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This image shows a page from "The Art Digest," dated December 1, 1929. The page is numbered 28 and contains an article titled "X-Ray Work." The article discusses the use of X-rays in the study of paintings, particularly in the context of the Fogg Museum. It details the research conducted over the past four years by the Fogg Museum, which has been studying paintings through X-ray imaging. The article mentions that the museum has collected 1,200 shadowgraphs valuable to students and connoisseurs. It also describes the experiments conducted to understand the limits of the X-ray method, including testing on mummy cases and paintings, and the formation of an extensive collection of X-ray shadowgraphs. The piece concludes with a note about the fourth stage of the work, which involves the classification of the research findings. At the bottom, there is an advertisement for assistance in locating paintings or sculptures through The Art Digest's New York office. The page has a perforation on the left side, suggesting it was part of a bound publication. The paper has a yellowed, aged appearance, indicating its historical nature.

This image is a page from "The Art Digest," dated 1st December, 1929. The page number is 28. The article is titled "X-Ray Work" and discusses the use of X-rays in the study of paintings at the Fogg Museum.

The article mentions that over the past four years, the museum has been conducting research using X-rays to study paintings. It highlights the cooperation of other museums and institutions both domestically and internationally, which has resulted in the collection of approximately 1,200 shadowgraphs valuable for students and connoisseurs. A brief outline of the work is available in the museum's "Notes."

The article references an experiment conducted at the Minneapolis Institute of Arts under Russell A. Plimpton in the fall of 1923, where an unopened mummy case was X-rayed to examine its contents without damaging the highly decorated covering. Around the same time, Mr. Plimpton allowed several paintings from the Institute to be X-rayed.

It also mentions that the Fogg Museum was not initially equipped for such work, and Alan Burroughs, then the curator of paintings, submitted a research program to F. Allen Whiting, the director of the Cleveland Museum. This led to the involvement of the Fogg Museum, which had a laboratory for fine arts. The essential knowledge and skillful manipulation of X-ray equipment were provided by Dr. J. Lloyd Bohn, a graduate student at Harvard. The tests proved that X-rays have no physical effect on paintings.

The article describes four stages of the work: the initial experimentation, the study of paintings from the Fogg Museum and other institutions, the formation of an extensive collection of X-ray shadowgraphs, and the classification of the knowledge obtained. It concludes with the hope that further generosity from museum officials, collectors, and critics will lead to solving attribution problems faced by connoisseurs everywhere.

At the bottom of the article, there is a note stating that "The Art Digest's New York office will gladly help you locate a particular painting or sculpture," followed by the address: "THE ART DIGEST, 9 East 59th St." The page has three holes punched on the left side, likely for binding.

This image displays a single, aged, off-white page from a printed publication, identified at the top as “The Art Digest, 1st December, 1929”, with the page number 28 visible in the upper left corner.

The page features a single, large article titled “X-Ray Work” in a bold, prominent font. The article is composed of four columns of dense, justified text on a slightly darker beige rectangular background that spans the width of the page.

The content of the article details the use of X-ray technology in the study of paintings. It begins by explaining that, over the previous four years, the Fogg Museum had been conducting research using X-rays. It references the collaboration with other major institutions and notes that about 1,200 X-ray shadowgraphs had been collected, valuable to students and connoisseurs.

Key points mentioned include:

• The starting point: An experiment at the Minneapolis Institute of Arts in 1923, where an unopened mummy case was X-rayed without damage.
• Collaboration: Alan Burroughs of the Fogg Museum submitted the program to F. Allen Whiting of the Cleveland Museum. The article credits Dr. J. Lloyd Bohn, then a graduate student at Harvard, with providing the initial X-ray equipment and expertise.
• Safety: Early tests confirmed that X-rays had no physical effect on paintings.
• Expansion: The work moved to a second stage, involving X-raying paintings from the Fogg Museum and the Metropolitan Museum to determine the method's limits.
• Future stage: The article anticipates a third stage — the “formation of an extensive collection of X-ray shadowgraphs” — which began in April 1926 with the Museum of Fine Arts in Boston. It notes that other institutions (Louvre, Kaiser Friedrich Museum, National Gallery, Metropolitan) have since been added to the collection.
• Classification: A fourth stage, “classification of the knowledge obtained,” is mentioned as having begun at the Fogg Museum with the hope of solving attribution problems.

At the very bottom, right-aligned within the text block, there is a note from the publisher:

“THE ART DIGEST’S NEW YORK office will gladly help you locate a particular painting or sculpture. Address: THE ART DIGEST, 9 East 99th St.”

The physical page itself shows signs of aging, with yellowed paper and slight discoloration or stains, particularly along the top and bottom edges and in the margins. Three hole punches are visible along the left margin, indicating it was likely filed in a binder. The page is laid flat against a plain, light gray background.

This image appears to be a page from an old magazine or journal. The page has a beige background and is divided into two columns of text. The left column contains an article titled "X-Ray Work" which discusses the use of X-ray technology in the study of paintings. The article mentions that X-rays have been used to analyze paintings at the Fogg Museum, Cleveland Museum, and Metropolitan Museum, among others.

The right column of the page contains additional information about the magazine or journal, including its address and the date it was published (1st December 1929). There is also a small advertisement for a book titled "The Art Digest's New York office will gladly help you locate a particular painting or sculpture."

Overall, the image provides a glimpse into the use of X-ray technology in the study of art and the role of magazines and journals in disseminating information about art and culture.

The image is a page from a publication, specifically from "The Art Digest," dated December 1, 1929. The page is numbered 28 and features an article titled "X-Ray Work." The article discusses the use of X-ray technology in the study of art, particularly paintings.

