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Museum News

Recent Acquisitions: Apphia Amanda Young, Sampler, 1838

Hood Quarterly, spring 2007

In the eighteenth and nineteenth centuries, the making of samplers gave girls and young women the opportunity to practice a variety of embroidery stitches and to reinforce rudimentary lessons in spelling and penmanship.

Recent Acquisitions: Augusta Savage, Gamin, modeled 1929, plaster by 1940

Hood Quarterly, spring 2007

Gamin is the best-known work by Augusta Savage, the most admired and influential woman artist associated with the Harlem Renaissance. The life-size bronze version of this work (Schomburg Center, New York Public Library) won Savage the opportunity to study in Paris from 1929 to 1931.

Embracing a Vision: The Hood Museum of Art Midyear Report

Hood Quarterly, spring 2007
Katherine Hart, Associate Director and Barbara C. and Harvey P. Hood 1918 Curator of Academic Programming, and Juliette Bianco, Assistant Director

Community of Learners: Robots and Art Come Together at the Hood

Hood Quarterly, winter 2007

What do robots and art have in common? More than you might expect, and the significant connections between them inspired an exciting collaboration last summer among the Computer Science Department at Dartmouth, regional young people, and the Hood Museum of Art.

Staff News: Winter 2007

Fees Dropped for Programs

In Celebration of Jan Davidsz. de Heem’s Still-Life with Grapes

Unknown artist, Kiowa, Southern Plains, North America, lattice cradle baby carrier, about 1910

Hood Quarterly, winter 2007

This cradleboard reveals the exquisite beadwork that epitomizes the Kiowa style of decoration in Native American art. The Kiowa developed what is possibly the most prominently known baby carrier in Plains art, the lattice cradle or cradleboard (popularly known as the “papoose”), which spread to the Comanche, Cheyenne, and Dakota tribes of the Central Plains.

Recent Acquisitions: Norman G. Jackson, Sharkman mask, 2004

Hood Quarterly, winter 2007

This beautifully carved and painted wooden mask by the Tongass Tlingit artist Norman G. Jackson brings to light a contemporary reinterpretation of traditional Northwest Coast themes and mythical stories. In much Northwest Coast art, painted, carved, or woven imagery is used during special occasions to proclaim and validate the status of ancestral clan crests representing mythical beings.

Letter from the Director: Winter 2007

Hood Quarterly, winter 2007
Brian Kennedy, Director

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