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ARCH.2003.28, Rendition: 800583
This image displays a single page from a press clipping service dated April 20, 1941, distributed from Boston, Massachusetts. It’s a typewritten article about the controversial American artist Thomas Hart Benton and his outspoken views on art and museums.
The page is formatted like a newspaper clipping and titled:
“Benton Says His Art Belongs in Barrooms”
By HANTON DOWNEY
The article recounts Benton’s provocative declaration that his art—and, by extension, much American art—is more at home in barrooms and bowling alleys than in formal, elitist museums. He criticizes major institutions like the Museum of Modern Art, the Whitney Museum, and the Fogg Art Museum (at Harvard), calling them “high and mighty aesthetes and academes on the batts of the Charles,” implying they are disconnected from the American public.
Benton argues that museums are “full of old men who are too stiff to bend and too dry to be of any use” and that they “don’t like the idea of art being popular.” He believes art should be accessible, vibrant, and rooted in everyday American life — “as big as the man next door.” He is quoted as saying, “If it was left to me I wouldn’t give any museum a dime. I’d have people buy the paintings and hang ‘em in their own living rooms.”
“Let People Buy Them”
Benton urges the public to purchase art directly from galleries rather than wait for it to enter museums. He believes museums have an elitist, gatekeeping attitude and that art should be a living, accessible part of daily experience.
“All Right With Fogg”
Despite his criticisms, the Fogg Art Museum at Harvard, where Benton is affiliated, is said to be “all right” with his views. Director Paul J. Sachs is quoted as saying the museum doesn’t mind Benton being “a bit provocative.” The article notes that Benton’s famous painting “Lonesome Road” (reproduced below) is displayed at the Fogg.
“But Harvard Politely Disagrees”
This section highlights the polite but firm disagreement from Harvard's art establishment. The Fogg Museum’s director, Paul J. Sachs, acknowledges Benton’s importance as an American artist but draws a distinction: “While he may be right in his belief that ‘American art belongs in barrooms,’ he is wrong in thinking that this means it does not belong in museums.” Sachs argues that museums serve a higher educational function — preserving and interpreting cultural heritage — even if they are seen as staid.
“Quite True”
This brief aside reaffirms that Benton’s views are not entirely dismissed. The Fogg Museum displays his work, and Harvard supports his teaching role — indicating institutional tolerance for his provocative stance.
“Almost Amusing”
Here, the article notes the irony that Benton himself was once the head of painting at the Kansas City Art Institute and later taught at the Art Students League — institutions that, like museums, are part of the “establishment” he critiques.
“Gone With Prohibition”
This section adds social context, describing the barroom as a democratic social space — the kind of place where common people gather, drink, and enjoy art. It argues that American art — especially Benton’s — belongs in such lively environments, not sterile white cubes.
There are two grainy, black-and-white photographs:
Top photo: Shows Benton standing on a platform or scaffolding, surrounded by other figures. A caption reads: “On guard! ‘Red,’ famous Fogg Museum of Art watchdog, likes to stand guard over the precious art objects. He is a pal of the watchmen.” (This might refer to a guard or a symbolic figure — “Red” is likely a nickname.)
Bottom photo: Depicts Benton’s painting “Lonesome Road,” described as “a superb example of this vigorous and famous American artist’s work.” It’s a moody, expressionistic landscape with an isolated figure on a horse — typical of Benton’s Regionalist style.
Thomas Hart Benton (1889–1975) was a leading figure in the American Regionalist movement of the 1930s, known for his robust, narrative murals and paintings depicting rural and small-town American life. He was famously outspoken, often clashing with the art establishment over the direction of modern art. This article captures his populist philosophy — that art should speak to and be enjoyed by ordinary Americans, not confined to ivory towers.
The clipping reflects a mid-20th-century cultural debate: Who owns art? Who defines its value? And where should it live? Benton’s position — bold, unapologetic, and rooted in American vernacular culture — makes this article a fascinating period piece of American art history.
