The Worcester Art Museum’s access magazine is an opportunity for our close community of supporters to dive deeper into what we do. As a Member, you receive this not only as a thank you for your support, but as an invitation to continue to get excited about art.
We have updated our membership structure to give you more opportunities to connect with your museum, host your friends, get up close to new exhibitions, and be inspired by art.
In addition to the Member benefits you know and love, these new changes include:
• Special access to the upcoming Arms and Armor Galleries, including Member Previews (November 15–21) and weekly Member hours (Saturdays, 10 am–noon). Reservations required.
• Improved flexibility to introduce friends and family to the Museum through guest admission tickets (including events!).
• A new benefit: Members at Level 3 and above now receive reciprocal membership to more than 1,400 museums.
at membership@worcesterart.org or 508-793-4300
Kent Russell, President
George W. Tetler, III, Vice President
John McCabe, Acting Treasurer
Mary Beth Leonard, Clerk
Sarah G. Berry
Susan M. Bassick
James C. Donnelly, Jr.
Michael B. Fox
Jennifer C. Glowik-Adams
Michael R. Hale
David A. Jordan
Karen M. Keane
Barry M. Maloney
Sohail Masood
John McCabe
Thomas S. Michie
A. Mitra Morgan
Carl D. Rapp
Malcolm A. Rogers
Anne-Marie Soullière
Cynthia L. Strauss
Christina Villena
Carmen D. Vazquez
Ex Officio — Matthias Waschek, Jean and Myles McDonough Director
Often, when people at museums talk about “foundations,” they mean the private philanthropies that donate money to deserving organizations—and so there is no confusion, the Worcester Art Museum is tremendously grateful for these entities, which provide essential support for the work we do. But today, the “foundations” on my mind are the more literal ones: the physical structures and building blocks that support everything we see and do at the Museum. Recent visitors will have seen the newly revealed exterior wall of our original building in the Lancaster Lobby and perhaps taken a ride on the new elevator that has been installed, making movement between floors so much easier. These signs of progress reflect the completion of another major phase of our ongoing campus infrastructure and improvements plan, which both ensures that our foundations remain strong and enhances the museum experience for our visitors.
On the topic of experiences, just wait until you see what the Museum has lined up for you in the coming months! We have an exceptional roster of exhibitions this spring and summer, including Reflections of a Changing Japan: The Evolution of Shin Hanga, a look at an era of artistic virtuosity and technical innovation in Japanese printmaking, and From the Vault: Collecting Tapestries at the Worcester Art Museum, which spotlights many of our exceptional—but rarely seen—illustrated tapestries from Medieval and Renaissance Europe and around the world. These exhibitions both highlight areas of particular strength in our exceptional collection—another foundational part of WAM.
And it's not just our spring exhibitions that are changing spaces throughout the Museum. Artists Rachel Gloria Adams and Ryan Adams recently completed work on a large-scale mural that has transformed the Museum’s central hall with vibrant, geometric patterns and a hidden, meaningful message. Later this year, on November 22, we will be opening our highly anticipated Arms and Armor Galleries in a freshly designed and rebuilt wing of the Museum. (As a Member, you will have a chance to see the galleries early during special previews!). And not long after, in early 2026, we will unveil three entirely reimagined galleries that invite visitors to reflect on the meaning of “American art.”
Lastly, I am pleased to share an update on the Museum’s transformative Bold Step Forward campaign: we have now reached more than $90 million towards our $125 million goal. This campaign, which funds the improvements to our campus, builds our endowment, and supports programs, is an essential driver in ensuring the Worcester Art Museum’s continued success for the decades ahead.
I want to thank those in our community—from those important foundations to the equally important families and individual donors—who have stepped forward to show their support for and commitment to the Museum. This Bold Step Forward is not ours alone, and that reflects the myriad ways in which you—our community—respect, value, and treasure the Worcester Art Museum.
Jean and Myles McDonough Director
This season, there are many reasons to visit, and even more to return! Here are some of the highlights. Visit worcesterart.org to view our full calendar and learn more.
