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Copies of these prints line the foyer outside the new exhibition on Toulouse Lautrec at the Fogg Art Museum. The focal point of this exhibit, however, is the collection of six portraits, entitled Three Women: Early Portraits by Toulouse Lautrec, from his pre-Moulin Rouge days. Reflecting impressionist and even Renaissance influences, the portraits are among Toulouse Lautrec’s most conservative works, standing in sharp contrast to the decadent, brazen prints outside...

Author: By Georgia E. Walle, CONTRIBUTING WRITER | Title: Fogg Exhibit Reunites Three Parisian Women | 4/12/2002 | See Source »

...repertoire that until recently has been overlooked. Previously, his more conventional, intimate portraits were considered “student works, illustrations of popular song, or demonstrations of social issues in nineteenth-century Paris,” Sarah Kianovsky, assistant curator of Painting, Sculpture and Decorative Arts at the Fogg, writes in the show’s essay. By contrast, this exhibition seeks to allow the viewer to see Toulouse Lautrec’s portraits untainted by his more famous prints and to focus instead on the intimacy and vulnerability of the subjects and the intense relationship between painter and subject...

Author: By Georgia E. Walle, CONTRIBUTING WRITER | Title: Fogg Exhibit Reunites Three Parisian Women | 4/12/2002 | See Source »

...Fogg Art Museum

Author: By Georgia E. Walle, CONTRIBUTING WRITER | Title: Fogg Exhibit Reunites Three Parisian Women | 4/12/2002 | See Source »

Pitkin recalls that his first experience with controversial Harvard building projects involved a museum—the Sackler—which Harvard wanted to connect to the Fogg with a bridge over Broadway Street...

Author: By Lauren R. Dorgan, CRIMSON STAFF WRITER | Title: The Battle Next Door | 4/12/2002 | See Source »

Describing a loud and contentious meeting about the Sackler-Fogg bridge proposal in his typical understated manner, Pitkin says the issue “stirred people...

Author: By Lauren R. Dorgan, CRIMSON STAFF WRITER | Title: The Battle Next Door | 4/12/2002 | See Source »

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