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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.

Content Overview:

Headline and Subheading:

• The main headline reads: "Benton Says His Art Belongs in Bathrooms," indicating that the artist Thomas Hart Benton has made a provocative statement about the placement of his art.
• The subheading, "But Harvard Politely Disagrees," suggests that Harvard University, which houses Benton's work, has a different perspective.

Key Points from the Article:

1. Thomas Hart Benton's Statement:

   • Benton, a prominent American painter, asserts that his art is better suited for night clubs, bars, and other unconventional spaces rather than museums.
   • He criticizes museums, calling them "hard-boiled, except in little museums," and claims that his art is more appropriate for places like saloons and bars.
   • He argues that his art, which often features bold, expressive themes, is more in line with the atmosphere of these spaces rather than the formal setting of museums.

2. Harvard's Response:

   • Harvard University, which houses Benton's works, disagrees with his assessment.
   • The article mentions that Benton's painting “Dry That Rug” is displayed at the Fogg Art Museum at Harvard.
   • Harvard officials defend the placement of Benton's art in their museum, emphasizing its value and significance despite Benton's unconventional views.

3. Visual Elements:

   • The article includes two photographs:
     • Top Photo: Shows a guard standing watch over a painting labeled as a "precious art object." The guard is depicted as a humorous or exaggerated figure, possibly a man in a suit with a watch, standing in front of a painting.
     • Bottom Photo: Depicts a scene titled “Looseme Road” by Thomas H. Benton. The image shows a wagon being pulled by a horse, with a person seated inside, and the road appears to be unpaved and rugged. The caption describes it as an example of Benton's "vigorous and famous" style.

4. Additional Context:

   • The article references Benton's association with the Association of American Artists, which he founded in New York City.
   • It also touches on the broader debate about the role of art in society, with Benton advocating for a more accessible and informal setting for his work, while Harvard upholds the traditional museum setting.

Visual Design:

• The clipping is presented in a vintage newspaper style, with a sepia-toned background and text formatted in a classic newspaper layout.
• The article is accompanied by illustrations and photographs that visually reinforce the themes discussed.

Overall Impression:

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.

The image is a newspaper clipping from April 20, 1941, featuring an article about the Fogg Art Museum at Harvard University. The article includes a photograph of a painting by Thomas Hart Benton and another painting by Benton, titled "Loosome Road." The article discusses the museum's collection and Benton's work, as well as the controversy surrounding the museum's acquisition of the paintings.

• Newspaper Clipping
  • Date: April 20, 1941
  • Location: Boston, Mass.
  • Content: Article about the Fogg Art Museum at Harvard University
• Article
  • Title: "Benton Says His Art Belongs in Barrooms"
  • Author: Hanton Downey
  • Content: Discusses the Fogg Art Museum's collection and Thomas Hart Benton's work
  • Controversy: Surrounding the museum's acquisition of the paintings
• Photographs
  • One photograph of a painting by Thomas Hart Benton
  • Another photograph of a painting by Benton, titled "Loosome Road"
• Additional Information
  • The article mentions that Benton's paintings are not typically displayed in museums, but rather in bars and other public spaces.
  • The article also notes that the Fogg Art Museum has a large collection of Benton's work, which is not typical for a university museum.

Overall, the image provides insight into the Fogg Art Museum's collection and the controversy surrounding its acquisition of Thomas Hart Benton's paintings. The article highlights the unique nature of Benton's work and the museum's efforts to showcase it.

The image is a scanned newspaper clipping from April 20, 1947, featuring an article titled "Benton Says His Art Belongs in Barrooms, Fooms and Disorderly Resorts—and even in more personally private establishments. In fact, art belongs nowhere except in museums." The article is written by Hanton Downey and discusses Thomas Hart Benton's views on where his art should be displayed.

Key Points:

• Article Title: "Benton Says His Art Belongs in Barrooms, Fooms and Disorderly Resorts—and even in more personally private establishments. In fact, art belongs nowhere except in museums."
• Author: Hanton Downey
• Date: April 20, 1947
• Newspaper Clipping: The article is a scanned clipping from a newspaper, with a yellowed background and visible holes from being punched for filing.
• Content: The article discusses Thomas Hart Benton's views on where his art should be displayed, including his preference for barrooms and other non-traditional settings.
• Images: The article includes two images of Benton's artwork, one depicting a man sitting on a chair and another showing a man driving oxen.
• Headlines: The article has several subheadlines, including "All Right With Fogg" and "But Harvard Politely Disagrees," which suggest that there was a disagreement between Benton and the Fogg Museum of Art at Harvard University regarding the display of his work.

