, the notebook’s pages give us an intimate glimpse into Kahn’s creative process and take us inside the mind of the master architect at the height of his career. Most importantly, his personality permeates its pages and brings the architect to life for a new generation. Sue Ann Kahn and Eric Lee take us through its pages and the stories they reveal.

Louis I. Kahn: The Last Notebook will be available for purchase at the Kimbell’s Museum Shop during the event.

“Louis I. Kahn: The Last Notebook is a remarkable creation.” – The New York Times

“The Last Notebook is an intimate experience of Kahn’s hand and mind.” – The Wall Street Journal

5. Louis I Kahn_The Last Notebook_Lars Müller Publishers 2024.5.png
Photo courtesy of Kimbell Art Museum

FRIDAY, FEBRUARY 20, 6–7 p.m.

Kahn Auditorium

Free; no registration required

Seating is limited.

THE ARTIST’S EYE

Cameron Schoepp
What does the art of the past mean to the artist of the present? In this ongoing program, moderated by Kimbell staff, artists and architects discuss works in the museum’s collection, share the special insights of the practicing professional, and relate older art to contemporary artistic concerns, including their own.

During this talk, Schoepp’s work will be suspended from the light reflector above the gallery floor in the center of the Kahn Building’s South Gallery. He will discuss his own artistic practice and observations on Kahn’s architectural masterpiece.

SATURDAY, FEBRUARY 21, 11 a.m.–noon

Kahn Building, South Gallery

Free; no registration required

BIRTHDAY REFRESHMENTS AND GIFTS

Enjoy complimentary birthday snacks and beverages, and be sure to pick up a free Kimbell Kahn keychain as a special gift.

FRIDAY, FEBRUARY 20, noon–7 p.m.
SATURDAY, FEBRUARY 21, 10 a.m.–4 p.m.

Kahn Building, West Lobby

Free; no registration required

While supplies last

Photo courtesy of Kimbell Art Museum

DROP-IN ARCHITECTURE TOURS

Enjoy drop-in, docent-guided tours of the Kimbell Art Museum’s landmark 1972 building, designed by Louis I. Kahn.

FRIDAY, FEBRUARY 20, and SATURDAY, FEBRUARY 21, 1–1:45 pm.

Free; no registration required

Space is limited to thirty; first-come, first-served.

Louis I. Kahn and Sue Ann Kahn, 1949, Lake Placid, NY. Photo by Esther Kahn, courtesy of Sue Ann Kahn

ABOUT SUE ANN KAHN

Sue Ann Kahn, daughter of Louis I. Kahn, has advocated for the preservation and restoration of her father’s architecture for over three decades. She has also been an active consultant and significant lender to the major exhibitions on his work. In 1996, she co-curated the exhibit “Louis I. Kahn Drawings: Travel Sketches and Synagogue Project” for The Jewish Museum in New York; and in 2017, she collaborated on an exhibition of Kahn’s pastel works at the Kimbell Art Museum. She is the author of a number of articles about her father’s drawings: “The Color of Light, the Treasury of Shadows” in Louis Kahn: The Importance of a Drawing, edited by Michael Merrill (2021); and “My Father the Artist” in Reader’s Guide to The Notebooks and Drawings of Louis I. Kahn (2022). Sue Ann Kahn has had a noted career as a flute soloist, chamber musician and educator.

ABOUT CAMERON SCHOEPP

Cameron Schoepp is an artist and educator who has been living and working in Texas since 1985. In his sculptural practice, Schoepp employs materials in a matter-of-fact manner to present deceptively simple ideas that increase in complexity as the work unfolds, challenging expectations and using the subsequent discomfort to heighten the viewer’s personal phenomenological experiences.

Schoepp coordinates the studio MFA program and teaches sculpture at Texas Christian University, where he also received his MFA in studio art. His work has recently been exhibited at the Nasher Sculpture Center, Barry Whistler Gallery, and Chateau House, all in Dallas. Two of his sculptural installations are in the City of Fort Worth Public Art Collection.

VISITOR INFORMATION

Admission to the museum’s permanent collection is always free. Admission is half-price all day on Tuesdays and after 5 p.m. on Fridays.

The Kimbell Art Museum is open Tuesdays through Thursdays and Saturdays, 10 a.m.–5 p.m.; Fridays, noon–8 p.m.; Sundays, noon–5 p.m.; closed Mondays, New Year’s Day, Juneteenth, July 4, Thanksgiving, and Christmas. For general information, call 817-332-8451.

The post Kimbell to Celebrate Louis I. Kahn’s Birthday first appeared on Tanglewood Moms.

This extraordinary exhibition showcases more than sixty objects in silver, gold, enamel, and precious jewels, given by European monarchs and rulers to the Church of the Holy Sepulcher in Jerusalem, a site of Christian devotion and pilgrimage, where they have been used in religious ceremonies for centuries. Including dazzling reliquaries, crosses, candlesticks, chalices, and vestments representing the height of seventeenth- and eighteenth-century craftsmanship, many of these objects have no equivalent anywhere else in the world. Traveling to only two venues in North America, the exhibition represents the first—and possibly only—time these treasures will be seen in the US. The Wall Street Journal called the exhibition, “Opulent. Sumptuous. Spectacular. Luxurious. Dazzling. Plus every other adjective for fabulousness you can conjure up,” when it was shown last fall at New York’s Frick Collection.

