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The image is a newspaper clipping from May 15, 1941, featuring an article titled "Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies." The article, written by Lawrence Dana, discusses the transformation of the Institute of Modern Art in Boston, which has shifted from a conservative approach to a more daring and modern one. The text highlights the institute's new policies and its impact on the art scene in Boston.

Key points from the article include:

1. End of an Era: The article notes the end of an era for the institute, which has moved away from its traditional approach to embrace modern art.

2. Pioneered Move: The institute is praised for pioneering a move towards modern art, which was initially met with resistance but has since gained acceptance.

3. Created Yet: The institute's new policies have not yet fully materialized but are expected to bring significant changes to the art scene.

4. Press Clipping Service: The article mentions a press clipping service located at 2 Pet Square, Boston, Mass.

Additional sections of the article discuss the appointment of a new director and the donation of a home by a benefactor. The article emphasizes the institute's commitment to modern art and its efforts to stay relevant in the changing art world.

Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies

By LAWRENCE DAME

Modern art has finally won out in no works of art. In fact, it possesses the only museum in the city where the public may see a fair cross-section of modern painting and sculpture, once as hot a few years ago as it is today. Special attention is being paid to the works of the younger men, and the Institute of Modern Art has been in the vanguard of the movement.

The Institute of Modern Art, now in its fifth year, has been a pioneer in the field of modern art, and its collection has been built up largely through the gifts of its members. The Institute has been fortunate in having as its director, James Plaut, 29, the young German who has the imagination of a poet and the vision of a prophet. He has the vocabulary of the stateman and the zeal of the missionary. And it is largely due to his efforts that the Institute has been able to present to the public the best in modern art.

The Institute's collection is housed in a building which is itself a work of art. It was designed by the well-known architect, Joseph P. Chandler, and is a model of good taste and simplicity. The building is located in the heart of Boston's art center, and the Institute has been fortunate in having as its first president, an art lover and a man of means, who has been able to give generously of his time and money.

The Institute has been fortunate, too, in having as its first director, a man who is not only an art lover but also a man of affairs. Mr. Plaut has the happy faculty of being able to make the public see what he sees in a work of art. He has the gift of explaining the most recondite ideas in simple language. And he has the courage of his convictions. He has not been afraid to offend the public, and he has not been afraid to be unpopular.

The Institute has been fortunate, too, in having as its first president, a man who is not only an art lover but also a man of affairs. Mr. Plaut has the happy faculty of being able to make the public see what he sees in a work of art. He has the gift of explaining the most recondite ideas in simple language. And he has the courage of his convictions. He has not been afraid to offend the public, and he has not been afraid to be unpopular.

The Institute has been fortunate, too, in having as its first president, a man who is not only an art lover but also a man of affairs. Mr. Plaut has the happy faculty of being able to make the public see what he sees in a work of art. He has the gift of explaining the most recondite ideas in simple language. And he has the courage of his convictions. He has not been afraid to offend the public, and he has not been afraid to be unpopular.

The Institute has been fortunate, too, in having as its first president, a man who is not only an art lover but also a man of affairs. Mr. Plaut has the happy faculty of being able to make the public see what he sees in a work of art. He has the gift of explaining the most recondite ideas in simple language. And he has the courage of his convictions. He has not been afraid to offend the public, and he has not been afraid to be unpopular.

Picked Able Director

The Institute reached into the Museum of Fine Arts and plucked out the young man who had been making the most noise in the art world. With Mr. Plaut came the spirit of adventure, and the Institute has not looked back since. It has been a pioneer in the field of modern art, and it has been a pioneer in the field of art education. It has been a pioneer in the field of art education, and it has been a pioneer in the field of art education.

The Institute has been fortunate, too, in having as its first president, a man who is not only an art lover but also a man of affairs. Mr. Plaut has the happy faculty of being able to make the public see what he sees in a work of art. He has the gift of explaining the most recondite ideas in simple language. And he has the courage of his convictions. He has not been afraid to offend the public, and he has not been afraid to be unpopular.

The Institute has been fortunate, too, in having as its first president, a man who is not only an art lover but also a man of affairs. Mr. Plaut has the happy faculty of being able to make the public see what he sees in a work of art. He has the gift of explaining the most recondite ideas in simple language. And he has the courage of his convictions. He has not been afraid to offend the public, and he has not been afraid to be unpopular.

