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This image appears to be a scanned page from the "Harvard Alumni Bulletin" dated January 17, 1929. The page contains an article about the Fogg Art Museum, discussing its history, architecture, and collections. The article is divided into two main sections. The first section, titled "The Fogg Art Museum," discusses the museum's purpose, its role in the university, and its dedication on June 20, 1927. It also mentions the museum's exhibits, which include Italian 17th and 18th century paintings and drawings. The second section of the article provides more detail about the exhibition, mentioning notable pieces such as the ex-Governor Fuller’s Piazzetta, Mr. Pope’s “Caritas,” and Tiepolo’s “Antony and Cleopatra.” The text is formatted in a typewriter style, and the paper shows signs of age, with some yellowing and wear. The page is double-sided, with the back of the page visible, showing the same "Harvard Alumni Bulletin" title and date, January 24, 1929.

The image shows a page from the "Harvard Alumni Bulletin" dated January 17, 1929. The page contains three separate articles or sections, each discussing the Fogg Art Museum. The text is printed on a light-colored paper and appears to have been cut out and pasted onto a larger sheet of paper for archiving purposes.

1. The first section, titled "THE FOGG ART MUSEUM," is written by Dr. Hubert Philippart. It describes his observations of American universities and the Fogg Art Museum during his visit to the United States in 1927. He praises the architectural style of the university buildings and the museum's facilities, which include exhibition galleries, lecture halls, laboratories, and administrative offices. The museum also has a large library with a capacity for 75,000 volumes and storage for 60,000 photographs and 20,000 lantern slides.

2. The second section provides a detailed description of the exhibition of Italian 17th and 18th-century paintings and drawings at the Fogg Art Museum. The exhibition features works by notable artists such as Caravaggio, Piazzetta, Tiepolo, and Guardi. It highlights the organization of the exhibition, the variety of artworks on display, and the lenders who contributed to the collection.

3. The third section, titled "FOGG ART MUSEUM," continues the discussion of the exhibition, focusing on the 18th-century paintings and drawings. It mentions specific works by artists like Tiepolo, Zuccarelli, and Longhi, and notes the difficulty of attributing some of the artworks due to the lack of detailed study of the period compared to the Renaissance.

The page is neatly arranged with clear headings and text, making it easy to read and understand the content. The use of quotes and references to specific artists and artworks suggests that the articles are informative and intended for an audience interested in art history and museum exhibitions.

This image shows a single, aged page from the Harvard Alumni Bulletin, dated January 24, 1929. The page is printed on off-white, slightly yellowed paper and features three distinct columns of typewritten text, characteristic of a newsletter or bulletin format.

The content is focused on the Fogg Art Museum at Harvard University. The page is headlined “Harvard Alumni Bulletin Jan 24, 1929” at both the top and bottom.

Here’s a breakdown of the content by column:

Left Column: “THE FOGG ART MUSEUM”
This column features an excerpt from a travel account by Dr. Hubert Philippart, an official from the Musées Royaux de Cinquantenaire in Brussels and a lecturer at the University of Brussels. He visited the U.S. in 1927 and published his observations in the Revue de l'Université de Bruxelles. The excerpt describes Harvard University’s campus and the Fogg Art Museum in glowing, almost poetic terms, comparing it favorably to Cambridge and praising its facilities, atmosphere, and dedication to student life and art appreciation. He notes Harvard’s unique balance of academic rigor and aesthetic environment.

Middle Column: (Continuation of Philippart’s account)
This column continues Philippart’s description, praising the museum’s architecture and facilities, including its central court, exhibition galleries, lecture halls, laboratories, and large library capable of holding 75,000 volumes. He emphasizes the quality and accessibility of the material, which he feels fosters a “feeling for beauty and a desire to visit the originals.” He contrasts Harvard’s approach with the more “materialist” or purely scholarly institutions of Europe, suggesting Harvard’s success stems from American benefactors who understood the importance of providing students with a study collection.

Right Column: “FOGG ART MUSEUM” (Exhibition Description)
This column details an active exhibition of Italian 17th and 18th-century paintings and drawings held at the Fogg Art Museum in early 1929. It notes this was likely the first such comprehensive exhibition of its kind in the U.S. and was scheduled to be on view until mid-February. The exhibition was organized with lectures by Mr. Arthur McComb, and the works were loaned from institutions and private individuals.