Reflections of a Changing Japan: The Evolution of Shin Hanga EXHIBITION
Through June 29, 2025
Talk: Thomas Campbell on the Art of Tapestries
EVENT
June 22, 2025
From the Vault: Collecting Tapestries at the Worcester Art Museum EXHIBITION
Through July 27, 2025
Hours: Summer Series EVENT SERIES
July 10, 17, 24, and 31, 2025
Central Massachusetts Artist Initiative: Hilary Doyle ARTWORK
Through November 9, 2025
As a Member, you receive free Museum admission year-round as well as advance, free, or discounted tickets to events.
After Hours: “Our Peaceable Kingdom” Exhibition Opening EVENT
September 12, 2025
Arms and Armor Galleries GALLERIES
November 22, 2025
Member Previews, November 15–21
Lee Mingwei: Our Peaceable Kingdom EXHIBITION
September 13, 2025–February 1, 2026
Rachel Gloria Adams and Ryan Adams: The More I Wonder, The More I Love ARTWORK
Ongoing
Studio art classes
Discover a new skill or refine your specialty in studio art classes for adults and kids. Members receive 10% off.
October 19, 2025
Joan Mitchell’s Blue Tree CONSERVATION NOW Ongoing
Higgins Education Wing exhibitions
There’s always something special down the hall! Explore exhibitions from students of all ages, community partners, and members of the public in the education wing.
By Fiona Collins-Rosedahl, Assistant Curator of Asian Art
Shin hanga (新版画, “new prints”) emerged in early 20th-century Japan as a revival of traditional woodblock printmaking. This movement blended time-honored techniques with Western influences drawn from impressionism and art nouveau. Led by publishers such as Watanabe Shōzaburō, shin hanga brought together designers, carvers, and printers to create high-quality publications appealing to both Japanese and foreign audiences. Artists trained in both Western and Japanese painting styles introduced a stronger emphasis on light, atmosphere, and emotion, achieving watercolor-like effects through subtly layered ink gradations.
The Worcester Art Museum was among the first institutions in the United States to collect shin hanga works and build relationships with the movement’s artists. Yoshida Hiroshi and his son Toshi—both featured in the current exhibition, Reflections of a Changing Japan: The Evolution of Shin Hanga visited the Museum multiple times during “circuit” exhibitions designed to introduce contemporary Japanese art to Western collectors.
Reflections of a Changing Japan: The Evolution of Shin Hanga celebrates the historical connections between Japan and the Worcester Art Museum, highlighting WAM’s role in promoting these influential artists. The exhibition is on view from March 29 to June 29, 2025.
Yoshida Hiroshi first visited WAM in 1904 for an exhibition in which he and his wife Fujio each presented 75 watercolors to much critical acclaim. Their watercolors depicted Japanese landscapes in soft pastels with impressionistic light—elements that would later characterize his iconic shin hanga landscapes of the 1920s and ’30s. While Fujio assisted her husband and created prints herself during this period, she is better known for abstract floral prints created in the 1950s and afterwards.
Hiroshi established his own printing studio in 1925, which met with great commercial success worldwide. His work was displayed at WAM in January 1927 alongside a number of other famous shin hanga artists such as Ito Shinsui and Ohara Koson in a temporary exhibition. After Hiroshi’s death in 1950, the studio was taken over by his and Fujio's son, Toshi Yoshida, who visited WAM in March 1954 during another circuit exhibition organized by Japan Society Inc. of New York. This visit appears to have been arranged on short notice, likely around the time WAM's curator of Japanese prints, Alice Mundt, had acquired works from the New York leg of the exhibition just one month earlier.
An amusing anecdote relates how Toshi, attempting to organize a day trip to Worcester from Grand Central Station, was mistakenly issued a train ticket to Brewster, MA. After calling WAM's director at the time, George L. Stout, and arranging a flight (which was further delayed by inclement weather), he arrived just in time to give a demonstration to the Museum’s leadership.