The Institute has been fortunate, too, in having as its first president, a man who is not only an art lover but also a man of affairs. Mr. Plaut has the happy faculty of being able to make the public see what he sees in a work of art. He has the gift of explaining the most recondite ideas in simple language. And he has the courage of his convictions. He has not been afraid to offend the public, and he has not been afraid to be unpopular.

The Institute has been fortunate, too, in having as its first president, a man who is not only an art lover but also a man of affairs. Mr. Plaut has the happy faculty of being able to make the public see what he sees in a work of art. He has the gift of explaining the most recondite ideas in simple language. And he has the courage of his convictions. He has not been afraid to offend the public, and he has not been afraid to be unpopular.

The Institute has been fortunate, too, in having as its first president, a man who is not only an art lover but also a man of affairs. Mr. Plaut has the happy faculty of being able to make the public see what he sees in a work of art. He has the gift of explaining the most recondite ideas in simple language. And he has the courage of his convictions. He has not been afraid to offend the public, and he has not been afraid to be unpopular.

The Institute has been fortunate, too, in having as its first president, a man who is not only an art lover but also a man of affairs. Mr. Plaut has the happy faculty of being able to make the public see what he sees in a work of art. He has the gift of explaining the most recondite ideas in simple language. And he has the courage of his convictions. He has not been afraid to offend the public, and he has not been afraid to be unpopular.

The Institute has been fortunate, too, in having as its first president, a man who is not only an art lover but also a man of affairs. Mr. Plaut has the happy faculty of being able to make the public see what he sees in a work of art. He has the gift of explaining the most recondite ideas in simple language. And he has the courage of his convictions. He has not been afraid to offend the public, and he has not been afraid to be unpopular.

The Institute has been fortunate, too, in having as its first president, a man who is not only an art lover but also a man of affairs. Mr. Plaut has the happy faculty of being able to make the public see what he sees in a work of art. He has the gift of explaining the most recondite ideas in simple language. And he has the courage of his convictions. He has not been afraid to offend the public, and he has not been afraid to be unpopular.

The Institute has been fortunate, too, in having as its first president, a man who is not only an art lover but also a man of affairs. Mr. Plaut has the happy faculty of being able to make the public see what he sees in a work of art. He has the gift of explaining the most recondite ideas in simple language. And he has the courage of his convictions. He has not been afraid to offend the public, and he has not been afraid to be unpopular.

The Institute has been fortunate, too, in having as its first president, a man who is not only an art lover but also a man of affairs. Mr. Plaut has the happy faculty of being able to make the public see what he sees in a work of art. He has the gift of explaining the most recondite ideas in simple language. And he has the courage of his convictions. He has not been afraid to offend the public, and he has not been afraid to be unpopular.

The Institute has been fortunate, too, in having as its first president, a man who is not only an art lover but also a man of affairs. Mr. Plaut has the happy faculty of being able to make the public see what he sees in a work of art. He has the gift of explaining the most recondite ideas in simple language. And he has the courage of his convictions. He has not been afraid to offend the public, and he has not been afraid to be unpopular.

The Institute has been fortunate, too, in having as its first president, a man who is not only an art lover but also a man of affairs. Mr. Plaut has the happy faculty of being able to make the public see what he sees in a work of art. He has the gift of explaining the most recondite ideas in simple language. And he has the courage of his convictions. He has

The image is a newspaper clipping featuring an article titled "Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies" by Lawrence Dame.

Summary of the Article:

Institution Overview:
The Institute of Modern Art in Boston has recently undergone a significant transformation. Initially, it was perceived as a conservative institution compared to its more avant-garde counterparts in New York and San Francisco. The institute's new director, Mr. James S. Plaut, has implemented bold changes to revitalize its image and programming.

New Directions:

• The institute has moved away from traditional, safe exhibitions and has started showcasing more daring and contemporary artworks.
• The name change from the "Institute of Modern Art" to the "Institute of Contemporary Art" was considered to reflect its new mission, but ultimately, it retained its original name.
• The new exhibitions aim to challenge and engage the public, moving away from the more conventional and less controversial displays.