This image appears to be a scanned copy of a newspaper or magazine clipping dated April 20, 1941. The clipping is part of a Press Clipping Service from Boston, Massachusetts. The title of the article is "Benton Says His Art Belongs in Barrooms," which suggests a discussion about an artist named Thomas Hart Benton and his views on where his artwork should be displayed. The article includes two photographs of Benton's artwork: one shows a figure standing with a dog, and the other depicts a scene with a donkey pulling a cart. The text discusses Benton's opinion that his art should be exhibited in places like nightclubs and bars rather than in museums. Below this article, there is another section titled "But Harvard Politely Disagrees," which seems to be a response or counterpoint to Benton's opinion, possibly discussing the Harvard Fogg Art Museum's stance on the matter.
This is a scanned image of a vintage newspaper clipping, likely from a press clipping service based in Boston, Massachusetts. The clipping is dated April 20, 1941. The main headline reads "Benton Says His Art Belongs in Barrooms," discussing a statement made by the artist Thomas Hart Benton about the placement and appreciation of his artwork. Below the headline, there is a photograph of a statue with the caption "On guard! 'Rex,' famous Fogg Museum of Art watchdog, likes to stand guard over the precious art objects. He is a pal of the watchmen."
The article discusses Benton's belief that art should be displayed in places like nightclubs, bars, and disorderly resorts rather than in museums. It also includes a section titled "But Harvard Politely Disagrees," where the Fogg Art Museum of Harvard University responds to Benton's statement.
At the bottom of the clipping, there is another photograph with the caption "'Lonesome Road'—a lithograph by Thomas H. Benton. A superb example of this vigorous and famous American artist's work now in the collection of the Fogg Museum of Art, Harvard University." The image shows a lithograph of a rural scene with a woman driving a cart pulled by a donkey.
The clipping is stapled to a brown paper with the number "38" in the top right corner. The text is in black ink on a yellowed paper, typical of old newspaper clippings. The article includes several paragraphs discussing Benton's views on art and the response from the art community, particularly the Fogg Art Museum.
The image is a scanned newspaper clipping from April 20, 1941, featuring an article about Thomas Hart Benton, a prominent American painter known for his murals and depictions of American life. The clipping is from the Press Clipping Service, located at 2 Park Square, Boston, Massachusetts. The clipping includes multiple sections of text and two photographs.
The headline at the top of the clipping reads, "Benton Says His Art Belongs in Barrooms, But Harvard Politely Disagrees," written by Hanton Downey. The article discusses Benton's belief that his art is best appreciated in informal settings like bars and night clubs rather than in museums. Benton, who is described as having a "hard-boiled, plain-speaking, little, 62-year-old Missouri painter," believes that his work resonates more with the general public in casual environments. He is quoted as saying, "Art belongs in night clubs, barrooms and disorderly resorts—and even in more personally private establishments. Art belongs everywhere except in museums."
The article also mentions that Benton's art is not well-received by the Fogg Art Museum at Harvard University. The museum's director, Paul J. Sachs, is quoted as expressing his disapproval of Benton's work, describing it as "he-manish" and lacking in artistic merit. Sachs is critical of Benton's murals, particularly "The Arts of Life in America," which he deems unsuitable for the museum's collection.
The clipping includes two photographs. The first photograph shows a mural by Benton titled "Ren," depicting a famous egg museum at watchmaking. The second photograph is a lithograph by Benton titled "Lonesome Road," which is part of the collection at the Fogg Museum of Art at Harvard University. The lithograph is described as a work by a "vigorous and famous American artist."
The text is arranged in columns, with the main article on the left and additional text and photographs on the right. The layout is typical of newspaper clippings from the early 20th century, with a focus on providing a concise summary of the news story along with relevant images.
The image appears to be a newspaper clipping from April 20, 1941, featuring an article titled "Benton Says His Art Belongs in Barrooms, But Harvard Politely Disagrees." The article discusses the views of artist Thomas Hart Benton on where his artwork should be displayed. Benton believed that his art, which he described as "a field most living men wouldn't take," belonged in "barrooms and disorderly night clubs" rather than in museums or galleries.
The article contrasts Benton's perspective with that of Harvard University, which had recently acquired a collection of Benton's lithographs. The university's director of the Fogg Art Museum, Edward W. Forbes, expressed the institution's intention to display Benton's works in a museum setting, contrary to the artist's wishes.
The clipping includes two images: one of a lithograph by Benton titled "On Guard! 'Rev.' Over the Famous Egg Objects of Art Watchdog" and another of a lithograph by Benton titled "Lonesome Road." The article also mentions Benton's involvement in directing a film titled "The Vanishing American" and his criticism of the American Film Institute's New York city branch for not supporting his work.
