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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.

The image is a press clipping from the "Boston Post" dated April 2, 1941. It features two main articles related to Thomas Benton, an American painter known for his depictions of American life and landscapes.

First Article: "Benton Says His Art Belongs in Barrooms" by Hanton Downey

• Headline: Benton Says His Art Belongs in Barrooms
• Summary:
  • The article discusses Benton’s belief that his art should be in places like nightclubs, barrooms, and other public places rather than just museums.
  • Benton argues that his art, which is often bold and direct, is meant for the masses and not just for the elite.
  • The article mentions that Benton’s art has been controversial, with some critics praising its vigor and others criticizing it for its crudeness.
  • The piece also highlights Benton's involvement with the Works Progress Administration (WPA) and his involvement in creating murals.
  • It includes a quote from Benton: "The pretty boys run the museums. They wouldn’t take my work. It’s too direct, too honest, too much like life."
  • There is a reference to the controversy surrounding Benton’s work in the Fog Museum of Art and his public statement on the matter.

Second Article: "But Harvard Politely Disagrees"

• Headline: But Harvard Politely Disagrees
• Summary:
  • This article refutes Benton’s views by pointing out the high regard in which his work is held by institutions like Harvard.
  • It mentions that Harvard has exhibited Benton's work and considers it valuable.
  • The article also includes a quote from Harvard’s official statement, emphasizing the importance of Benton’s art in the context of American culture.
  • It touches on the controversy surrounding Benton’s art, particularly his depictions of people and scenes that some find offensive.
  • The article includes a mention of a specific painting, "The Loafer," which has been a point of contention.
  • The article also discusses the broader implications of art in public spaces, contrasting Benton’s views with the views of Harvard.

The clipping includes a small photograph of Benton and another of his artwork, which visually supports the content of the articles. The articles collectively discuss the controversy and the debate around the accessibility and placement of Benton's art.

The image is a scanned newspaper clipping from the April 20, 1941 issue of the Boston Post, detailing a debate over the placement and reception of artworks by Thomas Hart Benton.

The article is divided into two main sections:

1. Benton Says His Art Belongs in Barrooms:

   • The first part is written by Hanton Downey and discusses Thomas Hart Benton's views on where his art should be displayed. Benton argues that his art belongs in places where people can see it and appreciate it, such as nightclubs, bars, and other informal settings rather than in museums. Downey highlights that Benton believes art should be accessible to the masses rather than confined to museum walls.

   • Benton's art, which includes a series of murals and paintings, is described as bold and direct, with a strong regional American style. He feels that his works should be seen in places where they can be understood by the public, like "Under the Big Sky," which is a series of murals depicting the American West.

2. But Harvard Politely Disagrees:

   • The second part, written by an unnamed author, responds to Benton's views from Harvard University's perspective. It argues that Benton's art belongs in museums because they are the appropriate venues for showcasing and preserving art.

   • The article mentions that Harvard's Fogg Museum has been criticized for its handling of Benton’s works, including a controversial display of "Under the Big Sky." It points out that while the museum has a significant collection of American art, Benton's art is seen as too controversial and potentially offensive for a museum setting.

   • It also notes that Benton has a history of controversy, with his work being deemed too "provocative" and not fitting into the traditional museum aesthetic.

   • The piece highlights the tension between Benton's desire for his art to be seen in public spaces and the museum's role in curating and preserving art for broader cultural appreciation.

The images accompanying the article include photographs of Benton's artwork, specifically a mural and a lithograph, showing the style and subject matter of his art.

The image is a yellowed newspaper clipping from the Boston Post, dated April 20, 1941. The main headline reads, "Benton Says His Art Belongs in Barrooms," with a subhead that says, "Art Belongs in Night Clubs, Barrooms and Discotheques—Not in Museums, Declares Painter." The article discusses artist Thomas Hart Benton's views on where his art should be displayed, arguing for public spaces like barrooms rather than museums. The text is accompanied by two images: one of Benton's painting "Persephone" and another of Benton himself.

The second headline reads, "But Harvard Politely Disagrees," detailing the contrasting opinion from the Fogg Museum at Harvard University, which believes art should be displayed in museums. The article mentions several museum officials who defend the role of museums in preserving and showcasing art. The text is also accompanied by an image of the Harvard University crest.

