College Museums Notes - About Yale's Exposition 1966 - p.13-14

Taylor & Francis, Ltd.
College Art Association

College Museum Notes
Author(s): Henri Dorra, Raymond T. Entenmann and Norman A. Geske
Source: Art Journal, Vol. 25, No. 3 (Spring, 1966), pp. 270+272+274+276+278+280+284+286+288+
290+292+294+296+298+300+302+304
Published by: College Art Association
Stable URL: http://www.jstor.org/stable/774994
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NormanA. Geske / Editor
college museum notes
NOTETO CONTRIBUTORS
College or Universitypersonnel involvedwith teaching museums are requested to send to the Editor
any pertinent informationon acquisitions,
staff activities and any plans for the development of the scope of their institutions
which would be of interest to the Art Journal's public. Informationshould be sent to
NormanA. Geske, Editor,SheldonMemorial
Art Galleryin Lincoln,Nebraska.The dead-
lines for the quarterlyissues are September

1, November 1, February1 and April 1. Material received later may be used in a subsequent issue if space allows.
ACQUISITIONS Dimensions are given in
the order of height, width and depth. Paintings are oil on canvas unless otherwise designated. Donors are indicated in parentheses. Attributionsare those of the owners.
ACQUISITIONS
Chinese, Neolithic Period, buff pottery jar,
painted designs in red and black, H. 9/4?",
W. 10/2" Stanford University. (Mrs. Stewart M. Marshall)
Chinese, Shang Dynasty, gray pottery Li,
ridged designs and corded impressions,
H. 52", W. 61/4" Stanford University.
(Mrs. Stewart M. Marshall)
Chinese, Wei Dynasty, gray pottery standing
warrior, H. 18" Stanford University. (Mrs.
Stewart M. Marshall)
Indian, Gandhara-Hadda(?), Head of a
Bodhisattva, stucco with traces of color,
H. 712", University of Florida, Gainesville. (Purchase) (Fig. 4)
Indian, Gandhara, Buddhist Stele, schist,
H. 31/2", W. 23", University of Illinois.
(Purchase)
ancient art
Cypriote, 700-200 B.C., Mother and Child,
painted clay, 5", Michigan State. (Carolyn
Wicker)
Cypriote, 700-200 B.C., Woman with Cymbal,
clay, 53/4", Michigan State. (Carolyn
Wicker)
Etruscan, Hercules, 4th-3rd century B.C.,
bronze, H. 4/4", Michigan State. (Development Fund)
Greek, Kylix by the Epileios Painter, Attic
red-figured style, c. 500 B.C., painted pottery, 123/4"diam., 478" high, Michigan State.
(Development Fund). (Fig. 1).
Greek, Whiteground Lekythos by the Athena
Painter, c. 490-480 B.C., painted pottery,
H. 121/4", Diam. 4/8", Indiana University.
(Purchase)
Iranian, Luristan finial, 9th-7th century B.C.,
bronze, 3/2" X 3", Williams College. (Purchase) (Fig. 2)
Roman, Hercules with Club, 1st century
B.C. to 3rd century A.D., bronze, 21/8",
Michigan State (Development Fund)
105 Ptolemaic, Roman and Byzantine gem
stones have been put on indefinite loan
in the Indiana University Museum of Art
from the collection of Burton Y. Berry.
Fig. 1. Greek, Kylix by the Epeleios Painter, Michigan

State.
Fig. 3. Chinese, Ming Dynasty, Village

Stanford University.
Along a River,
the far east

Balinese, 18th-19th century, Karang-Tjeiviri,
The Ogre Temple Guardian, wood, traces
of paint, H. 8", L. 27", D. 8" Michigan
State University. (Development Fund)
Cambodian, Khmer, Goddess Umah, sandstone, 14th-15th century, H. 33" Berkeley.
(Mr. and Mrs. Samuel Josefowitz)
Chinese, Chieh Shih-Fu, Ming Dynasty, The
Eighteenth Melodies of the Tartar's Reed,
ink on paper, University of Miami. (Purchase)
Chinese, Hsieh Shih-ch'en, Album of Twelve
Landscape Paintings, dated 1547, Princeton. (Mrs. George Rowley)
Chinese, Ming Dynasty, Village Along a
River, Blue and Green style, H. 181/",
L. 14', Stanford University. (Committee
for Art at Stanford) (Fig. 3)
Fig. 2. Iranian, Luristan finial, Williams College.
Fig. 4. Indian, Gandhara-Hadda(?), Head of a Bodhisattva,

