Before they brushed their great gray wings across an otherwise ordinary neighborhood of bungalows in lower Montrose, before their place in Houston’s history felt as ordained as the live oaks, and before Houstonians began trading stories about sightings of a thin and ethereal woman seated in front of her museum’s great paintings, there was simply a couple: John and Dominique de Menil. A pair of émigrés who fled France after the Nazi invasion with their three small children in tow. A couple whose wealth, a prominent Houstonian once told Grace Glueck for a May 18, 1986, New York Times Magazine article, was “really peanuts,” when measured on the same scales as Houston’s old oil aristocracies. A couple whose story is as much about Houston’s coming of age during a time of social upheaval as it is about their pushing a cadre of visionaries to accomplish the extraordinary wherever an institution gave them the space and freedom to act. To recall just a few of the details of this story is as much an elegy as it is a celebration.
Supportless, magical 3D printing of metal
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