Pablo Picasso, Spanish, 1881-1973, Blind Minotaur Guided by a Young Girl through the Night (Minotaure aveugle guide par une fillette dans la nuit), from the Vollard Suite, November 1934, etching and aquatint on Montval laid paper. Gift of Ellen and Wallace K. Harrison, Class of 1950H, in honor of Nelson A. Rockefeller, Class of 1930; PR.965.23.93. © 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York
Jacques Lipchitz, Woman Reading (Liseuse), 1919, stained terracotta. Purchased through the William B. and Evelyn A. Jaffe Fund; S.965.13
Fan Tchunpi, Self-Portrait, 1937, oil on canvas. Collection of the artist's family. Photo by Matt Hamilton.
Francesca Woodman, My House, Providence, Rhode Island, 1976, estate gelatin silver print, edition 9 of 40, printed 2008. Purchased through a gift from Marina and Andrew E. Lewin, Class of 1981; 2013.12.1 © George and Betty Woodman
Unknown artist, Kongo peoples, Nkisi nkondi, power figure (detail), late 19th century, wood and mixed media. Purchased through the Mrs. Harvey P. Hood W'18 Fund, the William B. Jaffe and Evelyn A. Jaffe Hall Fund, the William B. Jaffe Memorial Fund, the William S. Rubin Fund, the Julia L. Whittier Fund, and through gifts by exchange; 996.22.30233.
The exhibitions presented by the museum are intended to contribute to scholarship in art history and related disciplines and to offer insight into the artistic production of many different historical periods and cultures. In addition to ongoing displays from its permanent collection, the museum also presents a number of special exhibitions each year, covering a broad range of topics, as well as teaching exhibitions. Organized in conjunction with Dartmouth College courses, these exhibitions are intended to facilitate the curricular use of the museum's collections.
EXTENDED THROUGH December 22, 2013
Recognized as one of the most innovative and influential artists of the twentieth century, Pablo Picasso (1881–1973) was at his most ferociously inventive between 1930 and 1937, when he created a series of etchings that are collectively known today as the Vollard Suite. Named after Ambroise Vollard, the famed art dealer who gave Picasso his first exhibition in Paris in 1901, these etchings reveal the Spanish artist's mastery of the printmaking process, as well as his dialogue with surrealism and the art of the past. This exhibition will showcase the one hundred prints that make up the Vollard Suite alongside works by Rembrandt and Goya that inspired Picasso during the making of these celebrated etchings.
Organized by the Hood Museum of Art and made possible by Claire Foerster and Daniel Bernstein, Dartmouth College Class of 1987, the Marie-Louise and Samuel R. Rosenthal Fund, the Ray Winfield Smith 1918 Fund, and the Bernard R. Siskind 1955 Fund.
EXTENDED THROUGH December 20, 2013
In the first few decades of the twentieth century, avant-garde artists sought to challenge traditional notions about pictorial representation by creating art that responded to the rapidly changing modern world that surrounded them. The most far-reaching and radical of these artistic movements was cubism, developed between 1907 and 1914 by Pablo Picasso and Georges Braque. Their artistic collaboration produced works that defied the Renaissance convention that painting should represent an illusionistic window into the world. Instead, cubism shattered preconceived notions about vision, asserted the flatness of the picture plane and the materiality of paint, and presented subjects from various perspectives and planes at the same time. Cubism and Its Legacy, drawn from the Hood Museum of Art's extensive collection of modern and contemporary art, presents the vast range of work made possible by these developments.
Organized by the Hood Museum of Art and made possible by the Marie-Louise and Samuel R. Rosenthal Fund, the Ray Winfield Smith 1918 Fund, and the Bernard R. Siskind 1955 Fund.
Through December 8, 2013
This exhibition explores the extraordinary life and work of Fan Tchunpi (1898–1986), one of the most important and prolific Chinese artists of the modern era. As the first solo exhibition of the artist's work since her 1984 retrospective at the Musée Cernuschi (Asian Art Museum) in Paris, Between Tradition and Modernity examines Fan Tchunpi's search for an artistic language that would speak for the self and the nation in an age of crisis, war, and revolution. The oil paintings, works on paper, and ceramics on display in this exhibition demonstrate her efforts to create a dynamic synthesis of Chinese and Western artistic traditions and techniques, while also reflecting the turbulent age in which she lived.
Organized by the Hood Museum of Art and generously supported by Donna and Charles Reilly, Class of 1953, and the William B. Jaffe and Evelyn A. Hall Fund.
Through December 8, 2013
Photographs that startle, disturb, and cause one to question are the subjects of this exhibition, which was organized by Virginia Beahan and Brian Miller, two professors who teach in Dartmouth College's Studio Art Department. Surveying the museum's collection, they selected both black-and-white and color photographs that push boundaries of medium and subject. Works in the exhibition span the second half of the twentieth century to the present day and include photographs by such artists as Fiona Foley, Tierney Gearon, Luis Gispert, Susan Meiselas, Gary Schneider, and Francesca Woodman.
Organized by the Hood Museum of Art and was generously supported by Rona and Jeff Citrin '80 and the William Chase Grant 1919 Memorial Fund.
Through December 20, 2013
This installation of African art from the Hood Museum of Art presents a selection of objects that marks the trajectory of the collection's development and pays tribute to some of the people who shaped it. From the son of an early Dartmouth president to a professor in Dartmouth's anthropology department; from donors whose love of African art is reflected in the quality of the works they gifted to three curators who acquired memorable and important works during their tenures—all have contributed the Hood's mission to teach Dartmouth undergraduates and visitors of all ages about the diverse and rich art of the many cultures of this continent.
This exhibition was organized by the Hood Museum of Art and was generously supported by the William B. Jaffe and Evelyn A. Hall Fund. We would like to thank former curator Barbara Thompson for her article "The African Collection at the Hood Museum of Art," published in 2004 in the journal African Arts, on which this exhibition is based.
At the entrance to the museum
A Space for Dialogue is a unique opportunity within Dartmouth's senior internship program, which includes museum positions in curatorial, public relations, and educational work. Interns choose objects from the Hood's permanent collection, write descriptions of the objects, design a space, create a brochure, and conduct a public gallery presentation. The program also allows students to develop art projects and displays within the Hood Museum of Art and on the Dartmouth College campus, creating "spaces for dialogue" between works of art and their viewers.
A Space for Dialogue, founded with support from the Class of 1948, is made possible with generous endowments from the Class of 1967, Bonnie and Richard Reiss Jr. '66, and Pamela J. Joyner '79.
Orozco Room, Baker Library, Dartmouth College
The Epic of American Civilization is an extensive mural cycle created by Mexican artist José Clemente Orozco between 1932 and 1934. The mural is composed of twenty-four distinct panels depicting the history of the Americas from the Aztec migration into Mexico to the industrialization of modern society. Located in the reserve corridor of Baker Library, now the Orozco Room, these scenes cover nearly 3,200 square feet of wall space. The Epic of American Civilization is not only one of Orozco's finest creations and one of Dartmouth's most treasured works of art but also rightfully placed among the most exemplary works of mural painting in the nation.
Last Updated: 11/22/13