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Quarterly

The Mark Lansburgh Collection

Hood Quarterly, winter 2008
Barbara Thompson, Curator of African, Oceanic, and Native American Collections

Letter from the Director: Winter 2008

Hood Quarterly, winter 2008
Brian Kennedy, Director

Wenda Gu: the green house

Hood Quarterly, summer 2007
Juliette Bianco, Assistant Director

Community of Learners: The Art of Clinical Observation

Hood Publications Win Awards from New England Museum Association

Hood Quarterly, autumn 2007

The New England Museum Association sponsors an annual Publication Awards Program that recognizes excellence in design, production, and effective communication in all aspects of museum publishing. Entries are judged by a panel of experienced professionals in publication, design, marketing and communications. Awards are given to those entries that most effectively present their message to the intended audience.

Wenda Gu at Dartmouth

Hood Quarterly, autumn 2007

Wenda Gu’s two-part project entitled united nations: the green house and united nations: united colors opened to an enthusiastic public audience on June 6 in Dartmouth College’s Baker-Berry Library.

Vital Support: Become a Hood Museum of Art Member

Recent Acquisitions: Charles Fairfax Murray, The Triumph of Love, 1870s

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.

Recent Acquisitions: Edgar Degas, On Stage III, 1876–77

Recent Acquisitions: Lotte Jacobi, Hans Albers, 1930

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.

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