University of Florida.
ARTJOURNAL
XXV 3
270
Fig. 5. Indian, Gwalior, Brahami, Oberlin College.
Indian, Gwalior, Brahami, late 10th century, limestone, H. 1612" Oberlin College.
(Purchase) (Fig. 5)
Indian, Miniatures (three Bundi, one Jaipur,
one Deccan), tempera on paper, Miami.
(George P. Bickford)
Indian, Miniatures (one Bundi, one Marwar, one Kangra, one Guler), tempera on
paper, Illinois. (George P. Bickford)
Japanese, Momoyama Period, Yoshitsume
Monogatari, makimono with four illustrations in water color and gold leaf on
paper, 11 7/16" X 13', Michigan State University. (Development Fund)
Japanese, Momoyama Period, Three Noh
masks, painted wood, H. 9", Michigan
Japanese, Edo Period, Amida Buddha, gilded
wood, H. 834", Michigan State University.
(Development Fund)
Japanese, Edo Period, Six panel Grape
Screen, paper, gilt, wood, brass, H. 665/8"
L. 143/?", Indiana University. (Harry C.
Nail, Jr.)
Japanese, 19th century, pair of six panel
screens, color and gold leaf on paper,
H. 6714", W. 2412", Stanford University.
(Mr. and Mrs. Edward M. Hamilton)
arts of africa, oceania,

ancient mexico
African-Congo-Bena Lulua, Standing Female
Figurine, Wood, H. 6", Notre Dame. (Dr.
and Mrs. Willi Riese)
African-French Sudan-Bambara, Mask from
Kore Society (?), wood, nails, H. 16/2",
W. 10", D. 10", Indiana University. (Purchase)
African-Nigeria-Yoruba, Horse and Rider,
painted wood, 22", Michigan State University. (Arthur Hannah)
Fig. 6. Peruvian (Chimu, ca. 1200 A.D.),

Goblet, Amherst College.
Chased Gold
Ibeji
African-Nigeria-Yoruba
(Abeokuta),
(Twins), wood, 1014", Michigan State University. (Development Fund)
African-Ivory Coast-Baoule, Painted wooden
mask, 19th Century, 26/4", Princeton University. (Mr. and Mrs. Charles Biddle)
Mexican-Jalisco Warrior, clay, pigment, H.
115/", W. 6%5",D. 7", Indiana University.
(Purchase)
Oceanic-New Guinea, Sepik, Crocodile Stool,
wood, H. 614", W. 243/", D. 5", Notre
Dame (Dr. and Mrs. Willi Riese)
wooden
Oceanic-New
Painted
Ireland,
mask, 19th Century, 241/2", Princeton University. (Stanley J. Seeger, Jr.)
Peruvian (Chimu, ca. 1200 A.D.) Chased
Gold Goblet, from Batan Grande, Lambayote District, H. 73/4", Dia. 43/4", Amherst College. (Purchase) (Fig. 6)
drawings
George Bellows, Young Irish Girl, 1922,
conte crayon, 12" X 8", Mount Holyoke.
(Mr. and Mrs. Paul Adams) (Fig. 7)
Robert Birmelin, Untitled, pencil on paper,
Nebraska
of
331/2" X 23", University
(Purchase)
William Clutz, Untitled, charcoal on paper,
1964, 22" X 28", University of Nebraska.
(Purchase)
Jim Dine, Untitled, 1965, charcoal on paper,
Oberlin College. (Gift of
4038" X 273/,
the artist)
Leon Goldin, Trees and Rocks, charcoal on
paper, 1964, 1934" X 251/", University of
Nebraska. (Purchase)
Chaim Gross, Figure Studies, pen and ink,
93/4" X 71/4",
Arizona
State
University.
(Mr. and Mrs. Orme Lewis)

Constantine Guys, Napoleon III on Horseback, pen and ink, wash and water color,
83/8" X 11 15/16", Oberlin College. (Purchase)
Fig. 7. George
Holyoke College.
Bellows,
YOUNG IRISH GIRL, Mount
Fig. 8. Jacob Jordaens, DEATH OF CLEOPATRA, Mount

