College Museums Notes - About Yale's Exposition 1966 - p.13-14

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College Museum NotesAuthor(s): Henri Dorra, Raymond T. Entenmann and Norman A. GeskeSource: Art Journal, Vol. 25, No. 3 (Spring, 1966), pp. 270+272+274+276+278+280+284+286+288+

290+292+294+296+298+300+302+304Published by: College Art AssociationStable URL: http://www.jstor.org/stable/774994Accessed: 08-10-2015 13:36 UTC

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Norman A. Geske / Editor

college museum notes

NOTETO CONTRIBUTORS ollege or Uni-versity personnel involved with teaching mu-seums are requested to send to the Editorany pertinent information on acquisitions,staff activities and any plans for the devel-opment of the scope of their institutionswhich would be of interest to the Art Jour-nal's public. Information hould be sent toNorman A. Geske, Editor, Sheldon MemorialArt Gallery n Lincoln, Nebraska. The dead-

lines for the quarterly ssues are September1, November 1, February 1 and April 1. Ma-terial received later may be used in a sub-sequent issue if space allows.

ACQUISITIONS Dimensions are given inthe order of height, width and depth. Paint-ings are oil on canvas unless otherwise de-signated. Donors are indicated in parenthe-ses. Attributions re those of the owners.

ACQUISITIONS

ancient artCypriote, 700-200 B.C., Mother and Child,

painted clay, 5", Michigan State. (CarolynWicker)

Cypriote, 700-200 B.C., Woman with Cymbal,clay, 53/4", Michigan State. (CarolynWicker)

Etruscan, Hercules, 4th-3rd century B.C.,bronze, H. 4/4", Michigan State. (Develop-

ment Fund)Greek, Kylix by the Epileios Painter, Atticred-figured style, c. 500 B.C., painted pot-tery, 123/4" diam., 478" high, Michigan State.(Development Fund). (Fig. 1).

Greek, Whiteground Lekythos by the AthenaPainter, c. 490-480 B.C., painted pottery,H. 121/4", Diam. 4/8", Indiana University.(Purchase)

Iranian, Luristan finial, 9th-7th century B.C.,bronze, 3/2" X 3", Williams College. (Pur-chase) (Fig. 2)

Roman, Hercules with Club, 1st centuryB.C. to 3rd century A.D., bronze, 21/8",Michigan State (Development Fund)

105 Ptolemaic, Roman and Byzantine gemstones have been put on indefinite loanin the Indiana University Museum of Artfrom the collection of Burton Y. Berry.

the far eastBalinese, 18th-19th century, Karang-Tjeiviri,

The Ogre Temple Guardian, wood, tracesof paint, H. 8", L. 27", D. 8" MichiganState University. (Development Fund)

Cambodian, Khmer, Goddess Umah, sand-stone, 14th-15th century, H. 33" Berkeley.(Mr. and Mrs. Samuel Josefowitz)

Chinese, Chieh Shih-Fu, Ming Dynasty, TheEighteenth Melodies of the Tartar's Reed,ink on paper, University of Miami. (Pur-chase)

Chinese, Hsieh Shih-ch'en, Album of TwelveLandscape Paintings, dated 1547, Prince-ton. (Mrs. George Rowley)

Chinese, Ming Dynasty, Village Along aRiver, Blue and Green style, H. 181/",L. 14', Stanford University. (Committeefor Art at Stanford) (Fig. 3)

Chinese, Neolithic Period, buff pottery jar,painted designs in red and black, H. 9/4?",W. 10/2" Stanford University. (Mrs. Stew-art M. Marshall)

Chinese, Shang Dynasty, gray pottery Li,ridged designs and corded impressions,H. 52", W. 61/4" Stanford University.(Mrs. Stewart M. Marshall)

Chinese, Wei Dynasty, gray pottery standingwarrior, H. 18" Stanford University. (Mrs.Stewart M. Marshall)

Indian, Gandhara-Hadda(?), Head of aBodhisattva, stucco with traces of color,H. 712", University of Florida, Gaines-ville. (Purchase) (Fig. 4)

Indian, Gandhara, Buddhist Stele, schist,H. 31/2", W. 23", University of Illinois.(Purchase)

Fig. 1. Greek, Kylix by the Epeleios Painter, MichiganState.

Fig. 3. Chinese, Ming Dynasty, Village Along a River,Stanford University.

Fig. 2. Iranian, Luristan finial, Williams College.

Fig. 4. Indian, Gandhara-Hadda(?), Head of a Bodhisattva,University of Florida.

ART OURNAL XV 3 270






Fig. 5. Indian, Gwalior, Brahami, Oberlin College. Fig. 6. Peruvian (Chimu, ca. 1200 A.D.), Chased GoldGoblet, Amherst College.

Indian, Gwalior, Brahami, late 10th cen-

tury,limestone, H.

1612"Oberlin

College.(Purchase) (Fig. 5)Indian, Miniatures (three Bundi, one Jaipur,

one Deccan), tempera on paper, Miami.(George P. Bickford)

Indian, Miniatures (one Bundi, one Mar-war, one Kangra, one Guler), tempera onpaper, Illinois. (George P. Bickford)

Japanese, Momoyama Period, YoshitsumeMonogatari, makimono with four illustra-tions in water color and gold leaf onpaper, 11 7/16" X 13', Michigan State Uni-versity. (Development Fund)

Japanese, Momoyama Period, Three Nohmasks, painted wood, H. 9", Michigan

State University. (Development Fund)Japanese, Edo Period, Amida Buddha, gildedwood, H. 834", Michigan State University.(Development Fund)

Japanese, Edo Period, Six panel GrapeScreen, paper, gilt, wood, brass, H. 665/8"L. 143/?", Indiana University. (Harry C.Nail, Jr.)

Japanese, 19th century, pair of six panelscreens, color and gold leaf on paper,H. 6714", W. 2412", Stanford University.(Mr. and Mrs. Edward M. Hamilton)

arts of africa, oceania,ancient mexico

African-Congo-Bena Lulua, Standing FemaleFigurine, Wood, H. 6", Notre Dame. (Dr.and Mrs. Willi Riese)

African-French Sudan-Bambara, Mask fromKore Society (?), wood, nails, H. 16/2",W. 10", D. 10", Indiana University. (Pur-chase)

African-Nigeria-Yoruba, Horse and Rider,painted wood, 22", Michigan State Uni-versity. (Arthur Hannah)

African-Nigeria-Yoruba (Abeokuta), Ibeji

(Twins),wood, 1014",

MichiganState Uni-

versity. (Development Fund)African-Ivory Coast-Baoule, Painted wooden

mask, 19th Century, 26/4", Princeton Uni-versity. (Mr. and Mrs. Charles Biddle)

Mexican-Jalisco Warrior, clay, pigment, H.115/", W. 6%5", D. 7", Indiana University.(Purchase)

Oceanic-New Guinea, Sepik, Crocodile Stool,wood, H. 614", W. 243/", D. 5", NotreDame (Dr. and Mrs. Willi Riese)

Oceanic-New Ireland, Painted woodenmask, 19th Century, 241/2", Princeton Uni-versity. (Stanley J. Seeger, Jr.)

Peruvian (Chimu, ca. 1200 A.D.) Chased

Gold Goblet, from Batan Grande, Lam-bayote District, H. 73/4", Dia. 43/4", Am-herst College. (Purchase) (Fig. 6)

drawings

George Bellows, Young Irish Girl, 1922,conte crayon, 12" X 8", Mount Holyoke.(Mr. and Mrs. Paul Adams) (Fig. 7)

Robert Birmelin, Untitled, pencil on paper,331/2" X 23", University of Nebraska

(Purchase)William Clutz, Untitled, charcoal on paper,

1964, 22" X 28", University of Nebraska.

(Purchase)

Jim Dine, Untitled, 1965,charcoal on

paper,4038" X 273/, Oberlin College. (Gift ofthe artist)

Leon Goldin, Trees and Rocks, charcoal on

paper, 1964, 1934" X 251/", University ofNebraska. (Purchase)

Chaim Gross, Figure Studies, pen and ink,93/4" X 71/4", Arizona State University.

(Mr. and Mrs. Orme Lewis)Constantine Guys, Napoleon III on Horse-

back, pen and ink, wash and water color,83/8" X 11 15/16", Oberlin College. (Pur-chase)

Fig. 7. George Bellows, YOUNG IRISH GIRL, MountHolyoke College.

Fig. 8. Jacob Jordaens, DEATH OF CLEOPATRA, MountHolyoke.

Budd Hopkins, Drawing, 1965, ink andwater color on paper, 131/2" X 105/",Michigan State University. (DevelopmentFund)

Arnold Houbraken, Dutch, (1660-1719-attr.),Head of a Man, red chalk on paper,534" X 5/8", Mount Holyoke. (Mrs. Caro-line R. Hill)

Jacob Jordaens, Death of Cleopatra, watercolor with red chalk, 7" X 10", Mount

Holyoke. (Mrs. Caroline R. Hill) (Fig. 8)

J.B. Lallemand, French

(1710-1805),Avenue

in a Park, black chalk, 95/8" X 14/2",Vassar. (Purchase)

Auguste Lepere, A Country Village, char-coal on paper, 61/4" X 91/2", Mount Holy-oke. (Mrs. Caroline R. Hill)

Keith Martin, Wild Scene $ 7, pencil on

paper, 10" X 137/", Morgan State Col-

lege. (Purchase)Jean Francois Millet, Landscape, black chalk,

73/" X 12", Oberlin College. (Purchase)Amadeo Modigliana, Female Nude, 17" X

934", Princeton. (C. 0. von Kienbusch)

ART JOURNAL XXV 3 272






Laurent Pecheux, French (1729-1821), Bap-tism of Christ, pencil on paper, 5" X 7",Vassar College. (Purchase)

Orazio Samachini, Italian (1532-77), HolyFamily with St. Elizabeth of Hungary,pen and wash on paper, 121/2" X 11",Stanford University. (Purchase)

Giovanni Antonio Pellegrini, Study for anAltarpiece, c. 1700-10, pen and ink andred chalk over pencil, 11/8"1 X 85/", Ober-

lin College. (Anonymous gift)George Segal, Nude, 1965, pastel on paper,

1734" X 11%3", Williams College. (Pur-chase)

Oli Sihvonen, Untitled, ink on paper, 1964,University of New Mexico. (MillicentRogers Foundation)

Pietro Testa, Italian (1611-1650), Allegori-cal Subject, ink and wash on paper, 141/2"X 117%", Vassar College. (Purchase)

Henri Toulouse-Lautrec, Woman in HighCollared Jacket, two drawings of samesubject, 712" X 41/2,", Princeton. (C. 0. vonKienbusch)

Joachim Uytewael, Dutch (c. 1566-1638), St.

John the Baptist Preaching, pen and inkand wash, 14" X 173/4", Vassar. (Pur-chase)

Joachim Uytewael, Angel Appearing toHagar (recto); The Fall of the Giants(verso), 11/4" X 23", Princeton. (Pur-chase)

Ulfert Wilke, Music to be Seen, six draw-ings, ink on paper, University of Illinois.(Arthur Wiesenberger)

Francis X. Winterhalter, Grand DuchessSophie of Baden, c. 1831, pencil on paper,143/" X 103/", Oberlin College. (Pur-chase)

printsJosef Albers, Homage to the Square: Hard-

Edge, Soft-Edge, 10 color prints, Wes-leyan University, Middletown. (Purchase)

American, 1 ? Life, 1965, Lithographs, 16"X 113 ", Oberlin College. (Anonymous)

Karel Appel, Wild Horse Rider, color wood-cut, University of Georgia. (A. H. Hol-brook)

William Baillie, The Lace Maker, mezzotint,University of Georgia. (A. H. Holbrook)

Hans Baldung Grien, The Three Fates,woodcut, Wesleyan University, Middle-town. (Purchase)

Leonard Baskin, five portraits, etchings andwoodcuts, Wesleyan University, Middle-town. (Purchase)

Leonard Baskin, Bartleby, 1964, lithograph,Oberlin College. (Genevieve Brandt andMary Ainsworth)

Adolphe Beaufrere, Cliff Landscape, etching,University of Georgia. (A. H. Holbrook)

Max Beckmann, Selbstbildnis (Plate 19 from"Gesichter"), 1918, 101/2" X 9/2", Univer-sity of New Mexico. (Purchase)

Frank Benson, Winter Wild Fowling, etch-ing, University of Georgia. (A. H. Hol-brook)

David E. Bernard, La Cathedrale, colorintaglio, 35" X 12", Kansas State Univer-sity. (Purchase)

Abraham Bloemaert, Peasant Games in Hol-land, engraving, University of Georgia.(David James)

Frank Boggs, Chateau of Chinon, aquatint,

University of Georgia. (A. H. Holbrook)Nicolo Boldrini, Venus and Amor, after

Titian, 1566, woodcut, Wesleyan Univer-sity, Middletown. (Purchase)

Rosa Bonheur, Sheep Fold, tinted lithograph,Wesleyan University, Middletown. (A. H.Holbrook)

Pierre Bonnard, St. Monique, pen lithograph,University of Georgia. (A. H. Holbrook)

