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Hood Museum of Art
Dartmouth College
Hanover, NH 03755
603.646.2808
hood.museum@dartmouth.edu

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Recent Acquisitions 7

Alfred Rethel, German, 1816-1859
Title Page; from the cycle Another Dance of Death for the year 1848 (Auch ein Todentanz aus dem Jahre 1848)
Wood engraving
Unfolded: 11 11/16 x 32 5/8 in.; folded: 11 11/16 x 16 3/8 in.
Purchased through the Jean and Adolph Weil Jr. 1935 Fund; 2007.61.5

Alfred Rethel, German, 1816-1859
Plate 1 (Death emerging from his grave); from the cycle Another Dance of Death for the year 1848 (Auch ein Todentanz aus dem Jahre 1848)
Wood engraving
11 11/16 x 16 5/16 in.
Purchased through the Jean and Adolph Weil Jr. 1935 Fund; 2007.61.6

Alfred Rethel, German, 1816-1859
Plate 2 (Death rides toward town); from the cycle Another Dance of Death for the year 1848 (Auch ein Todentanz aus dem Jahre 1848)
Wood engraving
11 11/16 x 16 5/16 in.
Purchased through the Jean and Adolph Weil Jr. 1935 Fund; 2007.61.7

Alfred Rethel, German, 1816-1859
Plate 3 (Death before the public house); from the cycle Another Dance of Death for the year 1848 (Auch ein Todentanz aus dem Jahre 1848)
Wood engraving
11 11/16 x 16 5/16 in.
Purchased through the Jean and Adolph Weil Jr. 1935 Fund; 2007.61.8

Alfred Rethel, German, 1816-1859
Plate 4 (Death on the tribune); from the cycle Another Dance of Death for the year 1848 (Auch ein Todentanz aus dem Jahre 1848)
Wood engraving
11 11/16 x 16 5/16 in.
Purchased through the Jean and Adolph Weil Jr. 1935 Fund; 2007.61.9

Alfred Rethel, German, 1816-1859
Plate 5 (Death on the barricade); from the cycle Another Dance of Death for the year 1848 (Auch ein Todentanz aus dem Jahre 1848)
Wood engraving
11 11/16 x 16 5/16 in.
Purchased through the Jean and Adolph Weil Jr. 1935 Fund; 2007.61.10

Alfred Rethel, German, 1816-1859
Plate 6 (Death as victor); from the cycle Another Dance of Death for the year 1848 (Auch ein Todentanz aus dem Jahre 1848)
Wood engraving
11 11/16 x 16 5/16 in.
Purchased through the Jean and Adolph Weil Jr. 1935 Fund; 2007.61.11

William Hogarth, British, 1697-1764
First Stage of Cruelty, from the series The Four Stages of Cruelty, 1751
Etching
Image: 14 x 11 3/4 in.; plate: 15 1/4 x 12 3/4 in.; sheet: 22 1/4 x 16 11/16 in.
Purchased through the Jean and Adolph Weil Jr. 1935 Fund; 2007.62.1

William Hogarth, British, 1697-1764
Second Stage of Cruelty, from the series The Four Stages of Cruelty, 1751
Etching
Image: 13 13/16 x 11 7/8 in.; plate: 15 3/8 x 12 5/8 in.; sheet: 19 x 15 1/4 in.
Purchased through the Jean and Adolph Weil Jr. 1935 Fund; 2007.62.2

William Hogarth, British, 1697-1764
Cruelty in Perfection, number three from the series The Four Stages of Cruelty, 1751
Etching
Image: 14 x 11 3/4 in.; plate: 15 5/16 x 12 11/16 in.; sheet: 22 1/4 x 17 in.
Purchased through the Jean and Adolph Weil Jr. 1935 Fund; 2007.62.3

William Hogarth, British, 1697-1764
The Reward of Cruelty, number four from the series The Four Stages of Cruelty, 1751
Etching
Image: 14 x 12 3/4 in.; plate: 15 5/16 x 12 5/8 in.; sheet: 19 x 15 1/2 in.
Purchased through the Jean and Adolph Weil Jr. 1935 Fund; 2007.62.4