“The splendor and scale of these precious objects and works of art are stunning,” said Eric Lee, director of the Kimbell Art Museum. “We are incredibly fortunate that works of such staggering craftsmanship—and from what is arguably the holiest site in Christendom—may be enjoyed by visitors to the Kimbell Art Museum in Fort Worth. I extend my gratitude to the Custodia Terrae Sanctae for allowing these treasures to travel to the Unites States ahead of the opening of the Terra Sancta Museum.”

Pietro, Eutichio, and Sebastiano Juvarra, Throne of Eucharistic Exposition,
1665, silver, gilt silver, gilt copper, glass, precious and semi-precious
stones. Terra Sancta Museum, Jerusalem
Photo: Joseph Coscia Jr.

For the past two thousand years, the Church of the Holy Sepulcher has been a principal religious center of the Christian faith, a holy site of devotion and pilgrimage. The church was first built by Emperor Constantine in the fourth century on what is traditionally believed to be the site of Jesus of Nazareth’s death, burial, and resurrection. In the Middle Ages, the Franciscan order arrived in the Holy Land, establishing the Custodia, the body that is now entrusted with safeguarding some eighty-two Christian holy sites in the Middle East, including the Church of the Holy Sepulcher.

Over the centuries, the Catholic rulers of Europe—the Holy Roman Emperors in Vienna and the monarchs of Portugal, Spain, France, and Naples—sent lavish donations to the Custodia and, in particular, to the Holy Sepulcher. Few objects of this kind survive today even in Europe, owing to natural disasters and the frequent melting of gold and silver in times of political and social crisis. For centuries, however, the Custodia has preserved the treasures with which it was entrusted. Though they were used regularly by the Franciscans during mass and other religious ceremonies, these extraordinary masterpieces were unknown to experts in the decorative arts until the 1980s. With their public rediscovery, they are now being studied and displayed as works of art. At the Convent of St. Saviour, in Jerusalem, the Franciscans of the Custodia have established the Terra Sancta Museum—from the Latin for “Holy Land”—which is scheduled to open in 2026.

Examples of these masterpieces include a set of pontifical vestments sent to Jerusalem in 1621 by France’s King Louis XIII, including an antependium, or alter frontal; three copes, cape-like garments worn in processions and solemn masses; and two dalmatics, worn by deacons. Made of red silk and gold and silver thread, royal symbols appear throughout the embroidery, including the crowned arms of France and Navarre and the intertwined initials of King Louis and Queen Anne of Austria. No other vestments of this importance survive from seventeenth-century France.

A richly ornamented Throne of Eucharistic Exposition arrived at the Holy Sepulcher in April 1666, a gift from King Philip IV of Spain, who reigned from 1621 to 1665. Made of silver and gilt silver, gilt copper, glass, and precious and semiprecious stones, it provides a setting for displaying the Holy Sacrament in a monstrance. In 1730, the Custodia received a shipment of gifts from Emperor Charles VI of the Holy Roman Empire, including a gilt silver ewer and basin crafted by artist Daniel Schäffler, who specialized in ceremonial pieces for both church and home. Such sets are used for ceremonial handwashing; in this case, the Custos—the Franciscan leader of the Custodia—uses it to wash his hands during Mass before the consecration of the Eucharist.

A shipment from Portugal’s King Joseph I was sent in 1752 and included a gold sanctuary lamp that had been commissioned by King John V but did not arrive until after his death. The survival of extraordinary objects like this rare piece of goldsmith work bears witness to centuries of devotion. Many comparable pieces were destroyed in the catastrophic Lisbon earthquake of 1755. Sent from Naples in 1757, a glorious gold crozier is made in four sections that screw together, each encrusted with precious stones. Cherubs’ heads support the central portion, which features standing figures of Saints Francis of Assisi, Januarius, Louis of Anjou, and Bonaventure. The shepherd’s crook terminates in a Jerusalem Cross set with rubies and small diamonds. In all of Neapolitan goldsmith work, no comparable crozier survives.

Probably workshop of Domenico Piola, Cope of the Red Pontifical Set of
Vestments of Genoa, Genoa, 1686–97, satin ground, silk thread, and
painting on silk. Terra Sancta Museum, Jerusalem
Photo: Joseph Coscia Jr.

The Republics of Venice and Genoa both sent pontifical vestments to Jerusalem in the latter half of the seventeenth century. The Venetian Republic, a vital port connecting Europe to the Holy Land, sent a complete set of seventeen vestments of crimson silk velvet, gold and silver thread, and semiprecious stones, of which a chasuble and miter are on display in this exhibition. Genoa sent a remarkable set of thirteen silk pontifical vestments attributed to the Genoese painter Domenico Piola and his workshop, one of which is displayed in this exhibition. The virtuosic embroidery on the hood depicts St. George, patron saint of Genoa, slaying the dragon. The decorative bands combine the arms of Genoa and the Custodia with scrolling flowers.

The Holy Sepulcher: Treasures from the Terra Sancta Museum, Jerusalem is an unprecedented opportunity for the American public to examine and appreciate treasures by some of Europe’s greatest goldsmiths and textile artisans.

“The objects in this exhibition are spectacular—luxurious, costly, often ornate,” said George Shackelford, deputy director of the Kimbell Art Museum and curator of the exhibition. “It’s important to remember that at every stage of their creation, from the commission to the execution to the donation, they were motivated by a profound religious faith. They are the concrete expression of that sincere belief.”

The Holy Sepulcher: Treasures from the Terra Sancta Museum, Jerusalem is organized by The Frick Collection, New York, and curated by Xavier F. Salomon with Benoît Constensoux and Jacques Charles-Gaffiot.