R. P. Bonnington, Bologne, engraving, Uni-versity of Georgia. (A. H. Holbrook)

Jan Both, The Mule Driver, etching, Uni-versity of Georgia. (A. H. Holbrook)

Felix Bracquemond, Portrait of Fernand,etching, University of Georgia. (Patrons'Funds)

Felix Bracquemond, Arab Horse Tied toStake, etching, University of Georgia. (A.H. Holbrook)

Georges Braque, Birds, color lithograph,University of Georgia. (Patrons' Funds)

Robert R. Burkert, Spring Thaw, serigraph,University of Georgia. (A. H. Holbrook)

Robert R. Burkert, September Harvest, seri-graph, University of Georgia. (A. H.Holbrook)

Jacques Callot, Peasant Carrying Bag, en-graving, University of Georgia. (A. H.Holbrook)

Heinrich Campendonk, Woman with Cat,woodcut, Wesleyan University, Middle-town. (Purchase)

Giovanni Benedetto Castiglione, Circe, etch-ing, Oberlin College. (Charles F. OlneyFund)

Marc Chagall, The Oak and the Reed, from"The Fables de la Fontaine" series, 1927-31, etching and drypoint, Oberlin College.(Charles F. Olney Fund)

Walter Chandler, Ancient Houses in Brest,etching, University of Georgia. (A. H. Hol-brook)

Thomas Coleman, White Circle, intaglio ontriplemetal, 17" X 111/2", Kansas StateUniversity. (Purchase)

Lovis Corinth, Vorfriihling im Gebirge(Early Spring in the Mountains), 1922,lithograph, Wesleyan University, Middle-town. (Purchase)

Ugo da Carpi (after Parmigianino), Di-ogenes, chiaroscuro woodcut, 181/2" X1312", Arizona State University. (Pur-chase)

Salvador Dali, Don Quixote, etching, Uni-versity of Georgia. (A. H. Holbrook)

Salvador Dali, Deux Fantasies, etching, Uni-versity of Georgia. (A. H. Holbrook)

Jacques Dassoneville, French Peasant Familyin Barn, engraving, University of Geor-gia. (David James)

Honore Daumier, At Odds, lithograph, Uni-versity of Georgia. (A. H. Holbrook)

Honore Daumier, thirty-four lothographs,Wesleyan University, Middletown. (Pur-chase)

Honore Daumier, twenty-five lithographs,University of Miami. (David James)

Adrien Dauzats, Cathedral of Nimes, litho-graph, University of Georgia. (A. H. Hol-brook)

Julio de Diego, Flamenco, lithograph, Uni-versity of Georgia. (A. H. Holbrook)

Edgar Degas, Sportman Mounting a Horse,etching, 3 5/16" X 27/", Michigan StateUniversity. (Development Fund)

Jacob de Gheyn II, The Four Evangelists,engraving, Wesleyan University, Middle-town. (Purchase)

Eugene Delacroix, Weislingen, Prisoner ofGoetz, lithograph, Wesleyan University,Middletown. (Purchase)

Stefano Della-Bella, Escutcheon, etching,University of Georgia. (Patrons' Funds)

Paul Deltombe, Champtoceaux on the Loire,lithograph, University of Georgia. (DavidJames)

Gilles Demarteau, Peasant Boy With Sheep,crayon engraving, University of Georgia.(David James)

Andre Derain, Le Satyricon, drypoint, Uni-versity of Georgia. (A. H. Holbrook)

Henri Deville, Pont Neuf in Paris, etching,University of Georgia. (Patrons' Funds)

James Dine, Pliers, 1962, lithograph, 173/8"X 225/8", Michigan State University. (De-velopment Fund)

Werner Drewes, Tree at Night, color wood-cut University of Georgia. (A. H. Hol-brook)

Jean Dubuffet, Jeux et Congres, 1959, colorlithograph, Williams College. (Stephen D.Paine)

Karel DuJardin, Jan de Vos, Poet, 1662,engraving, 5 1/16" X 5" (figure), 61/2"X 5" (with text), Michigan State Uni-versity. (Development Fund)

Albrecht Durer, Madonna With The Mon-key, ca. 1498, engraving, 71/2" X 4 13/16",Arizona State University. (Mr. Read Mul-lan) (Fig. 9)

Max Ernst, Three Persons, 1964, coloraquatint, 13 3/16" X 8 9/16", Mich;ganState University. (Development Fund)

Cornelius Galle, Jr., Henrica Lotharingie,engraving, University of Georgia. (A. H.Holbrook)

Theodore Gericault, Mazeppa, lithograph,University of Georgia. (Patrons' Funds)

Theodore Gericault, Three Boys PlayingWith An Ass, lithograph, Wesleyan Uni-versity, Middletown. (Purchase)

Theodore Gericault, Cheval Devore par unLion, 1823, lithograph, 8" X 10", Uni-versity of New Mexico. (Purchase)

ART OURNAL XV 3 274








renaissance to 1800Badia A. Isola Master, Saints Paul, John

the Evangelist and Peter, 14th C., eggtempera on three wooden panels framedtogether, each panel 133/8" X 123/4", MountHolyoke College. (Mrs. Caroline R. Hill)

Agnolo Bronzino, Virgin and Child WithSt. John, oil on panel, 34" X 263/4", Uni-versity of North Carolina. (Ackland Fund)

Niccolo da Foligno, St. Michael WeighingSouls, painting, 413/4" X 27", PrincetonUniversity. (C. 0. von Kienbusch)

Giovanni Battista Gaulli, Death of Adonis,ca. 1685, oil, 60/4" X 481/4", Oberlin Col-lege. (Mrs. F. F. Prentiss Fund)

German, Saint Anne Holding Virgin andChild, 16th C., gilded and polychromedwooden sculpture, H. 15", Mount Holy-oke College. (Mrs. Caroline R. Hill)

German, Southern (Swabian School?), An-nunciation, and on the reverse, Christ inthe Garden of Gethsemane, late 15th orearly 16th C. tempera on gesso panel,321/2" X 35 /", Mount Holyoke College.

(Mrs. Caroline R. Hill)Giovanni di Paolo, Coronation of the Virgin,

ca. 1445, egg tempera on wooden panelfragment, 23" X 14", Mount Holyoke Col-lege. (Mrs. Caroline R. Hill)

Greco-Byzantine School, Queen of Heavenor Mother of God, 12th C., paintedwooden panel, 213/4" X 143/4", MountHolyoke College. (Mrs. Caroline R. Hill)

Jean Baptiste Hilaire, The Musical andThe Card Party, oil, 267/8" X 22/4", In-diana University. (Purchase)

Melchoir de Hondecoeter, Birds and Fowlin a Garden, oil, 3912" X 46" (sight),University of Utah. (Anonymous)

Adriaen Isenbrant, Madonna Enthroned, oilon panel, 10" X 678", University of NorthCarolina. (Ackland Fund) (Fig. 10)

Italian, North Umbrian School, PolychromeWooden Crucifix, 12th or 13th C., eggtempera on wood, 60" X 36", MountHolyoke College. (Mrs. Caroline R. Hill)

Italian, School of Giotto, Saint Francis Re-ceiving the Stigmata with Brother Leo,14th C. egg tempera on wooden panel,331/2" X 19", Mount Holyoke College.(Mrs. Caroline R. Hill)

Italian, Sienese School of Duccio, Angel,1st half of 14th C., egg tempera on wooden

panel, 71?4"X 7", Mount

HolyokeCol-

lege. (Mrs. Caroline R. Hill) (Fig. 11)Italian, Southern School, Madonna and Child

with Saints, late 14th C., egg tempera onwooden panel, 11/2" X 9", Mount Holy-oke College. (Mrs. Caroline R. Hill)

Italian, Umbrian School, Mary Magdalenein the Wilderness Surrounded by Angels,15th C., egg tempera on wooden panel,with pastiglio work in the halos and cos-tumes, 45" X 29", Mount Holyoke Col-lege. (Mrs. Caroline R. Hill)

Fig. 11. Italian, Sienese School of Duccio, ANGEL,Mount Holyoke College.

Fig. 10. Adriaen Isenbrant, MADONNA ENTHRONED,

Chapel Hill.

Nicoals Lancret, La Collation, oil, 40" X50", Indiana University. (Mr. K. T. Kel-ler)

Nicolas Largilliere, Portrait of a Man, oil,28" X 23", Morgan State College. (Hir-schl and Adler Collection)

Nicolas Largilliere, Portrait of a Woman,oil, 28" X 23", Morgan State College.(Hirschl and Adler Collection)

Jean Mariege, Fantastic Landscape, ca.1721-28, oil 325/8" X 51/2", Vassar Col-lege. (First Presbyterian Church, Pough-

keepsie)Simone Martini, Madonna and Child, 14thC, egg tempera on wooden panel, 1212"X 83", Mount Holyoke College. (Mrs.

Caroline R. Hill)Gabriel Metsu, Family Group, oil on panel,

11" X 13", Morgan State College. (Mr.and Mrs. Abraham M. Adler) (Fig. 14)

J. F. Millet, Landscape with Cottage, water-color, 412" X 7", Mount Holyoke College.(Mrs. Caroline R. Hill)

Charles Willson Peale, Portrait of GeorgeWashington, 1795, oil, 30" X 25", Am-herst College. (Purchase)

Nino Pisano, School of, Virgin and Child,

marble sculpture, 14th C., (silver crownsare 17th-18th C.) 241/2" high, 714" X12/2" base, Williams College. (Mrs. Wil-liam Clarke) (Fig. 12)

Sano di Pietro, Madonna and Child, 15thC., egg tempera on wooden panel withpunch work in gold, 91/2" X 77/", MountHolyoke College. (Mrs. Caroline R. Hill)

Giovanni Girolano Savoldo, Pieta, ca. 1530,oil, 435/8" X 603/", University of Califor-nia, Berkeley. (Purchase) (Illustrated inreport on UC Berkeley on page 263).

Fig. 12. Nino Pisano, School of, VIRGIN AND CHILD,Williams College.







Spanish School, Portrait of a Royal Princeof Spain, 17th C., oil, 59" X48", Stan-ford University. (Mr. and Mrs. EdwardM. Hamilton)

Giovanni Battista Tiepolo, Proculus, Bishopof Verona, Visiting Saints Fermus and

Rusticus, oil, 221/2" X 14i/", Universityof Illinois. (Purchase)

Ugolino Da Siena, Saint Catherine, temperaon panel, 22" X 13", University of Illinois.

(Purchase)Unknown (American), Girl in Blue Dress, ca.

1730, oil, University of Miami. (Purchase)Unknown, (Italian), Mother and Child Sew-

ing, 17th C., oil, 48" X 36", Cornell Uni-

versity. (Purchase) (Fig. 13)Unknown (Spanish), Still Life With Quince,

17th C., oil, 28" X42", University of Roch-ester. (Dr. and Mrs. Fred W. Geib)

Esaias van de Velde, Mountainous Landscape,oil on panel, 13" X 2134", University ofNorth Carolina, Chapel Hill, (Cdr. andMrs. L. H. Stahl in memory of Charles E.

Kistler)Isack van Ostade, Landscape with a Village

Festival, 1641, oil on wood, 153/8" X 195/8",Stanford University. (Mr. and Mrs. PrentisCobb Hale)

John Wootton, The Rubbing House: NewMarket, oil, 40" X 50", University of Flor-ida. (Mr. and Mrs. Marshall C. Sewall)

Michael Zeynsler, The Veil of Saint Veronica,wood relief, 63/4" X 29", University of Illi-

nois, (Purchase)

1800 to presentPierre Alechinsky, Surf, 1958, oil, 451/8" X

637/8", University of California, Berkeley.

(Julian J. and Joachim Jean Aberbach)Karel Appel, Sursaut dans I'arbre, oil, Uni-

versity of Miami, Coral Gables. (Mr. andMrs. Simon Askin)

Ruth Asawa, Hydrangea, 1964, watercolor,

111/" X 15/4", William College. (Purchase)Olle Baertling, Ykiak, 1961, oil, 76/4" X

3814", New York University. (Rose Fried)Rudolf Baranik, Homage to Munch, 1963, oil

and collage on canvas, 48" X 54", NewYork University. (Dr. Rudolph Drosd)

Leonard Baskin, Dead Man, 1957, bronze,35" X 7", New York University. (GraceBorgenicht)

Ralph Albert Blakelock, Sunset Glow, late

19th century, oil on wood panel, 9" X 12",Michigan State University, (DevelopmentFund)

Norman Bluhm, Bitter Lemon, 1963, oil,90" X 66", New York University. (PaulJenkins)

Seymour Boardman, Untitled, 1955, oil,16" X 20", New York University, (HaroldDiamond)

Adolphe William Bouguereau, Portrait of aWoman, oil, 48" X 32", Morgan State Col-lege. (Hirschl and Adler Collection)

Fig. 13. Unknown, Italian, MOTHER AND CHILD SEW-ING, Cornell University.

Fig. 14. Gabriel Metsu, FAMILY GROUP, Morgan StateCollege.

