The mission of the Harvard
University Art Museums is to serve as a catalyst for instruction
and scholarship in the history of art by acquiring and conserving
works of art, teaching, researching, preparing and implementing
exhibitions, publishing catalogues and special studies, offering
lectures, organizing symposia, and working closely with students
and other faculty of Harvard University, the faculties of other
universities, the curatorial staffs of other museums the world
over, and all interested members of the general public, in the use
of our collections and resources for scholarly and pedagogical
purposes, as well as for personal pleasure and inspiration, and in
training future museum curators and conservators in the details of
our profession.
A Brief History:
The Harvard University Art
Museums include the Fogg Art Museum (founded in 1891, opened in
1895), the Busch-Reisinger Museum (founded in 1902), and the
Arthur M. Sackler Museum (opened in 1985). Their mission is to
provide resources for the teaching of art history and related
fields in the humanities; to serve as a catalyst for research in
the humanities; to expose undergraduates to the importance of art
in all cultures; to train professionals in the field of art museum
administration; and to encourage the broader understanding of art
and its history among the general public.
Location:
The Harvard University Art
Museums comprise three museums, all located on the Harvard
University campus in Cambridge, MA, at the intersection of Quincy
Street and Broadway, adjacent to Harvard Yard and five minutes
walking distance due east of the Harvard Square MBTA Red Line
stop, Church Street exit. The Busch-Reisinger Museum is located in
Werner Otto Hall. Enter through the Fogg Art Museum at 32 Quincy
St. The Arthur M. Sackler Museum is located at 485 Broadway across
from the Fogg. The Harvard University Art Museums' facilities are
wheelchair accessible (enter the Fogg and Busch-Reisinger through
the Fine Arts Library on Prescott Street).
Walk through the galleries of
the Fogg Art Museum and you will recognize major paintings and
sculpture by American and European artists such as Copley, Monet,
van Gogh, Renoir, Picasso, Rothko and David Smith.
In the Sackler Museum you will
discover Indian sculpture, ancient Chinese jades and bronzes,
Korean ceramics, Greek and Roman coins, and Greek vases.
In the Busch-Reisinger you
will find the finest collection of modern German and Northern
European art with works by Beckmann, Beuys, Feininger, Kandinsky,
Klee, Kirchner, Kokoschka, Klimt, Moholy-Nagy, Marc, and Munch.
As well as being major public
art museums, the Harvard University Art Museums are part of one of
the world's greatest universities. Professors, museum directors,
and curators from around the world have studied at Harvard. Today,
the Harvard University Art Museums along with the Straus Center
for Conservation, are a major center for art historical research
and training.
Each year, leading scholars at
Harvard and from around the world arrange major exhibitions at the
Art Museums, many of them the first of their kind in America. This
tradition began in 1911, with the first American exhibition of
Edgar Degas, and it has continued ever since. Visit these
exhibitions and you will be on the forefront of new discoveries
and revelations about the world of the visual arts.
Collections:
The collections of the Art
Museums consist of more than 150,000 objects in all media, with
works ranging from antiquity to the present and from Europe, North
America, North Africa, the Middle East, India, Southeast Asia, and
East Asia.
They range from antiquity to
the present and are divided among eight curatorial departments
(Ancient, Asian, Busch-Reisinger Museum, Drawings, Islamic and
Later Indian, Prints, Photographs, and Western Paintings and
Sculpture). They are comprehensive and encyclopedic within their
areas.
Developed with an emphasis on
their value for teaching and research, the collections comprise a
unique resource in terms of breadth and quality, and are one of
the finest university art collections in the world.