The 384-page hardcover catalogue includes essays by Marie-Armelle Beaulieu, Editor-in-Chief of Terre Sainte Magazine, the French edition of a periodical published by the Custody of the Holy Land; Jacques Charles-Gaffiot, art historian and iconography expert; Benoît Constensoux, art historian at Galerie Kugel in Paris and a member of the Scientific Committee of the Terra Sancta Museum; Alvar González-Palacios, art historian who has written numerous books on Italian and French decorative arts; Xavier F. Salomon, former Deputy Director and Peter Jay Sharp Chief Curator, The Frick Collection, and current Director, Calouste Gulbenkian Museum, Lisbon; and Béatrix Saule, Honorary Director General and Curator of the Château of Versailles and president of the Scientific Committee of the Terra Sancta Museum; as well as entries by Maria Pia Pettinau Vescina, art historian and ancient textiles expert, and a member of the Scientific Committee of the Terra Sancta Museum; and Danièle Véron-Denise, specialist on liturgical and secular embroidery and former Curator at the Château de Fontainebleau Museum, and a member of the Scientific Committee of the Terra Sancta Museum.

Monstrance, Naples, 1746, gold, rubies, emeralds and diamonds. Terra
Sancta Museum, Jerusalem
Photo: Joseph Coscia Jr.

SUPPORT

The exhibition is supported in part by the Fort Worth Tourism Public Improvement District. Promotional support for the Kimbell Art Museum and its exhibitions is provided by American Airlines, the Fort Worth Report, and NBC 5. Additional support is provided by Arts Fort Worth and the Texas Commission on the Arts.

The post Kimbell Art Museum Announces Treasures from the Terra Sancta first appeared on Tanglewood Moms.

Presented during the closing week of the Fort Worth Stock Show & Rodeo, Cowboys & Culture features internationally acclaimed dramatic tenor Clifton Forbis, current professor and chair of voice at SMU’s Meadows School of the Arts, alongside Fort Worth Opera’s 2025–26 Hattie Mae Lesley Resident Artists: soprano Melissa Martinez, mezzo-soprano Madeline Coffey, tenor Coleman Dziedzic, and bass-baritone José Olivares.

Projected artwork by contemporary Western painter Kevin Chupik will be woven throughout the concert, pairing visual storytelling with vocal performance. Between musical selections, Fort Worth Opera Producing Director Kurt Howard will interview Chupik live onstage, inviting audiences into the ideas behind the imagery and the West it reflects.

The evening’s musical program includes Western-themed operatic repertoire and American works, with selections from Puccini’s La Fanciulla del West, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage, and Héctor Armienta’s Zorro, plus traditional selections that reflect the West’s mythic pull and Fort Worth’s own cultural identity.

Clifton Forbis, photo courtesy of Fort Worth Opera

“As the Opera marks its 80th season, we wanted to embrace all of Fort Worth in the celebration,” said Angela Turner Wilson, General and Artistic Director of Fort Worth Opera. “’Cowboys & Culture’ isn’t just a slogan here, it’s what we’ve always been: proud of our Western heritage, and proud of the artistic tradition that has grown alongside it for generations.”

Forbis echoed that idea, describing opera as something that has always belonged to everyday people — an art form that traveled west as the country grew, and still feels rooted in community no matter how big the stage.

“Before my day and anybody else’s, there were traveling companies going from city to city doing shows,” Forbis said. “And it’s not just back then. Opera isn’t this rare thing that only exists in some far-off world. Even for the performers, most of us are just normal folks. One of my favorite things about working festival season at the Met was going down to the canteen and seeing friends you haven’t seen in a year, just sitting and having lunch. It’s like coming home, right there in the biggest city.”

Performing with Fort Worth Opera will carry an even stronger sense of homecoming for Forbis as his first professional appearance — right out of the graduate program at SMU — was in the Opera’s 1990 production of Stewart Copeland’s Holy Blood and Crescent Moon.

Forbis went on to a wide-ranging international career as an in-demand dramatic tenor, but always returned for major milestones close to home, such as the opening of Bass Performance Hall in 1998, a concert with Denyce Graves to open the Winspear in Dallas in 2009, and the title role in Verdi’s Otello during the Winspear’s inaugural season.

“Clifton has worked at the highest level, on the biggest stages, and he still carries himself like the person next door,” Turner Wilson said. “That combination — excellence without pretense — is part of what makes him so special, and it’s exactly the spirit we want audiences to feel in Cowboys & Culture.”

As part of Fort Worth Opera’s long-standing commitment to developing emerging talent, Forbis will share the stage with the company’s Resident Artists, four talented singers at the start of their professional careers.

“It’s fun to watch the next generation emerge onstage in front of you,” Forbis said. “It’s a special feeling to hear these incredible young people and know that the business I love is going to be in good hands.”

Kevin Chupik, Railhead
Image courtesy of Fort Worth Opera

For Western art lovers, the evening presents an opportunity to see Kevin Chupik’s work through a musical lens — and hear the story behind it, in the artist’s own words. A Texas-trained painter, Chupik earned his BFA from Texas Christian University and his MFA from the University of Colorado at Boulder. His subjects bring traditional Western imagery into conversation with modernity, often with touches of irony or humor, and his work is collected nationally and internationally.

“Kevin’s work feels right at home in this program,” Turner Wilson said. “It has real respect for Western heritage, but it also has personality — it’s fresh, it has wit, and it invites you to look twice.”

