Powerful Exhibition at the Hood Presents One Hundred Drawings from the Renaissance to the Early Twentieth Century
Media inquiries: Sharon Reed, Public Relations CoordinatorHood Museum of Art, (603) 646-2426 firstname.lastname@example.org* Color slides and electronic images available upon request
Hanover, NH This spring, the Hood Museum of Art, Dartmouth College, presents two distinct but complementary exhibitions featuring more than one hundred works on paper by distinguished artists from Italy, France, England, Holland, and Germany. Masters of the Medium: European Drawings from the Collection of the Ackland Art Museum, on view from March 30 through May 23, and Rococo to Modernism: European Drawings and Watercolors from the Permanent Collection and Dartmouth's Alumni, on view from March 30 through May 30, offer life studies, plein-air sketches, and imaginary compositions spanning five centuries of technique and a full range of styles.
An opening lecture by Ivan Gaskell, The Margaret S. Winthrop Curator, Department of Paintings, Sculpture, and Decorative Arts, Harvard University Art Museums, will be held on Wednesday, April 7 at 5:30 PM in the Arthur M. Loew Auditorium. A reception hosted by the Friends of Hopkins Center and Hood Museum of Art will follow in Kim Gallery.
Masters of the Medium: European Drawings from the Collection of the Ackland Art Museum
This exhibition highlights seventy-three works on paper dating from about 1500 to 1920 from a significant collection of nearly three hundred objects by a long lineage of artists, including figure studies by Giovanni Battista Tiepolo and Hermann Max Pechstein, historical representations by François Boucher and Käthe Kollwitz, landscapes by Allart van Everdingen and Egon Schiele, and portraits by Sir Thomas Lawrence and Max Beckmann.
Aside from being significant works in their own right, these drawings often functioned in the creative process as means to another end. Co-curator Carolyn Wood of the Ackland Art Museum explains that "artists of the sixteenth through the nineteenth centuries typically used drawings as vehicles for exploring and developing their ideas for the designs of commissioned [works] in other media, such as paintings, prints, and sculptures." Particular examples include Jean-Baptiste Greuze's A Violent Family Scene of the 1780s. Specializing in moralizing scenes of bourgeois family emotions, Greuze often composed a friezelike arrangement of figures with theatrical poses and expressions. Executed first in graphite and pen and ink to delineate at least ten figures, this work ultimately depicted only six figures, rendered in black and grey washes, and it represents a fascinating demonstration of the artist's working process and use of different media. Egon Schiele's Seated Woman (1918) in turn reflects this artist's remarkable technique of rendering the human form in outline. There is almost no shading in the image, and he suggests tonality by carefully altering the pressure on the black-colored pencil and by leaving lighter areas of the composition untouched. Both works exemplify the incredibly expressive power of drawings.
Masters of the Medium: European Drawings from the Collection of the Ackland Art Museum is organized and circulated by the Ackland Art Museum, The University of North Carolina at Chapel Hill. Its presentation at the Hood Museum of Art is generously supported by the Marie-Louise and Samuel R. Rosenthal Fund.
Rococo to Modernism: European Drawings and Watercolors from the Permanent Collection and Dartmouth's Alumni
Rococo to Modernism presents forty-two drawings and watercolors created by celebrated artists from the early eighteenth through the early twentieth century, including Eugène Delacroix, Vincent van Gogh, Vasily Kandinsky, Adolph Menzel, Pablo Picasso, Thomas Rowlandson, and Francesco Solimena, among others. Organized by Bart Thurber, the Hood's curator of European art, this exhibition of preparatory sketches, working drafts, and finished compositions reflects a mixture of genres including figure studies, portraits, landscapes, and historical subjects. Rococo to Modernism provides visitors with a rare opportunity to view selected works on paper from the Hood's European holdings alongside important contributions from the private collections of some of Dartmouth's alumni. While a number of these drawings and watercolors have been exhibited periodically at the Hood and have been lent to other institutions, they have never before comprised a comprehensive exhibition.
Most of the European works on paper in the Hood's collection have been generously donated by friends and alumni of Dartmouth College. The earliest gift in this exhibition, Henri Fantin-Latour's The Embroiderers (185560), was presented by Abby Aldrich Rockefeller in 1935. The most recent gift, which included Paul Klee's Ship-Dreaming (1915) and Fernand Léger's The Disk in the City (1920), was given by Elizabeth E. Craig in 2002. Among other generous supporters, A. Conger Goodyear, the first president of the Museum of Modern Art, donated drawings by Henri Matisse, Amedeo Modigliani, and Aristide Maillol in 1940. The remaining works on display have been purchased with funds provided by a long list of benefactors that includes the Hood family, Julia L. Whittier, Phyllis and Bertram Geller, the Cremer Foundation in memory of J. Theodor Cremer, and the William B. Jaffe and Evelyn A. Jaffe Hall Fund. Last year, the Hood acquired Louis-Léopold Boilly's exceptional Young Woman Reading in a Landscape (1798) with the generous support of Florence and Lansing Porter Moore.
Nestled within Rococo to Modernism is a select group of prints after French, Italian, German, and Netherlandish works on paper also drawn from the Hood's collection. This special section, entitled Images in Translation, has been organized by Lisa Volpe '04, Hood Museum of Art Curatorial Intern, and features chiaroscuro woodcuts, aquatints, and other interpretive printmaking techniques from the eighteenth century.
Rococo to Modernism has been organized by the Hood Museum of Art, Dartmouth College, and generously supported by the Bernard R. Siskind 1955 Fund and the Cissy Patterson Fund.