The 1953–54 circuit had a significant impact on Toshi's artistic development, placing him at WAM at a pivotal moment not only in his own career but also during shin hanga’s broader adaptation of emerging aesthetic trends. Starting as a shin hanga printmaker following in his father's footsteps, he occasionally engaged with more experimental design styles as his American travels exposed him to new contemporary art influences, including abstract expressionism. Toshi returned to the Museum once more in 1967.
Reflections of a Changing Japan: The Evolution of Shin Hanga is generously supported by the E. Rhodes and Leona B. Carpenter Foundation. Additional support is provided by the Fletcher Foundation and the Japan Foundation.
The related catalogue, Japanese Woodblock Prints 1680-1980: Worcester Art Museum, is supported by the E. Rhodes and Leona B. Carpenter Foundation and the Japan Foundation.
By Delaney Keenan, Assistant Curator of European Art
The Worcester Art Museum has been collecting tapestries for over one hundred years, but due to their fragile nature, sensitivity to light, vulnerability to shifts in temperature and humidity, and large size, they have rarely been on view in recent decades. Mounting our current exhibition, From the Vault: Collecting Tapestries at the Worcester Art Museum, required significant preparation to ensure the safety and longevity of these works. Last August, we brought over two dozen tapestries out of storage to survey their condition and determine which could be displayed in our exhibition. The Museum’s in-house conservation team worked with Camille Myers Breeze at Museum Textile Services to evaluate each tapestry’s condition and its ability to be displayed.
After a full survey, we developed a diverse checklist of works spanning different cultures and time periods that would appear in From the Vault. When evaluating which tapestries could be displayed, condition was always the top priority and decisions were made with attention to structural stability and safety of the works. We determined that six tapestries would travel to the Museum Textile Services workshop in Andover, Massachusetts, for surface cleaning, structural stabilization, and new conservation-quality hanging hardware. While not all of the tapestries could be on view in the exhibition, nearly every work is illustrated in the associated catalog.
Photographing this collection was a major undertaking. An interdepartmental group of curators, preparators, conservators, registrars, and photographers collaborated to coordinate logistics, move tapestries out of storage, unroll and reroll the weavings, and take photos from high above on a scissor lift. Using the largest floor space available to us at the time, we turned Gallery 201 on the Museum’s second floor into our photography studio. After covering the space with clean plastic, we unrolled one tapestry at a time for imaging. The setup included four studio lights artfully angled to illuminate the tapestries as a photographer rose to the top of the room to shoot the images. Dubbed the Tapestries Digitization Project, this work gave us the opportunity to publish high-resolution, color photography of many of these tapestries for the first time ever in both a catalog and our online Collections Database. We are pleased to be able to share these magnificent works with visitors to the exhibition as well as scholars, curators, and audiences around the world.
From the Vault: Collecting Tapestries at the Worcester Art is on view May 3–July 27, 2025. The associated catalog, available in the Museum’s shop, features images and new research on over two dozen tapestries in the Museum’s collection.
How can I visit?
Timed-entry reservations will be required for all visitors to the Arms and Armor Galleries. Member reservations will be available online starting October 15 at noon ET.
What will I see?
Uncover the real stories behind myths and legends, brought to life through over 1,000 objects from around the world. Rare artifacts, breathtaking artworks, and hands-on interactives make this experience perfect for all ages. The galleries will explore the societies and cultures in which these objects were used and reveal the skill and ingenuity required to create them.
What are my Member benefits?
• See it first. Members have the chance to experience the galleries at the Member Previews, November 15–21. Timed-entry reservations for the Member Previews are required and limited, available online starting October 15 at noon ET.
• Celebrate with us. We're kicking off the Member Preview with a Member Preview Party on Friday, November 14. Tickets are required for the Member Preview Party, available online starting October 15 at noon ET.
• Free admission. Members visit free. Timed-entry reservations are required.
• Have the galleries to yourself. Enjoy Member-only hours every Saturday morning, 10 am–noon, starting November 22. Timed-entry reservations are required.
