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...school who prefers to impress the ladies with his athletic prowess than to demonstrate his ability in solving quadratic equations. Indeed, as the authors of the recent book Learning Together: a History of Coeducation in American Schools observed, sports programs were grafted onto public secondary institutions in the late eighteenth century precisely to correct the perceived attack on boys' virility that coeducation had introduced. Many Harvard men view the presence of women in the same way, retreating to the football field or a final club to prove their masculinity...

Author: By G. BRENT Mcguire, | Title: Coeducational No More | 12/13/1994 | See Source »

...gallery devoted to "Vanitas" images, the vast majority of the paintings are traditional scenes of hunted game; three modern works--a Max Beckmann, a Georgia O'Keeffe, and an Axel Kesselbohmer--show skulls. Not one seventeenth- or eighteenth- century painting shows any of the other symbols associated with passing time; after such a lengthy label description of the section, their absence is conspicuous. However, in the "Fruit" section and again in the "Trompe I'Oeil" section, there are perfect examples of decaying fruit (one label doesn't even acknowledge its symbolic value) that would have been far more effective...

Author: By Tara B. Reddy, | Title: Delusions of Grandeui | 10/13/1994 | See Source »

began with an indication of the circular evolution of musical audiences. In the halls of the eighteenth century, which catered to aristocrats whose particular interest was not necessarily the music, there was no sense in a conductor or concert master waiting for silence: the orchestra simply played--preferably loudly at first--to quiet the crowd. It is partly for this reason that most symphonies from the classical begin with a forte. When Haitink took the stage, the noise from the crowd of the elderly and well-to-do did not diminish. Thus, he dove straight into the cataclysmic opening bars...

Author: By Daniel Altman, | Title: Timid BSO Tantalizes at Tanglewood | 9/22/1994 | See Source »

...universe, the Fogg show does illustrate the development of a small national artistic community through one of the most tumultuous epochs in the history of European painting. The assembled works provide an overview of the transition that was taking place across the Western world from traditional eighteenth century portraiture, through a school of the national landscape, to proto-Impressionsim. Kobke's Copy of Eckersberg's Portrait of Thorvaldsen (1828) boasts an intense dramatic tone, vaguely reminiscent of David or other French portraitists of the era. Kyhn's landscapes suggest the influence of Corot. To complete the simultaneous development, Kroyer...

Author: By Edward P. Mcbride, | Title: Not So Great Danes | 2/3/1994 | See Source »

...marriage." His sugary, mildly erotic Garden of Love, replete with cherubic angels and sparkling applications of paint, is a far cry from the violent and dramatic Prometheus. Illustrating an open-air party of fleshy, amorous aristocrats dressed in satin, Garden of Love is an obvious precursor of the eighteenth-century fete-champetre popularized by Rococco artists such as Watteau...

Author: By Joanna Dreifus, CRIMSON STAFF WRITER | Title: First Major Rubens Exhibit in America launched at MFA | 10/7/1993 | See Source »

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