Chupik’s work is currently on view locally in Grit and Grace at William Campbell Gallery in Fort Worth from January 15 through February 7, 2026.

Cowboys & Culture, a Concert at the Kimbell Art Museum
60 minutes, no intermission
Kimbell Art Museum, Piano Pavilion
3333 Camp Bowie Blvd, Fort Worth, TX 76107
Thursday, February 5, 2026 — 6:30 p.m.

For tickets and more information, visit fwopera.org.

The post Fort Worth Opera and the Kimbell Celebrate Fort Worth’s Heritage first appeared on Tanglewood Moms.

In addition to Second Saturday and Family Festival / Fiesta de la Familia, the Kimbell is debuting Sensory Hour / Hora Sensorial, a free, hour-long, sensory-friendly experience that will include art making, face painting, and free admission to the special exhibition. Sensory Hour accommodations include lower light levels, reduced attendance capacity, and quiet zones. Communication boards, social narratives, fidgets, and noise-reduction headsets will be available. The below calendar of events is current as of December 19, 2025. The most current information can always be found at kimbellart.org/calendar.  

The Kimbell Art Museum at Dusk
Carol M. Highsmith (1946-)

Film

Destination: Ancient Rome (2023, 54 min.)

From monuments, stadiums, and roads to water systems and harbors, the builders of Rome invented the modern city. What technical inventions and what genius of construction did they use to achieve this? This program follows a team of archaeologists as they use technology to recreate the largest city in antiquity.

SUNDAY, JANUARY 4, 2–3 p.m.

Piano Pavilion, Auditorium
Free; no registration required
Space is limited.

Pictures and Pages / Fotos y Libros

Passports and Postcards

Join us for stories and creative play—with flexible options for learning in English, Spanish, or both!  This free program is designed for children (ages 4–6) and their adult partners.

TUESDAY, JANUARY 6, 10:30–11:30 a.m.
Kahn Building, Galleries
Free; registration required
Space is limited; maximum two children per adult.

Wednesday Series: Art in Context

Women of a Certain Age: Art and Growing Old in the Eighteenth Century

Jessica L. Fripp, associate professor of art history, Texas Christian University, Fort Worth

Before the word “menopause” was coined in the 1820s, the biological changes that happen to women around the age of fifty were acknowledged by French physicians but poorly understood. But aging, in addition to being a biological process, was also culturally constructed and performed. Literary, theatrical, and visual representations of women during their “old age” were often malicious, focusing on what women lost as they grew older, namely their beauty and the supposed power it gave them. This focus was often at odds with their lived experiences, however. This talk explores how women navigated the gendered expectations of life after forty-five by examining the representations of older women in eighteenth-century visual culture.

WEDNESDAY, JANUARY 7, 12:30–1:30 p.m.

Piano Pavilion, Auditorium
Free; no registration required
Space is limited.

The Artist’s Eye

Jill Johnson

What does the art of the past mean to the artist of the present? In this ongoing program, moderated by Kimbell staff, artists and architects discuss works in the museum’s collection, share the special insights of the practicing professional, and relate older art to contemporary artistic concerns, including their own.

SATURDAY, JANUARY 10, 11 a.m.–noon

Kahn Building, Galleries
Free; no registration required

Second Saturday

Excerpts from the musical PENELOPE, presented by Stage West Theatre

Join us for a special performance of excerpts from the musical-comedy retelling of the epic poem “The Odyssey” from the perspective of Penelope, wife of Odysseus. A Q&A with Stage West Theatre performers and the production’s director will follow. Offered in conjunction with Myth and Marble: Ancient Roman Sculpture from the Torlonia Collection.

SATURDAY, JANUARY 10, 2–3 p.m.

Piano Pavilion, Auditorium
Free; no registration required
Space is limited.

Sensory Hour / Hora Sensorial

Enjoy Family Festival activities in a sensory-friendly environment! This free, hour-long program will include art making, face painting, and free admission to the special exhibition Myth and Marble: Ancient Roman Sculpture from the Torlonia Collection. Sensory Hour accommodations include lower light levels, reduced attendance capacity, and quiet zones. Communication boards, social narratives, fidgets, and noise-reduction headsets will be available at the Welcome & Information Table.

SUNDAY, JANUARY 11, 11 a.m.–noon

Kahn Building and Piano Pavilion
Free; registration required

Family Festival / Fiesta de la Familia

Calling all families for a museum-wide celebration that will include creative activities, live performances, and free admission to the special exhibition Myth and Marble: Ancient Roman Sculpture from the Torlonia Collection.

SUNDAY, JANUARY 11, noon–5 p.m.

Kahn Building and Piano Pavilion
Free; no registration required

Kimbell Kids Drop-In Studios

Hat Trick

This free program introduces children (ages 12 and younger) and their adult companions to fun and inspiring ways to enjoy art through gallery explorations and related studio-art projects.

SATURDAYS, JANUARY 3, 17, 24 and 31, 1–1:45 p.m.
Kahn Building
Free; sign-up begins at noon.
Space is limited.
Kimbell Casual Friday

Mission Impossible

Bring friends and a sense of adventure for interactive gallery experiences that mingle different ways of looking at art through guided conversation, sketching activities, and the occasional friendly competition. This free, forty-five-minute program occurs once a month during the Kimbell Café’s regular Happy Hour.

FRIDAY, JANUARY 23, 5:30–6:15 p.m.