Warren Brandt, Adam and Eve, 1963, oil,84" X 97", New York University. (Anony-mous gift)

James Brooks, Bixby, 1958, oil, 511/" X 66",New York University. (Sam Kootz)

Fritz Bultman, Vase of the Winds II, 1962,bronze sculpture, H. 60", W. 36", Depth27", Williams College. (Artist)

John W. Casilear, Mountain Scene, oil,14" X 17", Morgan State College. (Hirschland Adler Collection)

Mary Cassatt, Jeanette, pastel, 21" X 171/",Morgan State College. (Hirschl and AdlerCollection)

Alonzo Chappel, The Capture of Major An-dre, oil, 2312" X 34i/2", Morgan StateCollege. (Hirschl and Adler Collection)

William M. Chase, Still Life, oil, 22" X 18",Morgan State College. (Hirschl and AdlerCollection)

Puvis de Chavannes, Daphnis and Chloe,1872, oil, 35i/4" diameter, University ofCalifornia, Berkeley. (Mr. and Mrs. SamuelJosefowitz)

Thomas Cole, Catskill Lake, oil, 22" X 30",Morgan State College. (Hirschl and AdlerCollection)

Bruce Conner, Beautiful Collage, 1958, col-lage, 10" X 11", New York University.(Anonymous gift)

Jean Baptiste Camille Corot, Saint-Nicolas-Lez-Arras, oil, 14" X 15?2", Morgan StateCollege. (Hirschl and Adler Collection)

Jasper Francis Cropsey, Lake Landscape, oil,13" X 23", Morgan State College. (Hirschland Adler Collection)

Salvador Dali, Composition, oil on panel,1414" X 17", New York University. (Ned L.Pines)

Mabel D'Amico, Night Heron II, collage,24" X29", New York University. (JosephRenson)

Jacques Louis David, Achilles Displaying theBody of Hector at the Feet of Patroclus,oil, 447/8" X 57/8?", University of Illinois.

(Purchase)Henry Golden Dearth, Harbour Scene, oil,

25" X 32", Morgan State College. (Hirschland Adler Collection)

Alexandre Gabriel Decamps, Flight IntoEgypt, oil, 24" X 311/2", University ofNorth Carolina. (Ackland Fund)

Narcisse Virgile Diaz, Pool in The Wood, oil,15" X 20", Morgan State College. (Hirschland Adler Collection)

Jim Dine, Charcoal Self-Portrait, 1964, char-coal and oil on canvas and cement

objects,108" X 48", Oberlin College. (Purchase)Jean Dubuffet, Paysage Boise, 1953, oil,

45" X 34", Oberlin College. (Joseph Bis-

sett)Frank Duveneck, Portrait of A Girl, oil,

16" X 14", Morgan State College. (Hirschland Adler Collection)

Louis Eilshemius, Nymphs and Landscape,1918, oil, 25" X 201/2", New York Univer-

sity. (Mr. and Mrs. Bernard S. Needle)Louis M. Eilschemus, Dawn, oil, 20" X 30",

Morgan State College. (Hirschl and Adler

Collection)Xavier Esqueda, La Transformacion de los

Objetos, 1965, oil, 23/2" X 19"/2", Dart-mouth College (Artist)

John F. Francis, Still Life, oil, 25" X 30",Morgan State College. (Hirschl and Adler

Collection)Sam Francis, Middle Blue, No. 5, watercolor,

2634" X 40/4", University of California,Berkeley. (Julian J. and Joachim Jean

Aberbach)Thomas George, Black Rain, 1959, oil,

60" X 5234", Dartmouth College. (ArthurA. Cohen)

ART OURNAL XV 3 280






James Gill, Woman in Auto and Close-Up,1965, oil, 31" X 51", University of Califor-nia, Berkeley. (Purchase)

Morris Graves, Antelope, gouache, 133/4" X181?", Princeton University. (Prof. andMrs. P. J. Kelleher)

Mathias Goeritz, Message to Harriet andDonald, 1958, metal collage, 18" X 121/2",New York University. (Anonymous)

Joel Goldblatt, Landscape, 1962, oil, 51" X86", New York University. (Mr. and Mrs.Sander Landfield)

Arshile Gorky, Untitled, 1932, oil, 30" X 35",New York University. (May Walter)

Adolph Gottlieb, Pictographic Tablets 46-47,oil, 25" X 32", New York University. (Mr.and Mrs. A. Ross)

Margaret C. Grigor, Bronze Medal with stand,commemorating the addition of Alaskaand Hawaii to the Union, diam.: 27/".Society of Medalists, 71st Issue, May 1965,Mount Holyoke. (Artist)

Jose Guerrero, Black Penetration, oil, 68" X90", New York University. (Anonymous)

Etienne Hajdu, Figure of Woman, bronze,15" high, New York University. (Mr. andMrs. Arthur Ross)

Al Held, Mural Study, 1964-65, liquitex oncanvas, 245/8" X 65i/4", New York Univer-sity. (Purchase)

Robert Henri, Wenceslas, The MelancholyPole, oil, University of Georgia. (RobertBlake)

Edward Higens, Untitled, 1961, welded steeland epoxy, 121/" X 111/2" X 1214", NewYork University. (John and Margaret CookFoundation)

Hans Hofmann, Above Deep Waters, 1959,

oil, 8414" X 52", Universityof

California,Berkeley. (Artist)Hans Hofmann, And Out of the Caves, 1964,

oil, 841?" X 60/4", University of Califor-nia, Berkeley. (Artist)

Hans Hofmann, The Bat, 1964, oil, 50?/8" X401/", University of California, Berkeley.

(Artist)Hans Hofmann, The Clash, 1964, oil, 52/8?" X

6014", University of California, Berkeley.(Artist)

Hans Hofmann, Effervescence, oil, india ink,casein, enamel on wood, 5418" X 351/2",University of California, Berkeley. (Artist)

Hans Hofmann, Equinox, 1958, oil, 721/8" X

6014", University of California, Berkeley.(Artist)

Hans Hofmann, Le Gilotin, 1953, oil, 58" X48", University of California, Berkeley.(Artist)

Hans Hofmann, Heraldic Call, 1963, oil,enamel, 601?" X 483/8", University of Cali-fornia, Berkeley. (Artist)

Hans Hofmann, Indian Summer, 1959, oil,6018" X 7214", University of California,Berkeley. (Artist)

Hans Hofmann, Japanese Girl, 1935, caseinand oil on plywood, 433/8" X 353/8", University of California, Berkeley. (Artist)

Hans Hofmann, The Lark, 1960, oil, 60/8?" X52?/8", University of California, Berkeley.(Artist)

Hans Hofmann, Maiden Dance, 1964, oil,60I/8" X52/", University of California,Berkeley. (Artist)

Hans Hofmann, Silent Night, 1964, oil,84" X 781/", University of California,Berkeley. (Artist)

Hans Hofmann, Table with Tea Kettle,Green Vase and Red Flowers, 1936, oil,541/2" X 403/8", University of California,Berkeley. (Artist)

Hans Hofmann, Table with Fruit and CoffeePot, 1936, oil and casein on plywood,595/8" X 475/8" (sight), University of Cali-fornia, Berkeley. (Artist)

Hans Hofmann, The Wind, 1942, oil, enamel,gouache, india ink on blue poster board,437/%" 2734", University of California,Berkeley. (Artist)

Hans Hofmann, Yellow Table on YellowBackground, 1936, casein, oil crayon onplywood, 59i/2" X 47s/", University of Cali-fornia, Berkeley. (Artist)

Angelo Ippolito, Corridor, 1965, oil, 60" X50", Michigan State University. (Develop-ment Fund)

Angelo Ippolito, Swamp Runner, 1964, oil,72" X 100", New York University. (Mr.Leonard Bocour)

Louis Isabey, A Town Harbour, oil, 9i4" X11", Morgan State College. (Hirschl andAdler Collection)

Josef Israels, Dutch Girl Seated, oil, 19" X 27",Morgan State College. (Hirschl and Adler

Collection)Paul Jenkins, Phenomena Break Labyrinth,1964, achrylic on canvas, 116" X 71", NewYork University. (Anonymous)

Eastman Johnson, Two Boys With Sled (Frye-burg, Maine) oil, 19" X 16", Morgan StateCollege. (Hirschl and Adler Collection)

Asger Jorn, Ballet of Heads, 1960, oil,447"/ X 57i/2", University of California,Berkeley. (Julian J. and Joachim JeanAberbach)

Asger Jorn, Head, 1959, oil on cardboard,303/" X 221/2" (sight), University of Cali-fornia, Berkeley. (Julian J. and JoachimJean Aberbach)

Asger Jorn, The Scandal, 1957, oil, 317/" X391/2", University of California, Berkeley.(Julian J. and Joachim Jean Aberbach)

Asger Jorn, Three Heads, 1940, oil, 32" X393/8", University of California, Berkeley.(Julian J. and Joachim Jean Aberbach)

Asger Jorn, Two Heads, 1959, gouache, 28" X391/2", University of California, Berkeley.(Julian J. and Joachim Jean Aberbach)

Herbert Kallem, Premiere Danseuse, steelsculpture, 58" X22", New York University.(Zero Mostel)

Fig. 15. Fernand Leger, PROFILES, Dartmouth College.

Vasily Kandinsky, Untitled, 1924, watercolor,1334" X14", Dartmouth College. (WallaceK. Harrison)

Zoltan Kemeny, The Years, 1955, zinc sculp-tural relief, 22" X 194", University of Cali-fornia, Berkeley. (Julian J. and JoachimAberbach)

John Frederick Kensett, Harvest Time, oil,10" x 18", Morgan State College. (Hirschland Adler Collection)

Jonah Kinigstein, The Parade of Evil Im-port, 1963, oil, 48" X 60", New York Uni-versity. (Mr. and Mrs. Leonard Bocour)

Georg Kolbe, Adagio, signed bronze sculp-ture, H. 32", Stanford University. (Mr.and Mrs. Paul R. Hanna)

John LaFarge, An Angel of Help, oil, 11" X61/", Morgan State College. (Hirschl andAdler Collection)

Albert Charles Lebourg, Beach Scene, watercolor, 12" X 19", Morgan State College.(Hirschl and Adler Collection)

Fernand Leger, Profiles, 1933, oil, 503/4" X373/4", Dartmouth College. (Wallace K.Harrison) (Fig. 15)

Andre Lhote, Nude, oil, 10l/2" X 18", Mor-gan State College. (Hirschl and Adler Col-lection)

LeoManso,

ToTurgenev: Hunting SketchesIII, 1965, collage, 13" X 11?/8", Michigan

State University. (Development Fund)Irving Marantz, Children and Horsemen,

1963, oil, 47/2" X 39i/", New York Uni-versity. (Mr. and Mrs. Sam Golden)

Conrad Marca-Relli, Cargo, 1958, oil and can-vas on canvas, 77" X 108", New York Uni-versity. (Anonymous) (Fig. 18)

Keith Martin, Room With Mirrors, 1965, col-lage, 9" X 11", Morgan State College. (Mrs.Issac Hamberger Fund)

ART OURNAL XV 3 284






Fig. 18. Conrad Marca-Relli, CARGO, New York Univer-sity.

Knox Martin, Mural Study, 1964, liquitex oncanvas on wood, 10" X35/2", New YorkUniversity. (Purchase)

Andrea Masson, Untitled, 1942, collage,167/%" 1214", New York University, (Ber-nard J. Reis)

Matta, A Pinch of Earth, 1953, oil, 41" X461/4", Dartmouth College. (Thomas George)

Alfred H. Mauer, Still Life, gouache, 18" X21", New York University. (Mr. Ned L.Pines)

Jervis McEntee, Landscape, oil, 36" X 24",Morgan State College. (Hirschl and AdlerCollection)

Tad Miyashita, Of Moon and Sun, acrylic oncanvas, 48" X 48", New York University.(Anonymous)

Robert Motherwell, Untitled, 1958, collage,14/2" X 112", New York University.(Anonymous)

Clara Moulton, John C. Calhoun, pastel,23" x 18", Morgan State College. (Hirschland Adler Collection)

Shepard A. Mount, Landscape and Fish, oil,30" X 22", Morgan State College. (Hirschland Adler Collection)

Robert Natkin, Othello, 1963, oil, 84" X 84",New York University. (Mr. David Dolnick)

Gilbert Stuart Newton, Artist and Friends,oil, 22" X 26", Morgan State College.(Hirschl and Adler Collection)

Erskine Nicol, Conversation Piece, oil, 25" X30", Morgan State College. (Hirschl andAdler Collection)

Kenneth Noland, Spread, 1958, oil, 117" X117", New York University. (William S.Rubin)

Kenzo Okada, Mural Study, 1964, oil on card-board in two parts, 31" X 2034" each,New York University. (Purchase)

John Opper, Parthenon, 1963, 80" X 104",New York University. (Anonymous)

Bill Parker, Abstraction, oil, 50" X 60",Mount Holyoke College. (Nancy EverettDwight Fund)

Henry Pearson, Aphrodite Ball II, 1965, liqui-tex on papier mache, 53/4" diam., NewYork University. (Anonymous)

Waldo Pierce, Torrents of Spring, oil, 16" X20", New York University. (Ned L. Pines)

Fig. 16. Auguste Rodin, THE WALKING MAN, Smith

College.

