Unveiling the Opulent Reception Rooms at the US State Department: A Glimpse into Diplomatic Grandeur

Standing in front of the contemporary and understated façade of the Harry S. Truman Building, located in the heart of the nation's capital, it is hard to imagine the opulent reception rooms that can be found on the seventh and eighth floors.

"America's Collection: The Art and Architecture of the Diplomatic Reception Rooms at the US Department of State."

Courtesy Rizzoli

The dichotomy is introduced in the opening pages of a new book titled "Americas Collection: The Art and Architecture of the Diplomatic Reception Rooms at the US Department of State." US Climate Envoy John Kerry, who previously served as secretary of state during the Obama administration, describes the external appearance of the buildings as "massive, understated and slightly aesthetically unappealing." Kerry points out that many visitors are unaware of the hidden treasures inside the building.

Kerry also acknowledges that the Truman Building's exterior is intentionally modest, while the reception rooms inside are extravagant. This deliberate contrast aims to provide the nation's diplomats with a significant advantage, as they are just one mahogany elevator ride away from their lavish home field.

That advantage, as Kerry notes, enables visitors to the State Department to "go through an experience similar to the pivotal moment in The Wizard of Oz when the picture transitions from black and white to color."

Ornate columns feature in the west antechamber of the Treaty Room Suite.

Bruce M. White/Courtesy Rizzoli

The State Dining Room, named after Benjamin Franklin, showcases the remarkable Great Seal of the United States on its beautifully adorned ceiling. Renowned architect John Blatteau drew inspiration from a harmonious blend of English, French, and Italian influences while conceptualizing this exquisite space, as elucidated in the book.

Bruce M. White/Courtesy Rizzoli

The Thomas Jefferson State Reception Room.

Bruce M. White/Courtesy Rizzoli

The James Monroe State Reception Room was created by Walter M. Macomber, taking inspiration from the grand Virginia plantation houses. Its notable feature is an exquisite fireplace mantel dating back to the early 1800s.

Bruce M. White/Courtesy Rizzoli

The James Monroe State Reception Room.

Bruce M. White/Courtesy Rizzoli

In his foreword to "America's Collection," John Kerry describes The John Quincy Adams State Drawing Room and its reception rooms as a celebration of individuals who aspire to freedom and the power to shape their own destinies. The rooms house a collection of antiques and artifacts that embody this spirit.

Bruce M. White/Courtesy Rizzoli

The James Madison State Dining Room.

Bruce M. White/Courtesy Rizzoli

The Dolley Madison Powder Room. Designed by John Blatteau, visitors can take in late 19th-century artworks from American impressionists Childe Hassam and Edmund C. Tarbell.

Bruce M. White/Courtesy Rizzoli

The Martin Van Buren Sitting Room.

Bruce M. White/Courtesy Rizzoli

With inspiration drawn from the architectural style of Mount Vernon, George Washington's residence, the Henry Clay State Dining Room emanates sophistication. Adorned with a captivating wallpaper, which is more than two centuries old, depicting a captivating scene from the Odyssey, the room exudes a timeless allure.

Bruce M. White/Courtesy Rizzoli

The design of diplomacy: See inside the lavish reception rooms at the US State Department

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Experience the nostalgia of the past with "Americas Collection." While in-person tours are currently unavailable to the public, you can dive into the rooms virtually through a self-guided online walk-through. Discover remarkable artifacts such as an architect's table rumored to have been utilized by Thomas Jefferson, furniture from Francis Scott Key's family, and intricately crafted silver by Paul Revere for John Adams. Delve deeper into this captivating collection with the accompanying book.

The publication coincides with the 240th anniversary of the Treaty of Paris, marking the end of the American Revolution in 1783. This timing is significant as the majority of the Diplomatic Reception rooms draw inspiration from that particular era.

Extravagance prevails: Maximalism brings back the joy in interior design.

The Truman Building was constructed in 1941, and a State Department extension was added by 1960. Throughout both projects, the architects prioritized modern design styles, opting for a minimalist approach without excessive decorations. The original interiors of the rooms featured dark wood paneling and light-colored carpet on the floor, with minimal artwork displayed on the walls.

However, when curator Clement Conger and architect Edward Vason Jones were tasked with renovating the reception rooms in the 1960s, they looked to the past for inspiration. With the help of private donations, they embarked on a redesign project that involved creating an extensive collection of American art. Over the years, subsequent curators and architects have continued their work.

Clement Conger is shown posing alongside a replica of Benjamin West's incomplete masterpiece "The American commissioners of the preliminary peace negotiations with Great Britain," dating back to around 1820. The painting portrays esteemed figures such as John Jay, John Adams, Benjamin Franklin, Henry Laurens, and William Temple Franklin.

The book "Americas Collection" features essays written by experts in architecture, art, and design history. These essays delve into the creative vision of each architect, shedding light on the intricate details that offer readers a glimpse into the history of the nation as they navigate through various rooms.

In the entrance hall, foreign dignitaries often arrive before their meetings, lunches, or state dinners. Jones successfully recreated the atmosphere of wealthy colonial-era American houses and plantations, with decorative plasterwork, light-colored walls, and ornate ceilings. Through this transformation, a room that originally had dark wood paneling and carpeted flooring now resembles a space that the country's founders might have strolled through. This is a reflection by Obamas chief decorator on their 8-year tenure at the White House.

The visitors are greeted by intricately molded plasterwork on the 13-foot-high ceiling, replicated from the Powel House in Philadelphia. Furthermore, the room showcases exquisite cabinetry items, particularly crafted by the personal artisans of King George III, who reigned during the time of the American Revolution. In his book, architect Mark Alan Hewitt expresses amazement at the remarkable transformation evident in the before-and-after photographs.