Kahn Building, West Lobby
Free; no registration required

Public Tours
Permanent Collection

Join a Kimbell docent for a highlights tour of the permanent collection. Assistive Listening Devices (ALDs) are available upon request.

SUNDAYS, 3–4 p.m. and WEDNESDAYS, 2–3 p.m.
Kahn Building
Free; no registration required
Space is limited.

Architecture: Two Buildings, One Museum

Join a docent to explore the Kimbell’s two buildings, designed by architects Louis I. Kahn and Renzo Piano. Assistive Listening Devices (ALDs) are available upon request.

SATURDAYS, 2–3 p.m.
Kahn Building
Free; no registration required
Space is limited.Myth and Marble: Ancient Roman Sculpture from the Torlonia Collection

Learn about the current special exhibition during docent-guided tours that provide historical context, discuss overarching themes, and highlight individual artworks. Assistive Listening Devices (ALDs) are available upon request.

TUESDAYS–THURSDAYS, 3–4 p.m. and FRIDAYS, 6:30–7:30 p.m.

Through January 9
Piano Pavilion
Paid; no registration required
Space is limited.

Visit Studio A

Studio A, the Kimbell’s sensory-friendly drop-in play space for children (ages 5 and younger) and their adult companions, invites visitors to imagine their own adventure. This “please touch” room encourages families to experience art and community from an early age.

Open during regular museum hours
Piano Pavilion, Education Studios
Free; no registration required

The post January at the Kimbell first appeared on Tanglewood Moms.

“The Kimbell’s 2026 exhibitions continue the museum’s tradition of giving its visitors once-in-a-lifetime opportunities to experience great works of art from around the globe,” said Eric M. Lee, the museum’s director. “The Holy Sepulcher will feature dazzling treasures from of one of the holiest sites in Christendom, while Photography’s First Century will draw from what is arguably the world’s most important collection of photography.”

Probably workshop of Domenico Piola, Cope of the Red Pontifical Set of
Vestments of Genoa, Genoa, 1686–97, satin ground, silk thread, and
painting on silk. Terra Sancta Museum, Jerusalem
Photo: Joseph Coscia Jr.

The Holy Sepulcher: Treasures from the Terra Sancta Museum, Jerusalem
March 15–June 28, 2026

This extraordinary exhibition showcases more than sixty objects in silver, gold, enamel, and precious jewels, given by the Catholic rulers of Europe—the Holy Roman Emperors in Vienna and the monarchs of Portugal, Spain, France, and Naples—to the Church of the Holy Sepulcher in Jerusalem. For nearly two thousand years, the Church of the Holy Sepulcher has been a site of Christian devotion and pilgrimage built on what is traditionally believed to be the site of Jesus of Nazareth’s death, burial, and resurrection, and its treasures have been used in religious ceremonies for centuries. These objects, including spectacular reliquaries, crosses, candlesticks, chalices, and vestments representing the height of seventeenth- and eighteenth-century craftsmanship, have few equivalents anywhere else in the world. Traveling to only two venues in North America—the Frick Collection in New York and the Kimbell Art Museum in Fort Worth—the exhibition represents the first—and possibly only—time these treasures will be seen in the US.

The exhibition is organized by The Frick Collection, in cooperation with the Custodia Terrae Sanctae and Terra Sancta Museum, Jerusalem. Xavier F. Salomon, director of the Gulbenkian Museum, Lisbon, and former deputy director of the Frick Collection, was the exhibition’s curator, with Benoit Constensoux and Jacques Charles-Gaffiot. Its presentation at the Kimbell is organized by George Shackelford, Deputy Director.

Gustave Le Gray, The Great Wave – Sète – No. 17, 1857, albumen print from
a collodion glass plate negative, legal deposit of the photographer in 1860.
Bibliothèque nationale de France

Photography’s First Century: Masterworks from the Bibliothèque nationale de France
October 4, 2026–January 17, 2027

The Kimbell’s first-ever exhibition celebrating the art of photography will trace the history of the medium’s first century of exploration and discovery, from the rise of the Daguerreotype and the calotype in the 1840s to the age of modernism between the World Wars. The Bibliothèque nationale de France—the country’s great national library—holds one of the largest and most comprehensive collections of photographs in the world. Drawn from these rich holdings, this survey of more than 150 images includes work by Henri Le Secq, Gustave le Gray, Félix Tournachon (Nadar), Édouard Baldus, Louis-Émile Durandelle, Eugène Atget, Sonia Delaunay, André Kertesz, Rogi André, Man Ray, and Brassaï.

Photography’s First Century is organized by the Bibliothèque nationale de France and the Kimbell Art Museum in collaboration with Manifesto Expo and in conjunction with France’s celebration of the bicentennial of the invention of photography. The exhibition’s curators are Madame Sylvie Aubenas, Director of the Department of Prints and Photography and Madame Flora Triebel, curator of the 19th-century photography collection at the Bibliothèque nationale de France, Paris. Its presentation at the Kimbell is organized by George Shackelford, Deputy Director.

The post Kimbell Announces 2026 Exhibitions first appeared on Tanglewood Moms.

The free, three-hour festival is part of the Arkhaios Cultural Heritage and Archaeology Film Festival, which presents recent documentary films that preserve cultural heritage and promote understanding through ethnological and archaeological research. This will be the US premiere for two out of the three films: Vitrum and The Rise and Fall of the Incas.

