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While some of the represented artists may not be familiar to most of the public, the exhibit offers viewers a broad introduction to the work of 17th century Dutch artists, and the various subjects they treat: landscapes, figure studies, architecture, Biblical subjects, quotidian scenes and natural history...

Author: By Ashley Aull, CONTRIBUTING WRITER | Title: Bruegel and Rembrandt Drawings Come to Fogg | 4/25/2003 | See Source »

Having returned from a European tour with stops at the British Museum and the Institut Netherlands in Paris, Bruegel to Rembrandt: Dutch and Flemish Drawings from the Maida and George Abrams Collection is making its next stop at Harvard’s Fogg Art Museum...

Author: By Ashley Aull, CONTRIBUTING WRITER | Title: Bruegel and Rembrandt Drawings Come to Fogg | 4/25/2003 | See Source »

...It’s the best private collection of 17th century Dutch drawings anywhere in the world,” said Maida and George Abrams Curator of Drawings William W. Robinson, who curated the exhibition...

Author: By Ashley Aull, CONTRIBUTING WRITER | Title: Bruegel and Rembrandt Drawings Come to Fogg | 4/25/2003 | See Source »

...Dutch art was a kind of vanguard art because of its interest in naturalistic representation and secular subjects,” Robinson said. “It was always considered a kind of art apart, just as the Dutch republic was a kind of novel form of government and regarded with disdain by aristocratic and monarchical regimes. So in that sense, Dutch art was a kind of revolutionary, innovative art in the 17th century...

Author: By Ashley Aull, CONTRIBUTING WRITER | Title: Bruegel and Rembrandt Drawings Come to Fogg | 4/25/2003 | See Source »

...whom the exhibit and associated catalogue are dedicated—and George S. Abrams ’54, who is also a Crimson editor. Over the course of 40 years of collecting, the Boston couple assembled the world’s most comprehensive private collection of 17th century Dutch drawings...

Author: By Ashley Aull, CONTRIBUTING WRITER | Title: Bruegel and Rembrandt Drawings Come to Fogg | 4/25/2003 | See Source »

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