Fig. 17. Ary Scheffer, PAOLO AND FRANCESCA, Amherst

College.

Larry Poons, Away out on the Mountain,1965, acrylic emulsion on canvas, 72" X144", Oberlin College. (Purchase)

Sir Henry Raeburn, Portrait of a Woman,oil, 30" x 24", Morgan State College.(Hirschl and Adler Collection)

Allan Ramsay, Flora MacDonald, oil, 30" X25", Morgan State College. (Hirschl andAdler Collection)

Robert Ranieri, North-Wind-Eagle, 1964metal sculpture, New York University.(Ford Foundation)

Theodore Robinson, Seascape, oil, 20" X 28",Morgan State College. (Hirschl and AdlerCollection)

Auguste Rodin, The Walking Man, bronze,712' X 21/2' X 51it, Smith College, (Pur-chase) (Fig. 16)

Mark Rothko, Number 207, (Red Over DarkBlue on Dark Gray), 1961, oil, 9234" X811/8", University of California, Berkeley.(Purchase)

John Singer Sargent, An Actor in ChineseCostume, oil, 21" X 14", Morgan State Col-lege. (Hirschl and Adler Collection)

Angelo Savelli, Untitled, 1957, collage, 17" X22", New York University. (Anonymous)

Ary Scheffer, Paolo and Francesca, 1854, oil,45" X 64", Amherst College. (Fig. 17)

Jason Seley, Charles I, 1963, steel, 35" high,University of California, Berkeley. (Artist)

Kendall Shaw, Hunt Beckmann Takes theBall, 1964, acrylic on canvas, New York

University. (Anonymous)David Simpson, Firing Line, 20th C., oil,

60" X 96", Stanford University. (Mr. andMrs. Edward M. Hamilton)

Francois Stahly, Coquille, 1953, wood sculp-ture, W. 251/2", Stanford University. (Artist)

Francois Stahly, Palo Alto, 1965, wood sculp-ture, H. 14', W. 3', Stanford University.(Artist)

Sullivan Louis, 20 pieces from elevator en-closures, 1893, Tougaloo College. (City of

Chicago)Thomas Sully, Gentle Shepherd, oil, 28" X

361/2", Morgan State College. (Hirschl andAdler Collection)

Tade, Untitled, 1960, relief, 47" X31", NewYork University. (Theodore Racoosin)

Hans Thoma, Nude in Grotto, oil, 23" X18", Morgan State College. (Hirschl andAdler Collection)

Mark Tobey, Untitled, 1965, oil, 111/2" X9", Stanford University. (Dr. Ralph Spiegl)

A. Ubeda, Trumpet, 1961, oil, 26" X32/2",University of the South (Samuel Silverman)

George Van der Sluis, Ochre and WhiteStones, 1963, oil and stone on canvas,46" X 34" New York University. (Mr. andMrs. Leonard Bocour)

Bram Van Velde, Untitled, 1938, gouache on

paper mounted on canvas, 371/2" X 281/4",University of California, Berkeley. (JulianJ. and Jochim Jean Aberbach)

Victor Vasarely, Yapura, 1951-56, oil, 43" X

39/,4",Dartmouth

College. (WallaceK.

Harrison)Claude Venard, Still Life, oil, 13" X 16",

Morgan State College. (Hirschl and Adler

Collection)Claude Venard, L'Isle de St. Louis, 1957, oil,

40" x 40", Mount Holyoke College. (Mr.and Mrs. Rodney L. White)

Esteban Vincene, Untitled #5, 1961, oil38" x 48", New York University. (BernardReis)

Charmion Von Wiegand, Untitled, 1947, oil,New York University. (Howard Wise)

William Walton, Sun Sequence #1, 1964,oil, 50" X60", New York University. (Philip

Johnson)Edward H. Weiss, Black Moon Over Red Sky,

acrylic on canvas, 71" X 351/2", Mount

Holyoke College. (Artist)Edward H. Weiss, Large Orange Starfish

Over Green Waters, 49" X 69", Mount

Holyoke College. (Artist)Tom Wesselmann, Still Life #51, 1964,

construction, 108" X 96" X 161", NewYork University. (Anonymous)

Neil Williams, Variation on Paris Series,watercolor, 24151/6"X 417/ ", Oberlin Col-

ART OURNAL XV 3 286






lege. (Genevieve Brandt and Mary Ains-worth)

Alexander H. Wyant, Landscape, oil, 14" X20", Morgan State College. (Hirschl andAdler Galleries Collection) 1

exhibitions/recent & currentALBION COLLEGE: Art Staff Exhibition; Feb. 6-

March 6; Contemporary Drawings; March10-27; Art of Two Cities, April 13-May 1.

BELOIT COLLEGE, THEODORE LYMAN WRIGHT ART

CENTER: American Indian Paintings; Callig-raphy by Koho Kato; Photographs by FloydHoover, Jan. 10-30; Drawings by Rico Le-Brun, Feb. 1-28; Fiber, Clay and Metal,Paintings by Dale Kendrick, March 4-27;Annual Student Show, April 3-25; CeramicSculpture by Clayton Bailey, Paintings byThomas Parker, Prints by Robert O. Hod-gell, May 1-29.

BOSTON UNIVERSITY, ART GALLERY: A Selection

from the 1965 Corcoran Biennial, Nov. 16-Dec. 7.BRANDEIS UNIVERSITY, ROSE ART MUSEUM: Wil-

liam Baziotes Memorial Exhibition, Nov.1-28; For the Young Collector, Dec. 5-Jan.9; Washington Color Painters, Jan. 17-Feb.20; Philip Guston, 17th Century PaintingFrom the Low Countries, Feb. 27-March 27;Rene Magritte, April 3-May 1; PermanentCollection, May 9-June 19.

CENTIRAL COLLEGE, PELLA, IOWA: Prints by Rob-ert 0. Hodgell, Feb.; Annual Staff Exhibi-tion, March; Drawings and Paintings byKarl Mattern, April; Student Exhibition,May.

CLEVELAND INSTITUTE OF ART: Antonio Frasconi1952-1963, December 12-31.

COLBY COLLEGE, WATERVILLE, ME.: German Im-pressionists, March; Waldo Pierce Retro-

spective, April.DEPAUW UNIVERSITY, ART CENTER, GREENCASTLE,

IND.: Six Sculptors, December.DREW UNIVERSITY, MADISON, N.J.: Paintings by

Robert Nunnelley, Relief Paintings by LouAnne Smith, Paintings and Constructionsby Gerald Coble, Jan. 4-25.

DUKE UNIVERSITY, THE GALLERY DEPARTMENT OF

ART: A Survey of Egyptian Sculpture, Oct.16-Nov. 28.

FINCH COLLEGE, MUSEUM OF ART: Five Centuries

of Graphic Art, Jan. 18-March 7.HAVARD UNIVERSITY, FOGG ART MUSEUM: Turko-

man Rugs, January 26-March 6.HOFFSTRA UNIVERSITY, EMILY LOWE GALLERY,

HEMPSTEAD, L.I.: Award Winners, L.I. Artists

Competition, January 4-14; Religious Sym-bols Used by Artists Post And Present, Jan-uary 18-February 10; Paintings by Raouland Jean Dufy, March 1-10; L.I. Crafts-men's Guild Annual Exhibition, March 29-April 22; Camera Infinity, March 29-April22; Fifty Years of American Art From Prov-

incetown, April 26-May 13; Annual Stu-dent Exhibition, May 17-June 2.

INDIANA UNIVERSITY, MUSEUM OF ART: An Ex-hibition of Intaglios and Lithographs byRichard Upton: France 1965, January 5-25;Maori Artifacts from the Wellington Mu-seum, New Zealand, January-February; An-

tiquities from the Collection of Burton Y.Berry, January-February; Mexican FolkArt, March.

KANSAS CITY ART INSTITUTE, CHARLOTTE CROSBY

KEMPER GALLERY: Paintings by Leland Belland Louisa Matthiasdottir, January 9-Feb-ruary 8.

KANSAS STATE TEACHERS COLLEGE, EMPORIA:

Scultpure by Bill Bagley and Prints by Rus-sell Roller, February.

LEHIGH UNIVERSITY, ALUMNI MEMORIAL BUILD-

ING GALLERIES : A en Blagden, January;Eight Contemporaries, January; Billy Mor-row Jackson, February; Colleen Browning,March; Charles Burchfield, March; WalterMurch, April; draw, cut, scratch, etch-Print , May; From Leigh's Collection, May;Annual Student

Exhibition, May-June.MICHIGAN STATE UNIVERSITY, EAST LANSING:

Paintings by Milton Avery (MOMA), Feb.26-March 13; Lithographs by Giacometti,Feb. 21-March 13; Faculty Exhibition,March 19-April 5; Murray Jones Retrospec-tive, April 9-29; Graduate Exhibitions, May4-29; Undergraduate Exhibition, June 3-26.

NEW SCHOOL FOR SOCIAL RESEARCH, ART CENTER:

Contemporary Urban Visions, January 25-

February 24.OBERLIN COLLEGE, ALLEN MEMORIAL ART MU-

SEUM: Paintings by Olle Baertling, February7-28; Medieval Brass Rubbings from En-gland, March 5-31; 19th and 20th Century

European Drawings, April 11-May 1; Ober-lin Faculty Show: Gutzeit, Tinker andWhiteside, May 6-30; Japanese Prints fromthe Mary A. Ainsworth Collection.

OHIO STATE UNIVERSITY, ART GALLERY: FacultyExhibition, Feb. 28-March 18; Product De-sign Technology and Aesthetics, March 28-April 22; Exhibit for The Ohio State Uni-versity Conference on the Humanities,April 25-May 20; Undergraduate Exhibi-tion, May 23-June 14.

PACE COLLEGE, NEW YORK CITY: African Art,February; Morton Birkin, March; JanetCulbertson-Kaften, April; Student SpringShow, May.

PENSACOLA JUNIOR COLLEGE, FINE ARTS GALLERY:Prints and Colleges by Robert C. Skelley,Jan. 12-28.

PHILLIPS ACADEMY, ANDOVER, ADDISON GALLERY

OF AMERICAN ART: White on White, January5-February 13.

PHILLIPS EXETER ACADEMY, LAMONT GALLERY:

Prints by Tadeusz Lapinski, January 25-February 20; Fabulous Decade, February 8-27; Frederich Law Olmstead, March 1-16.

PURDUE UNIVERSITY, FINE ART GALLERY: Ameri-can Figure Painters, December 1-31.

SAN FRANCISCO STATE COLLEGE: "3", Drew

Langsner, Martin Locks, Michael Cooking-ham, January 3-23.

SETON HALL UNIVERSITY, SOUTH ORANGE, N.J.:

Felipe Herenberg, Paintings, January 9-February 6; Paintings by Dorothy Abelson,Feb. 13-March 6; Paintings by Hans Wein-gaertner, March 13-April 3; Maine, 50 Art-ists of the 20th Century (AFA), May 1-22.

SOUTHERN ILLINOIS UNIVERSITY, UNIVERSITY GAL-

LERIES, CARBONDALE: Optical Art, February21-March 18; Faculty Exhibition, March 21-April 22; Jay McVicker, April 25-May 20;Student Exhibition, May 23-June 17.

STANFORD UNIVERSITY, ART MUSEUM: Figures-Thiebaud, September 26-October 31.

STEPHENS COLLEGE, DAVIS ART GALLERY, COLUM-

BIA, MISSOURI: 2nd Trans-Mississippi Paint-ing, November 15-December 10; New Cam-pus Architecture, January 17-February 4;Drawings from the Museum of Modern Art,February 7-25.

SYRACUSE UNIVERSITY, JOE AND EMILY LOWE ART

CENTER: Paintings and Drawings by Joseph

Floch, and,Pier

Luigi Nervi: StructuralArchitecture, December.TOUGALOO COLLEGE, THE ORLEANS GALLERY:

Paintings by Fritz Bultman, January; Mur-als in Architecture (AFA), February; Memo-rabilia of the 1913 Armory Show (AFA),March; Works by Ivan Albright, April.

UNIVERSITY OF ARIZONA, STATE MUSEUM: Paint-ings by Paul Dyck, January.

UNIVERSITY OF ARKANSAS, ART CENTER GALLERY:

Leonardo Da Vinci Models (IBM), Febru-ary; Paintings and Drawings by Joseph Ste-fanelli, and, Experimental Photography byNorman De Marco, March; United StatesAir Force Art Collection, April; 13th Annual

Exhibition, Advertising Artists Associationof Dallas, and, Childrens Art, May; StudentExhibition, May-June.

UNIVERSITY OF CALIFORNIA, BERKELEY, ART GAL-

LERY: Jugendstile Expressionism, November16-December 9; Competition Drawings, and,New Acquisitions, January 6-February 16;Directions in Kinetic Sculpture, March 18to May 1; The University Art Collection,Rediscoveries and New Acquisitions, May21-July 29; Worth Ryder Art Gallery, Kroe-ber Hall: Paintings by David Simpson, Jan-uary.