Fogg Museum: The drawings
collection comprises 10,000 European and American drawings from
the 14th century to the present. Major strengths include French
17th and early 19th centuries (in both fields the most
comprehensive holdings in any U.S. collection), 16th century
Italian and 18th century Venetian, German 18th and 19th centuries,
and American and English 19th century works.The collection of
50,000 prints is particularly strong in old-master etchings,
engravings, and woodcuts with extensive representation of the
works of such masters as Schongauer, Dürer, Rembrandt, and
Goya. It also includes outstanding examples by Blake, Turner,
Constable, Daumier, Manet, Degas, Picasso, and Munch. The
collection of 2,000 Western paintings is especially strong in
early Italian Renaissance, 19th century French, 19th century
British, and American painting (including the largest holdings of
Copley in the country.) The largest segments of the collection are
19th and 20th century American, 19th century British, 17th century
Dutch, 19th and 20th century French, and 14th-16th century
Italian, although nearly 30 cultures and over 850 artists are
represented. The 1,000 works of sculpture include significant
holdings of French and Spanish Romanesque stone pieces, Italian
Renaissance placquettes, an important group of 17th century Roman
terracotta studies by Bernini and others, 19th century French
sculpture (notably Rodin and Barye) and varied 20th century
holdings. The photograph collection includes 7,000 works, 3,500 of
which are by Ben Shahn, the primary collection of his photographic
oeuvre. The 3,750 objects in the collection of Western decorative
arts include 17th and 18th century American and English silver,
18th century Wedgewood pottery, 17th and 18th century clocks,
Renaissance Limoges enamels, tapestries, and considerable
quantities of European and American furniture.
Photography of the Middle
East Reveals History of Western Impressions at Harvard's Fogg Art
Museum
During the past decade, the
Fogg Art Museum has presented a range of significant drawings
exhibitions showcasing new scholarship, including:
Fuseli to Menzel: Drawings and Watercolors in the Age of
Goethe
. Selections—most never exhibited outside Germany—from one of the
foremost private collections of German drawings of the late 18th
and early 19th centuries.
Mastery and Elegance: Two Centuries of French Drawings from
the Collection of Jeffrey E. Horvitz
. Highlights from the outstanding U.S. private collection of
French old master drawings, most never previously exhibited.
Tiepolo and His Circle: Drawings in American Collections
. A survey of the career of the 18th-century Italian draftsman
from the rich holdings of U.S. museums and private collections.
The Renaissance in France: Drawings from the Ecole des
Beaux-Arts, Paris
. The most comprehensive exhibition of French Renaissance drawings
ever presented in the United States.
Drawings by Rembrandt and His School from the Museum Boijmans
Van Beuningen, Rotterdam
. Selected works from one of the largest collections of drawings
by Rembrandt and his pupils, with significant new scholarship and
many new attributions.
Guercino, Master Draftsman: Works from North American
Collections
. A survey of the Italian Baroque master’s drawings, many never
previously published or exhibited.
17th-Century Dutch Drawings: A Selection from the Maida and
George Abrams Collection
. A 1991—92 survey of drawings from the Abrams Collection, shown
at the Rijksmuseum, Amsterdam; the Graphische Sammlung Albertina,
Vienna; the Pierpont Morgan Library, New York; and the Fogg Art
Museum.
The Harvard
University Art Museums’ dedication to collecting and presenting
drawings has its roots in the work of pioneering scholars who
played a significant role in shaping the Art Museums. During the
middle of the 20th century, the Fogg Art Museum was the epicenter
in North America of the study of drawings. The Fogg’s then
associate director, Paul J. Sachs, and its distinguished curator
of drawings who served for 45 years, Agnes Mongan, presented a
wide range of works from local private collections and the Fogg’s
holdings. Konrad Oberhuber, curator from 1975 to 1987, carried on
their legacy with distinguished exhibitions and acquisitions.
Since 1988 the
drawings collection has been curated by William W. Robinson, Maida
and George Abrams Curator of Drawings.
The Drawings Collection
The collection
encompasses drawings, watercolors, pastels, sketchbooks, and
albums, as well as 9,000 manuscript pages of drawings and notes by
Stuart Davis. Unusual in its breadth and depth, the collection
combines masterpieces from the American and principal European
schools with large numbers of works of secondary and tertiary
significance. The holdings’ teaching and research potential are
enhanced by the balanced representation of the art of many periods
and schools.