Photo courtesy of the Kimbell Art Museum

“Now in its thirteenth year, the Arkhaois Film Festival occurs every October as part of the month-long celebration of International Archaeology Day. It brings together an impressive group of experts—including archaeologists, anthropologists, and filmmakers—to select both full-length and short documentary films for virtual screenings,” said Connie Hatchette Barganier, head of education at the Kimbell Art Museum. “The Kimbell is excited to again participate as an in-person screening venue to show three documentaries from among the longer list of over thirty titles recognized by the Festival.”

WHAT: Arkhaios Film Festival

WHEN: Sunday, October 10
2 to 5 pm

WHERE: Kimbell Art Museum
3333 Camp Bowie Blvd, Fort Worth
Piano Pavilion, Auditorium

FULL SCHEDULE

2:05–2:55 p.m.
The Lost Tombs of Notre-Dame
Director: Florence Tran, Producer: Christine Le Goff, Marion Papillon, ZED (France)
(52 min.)

Photo courtesy of the Kimbell Art Museum

Following the fire that ravaged Notre-Dame de Paris, an extraordinary archaeological dig revealed unexpected treasures that had been hidden for centuries beneath the cathedral’s stone floor: two lead sarcophagi, along with sculpted fragments from a monumental wood screen destroyed in the eighteenth century. This film features the fascinating historical and scientific investigation conducted by a team of specialists—including archaeologists, anthropologists, forensic scientists, art historians, and restorers—who employ cutting-edge technology to shed fresh light on the history of Notre-Dame.

3–3:55 p.m.
Vitrum: Rome’s Glass Revolution
Director Marcello Adamo, Producer Marcello Adamo, Filmare Entertainment and GA&A Productions (Italy)
(52 min.)

Photo courtesy of the Kimbell Art Museum

In 2013, Italian engineer Guido Gay discovered an ancient shipwreck between Corsica and Italy at a depth of 360 meters. While the cargo was initially thought to be ballast stone, it soon became clear that the ship was delivering tons of glass in varying degrees of workmanship. This remarkable discovery, the second of its kind, prompted the formation of a Franco-Italian archaeological team to investigate the wreck’s cargo, now known as the Capo Corso 2, onboard the Alfred Merlin. This film explores the significance of glass in Ancient Rome through the team’s deep-sea archaeological research, and how the development and dissemination of glassmaking methods changed human civilization forever.

4–5 p.m.
The Rise and Fall of the Incas: The Golden Age
Directors Quentin Domard and Elsa Haharfi, Producer Céline Payot Lehmann, Pernel Media (France)
(56 min.)

Photo courtesy of the Kimbell Art Museum

From the Saqsaquayman fortress to the lost city of Vilcabamba, passing through Lake Titicaca and the Machu Picchu archaeological site, this documentary takes us on a journey to uncover the last mysteries of the Inca civilization. Interviews with international scientists and explorations of major archaeological sites will be complemented by 3D CGI animations that will re-create long-vanished Inca monuments, including the legendary citadel of Machu Picchu.

The post Kimbell to Present Arkhaios Film Festival 2025 first appeared on Tanglewood Moms.

FREE PUBLIC PROGRAMS
The below calendar of events is current as of September 19, 2025. The most current information can always be found at kimbellart.org/calendar.

Photo courtesy of the Kimbell

Ongoing Programs

In addition to the free programs listed below, the museum also offers a range of regular, free Public Tours exploring the museum’s permanent collection, special exhibitions, and architecture.

Kimbell Kids Drop-In Studios introduce children (ages 12 and younger) and their adult companions to fun and inspiring ways to enjoy art through gallery explorations and related studio-art projects on selected Saturdays from 1 to 1:45 p.m. The theme for September and October is Fantastic Beasts, and November’s is Fruit Punch. Sign-up begins at noon in the Kahn Building.

Happy Hours on Fridays from 5 to 7 p.m. in the Kimbell Café feature live music and a selection of beverages and snacks available for purchase. The live music lineup includes Allegro Guitar Society, String Theory Manouche, The Furgos, Paul Metzger, Yeeun Kim, Andrew Skates, and more. No reservations are required. Members receive a 10% discount on beverages during Happy Hours.

Photo courtesy of the Kimbell Art Museum

VISITOR INFORMATION

Admission to the museum’s permanent collection is always free. Admission is half-price all day on Tuesdays and after 5 p.m. on Fridays.

The Kimbell Art Museum is open Tuesdays through Thursdays and Saturdays, 10 a.m.–5 p.m.; Fridays, noon–8 p.m.; Sundays, noon–5 p.m.; closed Mondays, New Year’s Day, Juneteenth, July 4, Thanksgiving, and Christmas. For general information, call 817-332-8451.

The post This Fall at the Kimbell first appeared on Tanglewood Moms.

“The opportunity to bring large-scale works of ancient Roman sculpture to the American public is extremely rare, and we at the Kimbell are grateful to Fondazione Torlonia for creating this once-in-a-lifetime experience,” said Eric Lee, director of the Kimbell Art Museum. “This is the first exhibition of ancient Roman sculpture in the Kimbell’s fifty-three-year history and is all the more exciting because the legendary Torlonia Collection has been largely unseen for the last seventy years.”

