Make All of the Corcoran a Landmark

The college entrance to the Corcoran, on New York Avenue just in from 17th Street, leads to the semicircular Frances and Armand Hammer Auditorium. With its Doric-columned perimeter, it is one of the loveliest small auditoriums in the District.

Above the Hammer, sharing its D-shaped plan, is an inviting exhibition space -– for some years the Corcoran’s art library -– known as the Hemicycle Gallery. A longer climb up the New York Avenue stairs takes you to painting studios under the roof, with copper-framed skylights. It could easily be late-19th-century Paris.

Which makes sense, because Ernest Flagg (1857-1947), architect of the 1897 Corcoran Gallery of Art, knew late-19th-century Paris well. Based on his École des Beaux-Arts training, he designed sequences of amazingly inventive, sometimes breathtaking spaces behind the Corcoran’s formidable marble façade.

Only the most obviously ceremonial of these spaces, and those in the 1925 addition by Charles Platt (1861-1933) –- not the Hammer Auditorium, not the Hemicycle Gallery, not the rooftop painting studios, not the progression of galleries that National Gallery of Art Director Earl “Rusty” Powell famously called “arguably the most beautiful galleries of any museum in the United States” -– are marked in blue on the floor plan that the George Washington University submitted on March 26 to the D.C. Historic Preservation Review Board.

Blue shading indicated the spaces that the university considers acceptable for historic designation. At the March meeting, the nine-member board, chaired by Gretchen Pfaehler, postponed until April 23 the decision whether to extend the designation to part or all of the Corcoran’s interior. (The building’s exterior is already landmarked.)

The Corcoran gave up its independence last year in the face of long-standing financial challenges. GW acquired the 17th Street and Fillmore School buildings and assumed the operations of the Corcoran College of Art and Design (It was announced this week that Fillmore, in Georgetown, is under contract to be purchased by S&R Foundation).

The National Gallery of Art took control of the collection. In the Corcoran’s galleries, it plans to show both contemporary art and works representative of the Corcoran legacy.

This Solomonic division of an important cultural institution was tragic, but not as tragic as if the Corcoran’s landmark building had been sold for commercial development and its collection entirely dispersed. GW and the National Gallery have the potential to be outstanding stewards of the Corcoran’s treasures: the art collection, the 17th Street building and the scholars, studio faculty, art educators and others who made the college a uniquely stimulating place to study art.

We call upon GW, now moving on several fronts to expand its activity in the arts, to respect the 17th Street building as a great work of American architecture, inside and out, while investing in its future as a educational facility for its students and the public.