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The image shows a page from a book or catalog, specifically page 80, which discusses the Busch-Reisinger Museum and its history. The text highlights the museum's growth from having only two original works of art fifty years ago to owning over twelve thousand objects today. The collection spans various periods and styles, including late medieval, Renaissance, baroque sculpture, and eighteenth-century porcelain, with a significant focus on twentieth-century German works. The museum is noted for its major works of expressionism and its extensive collection of Bauhaus materials, as well as the archives of Lyonel Feininger and Walter Gropius.

The remarkable expansion of the museum is attributed to Charles L. Kuhn, who became the curator in 1950. Kuhn emphasized the importance of original works of art and was supported by a group of friends, enabling the museum to build a strong collection of central and northern European art despite limited financial resources.

The text also mentions the role of the Busch-Reisinger Museum and the Fogg Art Museum in the teaching of art history at Harvard University. The exhibition described includes major works from the twentieth-century collections of both museums, housed at the Busch-Reisinger Museum.

Acknowledgments are given to Harry Brooks for making his galleries available, the staff of the Busch-Reisinger Museum for their efforts, and specific individuals such as Gabriella Jeppson, Marion True, Charles Haxthausen, Emilie Dana, and Karen Davidson for their contributions. The director, Seymour Slive, expresses gratitude to the members of the Committees for their support in making the exhibition a success.

Fifty years ago the Busch-Reisinger Museum had but two original works of art—a lackluster portrait of Kaiser Wilhelm II and a rather tattered Renaissance tapestry. Today the museum owns over twelve thousand objects ranging from late medieval, Renaissance, and baroque sculpture, sixteenth-century painting, and eighteenth-century porcelain to a large and distinguished collection of twentieth-century German works. The museum houses major masterworks of expressionism and the largest collection of Bauhaus materials outside of Germany, as well as the archives of Lyonel Feininger and Walter Gropius.

The remarkable growth of the Busch-Reisinger is due to the vision of one man, Charles L. Kuhn, who became curator of the museum in 1930. Recognizing the importance of learning from original works of art, Kuhn embarked on a policy of acquiring originals to supplement the plaster casts already in the collection. His policy was soon endorsed by a group of friends of the museum. Their generous help and his knowledge, discrimination, and judicious use of the museum’s limited financial resources enabled Kuhn to amass a strong collection of central and northern European art.

The Busch-Reisinger Museum and the Fogg Art Museum—Harvard University’s two art museums—are central to the teaching of art history at Harvard. Their rich holdings constitute a unique resource enabling students to gain firsthand familiarity with important aspects of their visual heritage. This exhibition represents major works from the twentieth-century collections of central and northern European art of the Harvard Art Museums. It includes works from the Busch-Reisinger and the Fogg Art Museum. All works are housed at the Busch-Reisinger Museum.

Special thanks are due to Harry Brooks, Director of Wildenstein and Company, for making his galleries available for the showing of this exhibition. I would also like to express my deep gratitude to the staff of the Busch-Reisinger Museum for its dedicated professionalism and diligent efforts during the planning and preparation of this event. Gabriella Jeppson and Marion True first conceived the idea for the exhibition and raised the funds to make their idea a reality. Charles Haxthausen selected the works, and Emilie Dana and Karen Davidson expertly performed countless tasks both great and small throughout every phase of this undertaking. I am also indebted to the members of our Committees, listed on the following pages, who have done so much to make the exhibition and its related events a success.

Seymour Slive
Director
Harvard University Art Museums

The image displays a page from what appears to be an exhibition catalog or brochure related to the Busch-Reisinger Museum. Here is a detailed summary of its contents:

1. Historical Overview of the Busch-Reisinger Museum:

   • Fifty years ago, the Busch-Reisinger Museum had only two original works of art: a portrait of Kaiser Wilhelm II and a Renaissance tapestry.
   • Today, the museum boasts a collection of over twelve thousand objects, including:
     • Late medieval, Renaissance, and baroque sculpture.
     • Sixteenth-century painting.
     • Eighteenth-century porcelain.
     • A significant collection of twentieth-century German works.
   • The museum houses major masterworks of Expressionism and the largest collection of Bauhaus materials outside Germany.
   • It also contains the archives of Lyonel Feininger and Walter Gropius.