Overall Impression:

The image provides insight into the artistic views of Thomas Hart Benton and the controversy surrounding his work. The article and accompanying images offer a glimpse into the cultural and artistic landscape of the time, highlighting the tensions between traditional and non-traditional approaches to art.

The image shows a vintage newspaper clipping from April 20, 1941, titled "Benton Says His Art Belongs in Barrooms." The article discusses Thomas Hart Benton's views on art and its place in society.

Newspaper Clipping Details:

• Title: Benton Says His Art Belongs in Barrooms
• Date: April 20, 1941
• Content:
  • An article discussing Thomas Hart Benton's opinions on art
  • A photograph of a painting or artwork
• Additional Article:
  • Title: But Harvard Politely Disagrees
  • Content: A response to Benton's views from Harvard University

Visual Elements:

• A black-and-white photograph of a painting or artwork
• A second black-and-white image of a man driving a horse-drawn carriage

Overall Impression:

The newspaper clipping provides insight into the artistic views of Thomas Hart Benton and the reaction of Harvard University to his opinions. The inclusion of photographs adds a visual element to the article, making it more engaging for readers.

The image depicts a scanned newspaper clipping from the "Press Clipping Service" in Boston, Massachusetts, dated April 20, 1941. The clipping features two articles: "Benton Says His Art Belongs in Barrooms" and "But Harvard Politely Disagrees."

The first article discusses Thomas Hart Benton's views on art, stating that it should be displayed in public spaces like barrooms rather than museums. The second article presents a contrasting perspective, highlighting Harvard University's disagreement with Benton's stance. The clipping also includes an illustration of Benton's artwork, "Lonesome Road," which is part of the Fogg Museum of Art collection at Harvard University.

The image is a newspaper clipping from the Boston Post, dated April 20, 1941. The article, written by Hanton Downey, discusses a controversy involving Thomas Hart Benton, a renowned artist, and Harvard University.

Headline and Subheadings:

• Main Headline: "Benton Says His Art Belongs in Barrooms"
• Subheadings:
  • "Let People Buy Them"
  • "But Harvard Politely Disagrees"
  • "All Right With Fogg"
  • "Gone With Prohibition"

Article Content:

1. Introduction:

   • Benton is quoted as saying that his art belongs in "right clubs, barrooms, and honky-tonks" rather than in museums, which he considers "morgues."
   • He believes his paintings are meant for the enjoyment of everyday people rather than being confined to formal institutions.

2. Benton's Views:

   • Benton argues that his art should be accessible to the general public and not just to the elite.
   • He criticizes the concept of museums, suggesting they are dull and lifeless, and prefers his work to be seen in lively, everyday settings.

3. Harvard's Response:

   • Harvard University disagrees with Benton's views.
   • The university believes that Benton's art is of significant value and should be preserved and displayed in a museum setting.
   • They argue that Benton's work is part of America's cultural heritage and should be treated with the respect and care that a museum provides.

4. Fogg Museum's Stance:

   • The Fogg Museum of Art at Harvard supports Benton's work and has acquired some of his pieces.
   • They believe that Benton's art is important and should be part of their collection, despite Benton's personal preferences.

5. Public Reaction:

   • The article mentions the public's interest in Benton's work and the debate over where his art should be displayed.
   • It highlights the tension between the artist's wishes and the institutional desire to preserve and exhibit his work.

Images:

• There are two images accompanying the article:
  • One shows Benton standing next to one of his paintings, which depicts a rural scene.
  • The other image is of a different painting by Benton, titled "Lonesome Road - A Wagonrack" by Thomas H. Benton, which is part of the collection of the Fogg Museum of Art at Harvard University.

Additional Notes:

• The article reflects a broader discussion about the role of art in society and the tension between artistic intent and institutional preservation.
• It also touches on the changing attitudes towards art and its accessibility to the public.

Overall, the article presents a lively debate between an artist's vision for his work and the institutional practices aimed at preserving and exhibiting it.