Timothy Matson, American, born 1943
Pilobolus: "Monkshood's Farewell" (Michael Tracy, Moses Pendleton, Robby Barnet, Alison Chase, Jonathan Wolken, Martha Clarke), about 1977
Silver gelatin print
11 x 14 in.
Purchased through the Hood Museum of Art Acquisitions Fund; 2007.63

Tim Matson is both a photographer and an award-winning writer, notably of the bestselling Earth Pond series of books and videos. He currently lives in Strafford, Vermont. After serving in the U.S. Army from 1966 to 1968, Matson moved to Vermont, where he met Moses Pendleton, one of the founding members of Pilobolus. Following some time in New York working in publishing, Matson returned to Vermont just as Pilobolus was gaining recognition beyond the Upper Valley. In a grassroots spirit, he took publicity photographs for the company in exchange for a day of the dance group's labor in Matson's garden.

Matson's photographs document the early performances and rehearsals that would come to define the Pilobolus style. Matson's detailed shot from Ciona focuses all of the viewer's attention on one of the most impressive features of Pilobolus's dances-the entwined bodies. The other Ciona photographs portray both the dancers' aesthetic beauty and their immense strength and athleticism. His photograph from Monkshood's Farewell depicts the humor and wit that marks many of the group's performances.

Clemens Kalischer, American, born 1921
Untitled, Pilobolus performance (Two seated dancers), about 1977-1983
Silver gelatin print
13 15/16 x 10 15/16 in.
Purchased through the Hood Museum of Art Acquisitions Fund; 2007.64.1

Clemens Kalischer has captured subjects involving agriculture, architecture, education, environment, music, and religion on film. His photographs have appeared in many leading newspapers and magazines, and in solo exhibitions as well as group shows; they can be found in the permanent collections of museums both in the United States and abroad. Kalischer has taught photography and run the Image Gallery in Stockbridge, Massachusetts, for over thirty years.

Kalischer was working for a dance magazine when he read an article about Pilobolus that prompted him to arrange to photograph them for his personal collection. At the rehearsal, Kalischer met and befriended Martha Clarke, and was eventually hired to take the photographs on display in this exhibition.

These images portray the energy and dynamism of Pilobolus in motion, as dancers move in and out of the frame, their arms or legs extending beyond its edges. The intensity of live performance, captured in a dancer's billowing skirt or arched back and outstretched leg, is dramatically revealed as movement frozen in time.

Clemens Kalischer, American, born 1921
Untitled, Philobus performance (Male dancer on one foot), about 1977-1983
Silver gelatin print
10 15/16 x 14 in.
Purchased through the Hood Museum of Art Acquisitions Fund; 2007.64.2

THE MARK LANSBURGH COLLECTION

Historically, figurative arts among the Plains Indians of North America chronicled the heroic life of great warriors and chiefs. Predominately a male art form, visual narratives of heraldic images of war, hunting, religious ceremony, and courtship were painted onto rock, buffalo hides, robes, and tipis to publicly memorialize the great accomplishments of warrior-artists and their cohorts. From the 1850s through the 1870s, however, increased contact with Americans led to multiple encounters and conflicts between Natives and non-Natives, ultimately transforming life on the Great Plains and decimating Native populations.

Through their greater exposure to American settlers and soldiers, Plains warrior artists appropriated new perspectives, themes, materials, and artistic styles, developing a unique genre of figurative art using bound ledger books and paper to depict life on the Plains. These autobiographic and narrative ledger drawings became an important form of communication about and between Native and non-Native cultures. They chronicled both past and contemporary experiences, but especially addressed the transitions brought on by forced abandonment of their traditional lifestyles through captivity, life on the reservation, and the effects of American suppression of Native cultures in the nineteenth century.

The Lansburgh collection reveals the great depth, complexity, and diversity of nineteenth century Plains ledger art in the many examples of drawings by some of the most celebrated warriors and chiefs, including Howling Wolf (Ho-na-nist-to), Chief Killer (Noh-hu-nah-wih), Ohetoint, Arrow, Frank Henderson, Wooden Leg (Kum-mok-quiv-vi-ok-ta), Short Bull, Old White Woman, Dull Knife, and White Swan, among others. Also in this collection are works by as yet unnamed artists from the Douglas Ledger, the Edwards Ledger, Dentzel Ledger, and Vincent Price Ledger. Dating from the mid-1860s to the end of the 1890s and produced by Southern and Northern Tsitsistas (Cheyenne), Arapaho (Inuna-Ina or Hinonoeino), Kiowa, Mexican-Kiowa, Brulé-Lakota, and Apsaaloke (Crow) artists, thess extremely rare drawings illustrate as much the different artistic sensibilities of the Plains cultures within which they were created as much as they do the individual innovations of each artist.