The clipping also includes a section titled "Press Clipping Service" from 2 Park Square, Boston, Mass., indicating that this service might have provided the article. The overall context is a debate between different philosophies on art presentation and preservation.

The image is a newspaper clipping from the Boston Post dated April 20, 1941, featuring an article titled "Benton Says His Art Belongs in Barrooms." The article discusses the views of artist Thomas Hart Benton regarding the appropriate setting for his artwork.

Key Points of the Article:

1. Benton's Opinion on Art Placement:

   • By Hanton Downey: The author describes Benton's perspective that his art, characterized by its robust, hard-boiled themes, is best suited for barrooms and similar environments rather than museums.
   • Benton feels that his work, which often depicts the grittier aspects of life, resonates more with the atmosphere of barrooms.

2. Museums and Art:

   • Benton criticizes the sanitized and overly refined atmosphere of museums, suggesting that his art is out of place there.
   • He believes that museums cater to a specific, more delicate sensibility that doesn't align with the raw and dynamic nature of his creations.

3. Public Reaction and Harvard's Disagreement:

   • Let People Buy Them: The article mentions that many of Benton's works are sold to private collectors, indicating that there is a market for his art outside of museums.
   • But Harvard Politely Disagrees: The newspaper reports that Harvard University, where Benton's murals are displayed, does not agree with his views. Harvard's President, James Bryant Conant, and other officials believe that the murals are fitting for their current location, the walls of the Harvard Graduate School of Business Administration.

4. Quote True:

   • The article includes a quote from Benton: "The notion that any art of Benton's should be displayed in a barroom is absurd. All the lithographs and paintings of this artist on view at the Fogg Museum and in Widener Library show the breadth and wide thematic scope of his art."

5. All Right With Fogg:

   • Despite Benton’s sentiments, the Fogg Museum at Harvard, which houses some of his art, believes the pieces are well-placed and appreciated by visitors.

6. Additional Commentary:

   • Gone With Prohibition: The article humorously notes that Benton's desire to see his art in barrooms would have been more relevant during the Prohibition era when bars were less common.

Illustrations:

• The article includes images of Benton's artwork:
  • One image shows a detailed, stylized piece that is part of a mural.
  • Another image, titled "Lonesome Road," depicts a rural scene with a man pushing a cart, showcasing Benton's unique style.

Conclusion:

The article captures the debate over where Benton's art belongs, reflecting Benton's own unconventional views and the more traditional stance of an academic institution like Harvard. The piece juxtaposes the gritty, populist appeal of Benton’s work with the refined, curated atmosphere of museums and universities.

The image is a newspaper clipping from the Press Clipping Service dated April 20, 1941. The article, titled "Benton Says His Art Belongs in Barrooms," is written by Hanton Downey.

Main Article Summary:

Thomas Hart Benton, a prominent American painter, argues that his art belongs in nightclubs, barrooms, and disorderly resorts rather than in museums. He believes that museums are too formal and that his work is meant for a more diverse and lively audience. Benton points out that his art, which includes murals and paintings, is designed to be viewed by people in their everyday settings rather than in controlled museum environments.

Supporting Quotes and Points:

• Benton highlights his mural work at the New York World's Fair, which was intended to be viewed by a broad audience.
• He criticizes the museum system, stating that it is too restrictive and not suited for his kind of art.
• Benton mentions that his art is meant to be accessible to all, not just those who visit museums.

Response from Harvard:

The second part of the article, titled "But Harvard Politely Disagrees," responds to Benton's statements. Harvard officials express their disagreement with Benton's views, defending their role in preserving and exhibiting art.

Quotes from Harvard:

• The article includes a quote from Harvard's official response, highlighting the museum's role in preserving and showcasing art.
• Harvard officials emphasize that Benton's work is valuable and should be part of the museum collection, despite his personal preferences.

Visual Elements:

• The article includes photographs of Benton's artworks and a photograph of Benton himself.
• There are images of Benton's murals and paintings, such as "Lonesome Road," which is described as a lithograph by Thomas Hart Benton.

Conclusion:

The clipping captures a debate between Benton and Harvard regarding the appropriate venues for Benton's art, illustrating a broader discussion about the role of museums and public spaces in the exhibition of art.

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.

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.