The text explains that the Fogg Museum has been conducting research on paintings using X-rays for the past four years. This research was facilitated by the cooperation of other museums and institutions, which allowed the collection of X-ray images of various artworks. The article mentions that a brief outline of the work was printed in the museum's "Notes," and a detailed account of the experiments conducted at the Minneapolis Institute of Arts by Russell A. Plimpton was published in the fall of 1923.

The article further elaborates on the findings of the research, noting that X-rays have no physical effect on paintings and can be used to ascertain the formation of an extensive collection. It also mentions the addition of X-ray shadowgraphs to the permanent collection of the Museum of Fine Arts in Boston, thanks to Mr. Burroughs. The article anticipates that further generosity from museum officials, collectors, and critics will contribute to solving problems in attribution.

The bottom of the page contains an advertisement for "The Art Digest's New York office," providing an address at 6 East 59th St. The page has a beige background with a slight yellowish tint, and the text is printed in black ink. The edges of the page are slightly frayed, indicating age and handling.

The image depicts a page from the December 1st, 1929, issue of The Art Digest. The page is titled "X-Ray Work" and is numbered 28. The content is a detailed article discussing the use of X-ray technology in art research, specifically within the context of the Fogg Museum of Art at Harvard University.

Key Details from the Image:

1. Title and Date:

   • The article is titled "X-Ray Work".
   • It is from the 1st December, 1929 issue of The Art Digest.

2. Content Overview:

   • The article describes the use of X-ray technology in the study of paintings over the past four years at the Fogg Museum.
   • It highlights the collaboration between the museum and other institutions, students, and connoisseurs.
   • Over 1,000 shadowgraphs (X-ray images) have been collected, aiding in the identification of valuable artworks.

3. Historical Context:

   • The article traces the development of X-ray work in art research, noting several stages:
     • First Stage: Initial research and experimentation, including an early experiment at the Minneapolis Institute of Arts under Russell A. Plimpton.
     • Second Stage: The use of X-ray to study paintings, particularly to examine the contents of an unopened mummy case in 1923.
     • Third Stage: The formation of an extensive collection of X-ray shadowgraphs, including works from major museums such as the Louvre, Kaiser Friedrich Museum, National Gallery, and the Metropolitan Museum.
     • Fourth Stage: The classification of the knowledge gained, which has already begun at the Fogg Museum.

4. Key Figures and Institutions:

   • Alan Burroughs: Curator of paintings at the Fogg Museum, who initiated the research program.
   • Dr. J. Lyd Bohn: A graduate student at Harvard who conducted the essential first period of experimentation.
   • Fogg Museum of Art: The primary institution conducting the research.
   • Other museums mentioned include the Louvre, Kaiser Friedrich Museum, National Gallery, and the Metropolitan Museum.

5. Purpose and Significance:

   • The article emphasizes the importance of X-ray work in solving attribution problems, identifying hidden layers or alterations in paintings, and preserving artworks without physical damage.
   • It highlights the potential for X-ray technology to revolutionize the field of art conservation and scholarship.

6. Visual Layout:

   • The text is presented in a classic, serif font typical of early 20th-century publications.
   • The page is clean and well-organized, with clear headings and paragraphs.
   • There are no illustrations or photographs accompanying the text.

Summary:

The image shows a page from The Art Digest detailing the pioneering use of X-ray technology in art research at the Fogg Museum of Art. The article provides a historical account of the development of this technique, its applications, and its significance in advancing the field of art conservation and scholarship. The content is informative and reflects the early adoption of scientific methods in the study of art.

This is an image of a page from a publication, specifically an article from "The Art Digest," dated 15th December, 1929. The title of the article is "X-Ray Work," and it appears to describe the use of X-Ray technology in the study of paintings. Subheadings or labels are not clearly visible, but the text of the article might discuss the history, methods, and implications of X-ray usage in analyzing art. There are three holes punched along the left margin of the paper, likely for placing in a binder or filing system. The paper has aged over time, resulting in a yellowed appearance, with some discoloration and minor damage, such as creases and small tears. The text is printed in a formal, organized layout typical for a magazine or journal of that period.

This image shows a page from an old publication or magazine. The page is slightly yellowed with age and has three holes punched through it, suggesting it might have been part of a binder or archival system.

The top portion of the page contains an article titled "X-Ray Work," published in "The Art Digest" on December 1, 1929. The article describes early research conducted by the Fogg Museum using X-rays to study paintings. It discusses the contributions of various experts and institutions, such as the Minneapolis Institute of Arts, and the development of techniques for X-raying paintings as part of conservation and research efforts. The article highlights the process, evaluations, collaborations, and advancements in the field of using X-rays for art examination.

The bottom portion of the page is blank except for the yellowing around the edges. There is noticeable wear and discoloration around the edges, typical of aged paper.

• The image shows a single aged sheet with a small newspaper clipping mounted near the top left.
• The clipping is from The Art Digest, dated 1st December 1929, page 28, with the headline “X-Ray Work.”
• It contains a short article in two narrow columns about using X-ray imaging (shadowgraphs) to study paintings, mentioning cooperation with museums and institutes and early laboratory work related to the Fogg Museum.
• The rest of the page is blank, with three punched holes along the left margin, suggesting it came from a binder.

This image shows a page from an old publication, specifically an issue of "The Art Digest" dated December 1, 1929. The page is titled "X-Ray Work" and discusses the use of X-ray technology in the study of paintings, detailing research conducted at the Fogg Museum over the past four years. The text also describes the significance of this work in gathering information about paintings, their materials, and techniques, as well as the development of an extensive collection of X-ray shadowgraphs. The page has three visible punched holes on the left side, and the paper shows signs of aging, with yellowed edges and a slightly wrinkled texture.