Major strengths include:
French works of the 17th
and early 19th centuries (in both fields, the most comprehensive
holdings in any U.S. collection)
16th-century Italian
drawings
17th-century Dutch drawings
American and English
19tth-century works
The collection is also
distinguished by the strength of its holdings of works by
individual artists:
The Fogg holds the most
drawings by Ingres (50), Géricault (20), and David
(nearly 100) outside France.
The 55 watercolors and
drawings by Blake, 50 by Beardsley, and numerous works by the
Pre-Raphaelites comprise the most outstanding groups of those
artists’ work outside Great Britain.
In the American school, the
collection includes more than 20 Homer watercolors, over 500
drawings and sketchbooks by Sargent, and a fine group of
drawings and pastels by Whistler.
Other artists whose work is
especially well represented are Fragonard, Courbet, Degas,
Picasso, Tiepolo, and Rembrandt.
Italian holdings include
important works by Carpaccio, Filippino Lippi, Fra Bartolommeo,
Perugino, Michelangelo, Pontormo, Veronese, Guardi, Canaletto,
and Piranesi.
German and Netherlandish
masters include Dürer, Holbein, Bruegel, Jacques de Gheyn
II, Rubens, Cuyp, Menzel, and Rembrandt.
The drawings collection includes
the following works:
The
artists will give talks about their work throughout the year, on
Thursday evenings at 6 pm.
September 22 – Jeff Sheng
October 6 – David Hilliard
October 20 – Allen Sayegh
October 27 – Deborah Bright
November 10 – Peter Kuper
February 23 – Amber Davis Tourlentes
March 8 – Terah Maher
April 5 – Sue Johnson
PAVEL SCHMIDT: FRANZ KAFKA –
VERSCHRIEBEN & VERZEICHNET
Exhibition
of drawings by Pavel Schmidt, Swiss painter, illustrator, and
installation artist, that explores connections between Kafka’s
life, his narrative characters, and his journals.
Panel Discussion and Opening Celebration: Thursday, September
29, 2011, 6 pm
Opening Remarks : Prof. John Hamilton (Harvard)
Critical Engagements: Prof. Stanley Corngold (Princeton), Prof.
Judith Ryan (Harvard),
Prof. Andreas Kilcher (Zürich), and Prof. Almut-Barbara
Renger (Berlin).
Response: Pavel Schmidt
This
exhibition is co-sponsored by the Carpenter Center for the
Visual Arts and the Departments of Comparative Literature and
German, and made possible with support from the Consulate of
Switzerland and Pro Helvetia.
MEASURE FOR MEASURE
Zig Gron, Katrina
McElroy, Felicity Nove, Barbara Parmet, Susan Sironi,
Elizabeth Tobias & Meeson Pae Yang
Co-curated
by Lisa Randall, Frank B. Baird Professor of Science at Harvard
University, and artist Lia Halloran
Measure for Measure is an exploration of the concept of
scale through contemporary art expression. Scale plays an
important role both in understanding the makeup of the universe
and in how we perceive it. This exhibition asks us to
reinvigorate our thoughts and expand our perceptions when
recognizable objects and spaces in architecture and nature are
viewed in from different vantage points or are shifted in scale.
"Let
Them Eat Cupcakes" Performance by Elizabeth Tobias,
Thursday, November 3, 5 pm
Panel discussion
and Opening Celebration with curators Lisa Randall and
Lia Halloran and Peter Mays,
executive director of the Los Angeles Art Association Thursday, November
3, 6 pm
LAUREL NAKADATE: SAY YOU LOVE ME
Presented
in collaboration with the Harvard Art Museums.
A
selection of videos by the artist, filmmaker, and photographer
Laurel Nakadate, whose work pushes the boundaries of voyeurism,
exhibitionism, and vulnerability.
Lemieux's
investigations of memory and meaning present us an
with unfiltered personal and poetic connection to
the vivid lives of objects.