Overall, the image presents a historical perspective on the debate between an artist's intentions for their work and the institutional perspectives on art curation and display.
The image is a scanned newspaper clipping from the Boston Post, dated April 20, 1941, under the heading "Press Clipping Service". The article is titled "Benton Says His Art Belongs in Bathrooms, But Harvard Politely Disagrees" and is attributed to By Hal Downey.
Thomas Hart Benton's Statement:
Harvard's Response:
Visual Elements:
Additional Context:
The clipping captures a lively debate between an artist's unconventional views on where his work should be displayed and the traditional stance of an academic institution. It highlights the tension between artistic freedom and institutional preservation, framed within the context of mid-20th-century American art and culture. The inclusion of humorous imagery adds a layer of satire to the discussion.
This image shows a yellowed newspaper clipping with two main articles. The page is aged, with edges frayed or worn, and appears to have been scrapbooked or preserved on a larger brown sheet. A pasted label at the top reads “Press Clipping Service” with an address and a date stamp of “APR 20 1941.”
The articles are full of text, focused on the societal roles of art and commentary on its accessibility and presentation.
The image is a single clipped page from a vintage newspaper, printed on brown, aging paper. It looks like a press clipping from the early 1940s, with a stamp at the top reading “APR 20 1941” from a press clipping service in Boston, Mass. The page is numbered 38 in the upper right corner.
The main headline at the top reads: “Benton Says His Art Belongs in Barrooms,” followed by a byline that appears to be by a writer named Hanton Downey. The article takes up the left and center columns and is accompanied by a black-and-white photo in the middle of the page.
A secondary, large headline below reads: “But Harvard Politely Disagrees,” with the article flowing in the lower portion of the page.
There are two black-and-white images on the page:
The text surrounding the images discusses opinions about the artist Benton's work and where it should be displayed, contrasting Benton’s view with Harvard’s stance.
The page has a vintage newspaper layout with multiple narrow columns of text and small captions under the images, giving it a mid-20th-century feel. The overall tone suggests a humorous or opinionated take on art exhibitions.
This image shows an aged newspaper clipping from a service called "Press Clipping Service" based in Boston, Massachusetts, dated April 20, 1941. The article's headline reads "Benton Says His Art Belongs in Barrooms," and it is by Milton Downey. The paper appears somewhat yellowed and worn, indicating its age.
The article discusses comments by American painter Thomas Hart Benton regarding the placement and audience for his art. Benton is quoted as saying his art suits environments like barrooms more than formal art establishments. Additional text below touches on how Harvard disagrees with Benton's sentiment, stating that the university finds his art worthy of serious consideration. There's mention of specific works and exhibitions related to Benton.
The page includes three images. The topmost image appears to be of a piece of artwork depicting a shadowy figure. Below the main article, there is a smaller headline, "All Right With Fog," discussing an artwork that includes fog as a theme. On the bottom right, there is an image of a lithograph titled "Lonesome Road" by Thomas Hart Benton, described as an example of the type of artwork mentioned in the articles and captioned as being reproduced from the Fogg Museum of Art at Harvard University.
The image is a photograph of an old newspaper clipping from the Press Clipping Service in Boston, Massachusetts, dated April 20, 1941. The clipping contains two main articles discussing Thomas Hart Benton, a 52-year-old Missouri painter, and his views on art in museums.
The headline of the first article reads: "Benton Says His Art Belongs in Barrooms." This article talks about Benton's controversial stance that his art belongs in barrooms and disorderly resorts rather than museums, except that he does not want his art exhibited in museums affiliated with Harvard. The article includes a photograph with the caption: "On guard! 'Rex,' famous Fogg Museum of Art watchdog, likes to stand guard over the precious art objects. He is a pal of the watchmen."
The second article below is titled "But Harvard Politely Disagrees," which presents Harvard's contrasting viewpoint. Director Forbes expresses a respectful disagreement with Benton, providing insight into Harvard’s view on Benton's art. This article includes an illustration titled "'Lonesome Road'—a lithograph by Thomas H. Benton," depicting a horse-drawn wagon with two figures.
Overall, the articles center on the tension between Benton and art institutions, particularly the Fogg Museum and Harvard, regarding the place and dignity of his artworks.