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The image is a newspaper clipping from the "Boston Sunday Globe," dated October 20, 1985. The article is titled "On Greater Visibility" and discusses the renovation of the Fogg Art Museum at Harvard University.

Key points from the article include:

1. Renovation and Visibility:

   • The renovation has increased the visibility of the museum's collections, which were previously in storage 90% of the time.
   • The new design includes better lighting, labeling, and more frequent rotation of exhibits.

2. Surprises and Highlights:

   • The article mentions several surprising and notable pieces now on display, including works by Renoir, Carducius, and a Julian Schnabel piece.
   • The museum's collection spans various periods and styles, from terra-cottas and Dutch paintings to Impressionist and Post-Impressionist works.

3. Special Exhibitions:

   • Across the street, the Special Exhibitions Gallery at the Sackler showcases large-scale works and thematic exhibitions.
   • The current exhibition features works that complement the museum's permanent collection.

4. Modern Art and German Expressionism:

   • The museum's modern art collection includes works by Cezanne, Morris Louis, and a focus on German Expressionism, particularly the Bauhaus.
   • The permanent galleries feature works by artists like Manet, Picasso, and Pollock.

5. Layout and Design:

   • The museum's layout has been redesigned to improve flow and visibility, with galleries arranged chronologically and thematically.
   • The top floor houses decorative arts, including grave markers, Egyptian tomb paintings, and Roman portraits.

Overall, the article highlights the improved accessibility and visibility of the Fogg Art Museum's collections, emphasizing the diverse and rich array of artworks now on display.

BOSTON SUNDAY GLOBE • OCTOBER 20, 1985 B29

Frequent surprises

"Ninety percent of our collections has never gone on permanent display before," says Edgar Peters Bowron, the Fogg's new director. The renovation has removed the fabric from the walls and replaced antiquated, inadequate Venetian blinds by plastic mesh screens with adjustable louvers. The results: the Bernini terra-cottas, the Poussins, the van Ruisdaels and other Dutch masters, the decorative arts and the impressionist and Post-Impressionist works of the Wertheimer bequest, for example, are now on view in a setting of improved lighting and labeling. The surprises are frequent: pictures you thought you knew, but that, acquire freshness in these spaces. Three Rembrandts - for instance, including a self-portrait - are on view than any still life in the "Renoir" at the Museum of Fine Arts. In brief, the refurbishing and rehanging of the Fogg, which includes galleries for prints and drawings and a period of the 18th-century French paintings and the arts corridor, brings out a "hidden" museum hitherto confined to storage.

Across the street, the Special Exhibitions Galleries of the Sackler reveal a capacity to accommodate large-scale works. As one approaches the ground-floor space, the entrance is dominated by the toast-brown textures of the welcoming horizontal plane of the late Dean and Mrs. J. L. Sert - an intimate Harvard touch. Yet, that work with its characteristic sprightliness disconnections of shape doesn't seize space as forcibly as the large Frank Stella from his Protractor Series. Certainly, this painting with its logical arcs and stripes suggests the classical imagination functioning within limits, but the object itself is far more forceful than the Stella, and it. The Philip Guston Klan-smen on the opposite wall and a Julian Schnabel work on paper, in its own way as classical as the Stella, stand up to the challenge admirably.

The aim of "Modern Art at Harvard" is to show the collections, ranging from Cezanne to the present, in the context of the Busch-Reisinger Museum, which is part of the tripartite of participating institutions, to exhibit the museum's activities on behalf of modern German artists, especially the Bauhaus. (The show includes a room devoted to the major Walter Gropius show.) Like the Fogg's permanent galleries - from Manet, born 1832, to Mimmo Paladino, born 1948, and including the likes of Picasso, Braque, Derain, Raoul Dufy, Elie Nadelman, Jasper Johns, Paul Manship, Fernand Leger, Ellen Carey, Arshile Gorky, Paul Klee, John Singer Sargent, David Smith, Katherine Porter, Franz Marc, Louise Nevelson, and David Hockney - the Sackler's multi-functional interior finds offices and classroom space with the tranquil Asian and Classical Galleries. One enters past Japanese prints, scrolls and decorative arts and for the first time there are glass display cases for the exhibition of screens and robes - then the Islamic and later Indian sections and finally the early Chinese and the Ancient Near Eastern Gallery on the top floor has memorable Attic grave markers, Egyptian tomb painting and Roman portrait busts. Presiding over it, the Meleager has never looked more assured.