UNIVERSITY OF CALIFORNIA, LOS ANGELES, ART

GALLERY: Henri Matisse Retrospective, Jan-

uary 5-February 20.UNIVERSITY OF CALIFORNIA, SANTA BARBARA, ART

GALLERY: Robert Thomas Retrospective,January 11-February 13;* Surrealism-AState of Mind, February 22-March 27.

UNIVERSITY OF COLORADO, FINE ARTS GALLERY:

Boulder Valley Public Schools, March 1-21;Undergraduate-Graduate Show, March 23-April 11; Lynn Wolfe, April 14-May 8;M.A.-M.F.A. Exhibition, May 11-June 7.

UNIVERSITY OF FLORIDA, UNIVERSITY GALLERY,GAINESVILLE: Pearsall Collection of Indian







Artifacts, January 2-February 6; Prints byPaul Klee (MOMA), February 15-March 6;Design '66, March 12-April 3; Miniaturesand Small Sculptures of India, April 10-May29; Recent American Synagogue Architec-ture, June 5-July 3.

UNIVERSITY OF GEORGIA, MUSEUM OF ART,ATHENS:Paintings by Frank Pack, January2-31; 14th Annual Print Exhibit (AFA),January 23-February 15; Wedgewood Ware,Feb. 1-27; Prints from Associated AmericanArtists, March 1-30; Graduate Students,April 1-30; County High School Art, May;Annual Exhibition, Athens Art Association,June 1-30.

UNIVERSITY OF ILLINOIS, KRANNERT ART MUSEUM,CHAMPAIGN-URBANA: The New JapanesePaintinng and Sculpture, December 12-Jan-uary 30; Ralston Crawford, Paintings andPrints, February 6-27.

UNIVERSITY OF IOWA, IOWA CITY: Fifteen OpArtists, December 5-January 9; From theWest, January 9-February 6.

UNIVERSITY OF KANSAS, MUSEUM OF ART, LAW-

RENCE: Les Mardis, Stephane Mallarme andthe Artists of His Circle, December.

UNIVERSITY OF KENTUCKY: Niles Spencer, Octo-ber 10-November 6; Graphics '66, MarcelFiorini, November 13-December 14; Paint-ings by Frederic Thursz, January 9-February6; Sebastiano and Marco Ricci, February 13-March 6.

UNIVERSITY OF MIAMI, JOE AND EMILY LOWE ART

GALLERY: The Virgil Barker Memorial Col-lection of American Art, October 30-Janu-ary 16; Etchings by William Gropper, De-cember 19-29; Eugene Massin Retrospec-tive, February 20-March 13.

UNIVERSITY OF MICHIGAN, ANN ARBOR: Aesop,Five Centuries

ofIllustrated Fables

(AFA),March 1-22; 19th and 20th Century Eu-ropean Drawings (AFA), March 7-27; 18thCentury Sketches and Bozzetti from Amer-ican and European Collections, April 6-May8.

UNIVERSITY OF MINNESOTA, DULUTH: Dedica-

tory Exhibition for the Alice Tweed TuohyRoom of the Tweed Gallery, November 5-December 5; Faculty Exhibition, January 7-February 6; Looking at Pictures withGertrude Stein, Bonnard Lithographs, Feb-ruary 9-27; Drawings by Rico LeBrun,March.

UNIVERSITY OF MINNESOTA, MINNEAPOLIS: Re-

cent Paintings by Peter Busa, January 6-February 6; Gausta, January 25-February15; Lithographs by Zigmunds Priede, Feb-ruary 14-March 18.

UNIVERSITY OF MISSOURI: Prints by Edward

Hopper, March 6-22; Art DepartmentFaculty Show, April 11-29; Student Show,May 2-13.

UNIVERSITY OF NEBRASKA, UNIVERSITY ART GAL-LERIES: Wooden Bowls by Bob Stocksdale,February 1-27; American Photography-The Sixties, February 22-March 20; Draw-

ings by Barry Kahn, March 1-27; Prints byMichael Ponce de Leon, March 22-April17; Milton Avery Retrospective, April 3-May 1; Serigraphs by Jack Hughes, April12-May 8 Student Show, May 17-June 27.

UNIVERSITY OF NEW HAMPSHIRE, PAUL ARTS

CENTER: Rajput Paintings, December 13-January 11; A Century of American Paint-ings, January 15-February 15; Alumni Ex-hibition, February 17-March 6; TheYoung Eye, January 28-February 20; WovenWall Hangings by Dorian Zachai, Febru-ary 25-March 20; New Hampshire ArtAssociation Annual Exhibition, March 8-April 1; 14th National Print Exhibition,(AFA); Furniture and Interior Design,March 22-April 14.

UNIVERSITY OF NEW MEXICO, UNIVERSITY ARTGALLERY: Recent Paintings by Jesse Rei-chek, February 6-March 6; Mr. and Mrs.William H. James Collection, February 13-March 13; Andrew Dasburg Drawings,February 13-March 13; 20th Century Sculp-ture, March 27-May 1; Masters Thesis Ex-

George Inness, Approaching Storm, Fort Worth Art As-sociation. Included in the exhibition, Paintings by GeorgeInness, Dec. 12-Jan. 30, University of Texas, Austin.

Rene Magritte, La Folie de la Grandeur (Collection ofJoseph H. Hirshhorn). Included in the exhibition, Sur-realism, A State of Mind, University of California, SantaBarbara, February 22-March 27.

hibition, May 10-22; Annual Student Ex-hibition, May 28 through summer.

UNIVERSITY OF NEW MEXICO, JONSON GALLERY:

Paintings by Howard B. Schleeter, Decem-ber 5-31; Recent Works by Walter Rut-kowski, January 2-28; Paintings, Drawingsand Medals by Richard Kurman, January30-February 25.

UNIVERSITY OF NORTH CAROLINA, ACKLAND ART

CENTER, CHAPEL HILL: Forain, January 11-30; Artists of the Consolidated Universityof North Carolina, February 4-27; TheIdeal Theater: Eight Concepts, March 1-19 (AFA); American Master Drawings,March 22-April 6; African Sculptures,(Segy), April 8-May 1; Paintings from theMarshall Collection, May 6-29; 30th An-nual Student Art Exhibition, June-Sept.

UNIVERSITY OF NORTH CAROLINA, WEATHER-

SPOON ART GALLERY, GREENSBORO: Artists ofthe Consolidated University of North Car-olina, January 16-31.

UNIVERSITY OF NOTRE DAME, ART GALLERY: Be

My Guest , February 20-March 13; SeniorRetrospective and Graduate Student Ex-hibition, March 27-June 12.

UNIVERSITY OF OMAHA: Invitational DrawingShow, January; Lithographs by Daumier,Woodcuts by Robert O. Hodgell, Febru-ary; Faculty Show, March; Paintings fromSan Francisco, April; Senior Thesis Ex-hibition, May.

UNIVERSITY OF OREGON, MUSEUM OF ART: ThePoindexter Collection, November 30-Janu-ary 23; Architecture in a Japanese Neigh-borhood, January 11-February 3; MorrisGraves-A Retrospective, February 8-March 13; Interiors 1966; March 22-April3; Dutch and Flemish Paintings of the

Baroque Age (WAAM), April 5-25; ShakerArt, April 19-May 8; United States AirForce Art Collection, May 2-15; Architec-ture of Pietro Belluschi, April 19-May 15;Juan O'Gorman, Mexican Mural Painter(WAAM), May 2-29; Onda, A Documenta-tion, (WAAM), May 2-29; Arts of NewGuinea, May 17-July 17.(Note: Through inadvertence the exhibi-tions listed for the University of Oregon'sMuseum of Art in the Fall Issue of theART JOURNALwere from the schedule ofthe 1964-65 Academic year-Apologies.N.G.)

UNIVERSITY OF PENNSYLVANIA, INSTITUTE OF

CONTEMPORARY ART: Atmosphere '65-'66,March 17-May 8.

UNIVERSITY OF ROCHESTER, MEMORIAL ART GAL-

LERY: Homage to the Square, Josef Albers,January 7-30; Contemporary JapanesePrints, January; The Ugly Face of Roches-ter, Small Sculptures, Water colors andDrawings by Henry Moore, Paintings byJohn Quidor, February 5-27.

UNIVERSITY OF TENNESSEE, GALLERY OF FINE

ARTS:Jenny Lind, January 5-25; Drawingsand Paintings by Jac Friling, February 7-

ART OURNAL XV 3 290






March 3; Stan Sessler Paintings, March 7-30; Michigan Water Color Society, April 4-28; Students' Show, May.

UNIVERSITY OF WISCONSIN, MADISON: Paintingsby Julian Stanczak, February-March; Sculp-ture by Frank Gallo, March-April; Paint-ings by Seymour Rosofsky, April-May.

UNIVERSITY OF WISCONSIN, MILWAUKEE: Greekand Russian Icons, November 15-December10.

WASHINGTON UNIVERSITY, GALLERY OF ART:

Oriental Painting, Sculpture, Woodcutsfrom the Nelson Gallery, January 21-March 11; Drawings from the NewberryCollection, and, Paintings by Juan Gr'sfrom St. Louis Collections, March 13-April 8; Faculty Exhibition, April 10-May20; Student Exhibition, May 22-June 10.

WESTERN MICHIGAN UNIVERSITY, KALAMAZOO:

Second National Print and Drawing Ex-hibition, February 20-March 31.

WILLIAMS COLLEGE, MUSEUM OF ART: 150 Yearsof American Drawing, Oct. 25-Nov. 15;Paintings by Anne Laton Parker, Jan. 4-19;A Tribute to Kay Sage, Feb. 1-20; VassarCollege Williams College Exchange, Feb.26-March 18.

YALE UNIVERSITY, GALLERY OF ART: Art ofLatin America Since Independence, Janu-ary 27-March 13.

During the exhibition season many artistsfrom academic faculties are seen in exhibi-tions in public museums and dealers galler-ies. Notable recent instances are the follow-ing: Harold Altman, Associate Professor atPennsylvania State University exhibited fortynew intaglio prints at the Weyhe Gallery inNew York, Thomas Bang, of the faculty ofthe University of California at Santa Bar-

bara, exhibited recent work at the EstherBear Gallery in Santa Barbara, Harvey Lit-tleton, Professor of Art at the University ofWisconsin at Madison, exhibited seventy fivepieces of free-blown glass at the MilwaukeeArt Center, Charles Pollock, Associate Profes-sor at Michigan State University exhibitedrecent paintings at the Gertrude Kasle Gal-lery in Detroit, and Wayne Thiebaud, Asso-ciate Professor at the University of Californiaat Davis, showed new figure paintings at theAlan Stone Gallery in New York. Group ex-hibitions of the same kind have been the ex-hibition, Art from New Jersey Colleges, pre-sented in the galleries of the New Jersey StateMuseum in Trenton, and the exhibition,Ten From Rutgers, held at the BianchiniGallery in New York.

AFA-FORD FOUNDATIONVISITING ARTISTS PROGRAM

The Ford Foundation's Visiting ArtistsProgram has taken artists to a number ofUniversity and College Museums within thepast year. the program is aimed at providinga broad community contact with professional

artists, does not involve teaching responsibil-ities and is usually accompanied by an exhi-bition of the resident artist's work during hisstay. In the third year of the program twentyseven artists have been assigned residencies.The following were those assigned to collegesand universities: Clifford Chieffo, ColoradoState College, Greeley; Byron Burford, BallState Teachers College, Muncie; Eugene Mas-sin, West Virginia University, Morgantown;Paul Brach, University of New Mexico, Al-buquerque; Jack Sonnenberg, Hampton In-stitute, Hampton, Virginia; Marcia Marcus,Rhode Island School of Design, Providence;and Frank Roth, University of Rhode Island,Kingston.

A University Collects. Thirty-two worksfrom New York University's collection ofmore than six hundred paintings, sculptures,drawings and prints, have been selected byRuth Gurin, Curator, for national circula-tion under the auspices of The AmericanFederation of Arts. This is the most recentexhibition in a series devoted to the collec-tions of colleges and universities. The presentexhibition represents a cross sectional sam-pling of contemporary European and Ameri-can painting. The statements accompanyingthe paintings were prepared by New YorkUniversity students and curatorial aides. Theexhibition is accompanied by a handsomelydesigned and illustrated catalogue.

Museum of Graphic Art. A new develop-ment of considerable interest is the establish-ment of a Museum of Graphic Art. ThePresident and Director is Donald H. Kar-shan. Caroline Karpinski who is Vice Presi-dent of the Museum, served as curator forthe first exhibition, presented in the Finch

CollegeMuseum of Art from

January18

through March 7. Other Directors of theMuseum include Carl Zigrosser, A. HyattMayor, Mrs. Otto Spaeth, Mrs. Guri LieZeckendorf and Mr. Edward Albee. Mr. Kar-shan stated that the first exhibition was or-ganized to demonstrate the objectives of theorganization, rather than wait until the mu-seum had its own building. The exhibition,entitled, Five Centuries of Graphic Art,represented all the major print making tech-niques and included examples by recognizedmasters from Schongauer to Lasansky.