Learn more at worcesterart.org/armor
Over the course of two weeks in April, Rachel Gloria Adams and Ryan Adams transformed the Worcester Art Museum’s Salisbury Hall with a vibrant new mural. Working during open hours, visitors were invited to watch along as this space at the heart of the Museum took on a new life. The artists blended their distinct styles—Ryan’s signature “gem” lettering and Rachel’s quiltinginspired abstraction—into a dynamic geometric design that envelops the space. Delicate line drawings punctuate the mural as if embroidered on an heirloom patchwork quilt, creating moments that reward close looking and contemplation. The artists have interwoven imagery that relates to artworks in the Museum’s collection, to nature, and to their own family.
The title, The More I Wonder, The More I Love, features prominently in the mural and embodies the core sentiment behind the work, which is inspired by the artists’ young daughters. Having each grown up as one of few Black children in predominantly white environments, the artists reflect, “the stereotypical expectations of what was expected from you as a young Black man/woman created these invisible boundaries around us that restricted us from partaking in certain activities and seeing ourselves as capable of doing anything we dreamed of. We are trying our best to show our girls a world outside of those invisible barriers, when they are free to wonder and explore all that life can offer.”
The title is inspired by a quote from the novel The Color Purple (1982) by Alice Walker: “I think us here to wonder, myself. To wonder. To ask. And that in wondering bout the big things and asking bout the big things, you learn about the little ones, almost by accident. But you never know nothing more about the big things than you start out with. The more I wonder, he say, the more I love.”
Contemporary art installations in common spaces at WAM are supported by the Fletcher Foundation, Larry and Marla Curtis, the Don and Mary Melville Contemporary Art Fund, the John M. Nelson Fund, and Marlene and David Persky.
Watch:
Discover more of the unexpected details and personal meaning of The More I Wonder, The More I Love in our interview with Rachel Gloria Adams and Ryan Adams.
This year marks the centennial of American artist Joan Mitchell’s (1925–1992) birth. To celebrate, the Joan Mitchell Foundation is supporting numerous exhibitions, lectures, and events in her honor. The Worcester Art Museum is grateful to have their support towards the exhibition and treatment of an iconic painting by Mitchell in the collection: Blue Tree (1964). Painting on canvas, Mitchell manipulated oil paints to apply both dense, matte impasto and thin, glossy washes to the primed surface. These choices create diverse textures and sheens, drawing the viewer's eye across the painting. The Museum was fortunate to acquire this work in 1965 shortly after its creation and debut at the Stable Gallery in New York.
Intermittent display and loan over the last 60 years has caused a fine layer of dark gray grime to accumulate across the unvarnished paint surface, muting and dulling the original tonality intended by Mitchell. The materials used to repair old paint instability and losses have also shifted in color and sheen, making them no longer match the surrounding original material. Over the course of 2025, WAM’s two painting conservators, Matthew Cushman and Blair Bailey Schwartz, are systematically examining and documenting the painting, as well as carrying out treatment.
Once testing is complete, they will use a custom-designed aqueous-based system to delicately remove the grime. They will also carefully reverse the previous repairs, stabilize original material as needed with reversible materials, and apply stable, archival-grade materials to replicate the missing areas where possible.
Visitors will be able to watch this entire process unfold live in the While We Build gallery (215), where the painting will remain on view throughout treatment. In addition to enabling the painting to be shown during Mitchell’s centennial, this work is being done in the galleries to make way for ongoing upgrades to the Fuller Conservation Lab, part of the Museum’s larger campus transformation efforts.
Stop by over the coming months to see Matthew and Blair’s progress as they work their way across this monumental painting’s complex, delicate surface.
Diedrick Brackens (American, born 1989)
dream disk
2024
Cotton and acrylic yarn
Diedrick Brackens is one of the foremost textile artists working today, known for his surreal, often allegorical, tapestries. dream disk is a powerful example of his signature style, featuring the black silhouette and catfish motifs used frequently in his weavings that allude to various folktales and histories, as well as his own experiences as a Black man raised in the American South. Brackens’ work joins WAM’s historically significant collection of tapestries as a standout example of 21st-century practices.