The image displays a page from the Boston Sunday Globe dated October 20, 1985. The article is titled "Ons greater visibility," focusing on renovations and exhibitions at the Fogg Museum and Sackler Galleries at Harvard University.

Key points from the article include:

1. Fogg Museum Renovation:

   • Ninety percent of the Fogg Museum's collections have never been on permanent display before.
   • The renovation removed Venetian blinds and replaced antiquated Venetian screens with plastic mesh screens.
   • It reinstalled several famous artworks, such as Bernini terra-cottas, Poussin paintings, and other Dutch masters.
   • The renovation included a new gallery for prints and drawings and a refurbished "hidden" museum corridor bringing out pieces previously confined to storage.

2. Special Exhibitions Gallery at Sackler:

   • The Sackler Galleries reveal a new capacity for large-scale artworks.
   • The ground floor space is dominated by a large work by Philip Guston, "Klasmen," contrasting with a painting by Julian Schnabel.
   • The Sackler's lower level includes offices and classrooms, sharing space with tranquil Asian and Classical Galleries.
   • The upper floor features a gallery showcasing significant ancient Near Eastern artifacts, including Egyptian grave markers and busts.

The article describes how these renovations aim to bring more visibility and accessibility to the museum’s collections, highlighting specific artworks and their new contexts within the exhibitions.

The image is a scanned page from the Boston Sunday Globe dated October 20, 1985, specifically section B29. The article discusses the increased visibility of art collections and renovations at Harvard University.

Key points include:

1. Fogg Museum Renovations:

   • Edgar Peters Bowron, the new director of the Fogg Museum, has significantly renovated the space. The renovation involved replacing antiquated Venetian blinds with modern Venetian blinds by plastic mesh screens, allowing for better lighting and labeling.
   • Bowron mentions that 90% of the collection has never been on permanent display before. This renovation has brought many works back from storage, revealing hidden pieces and creating a more vibrant museum experience.
   • The Fogg's collection includes pieces by Rembrandt, the superlative Bernini terra-cottas, the Poussins, van Ruysdaels, and other Dutch masters, along with impressionist and post-impressionist works.

2. Special Exhibitions Galleries:

   • Across the street, the Special Exhibitions Galleries at the Sackler Museum have been designed to accommodate large-scale works.
   • The ground floor features a notable piece by Dean and Mrs. J.L. Sert, and a Philip Guston and Julian Schnabel work.

3. Modern Art at Harvard:

   • The Modern Art section at Harvard, housed in the Busch-Reisinger Museum, focuses on German art, especially Bauhaus artists. The permanent galleries showcase a range of artists from Manet to Mimmo Paladino, including artists like Paul Klee, Franz Marc, and others.
   • The Sackler's multi-functional space includes offices, classrooms, and an exhibition area for screens and robes, with sections dedicated to Islamic and later Indian sections, and an Ancient Near Eastern Gallery.

4. Ancient Art:

   • The top floor of the museum features memorable artifacts, such as Egyptian tomb paintings, Roman portraits, and busts. The museum's layout is described as never having looked more assured.

The article provides a comprehensive overview of the renovation efforts and the expanded visibility of Harvard's extensive art collections.

The image is a black-and-white newspaper clipping from the Boston Sunday Globe, dated October 20, 1985. The headline of the article is "Modern Art at Harvard: Museum renovations give works greater visibility."