SURREALIST EXHIBITION AT

SANTA BARBARA CAMPUS OFTHE UNIVERSITY OFCALIFORNIA

The exhibition Surrealism-A State ofMind is ideally suited to a university gallery:it is comparatively small (thirty paintings,twenty-three drawings and watercolors, sevensculptures); it is made up of works that havenot yet, for the major part, reached astro-nomical values; it has quality; it is dedicatedto a movement that is of particular interest to

young artists and to art historians; and theforeword to the catalogue by Julien Levy, aman who was, and is very much involvedwith the movement is an important docu-ment in its own right.

While the exhibition at the Universitycovers the period from the first SurrealistManifesto to our time, an exhibition held si-multaneously at the Santa Barbara Museumof Art is dedicated to the dada movement-this is the outcome of the kind of construc-tive cooperation between a university and acivic organization that is bound to be ofbenefit to both.

The organizer, Mrs. Ala Story, Staff Spe-cialist in Art at the University, has had arich experience as a collector and a museumdirector. The selection reflects the sureness ofher connoisseurship, and the drawings andwatercolors, in particular, are of the highestcalibre.

The exhibition includes works that wereexecuted soon after the first Surrealist Mani-festo of 1924 by the great names of themovement. There is a

magnificentErnst of

1926, a Tanguy of 1929, a Dali of 1930. Miro,unfortunately, is represented by much laterexamples. The high point of the movementis marked by two works of considerable do-cumentary interest lent by the Museum ofModern Art: a photo-collage of the membersof the surrealist group by Ernst of 1930, anda Cadavre Exquis, ca. 1933, on which Breton,Hugo and Tzara collaborated.

The exhibition covers the movement rightup to our time with works by lesser knownmen. They seem to be pursuing the surrealistwill-o'-the'-wisp with unabated vigor, a stillfertile imagination and consummate crafts-

manship. Among these, Granel, Chimes, Car-rington, Humphry, and the Japanese Nojistand out.

Even the most enlightened selection neces-sarily shows partiality. This exhibition leansdefinitely towards the more romantic side ofsurrealism: a sense of sensuous nostalgia isomnipresent. Significantly, Tanguy, Magritte,Delvaux, Seligmann are better representedthan Masson, Miro and Matta. The harsherand more lurid phases of psychic automatismthat led to biomorphism and eventually toabstract expressionist developments in Ameri-ca are not much in evidence, although thereis a splendid and terrible drawing by Miro of

the late thirties, one by Matta of 1939 andone by Gorky of 1946 illustrating this evolu-tion. One might still wish that this trendhad been more abundantly illustrated.

Standing out as they do against the back-ground created by the knowingly understatedinstallation of Stanley Reifel, the works are arich and beguiling tribute to the extraordi-nary vitality and lasting powers of the ca-davre exquis. Surrealism, even in its moreromantic form, is still a very active force in

(Continued on page 294)







(Continued from page 292)our artistic ethos. The exhibition openedFebruary 26 and was on view through March25.

HENRI DORRA

University of CaliforniaSanta Barbara, California

INNESS COMES TO TEXASThe new museum of the

Universityof

Texas staged one of its most impressive exhi-bitions to date from December 12 to January30. This showing was the most comprehen-sive exhibition given to George Inness sincehis death when New York City granted himsuch an honor in the Fine Arts Building.One hundred twenty-five paintings in oil andwatercolor and several drawings were in-cluded. The exhibition was organized withthe assistance of the most outstanding scholaron this American artist, LeRoy Ireland, whohas spent a life time in putting together allof the pieces and aspects that are evident inthis cross section of paintings. Ireland's cata-

log raisonne "The Work of George Inness"been published concurrently by the Uni-versity of Texas Press.

In the galleries newly lighted by RichardKelly with their well proportioned spaces thefamiliar Inness canvasses suddenly come tolife and actually have a contemporary lookabout them. In the entrance gallery is a crosssection of work from 1844-1860 that showsthe influence of Lorraine, Poussin, Constableand Turner whom he had recently seenabroad. Here we also see the Barbizoninfluence in the light and atmosphere andsome indication of the freepainting that is tofollow in the 60's. It was during this decade

that he mastered his new style but even asearly as 1857 in "St. Peter's, Rome", lent byThe New Britian Museum, he has more ofthe firmness of Corot.

In 1855 he finished The Lackawanna Val-ley a painting which stands out by its quali-ty from all of his later work. The subjectmatter did not suit the young artist who al-ready considered himself a lyric poet amongpainters. In this painting Inness was forcedto represent the first stage of industrializa-tion-a subject that contained no appeal forhim because of its factual aspects. A newscheme for color was also necessary to clarifymachinery and topography as well. Inness

lighted his palate to an intensity not seen be-fore and to a degree that was not heard of inParis until 10 years later. He combined theteaching of Barbizon with the panoramicstyle of the Hudson River School and thusproduced his own unique style.

In another work from 1876-80 called AnOld Roadway he approaches Courbet in thelandscape but falls short in the use offigures, a shortcoming which spoils manyotherwise fine works. In 1875 he did two ver-sions of a storm-in the sketch called North

Conway he remains dull and gray in histones but in the oil The Approaching Stormhe shows all of the vigor that he was able toput into the work in the studio. This is oneof the most outstanding paintings in the ex-hibition and I say this at the risk of prej-udice since it was the first acquisition of ourFort Worth Art Association in 1904. Withreference to the relationship between sketchand finished work a statement

byhis son to

the effect that he (Inness) sketched in thefields in quietness, but that in his studio hepainted at white heat-passionate, dynamic,painting over paintings, some as many as sixtimes on one canvas.

Inness was obviously inspired by Corot andspent years in his footsteps in Italy. The Ital-ian paintings, such as In A Roman Campag-na done in 1873, are of a cosmopolitan char-acter, charming and well organized and filledwith an attractive melancholy not found inhis other work. Inness, sometimes exaggerat-ed Corot's weakness as Thomas Moran didTurner's with the same results. As the pic-torial

qualityof the work decreased its mar-

ket value increased and this stimulated over-production. In 1865 however Inness suc-cumbed to the visionary mysticism of Swe-denborg-a vague theosophical nature wor-ship and his painting lost its strength andended in mannerism. During the 1870-1880period Inness had a more inquisitive interestin form. His brushwork became more activeas well as his color. In 1874 he could haveseen the work of the Impressionists in Parisbecause after this year his work does take onmore of the lightness and color possible fromsuch an influence. In his late works he usesas a common denominator an observed reali-

ty that includes atmosphere, space, and lightraised to higher levels of order, clarity andbeauty.

In analyzing the current exhibition severalthoughts come to mind-what significancedoes Inness really have today? Are we actual-ly looking at the paintings or are we merelybeing nostalgic and overlooking many mis-takes? In some of the work of Inness thereare moments of genius, for instance in theSpring Blossom (1889) lent by the Metropoli-tan, or in Apple Blossom Time (1883) lentby the Pennsylvania Academy of Fine Arts.Sometimes we see emotion set forth as in aVan Gogh and in one of the great pieces in

the entire show, Off the Coast of Cornwall,England, lent by the Paine Art Center, hecombines Homer and Courbet.

The exhibition is accompanied by a forty-eight page illustrated catalog in addition tothe catalog raissone of LeRoy Ireland. Inci-dentally Mr. Ireland's archive of Inness pho-tographs has been presented to the Univer-sity of Texas Library.

RAYMONDT. ENTENMANNDirectorFort Worth Art Center

LATIN AMERICAN SHOWA major exhibition of paintings from

Latin America, which has been in prepara-tion for the last two years, opened at YaleUniversity Art Gallery on January 27, 1966.Entitled "Art of Latin America Since In-dependence," it was organized by Stanton L.Catlin of the Yale University Art Gallery incollaboration with Terence Grieder of the

Department of History of Art at the Univer-sity of Texas, which co-sponsored the exhibi-tion with Yale.

Certainly the largest exhibition of its kindever to be assembled in North America, orelsewhere (there are 378 entries in the cata-logue ) it is intended to show representativeand characteristic paintings of Central andSouth American countries from colonialtimes to the present. To quote from thepreface of the catalogue:

"The aim of this exhibition is to providean introduction to the closer study ofLatin American artistic and cultural evo-lution during the century and a halfsince Independence. It is addressed pri-marily to the North American universitycommunity, which, because of itsresources in teaching and research, bothinterdisciplinary and specialized, has aunique capacity for cultivating knowl-edge within particular areas of scholarlyand public interest."

The catalogue itself is a significant docu-ment running to 240 pages with 116 illustra-tions. The periods are divided chronological-ly into five: 1785-1835, 1835-1875, 1875-1910,1910-1945, and 1945-1965. Following the es-says on these periods is an extensive series of

biographies. The catalogue is the prelude toa book to be published "in a year or two"

Arturo Borda, LEONOR GONZALEZ AND JOSi BORDA(Collection of Hector Borda). Included in the exhibition,Art of Latin America Since Independence, sponsored byYale University and the University of Texas, Yale Uni-versity, January 27-March 73.

ART OURNAL XV 3 294






Alejandro Obreg6n, CARNIVOROUS FLOWERS (AlejandroObreg6n). Included in the exhibition, Art of Latin AmericaSince Independence, sponsored by Yale University andthe University of Texas, Yale University, January 27-March 13.

which is planned as a scholarly resource forthe teaching of Latin American art of thenineteenth and twentieth centuries.

After being shown at Yale (January27-March 15) and at Texas

(April7-May

15), the exhibition will be seen at the SanFrancisco Museum of Art, July 2-August 7)and the La Jolla Museum of Art (August27-September 30).

It provides a unique opportunity forNorth American scholars and artists to seethe painting of sister countries in this hemi-sphere and to study it in relation to LatinAmerican history, traditions, customs andideas. It seemed to this reviewer that a casu-al visit left many visitors perplexed and a lit-tle disappointed. One assumes that this some-what diffident response derives from unfam-iliarity-not only with the styles-of colonialand nineteenth

century modes,but also with

cataloguesBOB JONES, UNIVERSITY ART MUSEUM: Bob

Jones University Collection of ReligiousArt, published on the occasion of themuseum's 14th Anniversary and the trans-fer of the collection to a building of itsown on the University campus. This cata-logue is notable for the twenty color platesamong the illustrations. Many other objectsare reproduced as well and the organiza-tion of the text provides a guided tourof the museum. 44 pages, 44 illustrations.

BOWDOIN COLLEGE, MUSEUM OF ART: The Sal.ton Collection-Renaissance and BaroqueMedals and Plaquettes, with a preface byMarvin S. Sadik, Director, and an intro-duction by Mrs. Mark Salton. One hundredand eighty-seven items meticulously cata-logued and illustrated in eighty-two gra-vure illustrations printed in exact size.Catalogue design by Leonard Baskin.

Miguel Caride, CONFIGURATION (Galeria Rubbers,Buenos Aires). Included in the exhibition, Art of LatinAmerica Since Independence, sponsored by Yale Univer-

sity and the University of Texas, Yale University, January27-March 13.

certain old-fashioned mannerisms of earliertwentieth century decades, and furthermorethat, in order to get a sympathetic reactionto these paintings, one needs a knowledge ofthe social, historical and cultural back-grounds of the countries which producedthem, which is another way of saying thatbetween North America and our neighborsto the South there is still an urgent need ofcultural interchange-and at all levels.

During the showing at Yale the Art Gal-

lery and the Yale Council on Latin American

DUKE UNIVERSITY, DEPARTMENT OF ART GAL-

LERY: A Survey of Egyptian Sculpture fromthe Old Kingdom through the Greco-Roman Period, Oct. 16-Nov. 28, 1965.Brochure for an exhibition of objectsrarely seen in loan exhibitions, drawnfrom public collections in Brooklyn, Bos-ton, Baltimore, and New York, as well asdealers. 12 pages, 4 illustrations.

HARVARD UNIVERSITY, FOGG ART MUSEUM: Me-morial Exhibition-Works of Art from theCollection of Paul J. Sachs (1878-1965),Nov. 15, 1965-Jan. 15, 1966. Foreword byJohn Coolidge, Director, Introduction byAgnes Mongan. One hundred items, metic-ulously described, documented and illus-trated, with a biographical chronology ofthe donor, and a check list of the entirecollection. This is a publication which is,in itself, a notable memorial to Paul Sachs.214 pages, 101 illustrations.

J. Chiappini, PORTRAIT OF TOUSSAINT (Museo de BellasArtes de Caracas). Included in the exhibition, Art of LatinAmerica Since Independence, sponsored by Yale Univer-sity and the University of Texas, Yale University, January27-March 13.

Studies held an "Inter-American Symposiumon Intellectual Backgrounds of Latin Ameri-can Art since independence" (March 2-5) withtalks by fifteen Latin-American scholars andcomments by various North-Americans. Theart of Columbia, Ecuador, Venezuela, Peru,Boliva, Guatemala, Mexico, Argentina, Chile,and Brazil was discussed by the various

speakers.

MICHIGAN STATE UNIVERSITY, KRESGE ART CEN-

TER: Murray Jones 1915-1964-A MemorialExhibition. Introductory statement byJerome Hausman. A distinctive catalogue,conceived with specific reference to thecharacter of the works involved and to its"memorial" function. Designed by SylviaWinter and Charles Pollock. 20 pages, 15illustrations, one in color.