Holyoke.
Budd Hopkins, Drawing, 1965, ink and

water color on paper, 131/2"X 105/",
Michigan State University. (Development
Fund)
Arnold Houbraken, Dutch, (1660-1719-attr.),
Head of a Man, red chalk on paper,
534" X 5/8", Mount Holyoke. (Mrs. Caroline R. Hill)
Jacob Jordaens, Death of Cleopatra, water
color with red chalk, 7" X 10", Mount
Holyoke. (Mrs. Caroline R. Hill) (Fig. 8)
J. B. Lallemand, French (1710-1805), Avenue
in a Park, black chalk, 95/8" X 14/2",
Vassar. (Purchase)
Auguste Lepere, A Country Village, charcoal on paper, 61/4" X 91/2", Mount Holyoke. (Mrs. Caroline R. Hill)
Keith Martin, Wild Scene $ 7, pencil on
paper, 10" X 137/", Morgan State College. (Purchase)
Jean Francois Millet, Landscape, black chalk,
73/" X 12", Oberlin College. (Purchase)
Amadeo Modigliana, Female Nude, 17" X
934", Princeton. (C. 0. von Kienbusch)
ART JOURNALXXV 3
272
Laurent Pecheux, French (1729-1821), Baptism of Christ, pencil on paper, 5" X 7",
Vassar College. (Purchase)
Orazio Samachini, Italian (1532-77), Holy
Family with St. Elizabeth of Hungary,
pen and wash on paper, 121/2" X 11",
Stanford University. (Purchase)
Giovanni Antonio Pellegrini, Study for an
Altarpiece, c. 1700-10, pen and ink and
red chalk over pencil, 11/8"1X 85/", Oberlin College. (Anonymous gift)
George Segal, Nude, 1965, pastel on paper,
1734" X 11%3", Williams
College. (Purchase)
Oli Sihvonen, Untitled, ink on paper, 1964,
University of New Mexico. (Millicent
Rogers Foundation)
Pietro Testa, Italian (1611-1650), Allegorical Subject, ink and wash on paper, 141/2"
X 117%", Vassar College. (Purchase)
Henri Toulouse-Lautrec, Woman in High
Collared Jacket, two drawings of same
subject, 712" X 41/2,", Princeton. (C. 0. von
Kienbusch)
Joachim Uytewael, Dutch (c. 1566-1638), St.
John the Baptist Preaching, pen and ink
and wash, 14" X 173/4", Vassar. (Purchase)
Joachim Uytewael, Angel Appearing to
Hagar (recto); The Fall of the Giants
(Pur(verso), 11/4" X 23", Princeton.
chase)
Ulfert Wilke, Music to be Seen, six drawings, ink on paper, University of Illinois.
(Arthur Wiesenberger)
Francis X. Winterhalter, Grand Duchess
Sophie of Baden, c. 1831, pencil on paper,
Oberlin College. (Pur143/" X 103/",
chase)
prints
Josef Albers, Homage to the Square: HardEdge, Soft-Edge, 10 color prints, Wesleyan University, Middletown. (Purchase)
American, 1 ? Life, 1965, Lithographs, 16"
X 113 ", Oberlin College. (Anonymous)
Karel Appel, Wild Horse Rider, color woodcut, University of Georgia. (A. H. Holbrook)
William Baillie, The Lace Maker, mezzotint,
University of Georgia. (A. H. Holbrook)
Hans Baldung Grien, The Three Fates,
woodcut, Wesleyan University, Middletown. (Purchase)
Leonard Baskin, five portraits, etchings and
woodcuts, Wesleyan University, Middletown. (Purchase)
Leonard Baskin, Bartleby, 1964, lithograph,
Oberlin College. (Genevieve Brandt and
Mary Ainsworth)
Adolphe Beaufrere, Cliff Landscape, etching,
Max Beckmann, Selbstbildnis (Plate 19 from
"Gesichter"), 1918, 101/2"X 9/2", University of New Mexico. (Purchase)
Frank Benson, Winter Wild Fowling, etching, University of Georgia. (A. H. Holbrook)
David E. Bernard, La Cathedrale, color
intaglio, 35" X 12", Kansas State University. (Purchase)
Abraham Bloemaert, Peasant Games in Holland, engraving, University of Georgia.
(David James)
Frank Boggs, Chateau of Chinon, aquatint,
Nicolo Boldrini, Venus and Amor, after
Titian, 1566, woodcut, Wesleyan University, Middletown. (Purchase)
Rosa Bonheur, Sheep Fold, tinted lithograph,
Wesleyan University, Middletown. (A. H.
Holbrook)
Pierre Bonnard, St. Monique, pen lithograph,
R. P. Bonnington, Bologne, engraving, University of Georgia. (A. H. Holbrook)
Jan Both, The Mule Driver, etching, University of Georgia. (A. H. Holbrook)
Felix Bracquemond, Portrait of Fernand,
etching, University of Georgia. (Patrons'
Funds)
Felix Bracquemond, Arab Horse Tied to
Stake, etching, University of Georgia. (A.
H. Holbrook)
Georges Braque, Birds, color lithograph,
University of Georgia. (Patrons' Funds)
Robert R. Burkert, Spring Thaw, serigraph,
Robert R. Burkert, September Harvest, serigraph, University of Georgia. (A. H.
Holbrook)
Jacques Callot, Peasant Carrying Bag, engraving, University of Georgia. (A. H.
Holbrook)
Heinrich Campendonk, Woman with Cat,
woodcut, Wesleyan University, Middletown. (Purchase)
Giovanni Benedetto Castiglione, Circe, etching, Oberlin College. (Charles F. Olney
Fund)
Marc Chagall, The Oak and the Reed, from
"The Fables de la Fontaine" series, 192731, etching and drypoint, Oberlin College.
(Charles F. Olney Fund)
Walter Chandler, Ancient Houses in Brest,
etching, University of Georgia. (A. H. Holbrook)
Thomas Coleman, White Circle, intaglio on
17" X 111/2", Kansas State
triplemetal,
University. (Purchase)
Lovis Corinth, Vorfriihling im Gebirge
(Early Spring in the Mountains), 1922,
lithograph, Wesleyan University, Middletown. (Purchase)
Ugo da Carpi (after Parmigianino), Diogenes, chiaroscuro woodcut,
181/2" X
1312", Arizona State University. (Purchase)
Salvador Dali, Don Quixote, etching, University of Georgia. (A. H. Holbrook)
Salvador Dali, Deux Fantasies, etching, University of Georgia. (A. H. Holbrook)
Jacques Dassoneville, French Peasant Family