Here's a detailed summary of the content:

1. Renovations at the Fogg Museum:

   • Edgar Peters Bowron, the Fogg's new director, discusses renovations that have transformed the museum's appearance and functionality.
   • Ninety percent of the collection has never been on permanent display before.
   • The renovation removed old Venetian blinds and replaced them with plastic mesh screens, which allow for better lighting and labeling of artworks.
   • The changes have revealed a variety of art pieces, including works by artists such as Rembrandt, Rubens, and Poussin.
   • The renovation has created a "hidden" museum space that was previously confined to storage.

2. Art Exhibitions and Capacity:

   • The Special Exhibitions Galleries of the Sackler reveal a capacity to accommodate large-scale works.
   • The entrance is dominated by a large, welcoming horizontal painting by Philip Guston, "The Studio," which contrasts with the intimate Harvard touch of the late Dean J. L. Sert's living room.
   • The article mentions a work by Frank Stella from his Protractor Series, which is described as having classical arcs and stripes.

3. Artists and Collections:

   • The article lists various artists whose works are featured, including Bauhaus artists such as Walter Gropius, László Moholy-Nagy, and others.
   • The Fogg's permanent galleries display works from artists like Manet, Picasso, Matisse, and more.

4. Sackler's Multifunctional Space:

   • The Sackler's multifunctional space includes offices, classrooms, and rooms for Asian and Classical Galleries.
   • The top floor features Egyptian tomb paintings and Roman portrait busts, with the Meleager never looking more assured.

The article highlights the museum's efforts to improve visibility and accessibility of its collections through thoughtful renovations and strategic displays.

The image shows a newspaper clipping from the Boston Sunday Globe, dated October 20, 1985. The article, titled "ons greater visibility," discusses changes and renovations at two prominent art institutions in Boston: the Fogg Art Museum at Harvard and the Sackler Galleries.

Fogg Art Museum:

• The Fogg has a new director, Edgar Peters Bowron.
• Renovations include removing fabric from walls, replacing antiquated inadequate ventilation, and addressing other infrastructural issues.
• The museum's collection is described, highlighting various artworks such as Bernini terra-cottas, Poussins, Dutch masters, and decorative arts.
• The museum is noted for its eclectic and sometimes surprising collection, offering a mix of high-quality pieces.
• The article mentions the refurbishing and rehanging of galleries to present a more coherent narrative of art history.

Special Exhibitions Galleries of the Sackler:

• These galleries are noted for their capacity to accommodate large-scale works.
• The space is described as having a grand, double-height entrance dominated by a large mural by Miró.
• The interior features works like Frank Stella’s “Protractor Series” which, due to their size and shape, are well-suited for this space.
• The article also notes the arrangement of galleries to showcase a variety of art, including Japanese prints, scrolls, decorative arts, and classical artifacts.
• The top floor has been dedicated to displaying Greek, Roman, and Ancient Near Eastern art, with a notable collection of Attic grave markers and Roman portrait busts.

Overall, the article emphasizes the improved visibility and presentation of the collections at both institutions.

This image appears to show a newspaper clipping from the "Boston Sunday Globe," dated October 20, 1996. The article's headline reads "ons greater visibility." The clipping includes two columns of text surrounded by the remnant layout of the newspaper page, with the left margin cut mid-sentence. The text in the article discusses various art-related subjects, specifically mentioning the renovation of a New England art venue, noting the arrival of certain artworks from renowned artists and describing some structural and exhibition changes intended to promote modern art visibility.

The background shows that the clipping was placed on a flat surface, and there is a folded corner revealing a portion of the surface underneath. The photograph itself has a gray cast, perhaps due to lighting or the color of the background surface.

The image shows a page from the Boston Sunday Globe dated October 20, 1985, featuring an article titled "ons greater visibility". The article discusses the renovation and re-display of the Fogg Art Museum at Harvard University.

Key Details from the Image:

1. Headline: The main headline is "ons greater visibility", indicating the focus on enhancing the visibility and accessibility of the museum's collections.

2. Subheading: The subheading, "Frequent surprises", suggests that the renovation has introduced unexpected and engaging elements for visitors.

