Uploaded February 2024 | Updated September 2026, 10 hours ago
Emily Ziemba, director of curatorial administration and research curator for Prints and Drawings, explores how Chicago donors built the Art Institute’s preeminent Picasso collection.
The exhibition Picasso: Drawing from Life shines a light on the fascinating people that were often obscured by the artist’s far-reaching shadow. These individuals, such as his lovers, friends, dealers, and printers, contributed in varying ways to Picasso’s success and continuing mystique. However, one area the exhibition doesn’t explore is Picasso’s collectors. This talk will celebrate the men and women, like Robert Allerton, Margaret Day Blake, and Elizabeth Goodspeed, who helped make the Art Institute of Chicago’s Picasso collection one of the finest in the world.
Video of Picasso and Bobsy Goodspeed: Chapman Films, 1934–43, directed by Mrs. Gilbert W. Chapman (formerly Bobsy Goodspeed). With thanks to Robert Storr.
Emily Ziemba, director of curatorial administration and research curator for Prints and Drawings, explores how Chicago donors built the Art Institute’s preeminent Picasso collection.
The exhibition Picasso: Drawing from Life shines a light on the fascinating people that were often obscured by the artist’s far-reaching shadow. These individuals, such as his lovers, friends, dealers, and printers, contributed in varying ways to Picasso’s success and continuing mystique. However, one area the exhibition doesn’t explore is Picasso’s collectors. This talk will celebrate the men and women, like Robert Allerton, Margaret Day Blake, and Elizabeth Goodspeed, who helped make the Art Institute of Chicago’s Picasso collection one of the finest in the world.
Video of Picasso and Bobsy Goodspeed: Chapman Films, 1934–43, directed by Mrs. Gilbert W. Chapman (formerly Bobsy Goodspeed). With thanks to Robert Storr.






![Georgia OKeeffe: My New Yorks | Exhibition Stories
Hear the story of Georgia OKeeffes New Yorks from curators Sarah Kelly Oehler and Annelise K. Madsen—these early career paintings reveal the artists perspective on the citys rapidly changing landscape through the 1920s and are essential to the ambitious and wide-ranging aesthetic for which shes remembered. As OKeeffe herself put it, “One can’t paint New York as it is, but rather as it is felt.”
Learn more about Georgia OKeeffe: My New Yorks on our website:
https://www.artic.edu/exhibitions/9539/georgia-o-keeffe-my-new-yorks
Thumbnail Credit: Alfred Stieglitz. Georgia OKeeffe, 1930. copy print. Georgia OKeeffe Museum. Gift of The Georgia OKeeffe Foundation. [2006.6.934] Georgia OKeeffe: My New Yorks | Exhibition Stories](https://i.ytimg.com/vi/cM3amfiuTts/mqdefault.jpg)