Exhibition Highlights:

• A recent exhibition featured works by Grandma Moses, a well-known folk artist, alongside more avant-garde pieces.
• The institute has also showcased works by artists such as Picasso, Matisse, and Salvador Dalí, aiming to bring a fresh perspective and attract a broader audience.
• The museum is now focusing on contemporary issues and modern artistic expressions, including abstract and non-traditional art forms.

Community and Public Reaction:

• The article mentions that the institute’s new direction has been met with a mix of praise and skepticism.
• Some members of the Boston art community have welcomed the changes, appreciating the effort to bring more innovative and thought-provoking exhibitions.
• Others have criticized the institute for moving too quickly away from its traditional roots.

Future Plans:

• The institute plans to continue its trend of bold exhibitions and is considering further outreach to engage with a wider audience.
• There is an emphasis on educational programs and collaborations with other cultural institutions to foster a greater appreciation for modern art.

Donated Home:
The article also mentions that the institute received a donated home from Mrs. Joel Goldthwait, mother of one of the trustees. This building will serve as a new space for the institute's expanding activities.

Press Clipping Service Stamp:

At the bottom left of the clipping, there is a stamp from the "Press Clipping Service" dated May 15, 1944, indicating that this article was part of a press monitoring service for the Institute in Boston, Massachusetts.

This transformation signifies the institute's efforts to rebrand itself and appeal to a broader and more contemporary audience.

The image is a newspaper clipping from the Boston Herald, dated May 15, 1941. The article is titled "Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies" and is written by Lawrence Dame.

Here's a detailed summary of the article:

Headline and Author:

• Headline: "Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies"
• Author: Lawrence Dame

Main Content:

The article discusses the transformation of the Boston Museum of Modern Art, now referred to as the Institute of Modern Art. The article highlights the institution's departure from traditional art forms, focusing on modern and contemporary pieces.

Key Points:

1. Initial Struggles and Change:

   • The museum initially struggled with low attendance and was seen as a risky venture.
   • James S. Plaut, the new director, has introduced new policies to attract a broader audience.

2. New Policies:

   • Diverse Exhibits: The museum has expanded its collection to include modern art from various periods and styles, such as Cubism, Futurism, and Surrealism.
   • Educational Outreach: The museum has started offering educational programs and lectures to engage the public.
   • Daring Exhibitions: The museum has showcased works by lesser-known artists and experimental pieces, including controversial and avant-garde art.

3. Financial and Attendance Growth:

   • Attendance and financial support have increased significantly under the new leadership.
   • The article mentions a specific exhibit, "Grandfather-itis," which appears to be a play on words referring to the museum's departure from traditional, conservative tastes.

4. Leadership and Vision:

   • James S. Plaut is praised for his vision and efforts to modernize the museum.
   • The article notes the transformation of the museum into a dynamic cultural hub.

5. Public Reception:

   • The new policies have garnered both support and criticism, but overall, the museum's initiatives are seen as a bold step forward.

6. Donations and Support:

   • The article mentions contributions and support from donors, highlighting the community's growing interest in the museum.

Quotes:

• James S. Plaut: Discusses his vision for the museum and the need to break away from traditional art forms.
• Other Contributors: The article includes quotes from other museum officials and art critics, reflecting on the changes and the museum's new direction.

Conclusion:

The article concludes by emphasizing the museum's shift from a conservative approach to a more inclusive and innovative one, positioning it as a leader in modern art within the city of Boston.

This clipping reflects the cultural shift in the perception and presentation of modern art in the early 20th century, highlighting the Boston Museum of Modern Art's pioneering efforts.

The image is a newspaper clipping from the Boston Herald, dated May 16, 1941. The article, titled "Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies," is written by Lawrence Dame.

The article discusses the Boston Institute of Modern Art's (now known as the Institute of Contemporary Art) shift from traditional to modern art. It highlights the leadership of James B. Plaut, who became the director, and his innovative approach to modern art exhibitions. The article notes that the institute was initially criticized for its unconventional choices, such as displaying modern art and even art by living artists like Picasso, Matisse, and Miro.

Key points include:

• The institute had previously been criticized for its old-fashioned policies and lack of modern art.
• Plaut's leadership marked a significant change, focusing on modern art and attracting new patrons.
• The institute's new direction was controversial but eventually gained acceptance.
• The article mentions the acquisition of a large collection of modern paintings and the construction of a new building to accommodate these works.
• The institute's growth and the public's response to its new policies are discussed, emphasizing the importance of modern art in the cultural landscape.