Thursday,
February 16, 2012, 6 pm
Opening
Celebration
Artist Talk by Annette
Lemieux, followed by a discussion with Lemieux, curator Lelia
Amalfitano, and Susan Stoops, curator of contemporary art
at the Worcester Art Museum
Three videos by Ernie Gehr focus on verticality and urban
sightseeing.
The Carpenter Center for the Visual Arts at Harvard
University presents, at the Sert gallery from February 14 through April 1, 2012:
Ernie Gehr:
Picture Taking
This is the second exhibition in a newly created space
for viewing moving image works located on the third floor of the
Carpenter Center.
Programming will run on three monitors mounted on the
exterior wall of the Sert Gallery.
"PICTURE TAKING is part of an ongoing cycle of new works
on New York City that began with SURVEILLANCE, a 4-channel
installation exhibited in Madison Square Park in 2010, opening in
late March at the Smithsonian Museum of American Art in Washington
DC, as part of their permanent collection (Watch This! New
Directions in the Art of the Moving Image).
PICTURE TAKING is focused on "verticality" and urban
sightseeing as well as on some of the pictorial possibilities of
the HD digital format.” —Ernie Gehr, February 10, 2012
About the Artist
A luminary member of the post-Brakhage generation of
American avant-garde filmmakers, Gehr began to work with film in
1967, and with digital media in 2000. He is a recipient of a Stan
Brakhage Vision Award (Denver International Film Festival 2009), a
Princeton University Humanities Fellowship, (2007), and a Maya
Deren Award (American Film Institute, 1990). A recipient of a
Guggenheim Fellowship, Gehr has also received grants from the
National Endowment for the Arts, New York Arts Foundation,
California Council on the Art, as well as commissions for standard
single single-screen work (Museum of Modern Art, 2000; Vienna
International Film Festival, 2003), and
digital installations (Museum of Modern Art, 2002,
2007/08; Madison Square Park Conservancy, NY, 2010).
Retrospectives of his work were presented at the Whitney Museum of
American Art; Arsenal, Berlin; Centre Pompidou, Paris; San
Francisco Cinematheque; International Film Festival Rotterdam;
Pesaro International Film Festival; and at the American Museum of
the Moving Image in New York.
Gehr has taught at various institutions across the
country, including SUNY Binghamton, SUNY Buffalo, Bard College,
University of Colorado at Boulder, School of the Art Institute of
Chicago, University of California, Berkeley, and the San Francisco
Art Institute.
Ernie Gehr, still from Picture Taking
Ernie Gehr, still from Picture Taking, 2010
Exhibition Hours:
Sert Gallery: (third floor, at the top of the ramp):
Tuesday–Sunday, 1:00–5:00 pm
Free and open to the public.
Carpenter Center for the Visual Arts, Harvard University,
24 Quincy Street, Cambridge, MA 02138.
Program Manager, Carpenter Center for the Visual Arts
T: 617-495-5666; E: melissa_davenport@harvard.edu
About the Carpenter Center for
the Visual Arts
The only building in North America
designed by architect Le Corbusier, the Carpenter Center for the
Visual Arts (CCVA) is the home of the Department of Visual and
Environmental Studies for undergraduate study in the visual arts
and a graduate program in film and visual studies at Harvard
University, two public art galleries, and the Harvard Film
Archive. The Carpenter Center hosts a Thursday night lecture
series that brings renowned contemporary artists to Harvard to
speak about their work, as well as Visiting Faculty artist
talks, and a wide variety of exhibition-related programming and
film screenings.
HOURS:
Main Gallery:
Monday—Saturday, 10:00 am–11:00 pm; Sunday, 1:00–11:00 pm
Sert Gallery
(3rd floor at the top of the ramp): Tuesday—Sunday, 1:00-5:00 pm
CONTACT
Carpenter
Center for the Visual Arts
Harvard
University
24 Quincy
Street
Cambridge, MA
02138
Information number to be published with listings:
617.495.3251
Coins of Alexander the Great
Ongoing (at the Sackler)
Alexander the Great
(336-323 B.C.) left a remarkable legacy of political and
artistic change in the wake of his dazzling military conquests
in the fourth century B.C. His rapid ascendancy and lasting
importance are well-documented in the coins of the ancient
world, and this display of coins offers a sampling of his
numerous depictions. Opened 1996.
