Archives Scrapbooks

This image displays an open book or scrapbook, showing a single page with a vintage, off-white or beige paper tone. The page contains two distinct, overlapping newspaper clippings from a Harvard Bulletin, March 1973, as handwritten in blue ink at the top of each clipping.

The clippings are about the Chinese-American artist C. C. Wang (Wang Chi-ch’en), focusing on an exhibition titled “Mountains of the Mind: Rockscapes by C. C. Wang” at the Fogg Museum (now the Harvard Art Museums).

Here’s a detailed breakdown:

Left Clipping:

• Headline/Title: “Mountains of the Mind: Rockscapes by C. C. Wang”
• Image: A black-and-white reproduction of a Chinese ink painting titled “Landscape No. 190,” by C. C. Wang. It depicts a traditional mountain landscape with sparse trees and rocky formations.
• Text: An article by Cynthia Saltzman (credited as “CYNTHIA SALTZMAN ’71” at the end) that discusses:
  • Wang’s artistic heritage and innovation.
  • The poetic, non-representational nature of his mountain landscapes, which evoke inner states of mind.
  • His technique: rhythmic brushstrokes on crinkled paper, with accents of red, brown, blue, or green.
  • His scholarly and artistic lineage as part of the Chinese literati tradition.
  • His biography: Born in 1907, studied under a Chinese master, taught painting in Shanghai, moved to the U.S. in 1949, taught at Berkeley, Stanford, and Columbia, and advised the London Exhibition Committee.
  • Mention of his collection of ancient Chinese scroll paintings from the Yuan to Qing dynasties, some of which were on display at the Fogg alongside his own work.
  • How his fusion of modern abstraction and ancient Chinese landscape appeals to Western eyes while making ancient mountain realms more comprehensible.

Right Clipping:

• Headline/Title: Identical — “Mountains of the Mind: Rockscapes by C. C. Wang”
• Image: A black-and-white photograph of C. C. Wang himself. He is seated, wearing a dark hat, a suit or jacket, and dark trousers, with his chin resting on his hand in a thoughtful pose.
• Text: A shorter, more biographical profile that states:
  • C. C. Wang (westernized name for Wang Chi-ch’en) is considered by many scholars to be “the greatest contemporary Chinese painter”.
  • He is described as “the most profound, most independent and most mature painter of his generation” by Max Loehr, Professor and Curator of Oriental Art at the Fogg Museum.
  • His style blends the vocabulary of traditional Chinese landscape painting with the abstraction of modern Western art — a style compared to that of Picasso.
  • A caption beneath the photograph reads: “C. C. Wang: Considered by many to be the greatest contemporary Chinese painter, he now lives in New York.”

Overall Context:

This page appears to be a collector’s or scholar’s archival item, preserving press coverage from the 1973 exhibition. The handwritten date in blue ink suggests the owner marked the source. Both clippings celebrate Wang’s unique synthesis of Chinese tradition and modern Western aesthetics, cementing his reputation as a pivotal figure in 20th-century Chinese art during his time in New York. The juxtaposition of the landscape painting and the artist’s portrait reinforces the article’s theme: that Wang’s work emerges from a deeply personal and intellectual vision — “Mountains of the Mind.”

The image appears to be a page from a publication, possibly a magazine or a book, dated March 1973. The page includes a photograph of a landscape painting by C. C. Wang, titled "Landscape No. 190," and a portrait of the artist, also by C. C. Wang. Below the painting, there is a detailed text discussing Wang's artistic style and his work, which is described as blending traditional Chinese landscape painting with modern Western abstraction. The text mentions that Wang is considered by many to be the greatest contemporary Chinese painter. It also provides information about Wang's background, his art collection, and his educational and art historical contributions. The page is part of an article titled "Mountains of the Mind: Rockscapes by C. C. Wang" and is credited to Cynthia Saltzman. The overall layout and design suggest it is an informational piece about the artist and his work.

This image is a scanned page from a publication, presumably the Harvard Bulletin from March 1973, based on the handwritten note in the top-left corner. The page features an article titled "Mountains of the Mind: Rockscapes by C. C. Wang" and includes a photograph of a painting by C. C. Wang, labeled "Landscape No. 190." The article discusses Wang's work, his background, and the exhibition of his paintings at the Fogg Museum. The text mentions that Wang is considered by many to be the greatest contemporary Chinese painter and describes his style as a blend of traditional Chinese landscape painting with modern Western abstraction. The article is written by Cynthia Saltzman '71. Additionally, there is a photograph of C. C. Wang in the bottom right corner of the page, with a caption noting that he is considered by many to be the greatest contemporary Chinese painter and that he now lives in New York.

The image shows a page from a book that is open to a spread. On the left side of the spread, there is a black-and-white image of a landscape with text underneath. On the right side, there is another black-and-white image of a man sitting and reading a book with text underneath. The page is made of thick paper and has a brownish color. The text on the page is in black and white.

The image shows a book open to a page with a black-and-white photograph of a mountain landscape on the left side and text about C.C. Wang, a Chinese painter, on the right side. The photograph is labeled "Landscape No. 190" by C.C. Wang. The text on the right side includes a picture of C.C. Wang sitting and a brief biography of him, stating that he is considered by many to be the greatest contemporary Chinese painter and that he now lives in New York.

The image shows an open page from a publication titled Harvard Bulletin, dated March 1973. The page features an article about the artist C.C. Wang, a contemporary Chinese painter.