The clipping also includes smaller articles:

• "Picked Able Director": Discusses the appointment of Plaut and his efforts to modernize the institute.
• "Donated Home": Mentions the donation of a home by Mrs. Joseph Goodwin, which will be used for the institute's new building.
• "Created Stir": Talks about the controversy and the institute's new direction.

The overall theme is the transformation of the Boston Institute of Modern Art into a significant player in the modern art scene through bold and innovative policies.

The image is a scanned page from a newspaper clipping dated May 16, 1941, titled "Boston's Institute of Modern Art Conquers 'Grandfather-it-is' by New, Daring Policies." The article is written by Lawrence Dame.

Here is a detailed summary:

Main Article:
The article discusses the Boston Institute of Modern Art's innovative approach to acquiring modern art. It highlights their new policies that have led to the acquisition of significant works, including a piece by Picasso. The institute has moved away from traditional acquisition methods and has focused on acquiring art directly from artists, rather than through auctions or dealers.

Key Points:

• Challenging Traditional Methods: The institute has taken a bold stance by acquiring art directly from artists, bypassing traditional auction houses and galleries.
• Significant Acquisitions: The article mentions a specific acquisition of a Picasso painting, which is seen as a notable success.
• Financial Challenges: Despite these acquisitions, the institute faces financial difficulties, with a need for increased income to support its operations.
• Historical Context: The article references the institute’s history and the challenges faced in acquiring modern art during the early 1900s, including the need to break away from the old, traditional ways of collecting art.

Additional Sections:

• Picked Able Director: This section discusses the appointment of a new director for the institute, Mr. Joe Godshall, who is noted for his background and his efforts to modernize the institution.
• Donated Home: The section highlights the donation of a significant home by a benefactor, which is now used to house the institute’s collection.
• Press Clipping Service: There is a small note at the bottom indicating the source of the clipping service as being from 2 Park Street, Boston, Massachusetts.

Miscellaneous:

• The newspaper article is framed within a historical and cultural context, showing the evolution and challenges faced by modern art institutions in acquiring contemporary art.
• The headline and subheadlines emphasize the institute's innovative and forward-thinking approach to acquiring modern art, which is central to the article's narrative.

Overall, the article is informative, highlighting both the achievements and ongoing challenges of the Boston Institute of Modern Art in the early 1940s.

This image is of a newspaper article affixed to a brown backing paper. The header of the article reads "Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies," followed by the byline "By LAWRENCE DAME." This suggests that the article is discussing how the Institute of Modern Art in Boston has adopted new and bold strategies to renew interest and challenge traditional views.

The date stamp from "Press Clipping Service" indicates the article is from the "Herald" in Boston, Massachusetts, and is dated "May 16 1941." There's a small icon or logo in the upper right corner, but it's not clearly legible.

The article itself is lengthy and covers various topics related to the Institute of Modern Art's approach to modernism and contemporary art practices. There are mentions of specific exhibitions, artists, and policies that illustrate the institute's efforts to redefine its identity and role within the art world.

The paper seems to have become fragile and worn over time, with creases, tears, and holes indicating age and handling. There's also some discoloration, which is common in old documents. The document has been punched with holes on the left margin, likely for placement in a binder or file.

This is a clipping from the Boston Herald, dated May 16, 1931. The headline reads "Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies." The clipping features a photograph of the Institute of Modern Art, showing a building with a brick facade and a modern architectural style. The caption reads "Boston's Institute of Modern Art, a modern building in the city's Back Bay district." The article discusses the Institute's efforts to promote modern art and challenge traditional attitudes towards art.

The image depicts a scanned newspaper clipping from the Boston Herald, dated May 16, 1941. The clipping is titled "Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies" and is attributed to Lawrence Dame. The article discusses the evolution and transformation of the Boston Institute of Modern Art, highlighting its efforts to overcome conservatism and embrace modern art.

Key Elements in the Image:

Header Information:

• Title: "Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies"
• Byline: Lawrence Dame
• Source: Boston Herald
• Date: May 16, 1941
• Location: Press Clipping Service, 2 Park Square, Boston, Mass.