Maerten van Heemskerck (Dutch, 1498–1574)
Entombment
c. 1545
Oil on panel
Sixteenth-century Dutch painter Maerten van Heemskerck returned to the Entombment—a New Testament scene of Christ’s body being placed in a tomb, surrounded by mourners—as a subject repeatedly throughout his career. This acquisition reunites the central panel of a 16th-century Netherlandish triptych with its original donor wings, which have been on long-term loan to the Museum. Starting this summer, the triptych will be displayed in the Museum’s European galleries in its original format for the first time in centuries.
Sarah Sense (Chitimacha and Choctaw, born 1980)
Worcester Bear 2024
Woven archival inkjet prints on Hahnemuhle bamboo paper and Hahnemuhle rice paper attached with tape and thread
Sarah Sense creates photo-weavings inspired by the basketry traditions of her Chitimacha and Choctaw ancestry. Worcester Bear (2024) is based on a Chitimacha basket in the Museum’s collection (1922.129) that Sense saw during a visit in April 2024. Her series, I Want to Hold You Again, results from more than two years of tracing Chitimacha baskets across New England and her feelings of both pride and loss when seeing her ancestral heritage in museums. Worcester Bear follows the acquisition of an earlier commission by Sense, A Plan of Boston (2023.35), and continues the growth of the Museum’s collection of experimental landscape photography.
Yang Yongliang (Chinese, born 1980)
The Clouds from Imagined Landscape 2022
Single channel 8K video file with audio, 8’00”, edition of 7
In The Clouds, Yang Yongliang blends the aesthetics of traditional Chinese landscape painting with 21st-century technology to create an ominous vision of uncontrollable urban expansion in contemporary China. Yang utilizes photography, film, and animation to create a mesmerizing work. The Clouds represents a significant addition to WAM’s contemporary art collection, which is continually growing and evolving to reflect global art movements, important historical eras, and the newest artmaking technologies.
The Worcester Art Museum’s library is an important resource for object research—used by Museum staff and docents in addition to faculty and students from schools throughout Worcester County. Until last summer, the library collections lacked materials in direct support of studio art students. Thanks to the generosity of longtime Museum supporters Dr. Glenn and Toni Meltzer, art students and faculty now have a uniquely accessible collection at their brush tips.
The Glenn Meltzer Art Instruction Collection contains about one hundred books ranging from printmaking to metalworking. Dr. Meltzer was a longtime student at the Museum and was an accomplished artist. This collection will not only serve as a lasting memory to Glenn, but will also continue to grow as more art students and faculty engage with the library in a partnership that will inspire creators for years to come.
If you are interested in donating to this collection, or if you would like to learn more, please contact Head Librarian Rebecca Morin at library@worcesterart.org.
David and Karen Gaylin
We think the Worcester Art Museum is a gem! I became a Member in the late 1980s after moving to Worcester and introduced David to WAM when we started dating a few years later. There was a gap when we lived out of state, but rejoined as Members in 2012 and more recently joined the Salisbury Giving Society.
To start, we love the depth and range of the permanent collection, and are glad the Museum is integrating the Higgins Armory Collection. We love the building—the Renaissance Court, the gallery layout, the educational and conservation areas—and value the ongoing attention to preservation, improvement, and accessibility. We enjoy the talks and social events, and the website and substantial digitization of holdings promote access to all.
We appreciate the depth of the labels for the art on display, allowing visitors to see and learn more than meets the eye. (One example is the 2017 project to update portraits in the American galleries with information about the sitters and slaveholding.) We enjoy speaking with the curators and other staff, who are approachable, warm, and knowledgeable. We like WAM’s special exhibitions, many developed in-house, including the recent watercolors, landscape photography, and Japanese prints shows. Not as recent, but still memorable were Monet’s Waterloo Bridge, the Meow cat exhibition (with live cats!), and Stained Glass by Tiffany and La Farge.
Keith Shirley
We can go on! We appreciate the collaborations with community partners and major museums, such as the National Portrait Gallery and Tate in London, and a record of savvy acquisitions and relationships with creators (like buying directly from John Singer Sargent). Convenient parking, too!