UNIVERSITY OF ARIZONA, ART GALLERY: CharlesBurchfield-His Golden Year, a retrospec-tive exhibition of water colors, oils andgraphics. Designed and edited by the ArtGallery staff and published by the Uni-versity Press. This is a substantial additionto the bibliography on an important Ameri-can painter, most particularly with referenceto the extensive autobiographical text byMr. Burchfield himself. The catalogue con-tains the usual accompaniment of chron-ology, list of one man exhibitions, awards







and honors, and selected bibliography. 130illustrations, including four in color andtwo photographic portraits of the artist.The exhibition was seen in Tucson fromNovember 14, 1965 through January 9,1966.

UNIVERSITY OF CALIFORNIA, BERKELEY: Jugend-stil and Expressionism in German Posters,catalogue of an exhibition shown initiallyat the University Art Gallery and later atthe Pasadena Art Museum. Organized byHerschel B. Chipp, with a chronology andcatalogue by Brenda Richardson. Cata-logue lists one hundred and two items bysome sixty artists and illustrates many incolor. This is an altogether notable com-pilation of facts and pictures that willprove endlessly useful. Provides an excel-lent counterbalance to the concentrationof attention on the French parallels inArt Nouveau.

UNIVERSITY OF CALIFORNIA, SANTA BARBARA:

Robert Thomas, Sculpture 1952-1965, aretrospective. Foreword by Michael Can-ney, Acting Director of the Art Galleryand an introduction by Henry Seldis. Thisis an exceptionally effective catalogue chieflyby reason of the generous format andlarge photographs, one to a page. Quite ex-ceptionally several of the pieces are re-produced in color of good quality. Mr.Thomas has been a member of the artfaculty at Santa Barbara since 1954. 48pages, 33 illustrations. Catalogues de-signed by Michael Canney.

UNIVERSITY OF ILLINOIS, KRANNERT ART MU-

SEUM: Ralston Crawford, Feb. 6-27, 1966.Foreword by Lee Chesney. Brochure-cata-logue designed by R. Perlman notably inthe spirit of the artist's works in spiteof the use of colored stocks and inks. 8pages, 8 illustrations.

INDIANA UNIVERSITY ART MUSEUM: A Selection

of Ancient Gems from the Collection ofBurton Y. Berry, introduction by Burton Y.Berry. 112 items catalogued and repro-duced in exact size outline and enlargedimpression. This is certainly one of thehandsomest publications of its kind, inwhich paper, type, photography, andprinting have been coordinated in an ex-traordinary unity. Design by George Sadek.67 pages, 112 illustrations, cloth bound.

INDIANA UNIVERSITY ART MUSEUM: AncientIndian Sculpture and Painting, exhibitioncatalogue, introduction and catalogue textby Theodore Bowie. Notable for a spaciousand elegant layout and a most effectivealternation of colored stock. Designed byGeorge Sadek. 24 pages, 32 illustrations.

UNIVERSITY OF KANSAS MUSEUM OF ART: LesMardis, Stephane Mellarme and the Artistsof his Circle. Another of the customarilythorough publications of the Art Museumat Lawrence, exploring this time the com-plex relationships that existed during the

1880's among the arts of poetry, paintingand music. The text is divided amongJames L. Connelly, Robert T. Neely,Jeanne A. Stump, and Kalus Berger, all ofthe University's faculties of history, art his-tory and French and Italian. The catalogueproper was prepared by Jeanne Stump andMichael Stoughton, Museum Registrar. Itis perhaps a carping criticism, but onecould wish that so carefully prepared apublication could have been given a vis-ual character in closer harmony with theundoubted distinction of the items in theexhibition, which, not incidentally, in-cluded the famous portrait of Mallarmeby Manet, lent by the Louvre. 66 pages,17 illustrations.

UNIVERSITY OF KANSAS MUSEUM OF ART: Land-scape Sculpture by Dale Eldred. Exhibi-tion in Lawrence, November 5 throughDecember 12, 1965. Marks the first inseries of such exhibitions devoted to artistsworking in the region. Brief but percep-tive essay on the artist and his work byRichard L. Brown. Foreword by BrettWaller. Hardly more than a pamphletthis is still a model of effective modesty.

UNIVERSITY OF KENTUCKY ART GALLERY: Graph-ics '66-Marcel Fiorini. The latest in along established series, devoted this timeto the work of a single artist. Brief bio-graphical data, a short statement by theartist, and a longer essay of the graphicart of Marcel Fiorini by Roger van Gin-dertael, in English and in French. Theplates are large, mostly full page, elevenin number. Catalogue list of 71 itemscovers work from 1948 to 1965, a usefulcheck list for curators.

UNIVERSITY OF MIAMI, JOE AND EMILY LOWEART GALLERY: he Virgil Barker MemorialCollection of American Art. This exhibi-tion, Oct. 30-Jan. 16, initiated what prom-ises to be a growing memorial to a dis-tinguished scholar in the field of AmericanArt. Including traditional as well as con-temporary works it appears to reflect Mr.Barker's breadth of interest in the field.The attempt to provide each catalogueitem with an interpretive "label" has pro-duced some doubtful simplifications, butthis is a generally well-conceived catalogue.Introductory note by August L. Freund-lich, Director. Catalogue designed by Paul

Berg.34

pages,14

illustrations,one in

color.UNIVERSITY OF MIAMI, JOE AND EMILY LOWE

ART GALLERY: Masterworks in Miami, withan introductory note by August L. Freund-lich, Director, and a preface by Boris Du-Pont Paul, Curator and organizer of theexhibition. Again, the captions accompany-ing the illustrations are somewhat ele-mentary for a University audience, but thecatalogue as a whole is well designed. 32pages, 11 illustrations.

UNIVERSITY OF NEW MEXICO, UNIVERSITY ART

MUSEUM: ulletin, No. 1, Winter 1965/66.Marks the change in name (from ArtGallery to Museum) and the initial exhibi-tion of the Julius Rolshoven Collection ofpaintings, recently given to the Universityby the artist's widow. The Bulletin is alsomade possible through the provisions ofthe Julius Rolshoven Memorial Fund.Planned as an annual summary of thegrowth of the University art collections,this is an admirable beginning, designed byRobert Ellis, Assistant Director of theMuseum. Besides a check list of thelection, and short pieces on a recentlyRolshoven Collection, there is a summaryof recent acquisitions for the print col-lection of short pieces on a recentlyacquired 18th century Spanish-ColonialInmaculada and an early, "New Mexican"Stuart Davis. 34 pages, 16 illustrations.

UNIVERSITY OF WISCONSIN, MILWAUKEE, DE-PARTMENT OF ART HISTORY GALLERY: Greekand Russian Icons and Other LiturgicalObjects in the Collection of Mr. CharlesBolles Rogers. Shown in Milwaukee fromNov. 15 through Dec. 10, 1965. Preface byJack Wasserman, Chairman of the De-partment of Art History and Curator ofthe Gallery, and an extended introductionto the subject by A. Dean McKenzie, As-sistant Professor in the Department. Theintroduction, together with the detailedcataloguing of the items in the exhibitionand the many illustrations make this apermanently valuable publication. Thereis a short bibliography of works on thesubject in English. Cover and frontispiecein color. 44 pages, 35 plates, 60 illustra-tions.

RANDOLPH-MACON WOMAN'S COLLEGE: Catalogueof the Collection of American Painting atRandolph-Macon Woman's College by MaryFrances Williams, Professor of Art and Cu-rator of the Collection. Published for theseventy-fifth anniversary of the founding ofthe college. Lists ninety-two works by Amer-ican artists acquired between 1907 and1965. 128 pages, 97 illustrations.

STANFORD UNIVERSITY, DEPARTMENT OF ART ANDARCHITECTURE: Fortunato Duranti 1787-1863,Biographical note by Dr. Luigi Dania, andintroduction by Lorenz Eitner. Notablefor the beautiful reproduction of the

drawings which made up the exhibition.Designed by Jack W. Stauffacher. 30pages, 14 illustrations.

STANFORD UNIVERSITY ART MUSEUM: Figures/Thiebaud, Sept. 26-Oct. 31, 1965. Intro-duction by Gerald M. Ackerman, Directorof the Exhibition. Personal Notes onPainting by Wayne Thiebaud. Catalogues39 items from 1963-65. 32 pages, 26 illus-trations.

UNIVERSITY OF TEXAS, UNIVERSITY ART MUSEUM:The School of Fountainebleau. An Exhibi-

ART OURNAL XV 3 298






tion of Paintings, Drawings, Engravings,Etchings and Sculpture 1530-1619, fore-word by Raymond T. Entenmann and Don-ald B. Goodall and introductory essays byMarian Davis and Sam Cantey III. Ele-

gantly designed and copiously illustratedcatalogue for what must have been a hand-some exhibition. All of the objects shownare catalogued in detail and there is auseful section of biographical notes, a

general bibliography and a list of previousexhibitions of this subject. Unfortunatelythe two color plates are poor in quality.There is a hard cover edition of this

catalog in a limited edition. The Exhibi-tion was seen at the Fort Worth Art Cen-ter (Sept.-Oct.) before its showing in Aus-tin (Nov.-Dec.). Eighty pages. Catalog de-

sign by Kim Taylor.UNIVERSITY OF TEXAS, UNIVERSITY ART MUSEUM:

The Paintings of George Inness 1844-94),Published to accompany the large exhibi-tion held at the museum from December12, 1965 to January 30, 1966. Preface byLeroy Ireland, Introduction by Nicolai

museum personnelBELOIT COLLEGE, WRIGHT ART CENTER: Christie

Thomsen appointed registrar.UNIVERSITY OF CALIFORNIA, BERKELEY, UNIVER-

SITY ARTMUSEUM: om L. Freudenheim, ap-pointed Assistant Director; Therese Varva-ris, Exhibition Assistant; Mary Anne S.Craft, Registrar; Larry Dinnean, Museum

Preparator; Diane Parker, Secretary. The

following members of the University's fac-

ulty have been appointed as curators:Sventlana Alpers, in Baroque Art; JamesCahill, in Oriental Art; Herschel B. Chipp,in Modern Art; Richard Peters in Archi-

Cikovsky, Jr., catalogue notes by DonaldB. Goodall, Director of the Museum. Pub-lished concurrently with Mr. Ireland'sCatalogue Raisonne, this suffers ratherbadly by comparison, showing all the

signs of having been put together hastilyout of material assembled for the largerpublication. The "visuals" are badly man-aged, the arrangement of color plates and

photographs of Inness on the cover and

title page being singularly inept. This isparticularly regrettable this being the pub-lication of the two which will be mostreadily available to the majority of exhibi-tion visitors and subsequent students ofInness. Plus marks for the inclusion of a

chronology, detailed catalogue of picture,list of previous exhibitions, and a usefulbibliography. 48 pages, 35 illustrations.

WILLIAMS COLLEGE MUSEUM OF ART: Years

of American Drawing, 1780-1930, from theCollection of John Davis Hatch, October25-November 15, 1965. Exhibition handlistwith a foreword by S. Lane Faison, Jr.and a note on "Collectomania" by Mr.

tecture; Juegen Schulz, in Renaissance Art;and David Wright, in Medieval Art.

COLBY COLLEGE: Hugh J. Gourley III, ap-pointed as first full-time director of ColbyArt Museum. Formerly acting director ofMuseum of School of Design. ChristopherHuntington, curator, is resigning.

MILLS COLLEGE, ART GALLERY: Carl I. Belz

appointed Director, also serves as Assistant

Professor of Art History.UNIVERSITY OF MINNESOTA, DULUTH, TWEED

GALLERY:Maynard Stone appointed Cura-tor.

Hatch. This selection was made by Mr.Faison and Dr. Jakob Rosenburg and was

subsequently shown at the University ofNorth Carolina, Chapel Hill, and at Mills

College, Oakland. 16 pages, two illustra-tions.

YALE UNIVERSITY, UNIVERSITY ART GALLERY:

American Pewter, Garvan and other Col-lections at Yale. By Graham Hood. Vol.30, No. 3, special issue, Yale UniversityArt Gallery Bulletin, Fall 1965. 58 pages,55 illustrations.EDITOR'S OTE: t is generally assumed that

one of the basic justifications for an exhibi-tion catalogue is to provide a permanentrecord of the effort, research and otherwise,which goes into the project as a whole. Withthis premise it is notable that in many in-stances among the publications listed abovethe record "floats" without the slightest in-dication of when or where the exhibitiontook place. If I may point the finger, In-diana, Michigan State, Stanford and Miamiare remiss in this regard.

PHILLIPS EXETER ACADEMY, LAMONT GALLERY:

George Mellor appointed Director; Mrs.Bridget Paddock, Assistant Director.

PRINCETON UNIVERSITY, ART MUSEUM: HedyBacklin-Landman appointed Executive As-sistant and Curator of American Art;Frances Follin Jones, appointed ChiefCurator; Louis Papp, Building Superin-tendent.