Left Side:

• Title and Caption: The left side includes a caption that reads, "Landscape No. 190," by C.C. Wang.
• Illustration: There is a black-and-white illustration of a landscape, depicting mountains, trees, and a serene, abstract composition. The style appears to blend traditional Chinese aesthetics with modern abstraction.
• Text: The accompanying text discusses Wang's artistic style, describing his work as "a weighty tradition which cuts him as he is absorbed and from which he cuts a new path for the twentieth century." It highlights Wang's unique approach to landscape painting, emphasizing his focus on the "cosmic scope and feeling" rather than specific, literal representations of places. The text also mentions his influences, including Renaissance scholars, and his early training under Max Loehr at the Fog Museum of Oriental Art. It notes that Wang's work will be displayed at the Fogg through April, in an exhibition titled Rockscapes by C.C. Wang.

Right Side:

• Title: The right side features a subheading: "Mountains of the Mind: Rockscapes by C.C. Wang."
• Caption: Below the title, there is a brief description of Wang, stating: "The name C.C. Wang—a westernization of Wang Chi-chien—may be unfamiliar to the general public, but many scholars consider him the greatest contemporary Chinese painter of Max Loehr, Professor and Curator, Oriental Art at the Fogg Museum. Wang is 'the most mature painter of his generation,' the most profound, most independent, and the most original.' His style blends the vocabulary of traditional Chinese landscape painting with the abstraction of modern Western art."
• Photograph: There is a black-and-white photograph of C.C. Wang, showing him seated and wearing a hat. The caption beneath the photograph reads: "C.C. Wang: Considered by many to be the greatest contemporary Chinese painter, he now lives in New York."
• Attribution: The article is attributed to Cynthia Saltzman '71.

Overall Layout:

• The page is neatly formatted with clear headings, captions, and accompanying visuals. The left side focuses on a specific artwork and its description, while the right side provides broader context about the artist, his style, and his significance in contemporary Chinese art. The design is professional and academic, typical of a bulletin or magazine publication.

This page serves as an introduction to C.C. Wang's artistic contributions, highlighting his innovative approach to landscape painting and his influence on modern Chinese art.

This image depicts scrapbook-like content consisting of pasted articles and images. The background is a brown textured paper, with the articles attached neatly.

Left Side:

1. Main Content:

   • The article on the left contains text and a black-and-white image showing a mountainous landscape titled "Landscape No. 190," created by C. C. Wang.
   • The article describes Wang as an artist blending traditional Chinese styles with modern influences, showcasing his work emphasizing texture and form in rockscapes.
   • It includes details about Wang’s background and his contributions to landscape painting.

2. Handwritten Note:

   • "Harvard Bulletin March 1973" is written in blue ink at the top of this section.

Right Side:

1. Main Content:

   • This clipping discusses Wang’s rockscape artwork and the fusion of traditional Chinese influence with modern aesthetics, describing him as highly skilled and a master of his craft.
   • There is a small black-and-white photo of the artist, C. C. Wang, seated on a chair, dressed formally in a coat and cap.

2. Handwritten Note:

   • "Harvard Bulletin March 1973" is again written in blue ink beneath the title of the article.

General Layout:

The articles are pasted on the page, complemented by handwritten notations. The aesthetic is simple and focuses on preserving text and imagery related to the artist C. C. Wang and his work.

The image shows a scrapbook page with two clippings from the Harvard Bulletin, dated March 1973 (handwritten annotation).

• The left clipping includes a black-and-white reproduction of a Chinese painting titled "Landscape No. 190" by C.C. Wang. Below the image is text discussing Wang's traditional Chinese painting style combined with modernist elements. It highlights Wang’s lineage, artistic achievements, and contributions to the art world. It mentions Wang was born in Su-chou in 1907 and studied under a Chinese master, eventually moving to the U.S. in 1949.

• The right clipping consists of a short article titled "Mountains of the Mind: Rockscapes by C.C. Wang." This piece describes Wang as a westernizer of Wang Chi-ch'en and praises him as a leading contemporary Chinese painter. Below the text is a small black-and-white portrait photograph of C.C. Wang sitting in a chair. The caption describes Wang as “considered by many to be the greatest contemporary Chinese painter,” noting that he lives in New York.

Both clippings are mounted on a plain brown background. The overall presentation gives a historic and archival feel, documenting appreciation for C.C. Wang’s artistic contributions.

This image shows an open book or scrapbook with pages containing text and a reproduction of an artwork on the left page, and additional text with an accompanying photograph on the right page. The left page has a large illustration at the top showing a landscape scene, presumably a painting, titled "Landscape No. 912" by C. C. Wang. Below the illustration, there is a substantial amount of text, which appears to be discussing the artwork and the artist's background and influence.

The right page features a column titled "Mountains of the Mind: Rockscapes by C. C. Wang." This suggests that the content may delve into Wang's artistic philosophy or influence, particularly regarding the representation of mountainous landscapes or rock formations in his work. The photograph shows an individual, and there is a caption beneath it, which may provide information about the person or the context of the photograph.

• A brown scrapbook page with two newspaper/magazine clippings attached.
• Left clip: a large black-and-white image of a rocky landscape, captioned “Landscape No. 190 by C.C. Wang.” The clip contains a lengthy article about the artist. At the top is a handwritten note: “Harvard Bulletin March 1973.”
• Right clip: a smaller piece with a photo of the artist sitting and wearing dark clothing, plus a short biography. The heading reads something like “Mountains of the Mind: Rockscapes by C.C. Wang,” describing him as a leading contemporary Chinese painter living in New York.
• Overall, the page appears to be a mid-20th-century cut-out spread about C.C. Wang, mounted on a blank brown sheet.