In a historic move, the Los Angeles County Museum of Art (LACMA) is set to receive its first substantial donations of works by iconic artists Vincent van Gogh and Édouard Manet. This monumental gift will also include four works by renowned artists Henri de Toulouse-Lautrec, Alfred Sisley, Wilhelm Lehmbruck, and Maurice Brazil Prendergast.
The artwork is being donated by the Pearlman Foundation, which is distributing its esteemed collection of Impressionist, Post-Impressionist, and Modernist art among LACMA, the Museum of Modern Art (MoMA) in New York, and the Brooklyn Museum.
Although each institution will own a portion of the collection, they have established an agreement to share the artworks when they are not on display. Michael Govan, LACMA’s director and chief executive, emphasized the collective responsibility that comes with this remarkable inheritage.
“We inherited a responsibility, not a collection,” stated Daniel Edelman, president of the Pearlman Foundation and grandson of Henry and Rose Pearlman, who began collecting these masterpieces in the mid-1940s. “This doesn’t belong to us; it belongs to the public — we’re caretakers of it.”
Edelman, who has led the foundation for over a decade, committed himself to traveling globally to engage with museum directors, seeking ways to responsibly gift the collection. This initiative arose after recognizing challenges in loaning out the art due to rising values, insurance, and transportation costs.
Since the mid-1970s, the Pearlman Collection has been on loan to the Princeton University Art Museum. As the collection’s value significantly increased, Edelman noted the complexities involved in loaning the artworks.
A significant factor that contributed to LACMA being chosen as a recipient was Govan’s dedication to developing satellite locations around Los Angeles, particularly in South L.A.
Edelman expressed confidence that LACMA, MoMA, and the Brooklyn Museum possess the resources and creativity to engage broader and more diverse audiences with the artworks. “We think fundamentally, these three museums not only have the resources, but also have the innovative creativity to solve those problems and to continue getting these works out to new audiences and more diverse audiences,” he added.
Henry Pearlman, born in Brooklyn in 1895, built his wealth in the cold storage and refrigeration industries. As an avid art collector, he started acquiring Modernist works, beginning with a painting by Chaim Soutine. Despite lacking a college education, both he and his wife developed a deep love for art, appreciating it on a visceral level, according to Edelman.
“Henry started collecting through this kind of self-taught journey. Falling in love first with the image or being provoked by it, and then learning what the context was and who the artists were,” Edelman explained.
From a young age, Edelman was surrounded by these artworks at his grandfather’s office. It was Henry Pearlman’s desire to share his collection that led to his early discussions with MoMA about potential collaborations. This commitment to sharing is a key aspect of the foundation’s current gift and the collaborative structure among the institutions.
Edelman hopes that this unique arrangement will allow for artworks to remain on public view rather than going into storage, ensuring they are continuously accessible and vibrant for new audiences.
An exhibition titled “Village Square: Gifts of Modern Art from the Pearlman Collection to the Brooklyn Museum, LACMA, and MoMA” is scheduled to be showcased at LACMA from February to July 2026. This exhibition will feature the entire collection before it is allocated to its respective institutions, including numerous pieces by Paul Cézanne alongside works by Van Gogh, Manet, Toulouse-Lautrec, Amedeo Modigliani, Paul Gauguin, and Chaïm Soutine.
After the exhibition, the Brooklyn Museum will receive 29 works from the Pearlman Collection, focusing on pieces that narrate the history of Pearlman’s connection to that borough and his commitment to promoting art in diverse communities. Meanwhile, MoMA, known for its distinguished collection of drawings and prints, will acquire 28 works with an emphasis on Cézanne.
In Los Angeles, the excitement surrounding the arrival of Van Gogh’s work is palpable. Crafting a pivotal moment in his career, 1888 was the year Van Gogh relocated to Arles, France, producing significant pieces such as the “Tarascon Stagecoach.” This painting, which he created in eager anticipation of Gauguin’s arrival at the Yellow House, will now be part of LACMA’s collection, alongside Manet’s artwork titled “Young Woman in a Round Hat,” from the late 1870s.
Govan highlighted the joy of having these pieces accessible to the public. “They have been available to the public in touring exhibitions. But to have them so immediately accessible at LACMA is thrilling,” he remarked. He further noted that Van Gogh had an intention for public accessibility of his art, expressing a desire to display his paintings in cafes. This aligns closely with the foundation’s goal of distributing the Pearlman Collection among three prominent institutions.
Govan is particularly eager for the day when LACMA can display the Van Gogh in South L.A., an area where plans for a museum have been discussed over the years. Despite the challenges, LACMA remains committed to eventually establishing a museum in the region and is currently in discussions to open an outpost at Earvin “Magic” Johnson Park.
image source from：latimes
