Art lovers, brace yourselves for a game-changer! The Fine Arts Museums of San Francisco (FAMSF) has just received an astonishing gift of 1,600 works from local collector Kirk Edward Long, marking one of the largest single-owner donations in the museum's history. But here's where it gets even more exciting: this isn't just any collection—it's a treasure trove of early modern European prints, paintings, antiquities, and decorative arts that will transform FAMSF's holdings. And this is the part most people miss: Long’s generosity is part of a larger, multiyear campaign called “Gifts of Art,” celebrating the 50th anniversary of FAMSF’s formation and the 100th anniversary of the Legion of Honor. Since 2022, the museum has added a staggering 2,000 works from 275 donors, spanning centuries and styles—from Canaletto and Georgia O’Keeffe to contemporary artists like Ruby Neri and Rashaad Newsome.
Long’s collection is particularly notable for its strength in early modern European prints from Italy, France, Germany, and the Netherlands. Among the highlights are a 19th-century painting by Gustave Moreau, Prometheus Chained, and a striking bust by Charles-Henri-Joseph Cordier, Sudanese Man in Algerian Costume. These works, along with others like Ugo da Carpi’s chiaroscuro woodcut Diogenes and Giorgio Ghisi’s engraving The Judgment of Paris, will be stewarded by FAMSF’s Achenbach Foundation for Graphic Arts, ensuring their preservation for future generations.
But here's the controversial part: while the “Gifts of Art” campaign has been a resounding success, it raises questions about the role of private collectors in shaping public museum collections. Should museums rely so heavily on individual donors, or is there a risk of skewing their holdings toward the tastes of the wealthy? And what does this mean for the accessibility and diversity of art in public institutions? These are questions worth debating as we celebrate this remarkable gift.
FAMSF director and CEO Thomas P. Campbell aptly described the campaign as a “significant milestone,” praising the generosity of donors like Long and Diane B. Wilsey, who facilitated the acquisition of Canaletto’s Venice, the Grand Canal looking East with Santa Maria della Salute. This 18th-century masterpiece, estimated at $6 million to $10 million, is now part of FAMSF’s collection, thanks to Wilsey’s donation in honor of Ann Getty.
Other standout additions include Angelica Kauffmann’s intimate paintings Celadon and Amelia (Summer) and Palemon and Lavinia (Autumn), Camille Pissarro’s Jeanne Reading, and Marie-Guillemine Benoist’s Psyche Bidding Her Family Farewell. Contemporary works like Rashaad Newsome’s Thirst Trap—acquired with funds from the Svane Family Foundation—highlight FAMSF’s commitment to representing Bay Area artists and modern voices.
As we marvel at these new acquisitions, it’s worth asking: What stories will these works tell? How will they challenge, inspire, or transform us? And most importantly, what role should you, the audience, play in shaping the future of public art collections? Share your thoughts in the comments—let’s spark a conversation about the power and responsibility of art in our communities.