The Persistence of Memory: Continuity and Change in
American Cultures
Ongoing (at the Fogg)
This installation,
organized by Timothy Anglin Burgard, former Henry Luce
Foundation Associate Curator of American Art, consists of
approximately sixty paintings, sculptures, and decorative arts
objects. The persistence of memory, personal and collective,
living and historical, has been a determining force in American
cultures. It occupies an especially prominent place in a country
whose Native American histories could be encompassed by the life
spans of five consecutive centenarians. Immigrant histories
perhaps constitute the most important component of the culture
of memory in the Americas, and include Native American memories
of the pre- and post-European contact periods; African American
memories of unrecorded African origins, involuntary enslavement,
and liberation; and Euro-American memories of separation,
acculturation, and assimilation. The attendant tensions between
the past and the present have fostered often competing desires
to preserve and recover historical memories, or to renounce them
and embrace an undefined future. The objects in The Persistence
of Memory have been selected and displayed to suggest that the
power of culture and the survival of its artifacts are
determining forces in the development of American social
discourse. Opened 1995.
Circa 1874: The Emergence of Impressionism
Ongoing (at the Fogg)
Organized by Ivan Gaskell,
Margaret S. Winthrop Curator of Paintings, this selection of
paintings from the permanent collection reflects the emergence
of impressionism as a form of pictorial practice. These works
were made shortly before the time of the first impressionist
exhibition in Paris in 1874 and demonstrate the variety of what
became known as the "new painting," which was not merely a
single style. The installation includes works by Bazille,
Boudin, Jongkind, Monet, Degas, and Renoir. Opened 1995.
France and the Portrait, 1799-1870
Ongoing (at the Fogg)
Organized by Ivan Gaskell,
Margaret S. Winthrop Curator of Paintings, this installation of
works from the permanent collection explores the changing
conventions and practice of portraiture in France between the
rise and power of Napoleon and the fall of the Second Empire.
The exhibition examines how individuals' images were fashioned
in the context of the many and frequent political and social
changes that France underwent in these decades, and includes
paintings, sculptures, miniatures, and photographs by such
artists as David, Ingres, and Couture. Opened 1995.
LONG-TERM INSTALLATIONS IN THE PERMANENT COLLECTION GALLERIES
Listed below are descriptions
of thematic installations in the permanent collection galleries.
These installations usually hang for one to three years. If you
are planning or organizing a trip to the Harvard University Art
Museums in the future please check with the Public Relations
office on the status of these installations.
The Art of Identity: African Sculpture from the Teel
Collection
at the Fogg
The exhibition brings
together selections of African sculpture from the William E. and
Bertha L. Teel collection, an extraordinary group of arts from
sub-Saharan Africa that were compiled over nearly thirty-five
years. Few artistic subjects are more important than identity.
Representations of identity provoke important questions across a
range of cultures and genres, impacting our reading not only of
persona, but also issues of gender, religion, place and forms of
governance. Identity provides a valuable lens for understanding
the way the arts of Africa embody and display recognizable
aspects of selfhood, community and nation. The diverse
collection of sculptures in The Art of Identity illustrates the
complexity of art traditions in Africa and offers the
opportunity to examine issues of identity in African art. The
Art of Identity is organized by Suzanne Blier, professor of
African art and architecture, Harvard University, and Elizabeth
and John Moors Cabot Directors, Harvard University Art Museums.
It is co-curated by Suzanne Blier, Aimée Bessire and Mark
Bessire. The exhibition and related programs are supported in
part by the Massachusetts Cultural Council, a state agency.
Opened November 1996.