2. Growth and Vision:

   • The remarkable growth of the museum is attributed to Charles L. Kuhn, who became the curator in 1930.
   • Kuhn recognized the importance of learning from original works of art and began acquiring originals to supplement the plaster casts already in the collection.
   • With the support of a group of friends of the museum, Kuhn's judicious use of limited financial resources enabled the museum to amass a strong collection of central and northern European art.

3. Role in Education:

   • The Busch-Reisinger Museum, along with the Fogg Art Museum, is central to the teaching of art history at Harvard University.
   • The museums' rich holdings allow students to gain firsthand familiarity with important aspects of their visual heritage.
   • The current exhibition showcases major works from the twentieth-century collections of central and northern European art from the Harvard Art Museums.

4. Acknowledgments:

   • Special thanks are given to Harry Brooks, Director of Wildenstein and Company, for providing gallery space for the exhibition.
   • Gratitude is expressed to the staff of the Busch-Reisinger Museum for their professionalism and diligent efforts.
   • Gabriella Jeppson and Marion True are acknowledged for conceiving the exhibition idea and raising funds.
   • Charles Haxthausen is credited with selecting the works.
   • Emilie Dana and Karen Davidson are recognized for performing numerous tasks throughout the exhibition's planning and preparation.
   • Thanks are also extended to the members of various committees who contributed to the exhibition's success.

5. Signature:

   • The page is signed by Seymour Slive, Director of the Harvard University Art Museums.

The image shows a page from a book or catalog discussing the Busch-Reisinger Museum at Harvard University. Here's a detailed summary of the text:

The Busch-Reisinger Museum has grown significantly over the past fifty years. Initially, it had only two original artworks: a lackluster portrait of Kaiser Wilhelm II and a tattered Renaissance tapestry. Today, the museum owns over twelve thousand objects, ranging from late medieval, Renaissance, and baroque sculptures, sixteenth-century paintings, and eighteenth-century porcelain to a significant collection of twentieth-century German works. The museum is renowned for housing major works of expressionism and the largest collection of Bauhaus materials outside of Germany, as well as the archives of Lyonel Feininger and Walter Gropius.

The growth of the Busch-Reisinger Museum is attributed to Charles L. Kuhn, who became its curator in 1930. Kuhn's vision and policy of acquiring original works to supplement the existing plaster casts, along with the support of friends of the museum, enabled the museum to build a strong collection of central and northern European art despite its limited financial resources.

The Busch-Reisinger Museum, along with the Fogg Art Museum, is central to the teaching of art history at Harvard. Their extensive holdings provide students with a unique resource to study important aspects of their visual heritage firsthand. This particular exhibition showcases major works from the twentieth-century collections of central and northern European art at the Harvard Art Museums, including pieces from both the Busch-Reisinger and the Fogg Art Museum, all housed at the Busch-Reisinger Museum.

The text also includes acknowledgments to Harry Brooks, Director of Wildenstein and Company, for making galleries available for the exhibition. It expresses gratitude to the staff of the Busch-Reisinger Museum for their professionalism and efforts during the planning and preparation of the event. Special thanks are given to Gabriella Jeppson and Marion True for conceiving the exhibition and raising funds, Charles Haxthausen for selecting the works, and Emilie Dana and Karen Davidson for their numerous contributions. The text concludes with acknowledgment of the exhibition committee members for their roles in making the exhibition and related events successful. The page is signed by Seymour Slive, Director of Harvard University Art Museums.

The image is a page from a document or book that discusses the history and significance of the Busch-Reisinger Museum. Here is a detailed summary of the text:

1. Historical Growth of the Busch-Reisinger Museum:

   • Fifty years ago, the Busch-Reisinger Museum had only two original artworks: a lacquered portrait of Kaiser Wilhelm II and a Renaissance tapestry.
   • Today, the museum owns over twelve thousand objects, spanning from late medieval, Renaissance, and Baroque sculpture, to sixteenth-century paintings, eighteenth-century porcelain, and a significant collection of twentieth-century German works.
   • The museum houses major masterpieces of Expressionism and the largest collection of Bauhaus materials outside of Germany, including the archives of Lyonel Feininger and Walter Gropius.

