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ARCH.2003.39, Rendition: 806479
This image shows a yellowed, single-page newspaper clipping mounted on a plain, light brown cardboard backing. The clipping is affixed to the board with two small, dark, circular fasteners or staples visible at the top.
The article is from the "Boston Sunday Globe", dated October 7, 1973. The headline reads: "Benjamin Rowland's water colors at the Fogg". The byline identifies the author as Robert Taylor.
The text is arranged in multiple columns and discusses an exhibition of watercolors by Benjamin Rowland (1904–1973) at the Fogg Museum. The author reflects on Rowland’s artistic style, noting his "febrile balance of spiritual and aesthetic themes," and contrasts his work with "classical and mythical motifs" against "hallucinatory and mystical paintings." The article also mentions Rowland’s connection to the Harvard art scene, his role as the Gleason Professor of Fine Arts, and his influence on students. It further describes other concurrent exhibitions, including "New American Graphic Art '73" and a showcase of works by the artist Claude Lorrain, mentioning the "Wildenstein Album." The article concludes by noting the exhibition was organized in conjunction with Rowland’s family and highlights the inclusion of works from other institutions like the Smith College Museum of Art and the Wellesley College Art Museum.
The overall tone of the newspaper clipping is one of scholarly art criticism and remembrance, presented on aged newsprint and preserved on a simple mount.
The image is a scanned copy of a newspaper article titled "Benjamin Rowland's water colors at the Fogg." The article is from the Boston Sunday Globe, dated October 7, 1973. The text discusses an exhibition of Benjamin Rowland's watercolor paintings at the Fogg Museum in Cambridge. The article appears to be a critical review or commentary on the exhibition, written by Robert Taylor. The text is printed on a beige-colored paper and seems to be pasted onto a gray background, possibly for display or archival purposes. There is a smaller text box or section at the bottom left of the main article, but its content is not fully visible or legible in this image. The overall appearance of the document suggests it is an older piece, with some signs of wear or aging.
The image is a newspaper clipping from the "Boston Sunday Globe" dated October 7, 1973. The article is titled "Benjamin Rowland's water colors at the Fogg" and is written by Robert Taylor. The clipping is mounted on a piece of brown cardboard with two holes punched at the top, suggesting it might be part of a scrapbook or collection.
The article discusses an exhibition of watercolors by Benjamin Rowland at the Fogg Museum in Cambridge. It provides a detailed review of Rowland's artwork, mentioning his technique, themes, and influence on Harvard students. The article also compares Rowland's work to other artists and styles, including the early 19th-century English watercolor school and the work of Dr. William Rimmer.
Additionally, the article mentions two other exhibitions at the Fogg Museum: one featuring silk screens by Arakawa and another titled "New American Graphic Art," which includes prints and drawings by 44 artists. The third exhibition is on the premises of the Norton Simon Museum and features the work of Claude Lorrain.
The text is dense and contains several paragraphs, with the author's name, Robert Taylor, prominently displayed near the top of the article. The overall tone of the article is that of a critical review, providing insights into the art and the artist's contributions to the field.
The image depicts a newspaper clipping, which is a piece of paper with a portion of a newspaper article printed on it. The clipping is mounted on a larger piece of cardboard or paper, with the top and bottom edges visible. The clipping is from the Boston Sunday Globe, dated September 17, 1972, and the article is titled "Benjamin Rowland's Water Colors at the Fogg." The article is written by Robert Taylor and discusses the exhibition of Benjamin Rowland's watercolors at the Fogg Art Museum in Cambridge, Massachusetts. The article provides a detailed analysis of Rowland's artistic style and the themes and subjects of his watercolors, highlighting his use of color and technique. The clipping is likely a preserved record of the exhibition and the critical reception of Rowland's work.
The image appears to be a clipping from a newspaper or magazine article. The article is titled "Benjamin Rowland's Water Colors at the Fogg" and discusses an exhibition of watercolors by the artist Benjamin Rowland at the Fogg Art Museum at Harvard University.
The article provides some background on Rowland and his watercolor technique, which involved using the dry-brush method and watercolors that were more vibrant than the traditional English watercolors. The author mentions that Rowland's watercolors were influenced by the East Asian aesthetic and that they had a freshness and spontaneity that was rare.
The article also mentions that the exhibition included preliminary studies and drawings, as well as finished works. The author notes that Rowland's watercolors were not meant to be seen as a critique of the past, but rather as a way to reflect on the present and to celebrate the beauty of the natural world.
Overall, the article provides a positive review of Rowland's watercolors and highlights the unique qualities of his work. The clipping includes some text and images, but it is not clear what specific images are being referred to in the article.
The image shows a scanned page from the Boston Sunday Globe dated 10/1/73, featuring an article titled "Benjamin Rowland's water colors at the Fogg" by Robert Taylor. The article appears to be a review or commentary on an exhibition of Benjamin Rowland's watercolor works held at the Fogg Art Museum.
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The image depicts a historical newspaper article from the Boston Sunday Globe (October 1, 1973) that reviews Benjamin Rowland's watercolor exhibition at the Fogg Art Museum. The article, written by Robert Taylor, delves into Rowland's artistic techniques, themes, and influence, providing insight into his work and its reception at the time. The page is preserved on a wooden board, likely as part of an archival or exhibition display.
This image shows a piece of cardboard on which a newspaper article has been mounted. The article is titled "Benjamin Rowland's water colors at the Fogg" and comes from the "Boston Sunday Globe," dated June 7, 1923. There is a portion of the article cut out, leaving a rectangular blank space. The article appears to be a review or a commentary on an exhibition of watercolors by Benjamin Rowland at the Fogg Museum.
We can see that the newspaper has aged over time, showing some yellowing typical of old paper. At the top of the cardboard, there is a hole with what appears to be a metal grommet or eyelet for hanging or mounting the display. The font used in the article is in the traditional style typical of newspapers in the early 20th century, and the article is laid out in multiple columns, which is standard formatting for newspapers.
This is a scanned image of a newspaper article mounted on a brown backing paper. The article is titled "Benjamin Rowland's watercolors at the Fogg" and appears to be a review or discussion about an exhibition featuring watercolors by Benjamin Rowland. The newspaper's name ("Boston Sunday Globe") and the date ("10/7/73") are handwritten above the title. The byline attributes the article to "Robert Taylor."
The article is presented as multiple columns of text, and while the exact content is not fully visible, it seems to delve into Rowland's art, his influences, and the exhibition described. It likely discusses his background, artistic style, notable pieces, and their significance within the context of the exhibition at the Fogg Museum.
The brown backboard has evenly spaced holes at its top edge, suggesting it has been bound or stored in an album or scrapbook.
The image shows a newspaper clipping titled "Benjamin Rowland's water colors at the Fogg," dated 10/1/73 and written by Robert Taylor for the Boston Sunday Globe. The article discusses the work and exhibition of Benjamin Rowland Junior (1904-1972), whose watercolors were displayed at the Fogg Museum in Cambridge. It reflects on Rowland's style, influences, and the significance of his art within the context of classical and modern techniques. The article also mentions other exhibitions at the Fogg Museum around the same time, including works that feature American graphic art and Japanese silk screens. The exhibition highlighted Rowland's skill in watercolor and his unique approach that blends different artistic traditions. The article praises the scholarship by Marcel Roethlisberger at Smith College Museum of Art and Wellesley College Art Museum, which inspired the exhibition.