The exhibition is broken down by century:

• Early 17th Century: Highlights include works by Domenico Napoletano (a “Madonna and Saints”), an ex-Governor Fuller’s Piazzetta (“Caritas”), and five landscapes by Magnasco from the Ross Collection, including “Monks in Prayer” (owned by the museum).
• 18th Century (Venice): Features three views of Venice by Guardi (one from the Malden Public Library, two from Mrs. Morris Murray), oil sketches by Tiepolo (including one possibly from the artist’s own hand), and a portrait by Domenico Tiepolo (“Antony and Cleopatra”).
• Other Notable Works: Includes drawings lent by Mr. John Nicholas Brown (landscapes, pen-and-wash, and a study for a sculpture by Bernini), and further drawings by Paul J. Sachs illustrating 18th-century Italy, particularly notable for works by Tiepolo, Piazzetta, and Guardi.

The document has three punched holes along its left margin, indicating it was likely kept in a binder or folder. The overall tone is informative and celebratory, aimed at Harvard alumni and reflecting institutional pride in the museum’s collections and educational mission.

The image is a page from a Harvard Alumni Bulletin dated January 11, 1924. The page features an article titled "The Fogg Art Museum," which provides information about the establishment and the significance of the Fogg Art Museum at Harvard University. The article includes a quote from Dr. Hubert Philippart, who visited the museum in 1922 and expressed his admiration for its architecture and collections. The museum was opened in 1927 and is described as a model university museum, providing central heating, X-Ray, and other modern facilities. The article also mentions an exhibition of Italian 17th and 18th-century paintings and drawings, which was the first of its kind in the United States. The exhibition was arranged primarily for use in connection with a series of lectures given at the museum by Mr. Arthur McComb. The article further discusses the significance of the Fogg Art Museum in promoting the appreciation of art among students and the importance of preserving historical and archaeological material in American universities.

The image shows a page from the Harvard Alumni Bulletin, dated January 11, 1924. The page is divided into two columns, each containing text. The left column features an article titled "THE FOGG ART MUSEUM" by Dr. Hubert Philippart, who is described as an official of the Musées Royaux du Cinquantenaire and a lecturer at the University of Brussels. Dr. Philippart visited the United States in 1927 to study American collections of antiquities. He provides an account of his travels, focusing on the collections of ancient vases in America, particularly at Harvard and the Fogg Art Museum.

The right column continues the article, discussing the Fogg Art Museum's exhibition of Italian 17th and 18th-century paintings and drawings. The exhibition, which opened in mid-February and ran until the middle of June, was arranged in connection with a series of lectures by Mr. Arthur McComb. The article highlights the museum's collection of Italian art, including works by Tiepolo, Zuccarelli, and others, as well as architectural drawings and studies.

The page also includes a date stamp in the bottom right corner, indicating it was published on January 11, 1924. The text is printed in a serif font, and the page has a beige background with a slight texture, typical of printed materials from that era.

The image shows a page from the Harvard Alumni Bulletin, dated January 11, 1929, and January 24, 1929. The page is divided into two main sections, each discussing the Fogg Art Museum at Harvard University.

Left Section:

• Title: "The Fogg Art Museum"
• Author: Dr. Hubert Philippart, an official of the Musée Royal du Cinquantenaire and a lecturer at the Université de Bruxelles.
• Content:
  • Dr. Philippart recounts his 1927 visit to the United States, where he lectured on his travels and the collections of ancient vases in America.
  • He translates what he says about Harvard and the Fogg Art Museum into English.
  • He describes Harvard as a picturesque campus with grassy areas, libraries, laboratories, classrooms, and administrative buildings, all surrounded by nature.
  • He highlights the beauty of the campus, noting its lack of a "corner reserved for the fine arts" and expresses admiration for the university's collections, which he compares favorably to those in Belgium and France.
  • He emphasizes the importance of having such collections for students to study and appreciate art.

Right Section:

• Title: "Fogg Art Museum"
• Content:
  • Discusses an exhibition of Italian drawings and 18th-century paintings held at the Fogg Art Museum from January 15 to February 15, 1929.
  • The exhibition features works from the Middle Museum, arranged primarily for use in connection with a course in art history taught by Mr. Arthur McComb.
  • The exhibition includes:
    • Drawings and paintings from the Caravaggio school, including works by Sebastiano del Piombo, Giovanni Baglione, and Giovanni Lanfranco.
    • A large painting by Madonna and Saints, attributed to Pinturicchio, and an unknown Caravaggio painting titled "Donato Napoletano".
    • Drawings and paintings from the Rosso Fiorentino collection, including "Deposition" from the Borghese Gallery.
    • Views of Venice by Guardi, including three characteristic views loaned by the Maldon Public Library.
    • Works by Tiepolo, including sketches by Mrs. Mortimer and Mr. Holmes.
    • Drawings by Annisale Carracci, including a landscape by Annisale Carracci, three Guercino drawings, and a preparatory sketch by Bernini for his Capitoline Gallery statue of Urban VIII.
    • A preparatory sketch for Guardi's study in the Rio dei Mercanti picture in Bernini’s collection.
  • The text notes the difficulty in attributing several works due to the limited period under consideration and compares the exhibition with similar displays at the Paul Sachs Gallery.