2. Visionary Leadership:

   • The growth of the Busch-Reisinger Museum is attributed to Charles L. Kuhn, who became the curator in 1930.
   • Kuhn focused on acquiring original works of art to supplement the existing plaster casts, a policy supported by a group of museum friends.
   • His efforts, combined with judicious use of the museum's limited financial resources, enabled the collection to become strong in central and northern European art.

3. Educational Role:

   • The Busch-Reisinger Museum, along with the Fogg Art Museum, plays a central role in teaching art history at Harvard University.
   • Their collections provide students with direct access to significant aspects of their visual heritage.

4. Exhibition Description:

   • The text mentions an exhibition featuring major works from the twentieth-century collections of central and northern European art from Harvard Art Museums.
   • This exhibition includes works from both the Busch-Reisinger and Fogg Art Museums, all housed at the Busch-Reisinger Museum.

5. Acknowledgments:

   • Special thanks are given to Harry Brooks, Director of Wildenstein and Company, for providing gallery space.
   • Gratitude is expressed to the staff of the Busch-Reisinger Museum for their professionalism and efforts in planning and preparing the exhibition.
   • Recognition is given to Gabriella Jeppson and Marion True for conceiving the exhibition idea and raising funds.
   • Charles Haxthausen is credited with selecting the works.
   • Emilie Dana and Karen Davidson are acknowledged for their extensive contributions throughout the planning phases.
   • The text concludes with thanks to the members of the exhibition committees, who are listed in the following pages.

The page concludes with a signature from Seymour Slive, Director of Harvard University Art Museums.

The image shows a page from a document related to the Busch-Reisinger Museum and the Harvard Art Museums. Here's a detailed summary:

1. Historical Context of the Busch-Reisinger Museum:

   • Fifty years ago, the Busch-Reisinger Museum had only two original artworks: a portrait of Kaiser Wilhelm II and a Renaissance tapestry.
   • Today, it possesses over twelve thousand objects spanning various periods and styles, including late medieval, Renaissance, Baroque sculpture, sixteenth-century paintings, and eighteenth-century porcelain.
   • The museum also houses significant collections of twentieth-century German art, expressionism, and the largest collection of Bauhaus materials outside Germany. It also contains the archives of artists Lyonel Feininger and Walter Gropius.

2. Foundational Vision:

   • The museum's remarkable growth is attributed to Charles L. Kuhn, who became its curator in 1930.
   • Kuhn focused on acquiring original works of art to enhance the plaster casts already in the collection.
   • His policy was supported by friends of the museum who contributed generously, enabling Kuhn to build a strong collection of central and northern European art.

3. Role in Art Education:

   • The Busch-Reisinger Museum and the Fogg Art Museum at Harvard are crucial for teaching art history.
   • Their collections provide a unique resource for students, offering direct experience with important aspects of visual heritage.

4. Exhibition Details:

   • The text mentions an exhibition showcasing significant works from the twentieth-century collections of central and northern European art from Harvard Art Museums.
   • Works included are from both the Busch-Reisinger and Fogg Art Museums, housed at the Busch-Reisinger Museum.

5. Acknowledgments:

   • Special thanks are given to Harry Brooks, Director of Wildenstein and Company, for making his galleries available for the exhibition.
   • Gratitude is extended to the Busch-Reisinger Museum staff for their dedication and effort during planning and preparation.
   • Gabriella Jeppson and Marion True are acknowledged for conceptualizing and funding the exhibition.
   • Charles Haxthausen is credited for selecting the works.
   • Emilie Dana and Karen Davidson are noted for their extensive contributions to the exhibition's planning and execution.

6. Conclusion:

   • The director, Seymour Slive, expresses his appreciation to the members of the exhibition committee and those involved in making the exhibition and related events a success.

The document emphasizes the growth and significance of the Busch-Reisinger Museum in the field of art history and its role in education and cultural heritage.

The image shows a page containing text, which appears to be from an informational booklet or a catalogue related to an art exhibition. The top right corner of the page has the number 80, which likely indicates that it is page 80 of the booklet.

The text speaks about the growth and development of the Busch-Reisinger Museum over fifty years. It started with only two original works of art and has expanded to include a diverse collection, featuring medieval, Renaissance, and Baroque sculpture, 17th-century painting, 18th-century porcelain, and German works from the 19th century. It also highlights the museum's collection of expressionism and Bauhaus materials outside of Germany, along with archives of Lyonel Feininger and Walter Gropius.

