Word: museumed
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Dates: during 1930-1939
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Except for the limited life of the Harvard Society for Contemporary Art, a brilliant nook run by high-brow Harvardians from 1928 to 1932, the first general awakening began four years ago. A drifting spore from Manhattan's Museum of Modern Art took root in Boston as an "affiliate," was watered by about 50 members, made $1,500 on a Modern Arts Ball (now annual and famous as the only dance at which Boston society stays up until dawn). By 1937 there were 300 members. Two months ago, with 800 paying members, Boston's offshoot became a lusty...
Last week Bostonians trooped to the Fine Arts Museum to see the Institute's most independent, smartest exhibition so far: "Sources of Modern Painting." Hung side by side were selected modern paintings from Manet to Dali and the i) older European pictures, 2) primitive pictures, 3) ancient pictures, 4) Japanese prints or 5) photographs with which they were definitely linked in style. No mere repetition of the now familiar facts and Grade A names, the show included such juxtapositions as an early Gauguin and a Kate
...studied Fine Arts in college because he thought it was a snap course, wrote the music for a Hasty Pudding show, still likes playing tennis and skiing as much as working with pictures: James Sachs Plaut (rhymes with flout), who was assistant curator of paintings at the Fine Arts Museum before the Institute hired him last year. More young Bostonians went to his show last week than the Museum had seen for years...
...impact on art, was fond of pointing out that the word "manufacturer" had lost all if its original meaning (hand-maker). Worcester, Mass, is one of the New England towns whose 19th-Century mills and streets bear witness to the loss. But Worcester has a fine Art Museum, and here last week New England scholars and art lovers gathered to ponder the art of mother great manufacturing region when art and manufacturing were...
...Johnson collection, now owned by the Philadelphia Museum, formed the nucleus of last week's exhibition at Worcester. Enriched by 44 pictures from public and private collections in Belgium, it was the first sizable, over-all show of 15th, 16th, and 17th-Century Flemish painting ever held in the U. S. Jointly responsible for it were the Worcester Museum's affable, oval Director Francis Henry Taylor and Assistant Director Henri Marceau of the Philadelphia Museum. They succeeded last summer in getting the help of Léo van Puyvelde, distinguished, bluntspoken* director of the Royal Museums of Belgium...