Word: jacob
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Dates: during 1990-1999
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...Museum. The traditional center of the Museum's activity, exploration and excavation of sites of the ancient New East expanded as the Museum became the sponsor of the Leon Levy Expedition to Ashkelon ion 1987. This continued the enterprise of the early days, the excavations at Samaria, funded by Jacob Schiff, the benefactor who provided funds for the building of the Semitic Museum, and the excavations at Nuzi (with the Fogg Museum), and later (with the Museum underground) at Shechem, Idalion in Cyprus, Carthage in Tunisia, Numeirah in Jordan, and (underwater) at Tharros in Sardinia. Stager heads the current, primary...
Kieslowski, a Polish filmmaker now working in France, has an imposing European reputation from his 10-part series The Decalogue (still unreleased in the U.S.). His Franco-Polish The Double Life of Veronique earned its star, Irene Jacob, the best-actress award at last year's Cannes Film Festival. His new Blue won Binoche the best-actress prize this September in Venice. So Kieslowski knows two or three things about showcasing beautiful women. He gives them an identity crisis, locks them alone in a Paris apartment and puts their chic, bleak spirits handsomely on display...
Begun with a contribution from the great philanthropist and financier Jacob Schiff in 1889, Harvard's Semitic Museum enjoyed the support of Schiff and others, including President Eliot. But with Eliot's retirement in 1909 and his death 17 years later, the museum was in for rougher times. As Harvard Magazine delicately put it, President Lowell was "unaccountably hostile" to it--so hostile, in fact, that in 1926 he prohibited the curator from raising any funds for the museum at all. (The Harvard president who initiated the numerus clausus for Jewish students, Lowell was also unaccountably hostile to the appointment...
...Jacob Lawrence's chronicle of the great black migration...
...show of all 60 paintings of Jacob Lawrence's Migration series, at the Phillips Collection in Washington, is an event that no one interested in African-American cultural history -- or, in a wider way, the story of American painting as a whole -- could pass up. The works haven't been shown in two decades, but they constitute the first, and arguably still the best, treatment of black-American historical experience by a black artist. (Romare Bearden's collages are slices of life, but they do not form an explicit historical narrative in the way that Lawrence's paintings...