Our four criteria for giving to nonprofits are: belief in the mission, quality of the product, the organization’s sustainability, and stewardship of its assets. The Worcester Art Museum is exemplary in all these areas.
David and Karen Gaylin are WAM donors and Salisbury Giving Society Patrons living in Concord, MA. They are retired and serve on several non-profit boards.
The Worcester Art Museum is a cultural hub, bringing together people from all walks of life and of all ages. The Museum and its incredible collection inspire creativity in every visitor and give aspiring artists the tools to build on their own creativity and vision. WAM is the perfect forum to allow one’s individual style to be expressed in the beauty of an artwork.
That is why giving to the Museum is so important. Not only does giving to WAM allow this important work to continue, but it creates a sense of community among the Museum's supporters. It allows us to see how we, through our artistic and financial gifts, can bring into this world a legacy that connects with the past and reaches forward to future generations.
Support for the Museum also helps bring the past to life, which reminds me of my favorite piece in the collection: the relief portrait of the nobleman Nyankhnesuwt from ancient Egypt. This artwork is nearly five thousand years old, dating back to the Old Kingdom period, and reminds me of my own travels in Egypt. I think of the monumental architecture I saw in Luxor, where there are many massive temples, gateways, and statues of pharaohs. These artworks were made to impress viewers and demonstrate the power of the pharaoh. This relief holds similar meaning, and demonstrates the amazing ability of ancient Egyptian artists to use stone to make unbelievable artworks. Like many artworks at the Worcester Art Museum, it provides a glimpse into another age.
Keith Shirley is the Property Manager of the Arbella at Bramble Hill, a new active 55+ community opening in Worcester and a new WAM Business Partner. The Arbella at Bramble Hill sponsored Flora in Winter 2025 alongside Cornerstone Bank.
Thank you! As a Member, your support is essential.
View a full list of supporters at worcesterart.org/recognition
To see all the benefits of membership, renew, upgrade, gift, or donate, visit worcesterart.org/join
Lead Sponsors ($10,000+)
The Arbella at Bramble Hill
Cornerstone Bank
Saint-Gobain
UMass Memorial Health Care
Sponsors ($5,000 – $9,999)
Bowditch & Dewey
Country Bank
Interstate Specialty Products
Kaplan Construction
Middlesex Savings Bank
Patrick Motor Group
Worcester Business Journal
Donors ($2,500 - $4,999)
Arthur Cole Painting Corporation
Herbert E. Berg Florist, Inc.
The BHR Life Companies
The Boston Globe
Christie’s
Fletcher Tilton PC
Green Leaf Construction
iHeart Radio, 961 SRS & WTAG
Lamoureux Pagano Associates | Architects
Mirick O’Connell
Peppers Artful Events / Gourmet Caterers
WBUR
Members ($1,000 - $2,499)
Angiulo Law, PLLC
J.J. Bafaro, Inc.
Bartholomew & Company, Inc.
Berry Machnowski Team, Moneta Group
Blue Cross Blue Shield of Massachusetts
Central One Federal Credit Union
Coghlin Companies
Conform Lab
Cutler Capital Management, LLC
Data Source, Inc.
Fidelity Bank
Franklin Realty Advisors
Gaudette Insurance Agency
Greater Good Imperial Brewing Company
Greenberg, Rosenblatt, Kull & Bitsoli, P.C.
Greenwood Industries
Kelleher and Sadowsky Associates, Inc.
Leduc Art and Antiques
Mercier Electric Co., Inc.
J.S. Mortimer, Inc.
Rollstone Bank and Trust
Seven Hills Foundation
Joffrey Smith Financial Group
Spectrum Health Systems, Inc.
Venture X Worcester
The Wetzel Group – Morgan Stanley
Friend ($500 - $999)
Burr Insurance Agency, Inc.
Callahan Fay Caswell Funeral Home
Coghlin Electrical Contractors, Inc.
Concierge Physical Therapy
Concordia Exchange
Cryogenic Institute of New England, Inc.
Davis Publications, Inc.
Erskine & Erskine, LLC
F.W. Madigan Company, Inc.
George’s Coney Island
Grimes & Company
Jabil
Machado Consulting, Inc.
