We are expanding! Check out our programming while the museum is closed.

News

September 1, 2003

Hood Quarterly, autumn 2003
Derrick R. Cartwright, Director

We know a great deal about the lives of men in ancient Greece, and something about the secluded existence of women. Information about children's lives, though, is largely missing. What scholars do know has been pieced together from surviving written texts—chance literary references, writings by ancient philosophers on education and upbringing, and fragmentary inscriptions on monuments and gravestones. 

There is, however, a long overlooked but vital source of information about children—the painted vases...

Read more.
September 1, 2003

Hood Quarterly, autumn 2003
Lesley Wellman, Curator of Education

Coming of Age in Ancient Greece offers an unprecedented exploration of childhood in ancient Greece through the study of art and artifacts. To complement and enhance visitors’ understanding of the objects in the exhibition, the museum has developed an extensive hands-on learning area for visitors of all ages called the Friends’ House. Inspired by the design of typical Greek homes, it contains a wide range of materials that enable...

Read more.
September 1, 2003

Hood Quarterly, autumn 2003

This museum’s collections are deep and vast. They are also growing in quality, thanks in no small part to the inspired support of one special group of committed friends of the museum—the Lathrop Fellows. James Cuno formed this patron group in 1989 when he was director of the Hood, naming it after the beloved Dartmouth art historian and museum director Churchill “Jerry” Lathrop. Cuno worked with these individuals to commission a monumental bronze sculpture by Joel Shapiro that now...

Read more.
September 1, 2003

Hood Quarterly, autumn 2003
T. Barton Thurber, Curator of European Art

By the time William Legge, Second Earl of Dartmouth (1731–1801), and Robert Clements, later First Earl of Leitrim (1732–1804), traveled to Rome in the early 1750s, the so-called Grand Tour to Italy was already considered an essential ingredient in the proper education of many upperclass Europeans, especially young English, Irish, and Scottish noblemen. Guided by early published accounts and traveling according to standard itineraries,...

Read more.
September 1, 2003

Hood Quarterly, autumn 2003

School at Fort Marion is one of three recent acquisitions of Plains ledger drawings from the Mark Lansburgh collection. In this work, the Cheyenne warrior-artist Chief Killer (1849–1922) depicts a classroom scene of Native American captives, including Chief Killer and other well-known ledger artists, being schooled by volunteer teachers during their internment at Fort Marion from 1875 to 1878. The drawing, the earliest Native American work on paper...

Read more.
September 1, 2003

Hood Quarterly, autumn 2003

Louis-Léopold Boilly (1761–1845) first established his reputation as an accomplished portraitist and genre painter at the Paris Salon exhibitions during the French Revolution (1789–99). The painting that brought him his greatest success was the Gathering of Artists in Isabey’s Studio exhibited in the 1798 Salon (and now in the Musée du Louvre).

It was accompanied by a drawing that Boilly evidently intended as another homage to his friend Jean-Baptiste Isabey (1767–1855), a renowned master draftsman. The highly finished portrayal...

Read more.
September 1, 2003

Hood Quarterly, autumn 2003

Drawing for “Evening” is the first drawing by Mary Cassatt (1844–1926) to enter the museum’s collection. This remarkably innovative study for a print dates from around 1879–80, which was an especially formative and experimental period in Cassatt’s career. It was in 1879 that Cassatt, arguably the most celebrated American woman artist of the nineteenth century, first exhibited with the French Impressionists and...

Read more.
September 1, 2003

Hood Quarterly, autumn 2003

In mid-nineteenth-century America, drawing was an important skill enjoyed by many amateur women and schoolgirls, particularly those privileged to study at private female academies. Along with music, needlework, and fine penmanship, the ability to draw conveyed one’s proper education and appreciation for beauty—qualities highly valued in a prospective wife, mother, or future teacher.

The Hood Museum of Art is delighted to have received as a gift from Professor of Theater Margaret E. Spicer a collection of delightful mid-nineteenth-century...

Read more.
September 1, 2003

Hood Quarterly, autumn 2003

Each year, the New England Museum Association (NEMA) sponsors a Publication Awards Program, recognizing excellence in design, production, and effective communication in museum publishing.This year, two Hood publications were awarded high honors, both directed by Juliette Bianco, Exhibitions Manager, and Nils Nadeau, Editor/Publications Coordinator. The Hood Quarterly, designed by Joanna Bodenweber, won first place in the Newsletter...

Read more.
June 1, 2003

Hood Quarterly, summer 2003
Derrick R. Cartwright, Director

Charles W. Moore, the principal architect of the Hood Museum of Art, wrote often and passionately about a prominent role for the arts in contemporary life. In a youthful essay entitled “New Hope for Local Art” (1952), he critiqued the concept of the art museum as an “artistic Fort Knox”—an intimidating edifice focused narrowly upon its custodial role as protector of valuable objects. In the place of that notion, Moore advocated for a contrasting ideal, one where the museum stood out as “a living thing, with a...

Read more.

Pages

Close
Hood Museum