Have you heard of “Tippecanoe and Tyler Too”? We explore this famous slogan, the song that inspired it, and the quilt that commemorates it.
In our Snell-Franklin Decorative Arts Gallery, this ca. 1765 Chippendale tea table sits near the beginning of the exhibit. So what’s the deal? Why is this Chippendale table so prized, and what is a Chippendale anyway?
Yet Sputnik had another impact – in interior design! All things space related became the craze, resulting in iconic pieces such as the Sputnik chandelier that hangs in our Decorative Arts Gallery…
Nine weddings were known to have taken place in the chamber between 1851 and 1892. The solemnity and grandeur of the setting would have proven a dramatic although unconventional backdrop for the exchange of vows.
Exploration of Mammoth Cave dates back thousands of years…and is known through thousands of artifacts, like this one held at the Kentucky Museum.
Want to attend our Close Study Session on World War I and II? Now you can! Click here to learn how.
When contemplating the witnesses of history, humans are the first to come to mind, but what about the podiums they stood behind or the chairs they sat in?
Behind the grand presentation, Prudence waiting patiently by the queen’s side, and the king – Henry IV of France – gracefully granting his wife, Marie, the regency of France as their son (also pictured) was quite young, this painting hides a tale of murder.
Thanks to the wonderful response by alumni, colleagues, and friends of Dr. David “Doc” Coffey, the Kentucky Museum is thrilled the announce that we have opened his collection of 140 masks for adoption. We wish to extend special thanks to the late Pamela Ryals, who volunteered her time, knowledge, and passion for preserving cultural knowledgeContinue reading “Adopt a Doc Coffey Mask”
As the Art Department recalled on their website dedicated to the collection, “Dr. Coffey was an expert at creating community – and many within his broad community of family, colleagues, former students and friends are part of the story of this collection, or ‘faces behind the masks.’”