Northwood Insurance Agency, Inc.
SideChannel
Sotheby’s
Struck Catering
Sullivan, Garrity & Donnelly Insurance Agency, Inc.
As of February 20, 2025
Anna Maria College
Assumption University
Clark University College of the Holy Cross Quinsigamond Community College
The T.E.C. Schools
Worcester Academy
Worcester Polytechnic Institute
Worcester State University
As of February 20, 2025
The Worcester Art Museum gratefully acknowledges the following foundations and government agencies for their support during fiscal years 2024 and 2025 to date.
We are grateful to the many local and national funders that make our work possible and sustain the Museum’s innovative exhibitions, public programs, and educational and community endeavors, as well as maintain and improve our facilities. To learn more about WAM’s institutional priorities and ways that foundations and government agencies might assist, please contact Christine Proffitt, Senior Manager of Institutional Giving, at ChristineProffitt@worcesterart.org.
Rita & Jeffrey Adler Family Foundation
George I. Alden Trust
American Endowment Foundation
The Americana Foundation
Anonymous (3)
Art Bridges
Bank of America Charitable Gift Fund
Barr Foundation
Bassick Family Foundation
Patrick and Aimee Butler Family Foundation
E. Rhodes and Leona B. Carpenter Foundation
City of Worcester - Cultural Organization
Grant Program (ARPA)
Jeanne Y. Curtis Foundation
The Melvin S. Cutler Charitable Foundation
Dirlam Charitable Trust
Ruth H. and Warren A. Ellsworth Foundation
J. Irving England & Jane L. England Charitable Trust
Fidelity Charitable Gift Fund
FJC Foundation
Fletcher Foundation
George F. and Sybil H. Fuller Foundation
Greater Worcester Community Foundation
Booth Family Fund for Education and Outreach
Martha A. Cowan Fund
Jeppson Memorial Fund
Louise R. and John F. Reynders Fund
Marvin Richmond Fund
Chapin Riley Fund
Helen M. and Thomas B. Stinson Fund
Mary Louise Wilding-White Fund
The Richard A. Heald Fund
Bradley C. Higgins Foundation
John W. & Clara C. Higgins Foundation
Highland Street Foundation
Hoche-Scofield Foundation, Bank of America, N.A., Co-Trustee
Institute of Museum and Library Services
Japan Foundation
Rita J. & Stanley H. Kaplan Family Foundation, Inc.
The Kirby Foundation
The Klarman Family Foundation
Carl Lesnor Family Foundation
Henry Luce Foundation
The Manton Foundation
Mass Cultural Council
Massachusetts Cultural Facilities Fund
Cultural Investment Portfolio
Universal Participation Initiative
MassDevelopment
Jean and Myles McDonough Charitable Foundation
Mildred H. McEvoy Foundation
Joan Mitchell Foundation
National Endowment for the Arts
National Endowment for the Humanities
Paine Charitable Trust
Schwab Charitable Fund
The Schwartz Charitable Foundation
Stoddard Charitable Trust
Terra Foundation for American Art
TIAA Charitable Gift Fund
Town Fair Tire Foundation, Inc.
The UK Online Giving Foundation
United Way of Central Massachusetts
VPG Foundation
Estate of Hester H. Wetherell Trust
Worcester Arts Council
Worcester Educational Development Foundation, Inc.
Wyman-Gordon Foundation
As of February 20, 2025
Legacy Society gifts ensure that the Museum continues to be a vibrant center for culture, art, and learning for future generations. The Worcester Art Museum is grateful for the vital support provided by those Legacy donors who have left a planned gift and those who have provided documentation that they have included the Museum in their estate plans. Learn more at worcesterart.org/planned-giving.
Anonymous (x6)
Toni Begman
Sarah and Allen Berry
Heath Drury Boote
Philip H. Brewer
Dr. Elaine and Mr. Robert* Bukowiecki
Susan C. Courtemanche
Dix and Sarah Davis
Brenda Verduin Dean* and Dr. Herbert M. Dean
Margery Dearborn
Robert A. DeLuca
Patricia and Richard Desplaines, Jr.