The main driver of this growth is attributed to the vision and efforts of Charles L. Kuhn, the museum's curator in 1930. There is mention of a policy to acquire original works of art and cast replicas, which was supported by friends and patrons of the museum, helping Kuhn to amass a large collection of central and northern European art.

The text also mentions the close relationship with the Fogg Art Museum and how both, being part of Harvard University, are fundamental to teaching art history and preserving important aspects of cultural heritage. There is a reference to a specific art exhibition displaying major works from the museum's collections, all housed at the Busch-Reisinger Museum.

Acknowledgments are given to various individuals and entities for their roles and contributions to the exhibition, with specific thanks to Harry Brooks, Director of Wildenstein and Company, and several museum staff. The writer expresses gratitude for the hard work involved in planning and organizing the event.

The excerpt is signed off by Seymour Slive, Director of the Harvard University Art Museums, and notes that the thank you extends to various committee members who will be listed on the following pages.

The image shows the text clearly printed in black on a white background with a serif font, making it look formal and professional as one would expect from a publication associated with an educational art institution like Harvard University.

The image shows a page of printed text discussing the history and significance of the Busch-Reisinger Museum at Harvard University. The text highlights the museum's growth from having only two original works of art to a collection of over twelve thousand objects, including late medieval, Renaissance, baroque sculpture, sixteenth-century painting, eighteenth-century porcelain, twentieth-century German works, expressionism, and Bauhaus materials.

It credits Charles L. Kuhn, the museum's curator from 1930, for the museum's remarkable growth, emphasizing his policy of acquiring original works and the support from friends of the museum. The Busch-Reisinger Museum, along with the Fogg Art Museum, is noted as central to teaching art history at Harvard, providing students with firsthand familiarity with important visual heritage.

The text acknowledges various individuals who contributed to the exhibition and its success, including Harry Brooks, Gabriella Jeppson, Marion True, Charles Haxthausen, Emilie Dana, and Karen Davidson. It concludes with a signature by Seymour Slive, Director of Harvard University Art Museums.

The image shows a page from a book, likely a catalog or an exhibition guide, discussing the history and collection of the Busch-Reisinger Museum, one of Harvard University's art museums. The text highlights the museum's transformation from having only two original artworks fifty years ago to owning over twelve thousand objects, including sculptures, paintings, and porcelain from various periods, as well as a significant collection of twentieth-century German works. The museum's growth is attributed to Charles L. Kuhn, who became the curator in 1930 and initiated a policy of acquiring original artworks. The text also mentions the museum's role in teaching art history at Harvard and expresses gratitude to various individuals and institutions for their contributions to the exhibition.

The image shows an open book page containing a written text. The page is part of a document discussing the history and growth of the Busch-Reisinger Museum, a part of Harvard University's art museums. The text provides a detailed account of the museum's evolution, highlighting its transformation from a collection of only two original works of art fifty years prior to owning over twelve thousand objects today. It emphasizes the museum's diverse holdings, including late medieval, Renaissance, and Baroque sculpture, sixteenth-century painting, eighteenth-century porcelain, and a distinguished collection of twentieth-century German works. The text credits Charles L. Kuhn, who became the museum's curator in 1930, for its remarkable growth through his vision and acquisition policies.

Additionally, the passage underscores the museum's role in teaching art history at Harvard University, noting that the Busch-Reisinger and Fogg Art Museums are central to the university's art history curriculum. The text also acknowledges contributions from various individuals and organizations involved in planning and executing an exhibition, including Harry Brooks, the staff of the Busch-Reisinger Museum, Gabriella Jeppson, Marion True, Charles Haxthausen, Emilie Dana, Karen Davidson, and members of committees.

The page is formatted with a clean, professional layout, featuring justified text and a clear, serif font. At the bottom of the page, the author's name, "Seymour Slive," is listed along with his title, "Director," and affiliation, "Harvard University Art Museums." The page number "80" is visible in the top left corner, indicating its position within the book. The background of the image appears to be a neutral, warm-toned surface, possibly a wooden table or shelf, providing a warm contrast to the white page.