in Barn, engraving, University of Georgia. (David James)
Honore Daumier, At Odds, lithograph, University of Georgia. (A. H. Holbrook)
Honore Daumier, thirty-four lothographs,
Wesleyan University, Middletown. (Purchase)
Honore Daumier, twenty-five lithographs,
University of Miami. (David James)
Adrien Dauzats, Cathedral of Nimes, lithograph, University of Georgia. (A. H. Holbrook)
Julio de Diego, Flamenco, lithograph, University of Georgia. (A. H. Holbrook)
Edgar Degas, Sportman Mounting a Horse,
etching, 3 5/16" X 27/", Michigan State
University. (Development Fund)
Jacob de Gheyn II, The Four Evangelists,
engraving, Wesleyan University, Middletown. (Purchase)
Eugene Delacroix, Weislingen, Prisoner of
Goetz, lithograph, Wesleyan University,
Middletown. (Purchase)
Stefano Della-Bella, Escutcheon, etching,
Paul Deltombe, Champtoceaux on the Loire,
lithograph, University of Georgia. (David
James)
Gilles Demarteau, Peasant Boy With Sheep,
crayon engraving, University of Georgia.
(David James)
Andre Derain, Le Satyricon, drypoint, University of Georgia. (A. H. Holbrook)
Henri Deville, Pont Neuf in Paris, etching,
James Dine, Pliers, 1962, lithograph, 173/8"
X 225/8", Michigan State University. (Development Fund)
Werner Drewes, Tree at Night, color woodcut University of Georgia. (A. H. Holbrook)
Jean Dubuffet, Jeux et Congres, 1959, color
lithograph, Williams College. (Stephen D.
Paine)
Karel DuJardin, Jan de Vos, Poet, 1662,
engraving, 5 1/16" X 5" (figure), 61/2"
X 5" (with text), Michigan State University. (Development Fund)
Albrecht Durer, Madonna With The Monkey, ca. 1498, engraving, 71/2"X 4 13/16",
Arizona State University. (Mr. Read Mullan) (Fig. 9)
Max Ernst, Three Persons, 1964, color
aquatint, 13 3/16" X 8 9/16", Mich;gan
Cornelius Galle, Jr., Henrica Lotharingie,
engraving, University of Georgia. (A. H.
Holbrook)
Theodore Gericault, Mazeppa, lithograph,
Theodore Gericault, Three Boys Playing
With An Ass, lithograph, Wesleyan University, Middletown. (Purchase)
Theodore Gericault, Cheval Devore par un
Lion, 1823, lithograph, 8" X 10", University of New Mexico. (Purchase)
ARTJOURNAL
XXV 3
274
Kathe Kollwitz, Temperance Poster, 1922,

lithograph, 14/2" X 18", Williams College. (Bernard Heineman, Jr.)
Utagawa Kunasada, Picnic in the Park,
woodcut (triptych), University of Georgia.
(A. H. Holbrook)
Jean Emile Laboureur, Man and Woman
by Windmill, engraving, University of
Georgia. (David James)
Doris Lee, Fruit Still Life, lithograph, University of Georgia. (A. H. Holbrook)
Doris Lee, Gray Day at the Beach, lithograph, University of Georgia. (A. H. Hol-
Fig. 9. Albrecht Durer, MADONNA WITH THE MONKEY.

