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...museum combines dispassionate nineteenth-century taxonomy and wondrous admiration of the animals featured. Founded by Louis Agassiz in 1859 at the height of the craze to classify all of nature, the museum set out to acquire a specimen of everything in the natural world. The result is an incredible, albeit slightly dusty, collection--from the duck-billed platypus to the yak--displayed in wooden and glass cases under fluorescent light...

Author: By Deborah Wexler, VISITING THE MUSEUMS | Title: Lions and Tigers and Trilobites, Oh My! | 2/3/1994 | See Source »

Danish Paintings from the Nineteenth Century from the Collection of Ambassador John L. Loeb...

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

...these delightful works hang the frumpy Still Life with Pineapple (1833) by Jensen, a hackneyed anecdotal painting by Marstand, and the slightly pat impressionism of the Anchers. These uninspiring works do not undermine the exhibition, because it aims precisely to illustrate the tenor of Danish art in the nineteenth century, even through its less inspirational phases. However, such an aim does not provide sufficient focus for an exhibit, even on a relatively modest scale. The collection appears electric, a higgledy-piggledy romp through an era of artistic flux and diversity. The viewer does not find Danish painting surprisingly good...

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

...responsibility for this failing must fall on Ambassador Loeb, who has assembled an amateur, private collection rather than definitive scholarly statement on Danish painting. But Peter Nisbet, the curator of the Busch-Reisinger, should have made a more coherent selection from Loeb's collection. With some nobel exceptions, nineteenth century Danish painting cannot sustain an exhibition on aesthetic genius alone...

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

...chance recovery of an important collection of nineteenth-century photographs of the Near East in 1970 has led, slowly and steadily, to a distortion of the primary tasks and goals of the Museum. The collection of old photographs proved a marvelous source of publicity and a lure for important gifts culminating in the gift of king Fahd of Saudi Arabia which funded the staff of the Museum for some three years. The staff of the Museum has traveled worldwide to add to the collection. The king Fahd Archive has become the primary source of the Museum's deficit, as well...

Author: By Frank MOORE Cross, | Title: A Reply to Martin Peretz | 12/13/1993 | See Source »

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