Art Collecting
At the time of the fair, the Palmers had been enthusiastic art collectors for a number of years. They depended on the curator Sarah Hallowell, a Philadelphia Quaker who they had met in 1873, for advice and she introduced the Palmers to the painters in Paris and to the latest artistic trends in the French capital. Most Midwestern collectors were still collecting works by the Barbizon School in the 1870s and 1880s, but thanks to the Palmers, this would soon change. In the years leading up to the Columbian Exposition, they became clients of the Parisian dealer Paul Durrand-Ruel and began to collect French Impressionist works. Because Hallowell was curating a loan exhibition of the latest French art for the exposition, the Palmers accelerated their collecting because the curator wanted the latest and greatest in French art for the fair. The Palmer's collection of Impressionist paintings was soon unrivaled, soon they had twenty-nine Monets and eleven Renoirs. These works now form the core of the Art Institute of Chicago's Impressionist collection. Hallowell also tried to get the Palmers interested in Auguste Rodin's work, which he had loaned her for the fair. The frankness of his nudes had caused a stir at the fair and after resisting for a number of months, works by Rodin entered the collection as well and these were among the first acquired by American collectors. Bertha Palmer enjoyed her role as a cultural leader and tastemaker. In 1905, Hallowell finally convinced Mrs. Palmer to sit for Rodin.
Read more about this topic: Bertha Palmer
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