Established during the course of the nineteenth century by the Franco-Italian banker Prince Giovanni Torlonia (1754–1829) and his son Prince Alessandro (1800–1886), the Torlonia Collection was handed down over generations, eventually growing into the largest private collection of ancient Roman sculptures. This veritable “collection of collections” was assembled through acquisitions from prominent collections of Roman patrician families and from excavations undertaken on the family’s own estates throughout Italy. By 1876, Prince Alessandro Torlonia created a museum to house and exhibit the family’s impressive holdings of ancient marbles. The Museo Torlonia was open to small groups until its closure at the onset of World War II. During this closure, Fondazione Torlonia was created at the behest of Prince Alessandro Torlonia (1925–2017) for the continued study and conservation of both the collection and the Villa Albani Torlonia, a monumental complex and one of the highest expressions of eighteenth-century taste. The sculptures remained largely unseen by the public until Fondazione Torlonia’s first exhibition, at the Musei Capitolini in Rome in 2020. Myth and Marble comes to North America after a recent exhibition of the Torlonia Collection drew unprecedented audiences at the Louvre in Paris.

Portus Relief, Roman, Imperial Period (2nd–3rd
century AD), marble. Torlonia Collection, Rome.
© Fondazione Torlonia. Photo by Lorenzo De Masi

The works on view at the Kimbell were made between the late fifth century BC and the early fourth century AD, with most dating to the High Imperial period (first–second centuries AD). Visitors will see examples of the most emblematic genres of ancient marble sculpture, including large-scale figures of gods, goddesses, and mythic heroes, vivid portraits of emperors and their families, and magnificent funerary monuments. Half of the sculptures have been newly cleaned, conserved, and studied specifically for this North American presentation.

Portrait of a Young Woman, known as the Maiden
of Vulci, Roman, late Republican Period (mid-1st
century BC), marble. Torlonia Collection, Rome.
© Fondazione Torlonia. Photo by Lorenzo De Masi

The exhibition is organized thematically into six sections. Upon entering the Kimbell’s special exhibition galleries, visitors will first encounter three Icons of the Torlonia Collection, including the mid-first-century BC Portrait of a Young Woman, known as the Maiden of Vulci. This is among the earlier and best-known works in the Torlonia Collection, providing a singular representation of Roman female portraiture from the early Augustan era. This and other portraits on view convey the striking naturalism that is a hallmark of ancient Roman sculpture and that viewers will come to appreciate throughout the exhibition.

Next, Ideal Bodies and Model Behavior introduces visitors to depictions of myriad deities from the broader Roman world. This section illustrates how, as it expanded, the Roman Empire increasingly embraced aspects of Greek culture, both in its mythology and its visual language, cementing a shared Greco-Roman cultural heritage. The Statue of a Goddess, known as the Hestia Giustiniani, one of the most important works in the collection, is also one of the very few Roman versions of the classical Greek “severe” style in existence and is the largest and most intact sculpture of its type.

Statue of a Goddess, known as the Hestia Giustiniani,
Roman, Imperial Period, Hadrianic Era (first half of
2nd century AD), marble. Torlonia Collection, Rome.
© Fondazione Torlonia. Photo by Lorenzo De Masi

Strategies of Succession displays second-century AD emperors and their imperial families, including a remarkable selection of female portraits. These stunningly realistic portrait sculptures, the likes of which would have permeated public and private spaces in the ancient world, functioned much as mass media does today. Visitors will recognize the names of rulers such as Trajan, Hadrian, Marcus Aurelius, Commodus, and Septimius Severus, whose marble busts at once convey their likenesses, deliver overt political propaganda, and communicate subtle messages of power, authority, and identity.

Not a single work on view in Myth and Marble looks today as it did when it left the ancient artist’s workshop, whether through the wear and tear of time or by the hands of generations of art restorers. Restoration and Reconstruction spotlights sculptures that have been altered over the centuries—sometimes into nearly new works altogether—reflecting how collectors from the Renaissance through the nineteenth century preferred unfragmented objects to decorate their villas and estates. Intact portrait heads were regularly placed on newly carved busts in the past, and sometimes unrelated elements were assembled into wholly new works of art. The Rondanini-Type Medusa on a Trapezophoros (Table Leg) with a Griffin’s Head, for instance, was created through the assembly of two otherwise distinct, ancient sculptural fragments: a Medusa head joined to a Griffin-headed table leg. Sometimes great artists were engaged to update or perfect ancient fragments. For example, a mundane sculpture of a reclining ram was entirely transformed, made glorious with the addition of an exuberant head carved by the famed Baroque sculptor Gian Lorenzo Bernini around 1620.

As one of the largest landowners in nineteenth-century Rome, Prince Alessandro Torlonia hired archaeologists to excavate some of his own estates, notably a tract along the Via Appia Antica, which was a major ancient thoroughfare near Rome, and a property at Portus, once ancient Rome’s main harbor. Torlonia Excavations displays remarkable discoveries from these excavations, including an Attic Votive Relief from the fifth century BC, which is the only Greek sculpture in the exhibition and the earliest work in the entire Torlonia Collection. The Portus Relief offers a rare representation of the place where it was found, combining elements of the architectural and commercial landscape with symbolic motifs and deities.

Sarcophagus Depicting the Labors of Hercules and
Lid with Reclining Couple, Roman, Imperial Period
(second half of 2nd century AD), marble. Torlonia
Collection, Rome. © Fondazione Torlonia. Photo
by Lorenzo De Masi

Myth and Marble closes with Death and Remembrance, reflecting a major strength of the Torlonia Collection: funerary monuments. These superb carvings underscore the longstanding Roman tradition of commemorating the dead and visually memorializing their likenesses and personal identities in marble, to be publicly displayed and visited by generations of descendants. Several extraordinary sarcophagi (stone coffins) such as the Sarcophagus Depicting the Labors of Hercules and Lid with Reclining Couple are among the largest sculpted works in marble to survive from ancient Rome.