In twenty years, Lansburgh has brought together groups of drawings that embody a wealth of information about traditional lifestyles, clothing, and practices during the pre- and post-contact era. Filled with detailed and dramatic scenes of milestone moments in the lives of the Plains artists, the drawings illustrate their interactions with some of the most important figures and events in their struggle to retain land, resources, and cultural freedom. Among the highlights of the collection are a depiction of Chief Crazy Horse, Chief Santanta, General Custer, and Captain Richard Pratt; Lance Glyphs' representation of the Battle of Summit Springs (1868-1869), White Swan's participation in the Battle of Little Big Horn (1876), and Dull Knife's at the capture of Morning Star's village in 1876; and Howling Wolf's, Chief Killer's and Ohettoint's daily observations of life as a captives at Fort Marion in St. Augustine, Florida from 1875-1878. The research potential of this collection lies not only in the importance of the drawings as historical and sociological documents about the complex nature of Native and non-Native relationships but also as visual evidence of the way in which objects, clothing, and personal adornment were used by Native peoples of the Plains in the second half of the nineteenth century.

The acquisition of the Mark Lansburgh ledger drawing collection celebrates Dartmouth's continued commitment to the teaching of Native American art, culture, and history while offering a unique research opportunity to faculty and students in anthropology, art history, studio arts, history, government, law, economics, and environmental studies.

Douglas Ledger Warrior, Southern Cheyenne, active late 19th century
Untitled (Eagle Feather Bonneted Warrior), about 1865
Drawing media on ledger paper
7 1/2 x 12 1/4 in.
Partial gift of Mark Lansburgh, Class of 1949; and partial purchase through the Mrs. Harvey P. Hood W'18 Fund, and the Offices of the President and Provost of Dartmouth College; 2007.65.1

Douglas Ledger Warrior, Southern Cheyenne, active 19th century
Untitled (Cheyenne with trailing hair-plaits), about 1865
Drawing media on ledger paper
7 1/2 x 12 1/4 in.
Partial gift of Mark Lansburgh, Class of 1949; and partial purchase through the Mrs. Harvey P. Hood W'18 Fund, and the Offices of the President and Provost of Dartmouth College; 2007.65.2

Douglas Ledger Warrior, Southern Cheyenne, active 19th century
Untitled (Morningstar adorned warrior), about 1865
Drawing media on ledger paper
7 1/2 x 12 1/4 in.
Partial gift of Mark Lansburgh, Class of 1949; and partial purchase through the Mrs. Harvey P. Hood W'18 Fund, and the Offices of the President and Provost of Dartmouth College; 2007.65.3

Edwards Ledger Warrior, Arapaho, active 19th century
Untitled (Un-picketed horse and mule), about 1870
Drawing media on ledger paper
7 1/2 x 12 1/4 in.
Partial gift of Mark Lansburgh, Class of 1949; and partial purchase through the Mrs. Harvey P. Hood W'18 Fund, and the Offices of the President and Provost of Dartmouth College; 2007.65.4

Edwards Ledger Warrior, Arapaho, active 19th century
Untitled (White bird glyph warrior on pony), about 1870
Drawing media on ledger paper
7 1/2 x 12 1/4 in.
Partial gift of Mark Lansburgh, Class of 1949; and partial purchase through the Mrs. Harvey P. Hood W'18 Fund, and the Offices of the President and Provost of Dartmouth College; 2007.65.5

Edwards Ledger Warrior, Arapaho, active 19th century
Untitled (Heap of Bears glyph warrior lances Pawnee), about 1870
Drawing media on ledger paper
7 1/2 x 12 1/4 in.
Partial gift of Mark Lansburgh, Class of 1949; and partial purchase through the Mrs. Harvey P. Hood W'18 Fund, and the Offices of the President and Provost of Dartmouth College; 2007.65.6

Last Updated: 10/15/08