Her great wealth afforded her the opportunity to become a patron of the arts, but she also devoted herself to the advancement of women in art, supporting and exhibiting in women-only shows and ensuring that women were included in mixed shows.
She supported exhibition of artwork both locally and around the country, including the 1913 Armory Show in New York.
Whitney also donated money to the Society of Independent Artists founded in 1917, which aimed to promote artists who deviated from academic norms.
She actively bought works from new artists including the Ashcan School.
In 1922, she financed publication of The Arts magazine, to prevent its closing.
She was the primary financial backer for the "International Composer's Guild," an organization created to promote the performance of modern music.

By 1908, Whitney had opened the Whitney Studio Gallery in the same buildings as her own studio on West Eighth Street in Greenwich Village.
Artists such as Robert Henri and Jo Davidson were invited to showcase their works there.
In 1914, Gertrude Whitney also established the Whitney Studio Club at 147 West 4th Street, as an artists' club where young artists could meet and talk, as well as exhibit their works.
She provided nearby housing many of them, as well as stipends for living costs at home and abroad.
The Whitney Studio Club expanded again when its headquarters were moved back from West Fourth Street to West Eighth Street in 1923.
Thus, the club expanded both in size and scope of programming.
These early galleries would evolve to become Whitney's greatest legacy, the Whitney Museum of American Art, on the site of what is now the New York Studio School of Drawing, Painting and Sculpture.

In 1929, Whitney offered the New York Metropolitan Museum of Art the donation of her twenty-five-year collection of nearly 700 American modern art works and full payment for building a wing to accommodate these works.
Her offer was declined because the museum would not take American art, and in 1931, Whitney decided to create her own museum by renovating and expanding on one of her own studios.
Whitney appointed Juliana Force, who was formerly her assistant since 1914, to be the museum's first director.
The museum aimed to embrace modernism, shifting away from the notions that American art was largely rural and narrow in scope.

A colorful recollection of one of her parties celebrating her artist friends was recounted by the artist Jerome Myers:
Matching it in memory is a party at Mrs. Gertrude Vanderbilt Whitney's, on her Long Island estate, the artists there a veritable catalog of celebrities, painters and sculptors.
I can hardly visualize, let alone describe, the many shifting scenes of our entertainment: sunken pools and gorgeous white peacocks as line decorations spreading into the gardens; in their swinging cages, brilliant macaws nodding their beaks at George Luks as though they remembered posing for his pictures of them; Robert Chanler showing us his exotic sea pictures, blue-green visions in a marine bathroom; and Mrs. Whitney displaying her studio, the only place on earth in which she could find solitude.
Here the artists felt at home, the Whitney hospitality always gracious and sincere.

Her Greenwich Village studio has been named a National Treasure by the National Trust for Historic Preservation, giving it landmark status.

When Whitney died in 1942, the Whitney Museum of American Art was cleared of the debt it owed her and granted $2.5 million of her money.
Her great wealth afforded her the opportunity to become a patron of the arts, but she also devoted herself to the advancement of women in art, supporting and exhibiting in women-only shows and ensuring that women were included in mixed shows. She supported exhibition of artwork both locally and around the country, including the 1913 Armory Show in New York. Whitney also donated money to the Society of Independent Artists founded in 1917, which aimed to promote artists who deviated from academic norms. She actively bought works from new artists including the Ashcan School. In 1922, she financed publication of The Arts magazine, to prevent its closing. She was the primary financial backer for the "International Composer's Guild," an organization created to promote the performance of modern music.
By 1908, Whitney had opened the Whitney Studio Gallery in the same buildings as her own studio on West Eighth Street in Greenwich Village. Artists such as Robert Henri and Jo Davidson were invited to showcase their works there. In 1914, Gertrude Whitney also established the Whitney Studio Club at 147 West 4th Street, as an artists' club where young artists could meet and talk, as well as exhibit their works. She provided nearby housing many of them, as well as stipends for living costs at home and abroad. The Whitney Studio Club expanded again when its headquarters were moved back from West Fourth Street to West Eighth Street in 1923. Thus, the club expanded both in size and scope of programming. These early galleries would evolve to become Whitney's greatest legacy, the Whitney Museum of American Art, on the site of what is now the New York Studio School of Drawing, Painting and Sculpture.
In 1929, Whitney offered the New York Metropolitan Museum of Art the donation of her twenty-five-year collection of nearly 700 American modern art works and full payment for building a wing to accommodate these works. Her offer was declined because the museum would not take American art, and in 1931, Whitney decided to create her own museum by renovating and expanding on one of her own studios. Whitney appointed Juliana Force, who was formerly her assistant since 1914, to be the museum's first director. The museum aimed to embrace modernism, shifting away from the notions that American art was largely rural and narrow in scope.
A colorful recollection of one of her parties celebrating her artist friends was recounted by the artist Jerome Myers:
Matching it in memory is a party at Mrs. Gertrude Vanderbilt Whitney's, on her Long Island estate, the artists there a veritable catalog of celebrities, painters and sculptors. I can hardly visualize, let alone describe, the many shifting scenes of our entertainment: sunken pools and gorgeous white peacocks as line decorations spreading into the gardens; in their swinging cages, brilliant macaws nodding their beaks at George Luks as though they remembered posing for his pictures of them; Robert Chanler showing us his exotic sea pictures, blue-green visions in a marine bathroom; and Mrs. Whitney displaying her studio, the only place on earth in which she could find solitude. Here the artists felt at home, the Whitney hospitality always gracious and sincere.
Her Greenwich Village studio has been named a National Treasure by the National Trust for Historic Preservation, giving it landmark status.
When Whitney died in 1942, the Whitney Museum of American Art was cleared of the debt it owed her and granted $2.5 million of her money.
Gertrude Vanderbilt Whitney