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

News

September 1, 2013
Washington Allston, Eben Flagg, about 1801, oil on canvas. Gift of Priscilla P. and William M. Chester Jr.; 2013.25

Hood Quarterly, autumn 2013
Barbara J. Macadam, Jonathan L. Cohen Curator of American Art 

It is not often that a work previously unknown to scholars and painted by a major figure in American art emerges from a private collection and is donated to a museum. Such is the happy case with this engaging portrait of young Ebenezer “Eben” Flagg (1795–1837), half-brother to the artist, Washington Allston (1779–1843) (a 1984 family genealogy noted that...

Read more.
September 1, 2013
Suzy Frelinghuysen, Collage Composition #7, about 1936

Hood Quarterly, autumn 2013
Sarah G. Powers, Assistant Curator for Special Projects 

From about 1935 to her death, Suzy Frelinghuysen produced a remarkable body of work that drew on her intense study of cubism and abstract painting. She applied this avant-garde pictorial language to American subject matter and to musical forms that acknowledged her other career as an accomplished opera singer.

Cubist...

Read more.
September 1, 2013
Louise Fishman, Green’s Apogee, 2005, oil on canvas. Purchased through gift of Mr. and Mrs. Joseph H. Hazen by exchange; 2013.23.

Hood Quarterly, autumn 2013
Michael R. Taylor, Director

The Hood recently acquired a major painting by Louise Fishman, one of the most admired and influential abstract artists of her generation. Born in Philadelphia on January 14, 1939, Fishman attended the Philadelphia College of Art between 1956 and 1957 before completing her undergraduate education at the Pennsylvania Academy of the Fine Arts in Philadelphia. She later completed a BFA and BS at the Tyler School of Art in...

Read more.
June 1, 2013

Hood Quarterly, summer 2013
Jessica Womack ’14

During the winter term of 2012, I worked at the Hood Museum of Art as the Class of 1959 Intern. My main project was to assist with the planning for The Expanding Grid, an exhibition that explored the legacy of cubism and grid-based abstraction in contemporary art. I worked directly with Director Michael Taylor to choose pieces and write labels for the show, which was on view from April to August 2012...

Read more.
June 1, 2013
Fan Tchunpi, White Mountain Landscape

Hood Quarterly, summer 2013
Xinyue Guo ’14

Fan Tchunpi, one of the most important and prolific Chinese women artists of the modern era, painted this atmospheric view of New Hampshire’s White Mountains while living with her eldest son, Meng Chi Tsen, in Brookline, Massachusetts, in the early 1960s. According to her son, Fan Tchunpi liked to drive her Volkswagen minibus, load- ed with art supplies, on long road trips around New England while...

Read more.
June 1, 2013
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

Hood Quarterly, summer 2013

The museum recently acquired its first works by photographer Francesca Woodman (1958–1981). Two of the photographs, Space2 and My House, date from when she was an undergraduate student at the Rhode Island School of Design (RISD) between 1975 and 1978. They were purchased through the generous support of Marina and Andrew E. Lewin, Class of...

Read more.
June 1, 2013
Ansel Adams, Aspens, Northern New Mexico, 1958, negative date: 1958; print date: between 1963 and 1973, gelatin silver print. Purchased in memory of Edward A. Hansen, Member of the Board of the Hopkins Center and Hood Museum of Art, with gifts from his wi

Hood Quarterly, summer 2013

Considered the preeminent 20th-century landscape photographer, Ansel Adams demonstrates his mastery in conveying the effects of light in a landscape in this iconic image of an aspen wood. The photograph was acquired in memory of Edward Hansen, a former member of the Board of the Hopkins Center and Hood Museum of Art, with funds donated in his honor by his friends and family, his wife, Julia, and his children, Victoria, Class of 1988, and Christopher, Class of 1985. When Hansen...

Read more.
April 1, 2013
Elizabeth Catlett, Sharecropper, 1952, printed 1968, color linoleum cut on medium weight, cream, Japanese laid paper. Purchased through the Mrs. Harvey P. Hood W ’18 Fund; 2012.62.

Hood Quarterly, spring 2013

Sharecropper is arguably the best-known image by sculptor and printmaker Elizabeth Catlett (1915–2012), who was one of the most admired African American artists of the twentieth century. She devoted her career to creating works that addressed issues of social justice—especially the struggles of African American women—and aimed to reach a broad, multiracial audience.

Catlett’s social convictions...

Read more.
April 1, 2013

Hood Quarterly, spring 2013

Picasso’s most important cubist print, Still Life with a Bottle of Marc, was commissioned by his dealer, Daniel-Henry Kahnweiler, in 1911 and published the following year in an edition of one hundred. The drypoint in the Hood’s version is unusually rich in contrast, with a lot of burr and a rich plate tone that suggests that it does not belong to the regular edition but is instead an extremely rare artist’s...

Read more.
March 1, 2013

Hood Quarterly, spring 2013
Stacey Sell ’85, Associate Curator of Old Master Prints and Drawings, National Gallery of Art, Washington, D.C.

The Hood recently received two major gifts from the family of Adolph Weil Jr., Class of 1935, and his wife, Jean K. Weil. Albrecht Dürer’s engraving Saint Jerome in His Study  (1514) and Rembrandt Harmensz van Rijn’s etching The Three...

Read more.

Pages

Close
Hood Museum