JOAN BYCK LOEB
APRIL 11, 1931–FEBRUARY 15, 2020
A great art museum is the result of the work of many hands over multiple centuries. Europe’s great public art collections are a byproduct of royal and aristocratic patronage of artists and craftsmen, while America’s are the happy result of public-spirited, democratic ideals of service for the common good. Many of the finest art museums in the United States were born of the dedication and investment of philanthropists. From large metropolises to smaller cities, private donations of art and funds sowed seeds that eventually blossomed into great art collecting institutions. The MMFA is an example of this distinctlyAmerican cultural phenomenon. Beginning with the leadership of women such as the Museum’s first President, May Houghton, and donations from artists like Wetumpka’s John Kelly Fitzpatrick, the Museum first flourished because of a passion for public service and education. Houghton and Fitzpatrick were the first of many donors of resources and art, a long roster that denotes extraordinary, philanthropic generosity; on that roster, the name Joan Byck Loeb holds a very special place.
Top: Worcester Porcelain Factory (English, established 1751) (left to right), Plate, about 1768–1770, porcelain, Gift of Mr. and Mrs. James Lucien Loeb, 2020.2.8; Teapot and Cover, about 1760, porcelain, Gift of Mr. and Mrs. James Lucien Loeb, 2020.2.13; Chestnut Basket, about 1765–1770, porcelain, Gift of Mr. and Mrs. James Lucien Loeb, 2020.2.4; Plate, about 1770, porcelain, Gift of Mr. and Mrs. James Lucien Loeb, 2020.2.9 Bottom: Joan Loeb
14
Traditionally art museum supporters assume one, at most two, specific duties, but Joan Loeb embraced many roles in her more than 20 years as a Museum trustee and donor. Joan was devoted to the gamut: gathering funds or other resources for projects, supporting the educational mission, and focusing attention on identifying objects to enhance the permanent collection. While she and her husband, James