“Each of these exceptional sculptures has lived many lives over the centuries,” said Jennifer Casler Price, senior curator of Asian, African, and ancient American art at the Kimbell Art Museum and curator of the exhibition for the Kimbell. “Reaching across space and time, connecting the past with the present, these powerful works still resonate with us today. We are thrilled to be able to share their fascinating stories with our visitors and to bring these magnificent ambassadors from Rome to Texas.”

“Fondazione Torlonia is excited to be sharing the Torlonia Collection with audiences in North America for the first time. This exceptional group of ancient sculptures is a testament to the enduring cultural legacy of ancient Rome, as well as the vision and passion of multiple generations of the Torlonia family,” said Alessandro Poma Murialdo, president of Fondazione Torlonia.

“By sharing these rare masterpieces with the public, Fondazione Torlonia aims to deepen appreciation for and foster a renewed connection with the artistic achievements of the ancient world,” said Carlotta Loverini Botta, director of Fondazione Torlonia. “The universal spirit that has always informed classical art must continue to be nurtured for generations to come. It is a universal language that thrives on the ongoing reinvention of the classics through engagement with modern culture.”

Statue of a Resting Goat, Roman, Imperial Period,
Trajanic Era (body: late 1st century; head: attributed
to Gian Lorenzo Bernini [1598–1680]), marble.
Torlonia Collection, Rome. © Fondazione Torlonia.
Photo by Lorenzo De Masi

The Kimbell Art Museum is open Tuesdays through Thursdays and Saturdays, 10 a.m.–5 p.m.; Fridays, noon–8 p.m.; and Sundays, noon–5 p.m. It is closed Mondays, New Year’s Day, Juneteenth, July 4, Thanksgiving, and Christmas. For general information, call 817-332-8451.

Fondazione Torlonia came into being at the behest of Prince Alessandro Torlonia, with the aim of preserving and promoting the Torlonia Collection and Villa Albani Torlonia, one of the highest expressions of eighteenth-century taste. Together they constitute a “cultural heritage of the Family for humanity” to be handed down to future generations.

The Torlonia Collection is the most important private collection of ancient Roman sculptures in the world. Comprising 622 works and a wide range of sculptural types and subjects, its holdings rival those of major institutions in Europe, including the Capitoline and Vatican Museums.

United by a shared passion for art and collecting, Fondazione Torlonia and Fondazione Bvlgari have joined forces to undertake the conservation of the Torlonia marbles, ensuring the continued relevance of their historic and aesthetic value and safeguarding these masterpieces for future study. This enduring partnership has seen the Roman Maison serve as the main sponsor for the restoration of over 150 statues from the collection to date, as part of an initiative aimed at raising awareness of the vital study and conservation work carried out by Fondazione Torlonia in the Laboratori Torlonia (Torlonia Workshops). For more information, visit www.fondazionetorlonia.org.

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During the Valentine’s Day Happy Hour, you can enjoy live music, see art, participate in unique and interactive gallery activities, and pick up complimentary, limited-edition Kimbell valentine cards on Friday, February 14.

This Valentine’s Day, friends and significant others alike can enjoy a laid-back evening of art, music, and connection at the Kimbell Art Museum.

Kimbell Casual Friday. Photography by Robert LaPrelle, Kimbell Art Museum

During Happy Hour in the Kimbell Café, guests will enjoy live music by Andrew James, who plays alternative, country, and pop covers in a traditional country/Americana style, along with original songs. Beer, wine, nonalcoholic drinks, and snacks will be available for purchase. Members receive a 10% discount on beverages during Happy Hours.

Kimbell Casual Friday is a monthly, interactive museum experience that mingles looking at art with guided conversation, games, low-pressure sketching, and the occasional friendly competition. For this Valentine’s Day edition, the theme will be Sweethearts. Bring your friends or significant other and a sense of adventure!

Free parking available on site.

Kimbell Casual Friday. Photography by Robert LaPrelle, Kimbell Art Museum

WHAT

Valentine’s Day at the Kimbell Art Museum
Happy Hour in the Kimbell Café, 5–7 p.m.
Kimbell Casual Friday, 5:30–6:15 p.m.
Museum open until 8 p.m.

WHERE

Kimbell Art Museum
3333 Camp Bowie Boulevard
Fort Worth, Texas 76107

WHEN

Friday, February 14, 2025
5–7 p.m.

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Left: “Court Lady,” Chinese, first half of the 8th century A.D., gray earthenware with painted polychrome decoration. Kimbell Art Museum
Right: “Arhat Taming the Dragon,” Chinese, early 14th century, hanging scroll; ink and mineral pigments on silk. Kimbell Art Museum

According to the Chinese zodiac, 2025 is the Year of the Snake. The snake is the sixth animal in the 12-year cycle of Chinese zodiac, and it is a symbol of mystery, wisdom, and elegance, as well as intelligence, intuition and transformation. This year is a year of change, of moving from old ways that no longer serve us and moving forward with awareness and compassion.

Lunar New Year Celebration 2024. Photo by Robert LaPrelle, Kimbell Art Museum

On Friday, January 24, The Kimbell Art Museum and Fort Worth Sister Cities International will host a happy hour celebration of the Year of the Snake in the Piano Pavilion. Highlights will include traditional guzheng musical performances, Lunar New Year artmaking, and an Asian art-themed scavenger hunt. This event is free and open to the public. Food and drinks will be available for purchase.

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