Investigating the Renaissance
at the Fogg
The works that
comprise the installation form one of the foremost collections
of early Italian Renaissance paintings in North America. The
core of Sienese and Florentine fourteenth and
fifteenth-century paintings is complemented with strong
examples of other Italian, Netherlandish and German paintings,
sculpture and decorative arts. Artists represented include Fra
Angelico, Taddeo Gaddi, Fra Filippo Lippi, Sandro Botticelli,
and Giovanni di Paolo. Investigating the Renaissance is
installed in three exhibition galleries, including Warburg
Hall, the single largest gallery in the Fogg Art Museum, which
reopened to the public after serving as temporary office space
for several years. Fitted with a sixteenth-century Burgundian
wooden ceiling, Warburg Hall is one of the most distinctive
exhibition spaces in North America. The art of the Renaissance
has been central to the Fogg for much of the museum's history,
for visitors to the museum as well as for the teaching of the
history of art. In recent years, however, the focus of museum
practice and art history has shifted and diversified to the
extent that this art seems culturally remote for many museum
visitors, students and scholars. Investigating the Renaissance
is conceived with the twin goals of creating new audiences for
these works, and creating new modes of access for those
already acquainted with them. The Fogg Art Museum is
especially well-placed to rekindle an interest in the art of
the Renaissance because of its institutional history, the
strength of its early Italian Renaissance holdings and the key
role played by the Art Museums' Straus Center for Conservation
in the study, presentation and interpretation of these
objects. Investigating the Renaissance is organized by Ivan
Gaskell, Margaret S. Winthrop Curator of Paintings, Stephan
Wolohojian, National Endowment for the Arts Intern, and other
members of the Fogg's Department of Paintings, Sculpture, and
Decorative Arts in conjunction with the staff of the Straus
Center for Conservation. The installation has received support
from the National Endowment for the Arts, a federal agency,
The Getty Grant Program, and The Scott Opler Foundation, Inc.
Opened November 1996.
Sublimations: Art and Sensuality in the Nineteenth Century
Ongoing (at the Fogg)
One common perception of
the nineteenth century is that it was an era of strict
propriety, often masking secret vice. The intention behind this
reinstallation of works from the permanent collection is to
bypass the prurience and ethical self-congratulation implicit in
such a view and to demonstrate how the arts of this period in
Europe and North America engaged unapologetically with the
senses. In doing so, they helped define various arenas of social
and personal life, such as worship, the service of food and
drink, and bodily adornment, as well as the -integrally related-
construction of sexuality. The paintings and objects exhibited
have been selected for the sensual -often erotic- charge they
convey when viewed together as artifacts for the construction of
sexuality, both female and male. Sublimations is organized by
Ivan Gaskell, Margaret S. Winthrop Curator of Paintings. Opened
1996.
Severan Silver Coinage
Ongoing (at the Sackler)
The installation consists
of thirty-three coins that make up part of a magnificent
collection of 276 denarii from the Severan dynasty of the Roman
Imperial period given to the Harvard University Art Museums'
coin room. The collection was assembled by Mark Stalton. The
Severan dynasty began with the North African military leader
Septimius Severus, who ruled 193-211 A.D. The coins in the
installation depict Severus, his wife Julia Domna and their two
sons Caracalla and Geta, along with Macrinus, Elagabalus,
Severus Alexander and Maximinus. The installation Severan Silver
Coinage is organized by Anne McClanan, keeper of coins in the
Ancient Art Department. Opened 1996.
American Art after 1950
Fogg Art Museum
With this new installation
of works by American artists of the post-war era, modern and
contemporary art once again finds a home in the Art Museums'
galleries. Selected by Harry Cooper, associate curator of modern
art, this long-term installation focuses on abstract art by
major American artists of the last fifty years, including
Jackson Pollock, Mark Rothko, Franz Kline, Frank Stella,
Ellsworth Kelly and Agnes Martin. Works from the museum's
permanent collection are supplemented by selected loans,
including paintings by Robert Ryman, Jasper Johns, and Brice
Marden. The exhibition is supported with funds from the John M.
Rosenfield Teaching Exhibition Fund. Opened December 26, 1998.