VASSAR COLLEGE, ART GALLERY: Miss InnisShoemaker appointed Curator.

museum buildings/ renovation/ new construction/ future plansPRINCETON NIVERSITY, rt Museum: The

new building for Princeton's art collec-tions is scheduled for completion duringthe winter with its reopening set for June.Works belonging to the University have

spentthe last two

yearsas loans to Oberlin

College, Vassar College, Duke University,the University of Mississippi, the Balti-more Museum of Art, the MetropolitanMuseum of Art, and Colonial Williams-burg.

UNIVERSITY OF CALIFORNIA, BERKELEY: The

largest University museum project in proc-ess is that for the University Art Centerat Berkeley. The design for the buildingwas selected from a national competition.It is by the San Francisco design team of

Mario J. Ciampi, architect, FAIA; Paul W.Reiter, associate architect, with Richard L.Jorasch and Ronald E. Wagner, designassociates. Peter Selz, new director of theUniversity Art Museum, has stated that"while it will be serviceable to both worksof art and people, this new building makesan aesthetic statement of its own: itplaces a dynamic, sculptural structure intoa space, activated and enlivened by itsform." The four million dollar buildingwill be characterized by a series of gentlyrising terraces fanning out on two levelsin roughly a semicircular pattern. It willbe built on the south side of Bancroft Wayand will be close to the art, music, andenvironmental design buildings, as well as

University dormitories.The structure which will contain one hun-

dred thousand square feet of space willhave an art museum with seven galleries, atheater workshop, conference facilities, andstudios for music and art. Total

galleryspace will be about thirty thousand squarefeet. Among the galleries will be one forthe world's largest collections of paintingsby Hans Hofmann; two for changing ex-hibitions, two for permanent collections,plus one for new acquisitions and anotherfor prints and drawings. Conference andseminar rooms, a kitchen and a threehundred seat theater are also provided.The building is scheduled for completionlate in 1968.







UNIVERSITY OF THE SOUTH, SEWANEE, TENN.,FINE ARTS GALLERY: The Fine Arts Galleryhas recently moved into new quarters inthe recently completed Guerry Hall, whichhouses the University's fine arts depart-ments.

THE NEW ART MUSEUM ATPONCE, PUERTO RICO

The new Art Museum, formed by thePuerto Rican industrialist, Luis A. Ferre, andbuilt from the design of Edward D. Stone,was dedicated on December 28, 1965. Ferre'saim was to bring together a collection of Oc-cidental Art. Recently his collection was aug-mented by a gift from the Samuel H. KressFoundation. Julius Held of Barnard Collegehas served as adviser to the Ferre Foundationin its acquisition program. Rene Taylor isDirector of the Museum. Professor Held hasdescribed the art collection in an article pub-lished in Art Quarterly (No. 1, 1964). Manyof the paintings are Spanish, although thereare also examples of the Italian, Flemish,Dutch, and English Schools. A catalogue ofThe Samuel H. Kress Collection of Italianand Spanish Painting (Ponce, 1962) is avail-able.

One of the participants in the opening cere-mony has informed us that it is a most at-tractive museum, one of Stone's most success-ful art buildings which makes particularlyeffective use of exterior space in this tropicalclimate. Ponce is situated at some distancefrom San Juan, across a mountain range alongish motor trip, but easily accessible byplane. In addition to works by old mastersthere is a collection of contemporary paint-ing particularly by local artists.

The new Art Museum of Ponce, Puerto Rico.

The new Art Museum of Ponce, Puerto Rico; view of theupper galleries.

CHINESE ART

An exhibition of Chines art from the col-lection of King Gustaf VI Adolf of Swedenwill be shown in museums and galleries inWashington, Minneapolis, New York, Cleve-land, and San Francisco during the fall andspring of 1966 and 1967. It is being circulat-ed by the International Exhibition Founda-tion (Mrs. John A. Pope, President).

The exhibit was selectedby

BoGyllens-vard, Curator of the King's collection and Di-

rector of the Museum of Far Eastern Antiq-uities in Stockholm, in cooperation with Dr.John A. Pope, Director of the Freer Galleryof Art, Washington, D.C.

Consisting of 150 objects of the finest qual-ity this distinguished exhibition, culled frommore than 2,000 items in the Royal collec-tion, covers the history of Chinese art andculture from the Bronze Age to the end ofthe eighteenth century. Begun by King Gus-taf VI Adolf in 1907 when he was crownPrince, the choice stresses the beauty andrarity of Early Chinese bronzes, ceramics,

jade, and carvings in lacquer, bone, ivory,and rhinoceros horn, etc.

JAPANESE ART

An important exhibition "Japanese Paint-ers of the Floating World", which will in-clude fine examples of ukiyo-e paintings veryrarely shown outside of Japan, will be onview at the Andrew Dickson White Museumof Art, Cornell University, April 7 throughMay 9, 1966, and at Munson-Williams-Proc-tor Institute Museum of Art, Utica, NewYork, May 15 through June 19. The thirty-four lenders to this noteworthy exhibition

include leading museums and institutions inthis country and Canada and also include anumber of private collectors who have exten-sive holdings of ukiyo-e paintings and willlend choice examples, many of these to beexhibited for the first time.

The exhibition is organized by Martie W.Young, Associate Professor of Art Historyand Curator of Asian Art, White Art Mu-seum, Cornell University and Robert J.Smith, Professor of Anthropology (a specialiston Japanese culture), Cornell University. A

comprehensive catalogue with seventy plateswill be published.

The exhibition of approximately eightyworks by forty-two known artists covers thelate 16th to the early 19th centuries, fromthe Momoyama through the late Edo periodsin Japan, and includes the major masters ofthis era.

RICCI SHOW

An exhibition of paintings by Sebastianand Marco Ricci was held at the Brook Me-morial Art Gallery in Memphis in Januaryand later shown at the University of Ken-tucky Art Gallery in Lexington. Prepared byMichael Milkovich, director of the BrooksGallery. It was accompanied by a cataloguelisting 50 entries. Plus a bibliography andlist of works by these two artists in Americancollections. The catalogue was published bythe University of Kentucky.

Sebastiano Ricci, THE INFANT MOSES SAVED BYPHARAOH'S DAUGHTER, Brooks Memorial Art Gallery,Memphis, Tennessee. Samuel H. Kress Collection.

EXHIBITION AT UNIVERSITYOF MARYLAND

The Art Department of the University ofMaryland opened on April 4, 1966, an exhi-bition titled "A Decade of Federal Art Pa-tronage: 1933 to 1943" in the new art gallery,J. Millar Tawes Fine Art Center at the Col-lege Park campus.

This exhibition is the first comprehensiveshowing of government sponsored mural,easel and graphic art since the liquidation ofthe projects in 1943. Works of approximatelyfifty artists are included. Among the betterknown are: Ivan Albright, George Biddle,Peter Blume, William Calfee, Arshile Gorky,Seymour Fogel, Adolph Gottlieb, MorrisGraves, William Gropper, Mitchell Jamieson,Loren MacIver, Herman Maril, ReginaldMarsh, Jackson Pollock, Bordman Robinson,Ralph Rosenborg and Ben Shahn.

ART OURNAL XV 3 302






The majority of works are from the Univer-sity of Maryland's own collections. Lendersinclude The Museum of Modern Art, TheNational Collection of Fine Arts, the Na-tional Gallery of Art, the Library of Con-gress and Mr. and Mrs. Herbert Benevy ofNew York. The Benevys have generously lenttwo rare WPA paintings by Jackson Pollock.This will be the first public showing of theseworks.

The exhibition was organized under thedirection of George Levitine. The Depart-ment's exhibition committee is chaired byAlain de Leiris and includes Professors An-dree Hayum, Ralph Freeny, Clifford Chieffoand Mitchell Jamieson.

The catalog was written by Francis V.O'Connor and designed by Ralph Freeny. Itincludes a short history of the Federal artprojects, a chronology, a bibliography andother data pertinent to the period coveredby the exhibition. It is hoped that this cata-log will outlive the exhibition to serve as auseful tool for those wishing to undertakefurther research into one of the most neglect-ed areas of American art.

CHRISTINA, QUEEN OFSWEDEN: THEME FOR ANEXHIBITION IN STOCKHOLM

Christina of Sweden, the 17th-centuryqueen who abdicated to take up residence inRome and became one of the famous person-alities of her time, and the first "modern"woman in European history, will set her im-print on Stockholm in the summer of 1966.The National Gallery in the Swedish capitalhas chosen Christina and her epoch the theme

of the 11th European Exhibition, to be heldunder the auspices of the Council of Europebetween July 1 and October 16.

A whole flight of halls and rooms in theNational Gallery will be emptied to housethis exhibition, which is probably the largestsingle cultural manifestation of its kind everto be arranged in Sweden. Since Christina'svast and priceless collections have been scat-tered all over the world during the centuries,museums in many countries will contributeby lending their treasures. By personal court-esy of Pope Paul VI, the Vatican, as aunique exception of a strict rule, will lend anumber of invaluable manuscripts.

The project has been in preparation foralmost ten years. It will give a broad exposeof European culture in the 17th century andof the personal life and career of Christina,the queen who was the only daughter ofGustavus Adolphus, defender of Protestan-

tism in the Thirty Years War, but who re-nounced her right to the Swedish crown in1654 to be converted to the Catholic faith.Visitors to the exhibition will be able to fol-low her story, the early childhood and reignin Sweden, the long journey through Europe,and her last 30 years in Rome, where shewas in the focus of attention of the ecclesias-tical, intellectual and artistic world.

Among the innumerable exhibits to be on

display will be some 250 large paintings, halfa hundred sculptures and countless drawings,manuscripts and historic documents, all inti-mately connected with the life of Christina.There will be masterpieces by Raphael, Ru-bens, Titian, Tintoretto, Veronese, Berniniand Bourdon from the big galleries of theworld-from Rome, Venice, Paris, Madrid. . .The famous "Codex Argenteus", the SilverBible, which for the last 300 years has beenkept at the University Library in Uppsala,will also be on show.

A special exhibit will be a true copy ofthe Barberini Theatre in Rome, where, inJanuary 1655, Christina for the first time metthe Roman nobility at a performance of "IItrionfo della pieta", written by Guilio Ros-pigliosi, better known in history as Pope Cle-ment IX. The final scene of this play-fire-works over Rome in honour of the queen-will be staged at the National Gallery, ac-companied by the original music written forChristina.

At the Drottingholm Court Theatre, justoutside Stockholm, the Scarlatti opera"L'honest a negli armori", conposed in 1680by order of Christina, will be produced forthe occasion. Many other cultural events inStockholm during the summer will also beconnected with the exhibition. A full-colourTV film depicting Christina's life and travelsis at present being prepared by the SwedishTV for distribution all over the world.

MORRIS GRAVES SHOW ATU. OF OREGON

A retrospective exhibition of the works ofNorthwest painter Morris Graves was held atthe Museum of Art at the University of Ore-gon February 8 through March 13. Approxi-mately 100 paintings and drawings were in-cluded as well as eight works by the artistrecently acquired for the permanent collec-

tions of the Museum of Art. The specialfocus of the exhibition was the personal reli-gious symbolism in the works of MorrisGraves. The catalogue carries statements byMorris Graves; an article on the artist byNancy Wilson Ross, and an interpretation of

the religious symbolism in Graves' work byGerald Heard. Morris Graves' work has beendescribed as mystical, religious Zen-influenced. The artist describes his own workas an attempt to express, in symbolic form,the progress of a personal religious explora-tion.

FINCH COLLEGE

"Galaxyof Ladies"

is the titleof an exhi-

bition at the Finch College Museum of Artconsisting of paintings from the Paul MagrielCollection. Some are romantic portraits butit is the ultimate significance of the scene, asan intimate expression of one of nature'smoods, or the importance of shifting sunlightat teatime, that gives expression to the essen-tial form of these poetic American paintings.There are fifty paintings, watercolors andpastels of nineteenth and twentieth centuryAmerican art, including examples of ArthurB. Davies, William Glackens, Childe Hassam,Robert Henri, Guy Pene du Bois, JohnSinger Sargent and Everitt Shinn. Barbara

Novak O'Doherty in her text for the cata-logue, states "one of the revelations of theexhibition is the green dream of Thomas W.Dewing, La Peche, in which Vogue-ishwomen inhabit interior landscapes of themind, ordered space assumes unsettling ex-pressive power, and films of nuanced pig-ment turn fact into phantasm. Long neglect-ed along with the more superficial and fash-ionable artists of his time, he emerges hereas a provocative and exciting figure, worthyof further interest and investigation."

MULTI-GALLERY SHOW INNEW YORK

The Public Education Association of NewYork has organised another of its groupshows to be held simultaneously in severalNew York art galleries. Opening April 26, itwill include 370 major works by the most in-portant American and European paintersand sculptors of the past 70 years. Like thememorable multi-gallery Picasso and Braqueexhibitions in 1962 and 1964, this show willbenefit the Public Education Association avoluntary citizens group which works to im-prove the public schools of New York City.The exhibition theme "Seven Decades" inhonor of PEA's Seventieth Anniversary. The

contents will range from the Post-impression-ism to kinetic sculpture made last year. Theinitial selection was made by Peter Selz whois now director of the University Art Mu-seum at U.C. Berkeley (see story in this issue).

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Documents

College Museums Notes - About Yale's Exposition 1966 - p.13-14