Content Overview:

The article focuses on the Boston Institute of Modern Art, a museum that has undergone significant changes under the leadership of its director, James S. Plaut. The institute is described as having shifted from a traditional, conservative approach to one that embraces modern and avant-garde art. Key points include:

1. Shift in Focus:

   • The institute has moved away from traditional art forms (e.g., sculpture, painting) and now focuses on modern art, including surrealism, abstraction, and other contemporary movements.
   • The museum has attracted a younger, more progressive audience, which has led to increased attendance and interest.

2. Exhibitions and Policies:

   • The institute has hosted exhibitions of modern artists, including surrealists and abstract painters.
   • The museum has adopted a bold approach, challenging societal norms and expectations about art.
   • It has embraced controversial and innovative works, which have sparked debate and discussion.

3. Director’s Role:

   • James S. Plaut is highlighted as the driving force behind the institute's transformation. His leadership has been instrumental in steering the museum toward modernity.
   • The article notes that Plaut has been instrumental in organizing exhibitions, securing funding, and attracting new audiences.

4. Public Reaction:

   • The institute has faced criticism from traditionalists who view modern art as "too radical" or "un-American."
   • However, it has also gained support from younger generations and art enthusiasts who appreciate its bold vision.

5. Financial and Operational Changes:

   • The institute has had to navigate financial challenges, including fundraising and securing loans.
   • It has relied on donations, including from notable figures such as Mrs. John Goldwater, to support its operations and exhibitions.

6. Future Plans:

   • The article mentions plans for future exhibitions and the institute’s commitment to continuing its mission of promoting modern art.
   • There is a sense of optimism about the institute’s potential to become a leading institution in the modern art world.

Visual Layout:

• The clipping is presented on a single page with a clean, typed layout typical of newspaper articles from the early 20th century.
• The text is organized into paragraphs, with subheadings and quotes interspersed throughout.
• The article is accompanied by a small, faint logo or stamp in the bottom left corner, indicating it is part of a press clipping service.

Contextual Clues:

• The article reflects the cultural and artistic climate of the early 1940s, a time when modern art was gaining traction but still faced resistance from more conservative segments of society.
• The institute’s efforts to embrace modern art align with broader trends in the art world during this period, as artists and institutions began to challenge traditional norms and explore new forms of expression.

Summary:

The image is a historical newspaper clipping that captures a pivotal moment in the evolution of the Boston Institute of Modern Art. It highlights the institute’s bold shift toward modern and avant-garde art under the leadership of James S. Plaut, detailing its exhibitions, public reception, financial strategies, and future aspirations. The article provides insight into the cultural dynamics of the early 1940s and the challenges faced by institutions seeking to embrace contemporary art.

The image shows a newspaper clipping from the Boston Herald, dated May 16, 1941. The headline reads "Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies." The article discusses the efforts of the Institute of Modern Art to revitalize its image and programming, moving away from traditional and conservative approaches to embrace more contemporary and daring artistic expressions.

The article highlights several key points about the Institute's new direction:

1. The Institute has recently won a lawsuit against the Boston Board of Fire Underwriters, allowing it to display works of art without being subject to strict fire safety regulations. This victory has enabled the Institute to showcase a wider range of artistic mediums, including sculptures and other three-dimensional works.

2. The Institute has appointed a new director, Mr. Plaut, who has brought fresh ideas and a more adventurous spirit to the institution. Under his leadership, the Institute has organized exhibitions that challenge conventional notions of art and have attracted significant attention and controversy.

3. One notable exhibition featured a show of surrealist and fantastic art, which included works by artists like Salvador Dalí and Max Ernst. This exhibition aimed to push the boundaries of what is considered acceptable or "artistic" and sparked debates about the role and purpose of modern art.

4. The Institute has also focused on creating a more engaging and interactive experience for visitors, with features like a "gag-gun" that shoots cotton balls at visitors and a "Pogs" French master's gallery where visitors can interact with reproductions of famous artworks.

5. The article notes that the Institute's new approach has been met with both praise and criticism. Some critics argue that the Institute's focus on sensationalism and controversy has overshadowed the quality of the art on display. However, supporters praise the Institute's willingness to take risks and push the boundaries of what is considered acceptable in the art world.

Overall, the article portrays the Institute of Modern Art as an institution in transition, grappling with the challenges of modernizing its image and programming while navigating the complexities of the evolving art world. The Institute's new, daring policies have sparked both excitement and controversy, reflecting the broader debates about the role and purpose of modern art in the early 20th century.