Henry B.* and Jane K. Dewey
Maria* and John Dirlam
Andrea N. Driscoll
Dr. James and Kathleen M. Hogan
Frances* and Howard Jacobson
Peter Jefts
Lisa Kirby Gibbs and Peter Gibbs
David* and Barbara Krashes
Marcia Lagerwey and Loren Hoekzema
Claude M. Lee III
Dr. Paul J. Mahon
Jodie and David Martinson
Dr.* and Mrs. Glenn A. Meltzer
Philip and Gale Morgan
Linda and John* Nelson
Edward J. Osowski
Sarah and Joe Ribeiro
Malcolm Rogers
Mr. and Mrs. Henry B. Rose
Mr.* and Mrs. Sidney Rose
Ruth R. Rubin
Dr. Peter B. Schneider
Dr. Shirley S. Siff and Robert M. Siff*
Mary Skousgaard
Mr.* and Mrs. Jack Tobin
Ruth Westheimer
Edward Yasuna
Those who live on through their generous gift
Anonymous (x2)
Mrs. Margery A. Adams
Mr. and Mrs. William C. Arthur Jr.
Ruth A. Ault
Ann Baumann
Mr. and Mrs. Howard M. Booth
Karl and Dorothy Briel
Eleanor H. Burke
Douglas P. Butler
Dr. and Mrs. William T. Carleton
William R. Carrick
Mrs. Fairman C. Cowan
Jeanne Y. Curtis
Mary S. Cushman
Paul Czerny
Janet B. Daniels
Eleanor Daniels Bronson Hodge
Shirley Look Dunbar
Michael E. Economos
Cathleen C. Esleeck
Mr. and Mrs. I. R. Freelander
Esther and Howard Freeman
Eleanor M. Garvey
Judith S. Gerrish
Thomas F. Gilmartin
Robert D. Harrington, Jr.
Mrs. Milton P. Higgins
Maurice I. Hurwitz
John and Marianne Jeppson
Britta Dorothy Jeppson
Joan Peterson Klimann
Sarah Bramson Kupchik
Saundra B. Lane
Faith Lang (Rocheleau)
Irving and Marie Lepore
Anne Lewis
James E. Lowell
Sara Mallard
Myles and Jean McDonough
Ellen E. McGrail
Henry T. Michie
Jean H. Miles
Mrs. David J. Milliken
Mrs. Anne (Nancy) Morgan
Haim G. Nagirner
Viola M. Niemi
Mary Ann Horner Pervier
Marilyn E. Plue
Richard Prouty
Mr. and Mrs. Chapin Riley
Blake Robinson
Robert Rohner
Louise and Elijah Romanoff
Agnes B. Russfield
Edith Safford
Leonard B. Safford
Katharine Sawyer
John R. Scarborough
Norman L. Sharfman
Hope and Ivan Spear
Helen E. Stoddard
Lois Tarlow
Madeleine Tear
Richard S. Teitz
James A. Tellin
Hester N. Wetherell
Margaret Ray Whitney
Irving N. Wolfson, M.D.
Mrs. Ledlie L. Woolsey
Elton Yasuna
*Deceased
As of February 20, 2025
Open during Museum hours
Enjoy a coffee or grab lunch in the Museum’s Renaissance Court, surrounded by art and inspiration. Members receive 10% off.
Open during Museum hours
Take a memory of the Museum home with you. Members receive 10% off, with a 20% holiday discount in December. From December 1 to 24, the shop is open seven days a week!
Get creative!
Sign up for art classes for all ages and all experience levels, including vacation-week camps for kids. Members receive 10% off.
Open Thursday–Saturday, noon–4 pm
Dive deeper with your favorite art, artists, and exhibitions at the largest art research library in Central Massachusetts. Free and open to the public.
55 Salisbury Street Worcester, MA 01609
Museum hours
Wednesday–Sunday, 10 am–4 pm worcesterart.org @worcesterartmuseum Q E M
Questions? Contact us at guestservices@worcesterart.org or 508-799-4406