Gian Lorenzo Bernini: Sketches in
Clay
Fogg Art Museum
In one of its most
far-sighted and spectacular purchases ever, the Fogg, in 1937,
acquired 27 terracotta sculptures, fourteen of which can be
associated directly with greatest sculptor of the Roman Baroque,
Gian Lorenzo Bernini (Naples 1598-1680 Rome), a fifteenth was
added in 1995. These works are studies for some of Bernini's
most important projects and cover nearly the whole of the
artist's career. They include saints and allegorical figures,
but perhaps most memorable are the extraordinarily vivid angels,
seemingly descending directly from a heavenly realm in swirls of
flowing drapery. The installation, which marks the
quartercentenary of Bernini's birth (1998), is organized by Ivan
Gaskell, Margaret S. Winthrop Curator, and Colette Czapski
Hemingway, 1996-1998 Andrew W. Mellon Intern, Department of
Paintings, Sculpture, and Decorative Arts, with contributions by
Jeannine O'Grody, 1995-1996 National Endowment for the Arts
Intern. Opened Feburary 28, 1998.
Wall Drawing #830: Four Isometric
Figures with Color Ink Washes Superimposed
Arthur M. Sackler Museum
lobby
This major wall
drawing by conceptual artist Sol LeWitt, one of our
generation's premier draftsmen, occupies four walls in the
lobby of the Sackler Museum. Comprising four large-scale
geometric shapes on fields of primary colors, the drawing
dramatically amplifies and animates the Sackler's
double-height entry space. The project was organized at the
Art Museums by Elizabeth and John Moors Cabot Director. Opened
1997.
SEMINARS
The
Harvard University Art Museums' facilities are wheelchair
accessible. For general information, please call (617) 495-9400.
For more information on events, please contact the Friends,
Fellows, and Special Programs Office at (617) 495-4544.
The Harvard University Art
Museums is one of the leading arts institutions in the United
States and the world. It is distinguished by the range and depth
of its collections, its groundbreaking exhibitions, and the
original research of its staff. For more than a century, it has
been the nation’s premier training ground for museum professionals
and scholars and is renowned for its seminal and ongoing role in
the development of the discipline of art history in this country.
The three art museums at
Harvard—the Arthur M. Sackler Museum, the Busch-Reisinger Museum,
and the Fogg Art Museum—are all outstanding institutions in their
respective fields. The Fogg also houses the Straus Center for
Conservation, long a leader in the research and development of
scientific and technology-based analysis of art. The 150,000
objects in the art museums’ collections range in date from ancient
times to the present and come from Europe, North America, North
Africa, the Middle East, South Asia, East Asia, and Southeast
Asia. Each museum also has an active program of special
exhibitions that promotes new scholarship in its areas of focus.
As an integral component of
the Harvard University community, the three art museums serve as a
resource for all students, adding a special dimension to their
areas of study. The public is welcome to experience the
collections and special exhibitions as well as to enjoy lectures,
symposia, and other programs in the various museums.
The collections are divided
among ten curatorial areas: Ancient Art; Architecture and Design;
Asian Art; Busch-Reisinger Museum; Drawings; Islamic and Later
Indian Art; Modern and Contemporary Art; Paintings, Sculpture and
Decorative Arts; Prints; and Photographs. Developed with an
emphasis on their value for teaching and research, these holdings
are a uniquely broad and rich resource that is continually
enhanced through gifts and acquisitions. Together, the holdings of
the three museums constitute one of the finest university art
collections in the world, with resources rivaling those of many
major public museums.
The Straus Center for
Conservation is the oldest fine arts conservation treatment,
research, and training facility in the United States. The Center
specializes in the conservation of paintings, sculpture,
decorative objects, historic and archaeological artifacts, and
works of art on paper. Its team members are pioneers in developing
new applications of digital imaging in conservation. The Center’s
state-of-the-art facilities support a broad range of analytical
services.
Visitor Information
Location
The Fogg Art Museum
and the Busch-Reisinger Museum are located at 32 Quincy Street
in Cambridge. The Arthur M. Sackler Museum is located next door
at 485 Broadway. Each Museum is a short walk from the Harvard
Square MBTA station.