3. Content Overview:

   • The article highlights that ninety percent of the Fogg's collection has never gone on permanent display before. This emphasizes the novelty and excitement of the renovation.
   • Edgar Peters Bowron, mentioned in the article, notes that the renovation has removed antiquated walls and replaced them with plastic mesh screens, allowing for better lighting and a more dynamic display.
   • The article describes the superb ventilation provided by the new screens, which is particularly beneficial for displaying delicate works like Rousseau, the Poussin massifs, and other Dutch masters.
   • The decorative arts and impressionistic and Post-impressionist works are now displayed with improved lighting and labeling, enhancing the visitor experience.

4. Exhibition Highlights:

   • The article mentions "Modern Art at Harvard", an exhibition showcasing works from the Busch-Reisinger Museum. This exhibition includes artists such as Walter Gropius, Edgar Manet, and others, and is part of the museum's efforts to exhibit modern German artists.
   • The Sackler’s multi-functional interior is described as sharing space with the classrooms, creating a tranquil atmosphere with Asian and Classical Galeries.
   • The former aisle is now arranged so that visitors can view Japanese prints, scrolls, and decorative arts for the first time.
   • The Eastern Gallery features Islamic and later Indian sections, including early Chinese bronzes and Ancient Near Eastern, Roman, and Ancient Greek artifacts.
   • The Meroitic Tomb is highlighted as a notable exhibit, with presiding over it a Megalithic painting and Roman portrait busts.

5. Visual Elements:

   • There is a small photograph in the upper right corner of the page, though the details are not clear from the image provided. It appears to be related to the article's content, possibly depicting part of the renovated museum or an artwork.

Overall Impression:

The page conveys a sense of transformation and innovation at the Fogg Art Museum, emphasizing the increased visibility of previously unseen collections, improved lighting and display techniques, and the integration of modern and classical art. The article aims to inform readers about the enhanced visitor experience and the expanded scope of the museum's exhibitions.

The image is a scanned page from a newspaper, specifically the Boston Sunday Globe, dated October 20, 1965. The article discusses modern art exhibitions in Boston, focusing on the "Modern Art at Harvard" exhibition at the Busch-Reisinger Museum and the Sackler Museum's "Multifunctional Furniture" exhibition. The article highlights the importance of these exhibitions in showcasing modern art and design, as well as the efforts to make these collections more accessible to the public. The text is organized in a structured format, with headings and paragraphs that provide detailed information about the exhibitions, the artists involved, and the significance of the displayed works.

The image is a photograph of a newspaper clipping from the Boston Sunday Globe dated October 20, 1985. The clipping is from page B29 and features an article titled "Fogg Gains Greater Visibility." The article discusses the recent renovations and changes at the Fogg Art Museum, part of Harvard University's art museums.

The text is divided into two columns. The left column focuses on the physical changes to the museum, highlighting the restoration of original features such as Venetian blinds, plastic-mesh screens, and various artworks by artists like Bern, van Ruisdael, and Post-Impressionists. It mentions that 90% of the collection is now on permanent display, a significant increase from previous years. The article quotes Edgar Peters Bowron, the Fogg’s new director, who emphasizes the museum's commitment to displaying a larger portion of its collection.

The right column details the museum’s new exhibitions, including "Modern Art at Harvard," which showcases a range of modern art from Cézanne to Morris Louis. It also mentions the inclusion of special galleries dedicated to German artists, with a focus on the Bauhaus movement. The Fogg’s permanent galleries are described as breathtaking in their range, featuring works from the 13th to the 20th century by artists such as Charles Ledoux, Raoul Dufy, and Marc Chagall.

Additionally, the article notes the opening of the Special Exhibitions Galleries of the Sackler, which accommodate large-scale works and feature rotating exhibitions. One such exhibition is described as displaying Indian sculpture and later Indian sections, followed by early Chinese bronzes. The top floor is highlighted for its Egyptian and Roman portrait grave markers, with a particular emphasis on a Roman portrait that has never been displayed before.

The article concludes with a mention of the museum's efforts to enhance visibility and accessibility, both physically and through the display of a broader range of its collection.