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January 1, 2008

Hood Quarterly, winter 2008

On October 7, 2007, President James Wright, the Native American Studies Program at Dartmouth College, and the Hood Museum of Art joined guests for the unveiling of an Allan Houser (1914–1994) sculpture, Peaceful Serenity (1992), in front of the Sherman House. This bronze-plated sculpture was recently acquired by the Hood Museum of Art through the generosity of Mary Alice Kean Raynolds and David R. W. Raynolds ’49.

Allan Houser, the...

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September 1, 2007

Hood Quarterly, autumn 2007

The acquisition of the first Degas print to enter the collection was generously funded by the Lathrop Fellows. Degas’s On Stage III was one of only four prints published during the artist’s lifetime. It was created for an exhibition sponsored by Les Amis des Arts de Pau, a town in southern France, where he had several friends. The etching reveals Degas’s exploration of a favorite early vantage point at the Opéra, the center seats behind the...

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September 1, 2007

Hood Quarterly, autumn 2007

Charles Fairfax Murray was a close associate of Edward Burne-Jones (1833– 1898), one of the leading so-called Pre-Raphaelite artists active in England in the late nineteenth century. They advocated a revival of interest in medieval art and subject matter, a rebellion against conventional ideas and academic styles, and an assertion of the importance of emotion over intellect.

Murray’s composition of The Triumph of Love is loosely...

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September 1, 2007

Hood Quarterly, autumn 2007
Barbara J. MacAdam, Jonathan L. Cohen Curator of American Art

The Hood is delighted to have received from Hanover resident Philip H. Greene a gift of thirteen paintings that represent the vitality of the “California-style” watercolorists. This informal but closely knit group of artists was most active from the late 1920s through the 1950s, primarily in...

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September 1, 2007

Hood Quarterly, autumn 2007

Dartmouth College has acquired a celebrated portrait of its great benefactor, William Legge, the second Earl of Dartmouth (1731–1801), after whom the College is named. The three-quarter-length portrait in oil on canvas, completed in 1756, represents the sitter leaning to one side on a pedestal situated in a portico-like setting. The Hood purchased the painting at Sotheby’s London auction on 6 June 2007 with funds generously given by Jane Dance and...

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September 1, 2007

Hood Quarterly, autumn 2007

Victor Masayesva Jr., who grew up on a Hopi Reservation in Hotevilla, Arizona, incorporates Hopi symbolism into his photography to depict the ruptured balance between humans and nature. Using antlers, flower petals, feathers, snake skins, cornstalks, and bones as visual metaphors for the cycle of life and death, Masayesva juxtaposes the destruction of humans, animals, land, and spirit against the reality of regeneration, life, and beauty in the southwestern landscape.

The...

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September 1, 2007
Preston Singletary, Tlingit Crest Hat

Hood Quarterly, autumn 2007

Traditionally, Northwest coast Native peoples made crest hats of cedar bark decorated with formline designs that were painted onto the wood with black, red, or green dyes. These abstract designs still assert ancestral lineages linking family members to specific animal or nature spirits.

Preston Singletary uses traditional Tlingit art forms and iconography as the foundation for his glasswork, as exemplified by this luminous blue sculpture in the...

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September 1, 2007

Hood Quarterly, autumn 2007

From four generations of photographers, Lotte Jacobi took over her father’s Berlin photographic studio in 1927. She became one of the best-known photographers in Germany, particularly noted for her portraits of celebrities and artists. In 1935 she was forced to flee Nazi Germany and opened a studio and gallery in New York City, where she continued to pursue portraiture while freelancing as a photographer for Life magazine.

Here, in a...

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June 1, 2007

Hood Quarterly, summer 2007

Nicholas Galanin, an emerging Tlingit artist, constructs enigmatic sculptures of masklike faces from blank sheets and pages from nineteenth-century anthropological books as part of a series of paper sculptures addressing the politics of cultural representation and contemporary indigenous identity. The materiality of the sculptures is significant to him.

Commenting on the outsider’s...

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June 1, 2007

Hood Quarterly, summer 2007

Most attempts at establishing American glass factories during the colonial period were short-lived, generally because they could not compete with the imports from England, Ireland, and central Europe that made up the vast majority of the glassware used in the colonies. This flask, which is mold-blown in a distinctive diamond daisy pattern, represents one of the few forms that can be confidently attributed to the glassworks of Henry William Stiegel (...

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