Hours
Monday through
Saturday:10:00 am to 5 pm Sunday: 1:00 pm to 5:00 pm
The Museums are closed on
national holidays.
Admissions:
Adults: $9.00
Senior citizens: $7.00
College students w/ ID: $6.00
Under 18: Free
Harvard students & affiliates: Free
Members: Free
Saturday 10:00 a.m.–12:00 p.m.; everyday after 4:30 p.m.: Free
Cambridge Public Library cardholders: Free
Groups of 8 or more must
pre-register by calling 617-496-8576. New group rates:
Adults: $8.00
Senior citizens: $6.00
College students w/
ID: $4.00
The Harvard University Art
Museums receive support from the Massachusetts Cultural Council.
More detailed information is available at 617-495-9400 or on the
Internet at www.artmuseums.harvard.edu.
The Art Museums are within
five minutes walking distance of the Harvard Station MBTA bus and
Subway terminals.
By car from downtown Boston,
the Central Artery, or the Cambridge exit off the Massachusetts
Turnpike, take Storrow Drive to the Harvard Square exit, go over
the bridge onto JFK Street; proceed north through Harvard Square,
intersect Massachusetts Avenue, and bear right through the
underpass onto Broadway. The Harvard Art Museums are just past the
fire station.
The Harvard University Art
Museums' facilities are wheelchair accessible. For general
information, please call (617) 495-9400. For more information on
events, please contact the Friends, Fellows, and Special Programs
Office at (617) 495-4544. World Wide Web: www.artmuseums.harvard.edu.
The Harvard University Art
Museums is supported in part by the Massachusetts Cultural
Council.
Key Personnel
Thomas Lentz, Elizabeth and
John Moors Cabot, Directors, Harvard University Art Museums
Frances Beane, Deputy Director, Harvard University Art Museums
Henry Lie, Director, Straus Center For Conservation
Peter Nisbet, Daimler-Benz Curator, Busch-Reisinger Museum
Ivan Gaskell, Margaret S. Winthrop, Curators of Paintings,
Fogg Art Museum
William Robinson, Ian Woodner, Curators of Drawings, Fogg Art
Museum
Marjorie B. Cohn, Carl A. Weyerhaeusers, Curator of Prints,
Fogg Art Museum
Robert Mowry, Curator of Chinese Art, Head of The Asian Art
Department, Arthur M. Sackler Museum
David Gordon Mitten, Curator of Ancient Art, Arthur M. Sackler
Museum
Helen Molesworth, Curator of Contemporary Art
Barbara Lee, Associate Curator of Contemporary Art
Susan von Salis, Associate Curator of archives.
CAMBRIDGE, MA (March 7, 2005)
Thomas W. Lentz, Elizabeth and
John Moors Cabot Director of the Harvard University Art Museums,
today announced the appointment of Susan Dackerman as the new Carl
A. Weyerhaeuser Curator of Prints at the Fogg Art Museum.
Dackerman will assume the position on July 5, 2005, after the
retirement of the incumbent, Marjorie B. Cohn, longtime curator
and conservator and former acting director of the Art Museums.
"Susan brings exceptional
enthusiasm, dedication, and experience to the position," Lentz
said. "Her insights as a scholar and educator and her expertise in
curatorial affairs make her an ideal choice to lead our teaching,
collecting, and program efforts in the area of prints, and a
worthy successor to Jerry Cohn."
CAMBRIDGE, MA (October 27,
2006)
The Harvard University Art Museums announced today the appointment
of Helen Molesworth as its new curator of contemporary art,
effective February 5, 2007. Molesworth becomes the first full
curator of contemporary art since the Art Museums established the
department of modern and contemporary art in 1997. A distinguished
scholar, writer, and curator, Molesworth comes to the Art Museums
from the Wexner Center for the Arts in Columbus, Ohio where she
has been serving as chief curator of exhibitions since 2003, with
oversight of the Center’s exhibitions, programs, and publications.
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