Visual Elements:

• The page is printed in black text on a light background.
• The layout is clean and organized, with clear headings and paragraphs.
• The text is dense, with a focus on detailed descriptions of the Fogg Art Museum, its collections, and the exhibition.

Overall Impression:

The page provides a detailed account of the Fogg Art Museum's role in art education and its exhibition of Italian drawings and 18th-century paintings, highlighting the museum's significance in the academic and artistic community of Harvard University. It also reflects the era's appreciation for art collections and the integration of art into university life.

This image displays a scanned page of the "Harvard Alumni Bulletin" dated January 11, 1949. The page features an article about the Fogg Art Museum at Harvard University. The text of the article highlights Dr. Paul J. Sachs, the Associate Director of the Museum, who is also a lecturer in the Fine Arts at Harvard. It talks about the Fogg Art Museum's collection, including American antiquities and the atmosphere of the museum, designed to emulate an old European art gallery. It discusses its extensive collection, including Oriental art, its active loan policy, and how the museum's resources are available to the community.

The article addresses the perceived gap between scientific and athletic facilities and those for the fine arts at American universities. It suggests a need to foster an appreciation for art among students. Additionally, there's mention of an exhibition of Italian 17th and 18th-century paintings and drawings, which includes works by Guido Reni and Salvator Rosa, among others. The bulletin shows signs of aging, such as discoloration and deterioration at the edges, which suggests that the physical document has historical value. The bottom of the page also contains a secondary date mark of "Jan. 24, 1949."

The image depicts a page from the Harvard Alumni Bulletin dated January 24, 1929. The page contains two articles about the Fogg Art Museum at Harvard University. The first article provides information on Dr. Hubert Philippart's visit to the United States in 1927 and his observations on American collections of antiquities at Harvard. It discusses the museum's exhibits, facilities, and scholarly environment.

The second article announces an upcoming exhibition at the Fogg Art Museum featuring Italian 17th and 18th-century paintings and drawings. It highlights several notable artworks and artists in the exhibition, including works by Giovanni Domenico Tiepolo, Annibale Carracci, and Guardi, among others. The focus is on the diversity and quality of pieces displayed, discussing the origins and significance of the paintings.

Both articles emphasize the educational value and the importance of art appreciation provided by the Fogg Art Museum. The page also has handwritten annotations indicating the publication source and date.

The image shows a page with two newspaper clippings attached. The clippings are about the Fogg Art Museum and exhibitions there. The page is labeled at the top and bottom with handwritten text: "Harvard Alumni Bulletin - Jan. 17, 1929" at the top and "Harvard Alumni Bulletin - Jan. 24, 1929" at the bottom.

The left clipping discusses Dr. Hubert Philippart, an official of the Musées Royaux du Cinquantenaire and lecturer in the University of Brussels, who visited the United States in 1927 to study American collections of antiquities. It talks about his impressions of Harvard and the Fogg Art Museum, highlighting the American university's dedication to art appreciation. The article praises the modern features of the Fogg Museum, its educational roles, extensive library, and exhibition space.

The right clipping describes an exhibition of Italian 17th and 18th century paintings and drawings at the Fogg Art Museum, noting it is the first such exhibition held there. It mentions the exhibition features paintings from several private collections and includes works by artists such as Tiepolo and Domenico. The article details some specific artworks on display and the exhibits' significance, as well as comments on the difficulty of attributing some works.

The page and its contents have three punch holes on the left, suggesting it was kept in a binder or file.

The image displays a page from the "Harvard Alumni Bulletin," dated January 24, 1929. It appears to be an article or report discussing the Fogg Art Museum, its significance, and contributions to art and academic collections.

The layout is divided into columns of text, written in a formal and descriptive tone, typical of publications of that era. Marginal notes at the top and bottom of the image indicate the publication's name and date.

Key elements of the text include:

1. Historical and Academic Context: The article discusses the Fogg Art Museum's collections, its relevance to universities, and contributions to the study and appreciation of art.
2. Details about the Museum: It provides information on the building, its architectural style, and the advancements it represents in promoting higher education and cultural enrichment.
3. Exhibition Highlights: Specific art pieces and exhibitions, such as Italian 17th- and 18th-century paintings and drawings, are mentioned.
4. Education Purpose: Emphasis is placed on the museum's role in fostering art appreciation and serving as a resource for both students and the community.
5. References to Collaboration and Lending: Mentions are made of works lent by private individuals and institutions for exhibitions.

The page consists of typed text in a serif font with slight discoloration, suggesting it is an aged document. It has round holes on the left side, indicating it was likely part of a binder or archival file.