The John Quincy Adams State Drawing Room, designed by Jones, emulates a drawing room from the Revolutionary era. This room pays homage to the nation's sixth president and eighth secretary of state and was completed in the early 1970s, despite being inspired by a period almost two centuries earlier. The room is adorned with four Ionic pilasters and furnished with striking furniture in bright yellow and red colors.

Within this room, one can find Jefferson's architects table and the desk where the Treaty of Paris was signed. The walls are adorned with portraits of Adams and his wife, Louisa Catherine, as well as George Washington and Martha Washington.

The book devotes a significant amount of attention to the furniture and art found in the Reception Rooms. A press release suggests that the collections are comparable to those found in renowned institutions such as the Metropolitan Museum of Art in New York and the Winterthur Museum and Library in Delaware, famous for their emphasis on American decorative arts and antiques.

Alexandra Kirtley, a curator at the Philadelphia Museum of Art, emphasizes the significance of the museum's decorative art collections. In her essay for the book, she highlights how items such as furniture, diningware, and textiles offer unique insights into the past. Kirtley explains that these pieces served a dual purpose, being both functional and stylish. She further mentions that these works of art were not merely decorative, but truly functioned as sculptural elements within the living spaces of their original owners. Speaking to CNN, Kirtley expresses her appreciation for the way these objects enriched people's everyday lives.

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The Dolley Madison Powder Room is illuminated by a gentle glow of white light. The walls are adorned with exquisite silk wallpaper in a delightful blend of pink, cream, and light blue hues. While the furniture in the room dates back to Madison's era, it is the paintings that provide a departure from that time period. On display are captivating 19th-century masterpieces by American impressionists Childe Hassam and Edmund C. Tarbell.

Kirtley explained that patterns on Chinese porcelain would often be replicated on the fretwork adorning the walls of affluent colonial residences. In some cases, architects and builders collaborated closely with skilled artisans responsible for crafting furniture.

Delving into the background of the craftsmen responsible for creating these artworks further enhances our understanding of the nation's history. As highlighted in Kirtley's essay in "Americas Collection," it is probable that certain furnishings in the Diplomatic Reception Rooms were crafted with the involvement of "anonymous Black artists who were once enslaved, indentured, or free."

The story of this talented artist from the 17th century, who was subjected to misinterpretation for countless years, is being retold in an upcoming exhibition.

The collections of paintings demonstrate both an energy and a desire not only to meet the artistic standards of the time but also to establish a style that was distinctly American, according to Betsy Kornhauser, a curator at the Metropolitan Museum of Art who also contributes an essay to the book, as reported by CNN.

"There was a longing among both the American public and these artists to develop an art form that truly addressed the unique history of the newly established United States," she explained.

Early American painters, lacking formal training in the colonies, sought to refine their skills by studying in Europe. When they returned, their artwork reflected the techniques and styles of their European counterparts, but without the constraints of established academic traditions, as explained by Kornhauser.

The "Americas Collection" proudly exhibits a selection of landscape paintings in its reception rooms, which exemplify the artistic vigor resulting from this period. Notable painters such as Joshua Shaw and Thomas Cole, who played a pivotal role in establishing the Hudson River School, contributed to this artistic movement. Among the collection is an undated painting by Cole titled "Indians in a Mountain Landscape." This piece showcases majestic mountains reaching into a clear blue sky, with Native Americans standing at the edge of a forest, just steps away from the water. However, it is important to note that this painting, like many others from that era, depicts Native Americans in stereotypical roles, reinforcing the perception of untamed and wild American nature.

Include conducting a thorough investigation into the sourcing of all Native American art in the rooms before making any future acquisitions. Additionally, the curators plan to update the collections policy to address the issue of ethical sourcing and ensure responsible acquisitions going forward.

One painting that captures the curiosity of the museum curators is "A Flutist," an anonymous artwork portraying a talented Black musician adorned in a dark coat with eye-catching red lapels. Through meticulous visual analysis, the curators rely on these intricate details as discerning clues to unravel its origins. Notably, the absence of a wig, pigtail, or powdered hair helps experts speculate that the painting likely emerged after 1795.

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At present, American art curators are strongly dedicated to the inclusion of women artists, indigenous artists, and African American artists, ensuring their contributions and perspectives are represented in the intricate tapestry of art history," commented Betsy Kornhauser in an interview with CNN. Featured on the right is a painting entitled "A Flutist," displayed in the Walter Thurston Gentlemen's Lounge. Photographer: Bruce M. White. Courtesy of Rizzoli.

It is challenging to identify anonymous artists of furniture or paintings. However, presenting these works helps viewers gain a deeper understanding of the American history they depict in various settings. Kirtley emphasizes the importance of not disregarding history but rather striving to comprehend it better. Therefore, it is crucial not only to newly present and understand these works of art but also to ensure they are not stored away.

Plans are being made at the Diplomatic Reception Rooms to expand the collection by including works from artists who have been marginalized in the years since curatorial efforts commenced, including women and people of color. This endeavor aims to showcase a broader range of early American art, providing foreign diplomats with a more comprehensive and accurate portrayal of the nation's history during their future visits.

"We are acquiring knowledge through history," stated Hart. "Every individual in our department is actively advancing the country in significant ways. This collection represents a small yet integral aspect of the Department of State's broader mission."

The book, Americas Collection: The Art and Architecture of the Diplomatic Reception Rooms at the US Department of State, is currently accessible through Rizzoli Electa.