Arizona State University.
William Glackens, Here Is Our Music & I

Dream, etching, University of Georgia (A.
H. Holbrook)
Fritz Glarner, Color Drawing For Tondo,
1964, color lithograph-5 stones, 26" X 20",
Michigan State University. (Development
Fund)
Francisco de Goya, Disparate de Carnabal
(Plate 14 from "Los Proverbios"), 1864
ed., etching and aquatint, 814" X 121/2",
University of New Mexico. (Purchase)
Marion Greenwood, Carib Caryatid, lithograph, University of Georgia. (A. H. Holbrook)
Marion Greenwood, Folksinger, lithograph,
Juan Gris, Marcelle la Blonde, c. 1921, lithograph printed in brown ink, 1534" X
123/4", University of New Mexico. (Purchase)
Johann Jacob Haid, Portrait of Lambecius,
mezzopoint, University of Georgia. (David
James)
Wenzel Hollar, John de Reede, engraving,
Jean Auguste Dominique, Sylvester (Douglas) Lord Glenbervie, Rome, 1815, lithograph, 7" X 7i/2", University of New
Mexico. (Julius Rolshoven Memorial Fund)
Jules Jacquemart, Seascape, etching, University of Georgia. (A. H. Holbrook)
Mervin Jules, Practice, woodcut, University
of Georgia. (A. H. Holbrook)
Max Klinger, Opus X, 10 etchings, Wesleyan University, Middletown. (Purchase)
brook)
Louis Legrand, Mater Dolorosa, aquatint,
Louis Legrand, La Fumeuse-The
Lady
Smoking, etching, University of Georgia.
(A. H. Holbrook)
Joseph Margulies, Scribes, etching, University of Georgia. (A. H. Holbrook)
Fletcher Martin, Toe-To-Toe, lithograph,
Jacqueline Marval, At the Dressmakers,
lithograph, University of Georgia. (David
James)
Henri Matisse, Portrait of Woman, linoleum cut, University of Georgia. (A. H.
Holbrook)
Franz Anton Maulbertsch, Bild der Duldung, engraving, Wesleyan University,
Middletown. (Purchase)
Henry Moore, illustration from Goethe
Prometheus, lithograph, University of
Georgia. (A. H. Holbrook)
Seong Moy, Winter's Path, woodcut, University of Georgia. (A. H. Holbrook)
Edvard Munch, Portrait of the Painter,
Walter Leistikow and his Wife, lithograph, Wesleyan University, Middletown.
(Purchase)
Jose Clemente Orozco, The Soldier's Widow,
lithograph, 153/4" X 9 15/16", Michigan
Adrian Ostade, La Tendresse Villageoise,
etching, 6" X 5", Mount Holyoke College.
(Nancy Everett Dwight Fund)
Pablo Picasso, Blind Minotaur Led by Girl
with Fluttering Dove ("Suite Vollard," no.
95), Paris, c. 1934, intaglio, 9" X 121/",
University of New Mexico. (ulius Rolshoven Memorial Fund)
Pablo Picasso, Sueno y Mentira de Franco,
set of 2 etchings with aquatint, 1937,
1214" X 161/", Stanford University (Mrs.
Hamilton Harris)
Pablo Picasso, King of the Clowns, linoleum
cut, Wesleyan University, Middletown.
(Purchase)
Giovanni B. Piranesi, Palace of Duke of
Odeschalchi, etching, University of Georgia. (Patrons' Funds)
Samuel Prout, Near Looe Cornwall, etching, University of Georgia. (Patrons' Funds)
Rembrandt, Ecce Homo, H. 271VII, etch-
Middleton.
University,
ing, Wesleyan
(Purchase)
Larry Rivers, Nine French Bank Notes II,
1963-65, lithograph, Oberlin College. (Purchase)
Salvator Rosa, Diogenes and the Bowl, 1662,
(PurchaseOberlin
College.
etching,
memory of W. K. Breckenridge)
Salvator Rosa, Ceres Rewarding Phytalus,
etching, University of Georgia (Patrons'
Funds)
Augustin de Saint-Aubin, Portrait of Abbe
Pommyer, engraving, University of Georgia. (Patrons' Funds)
George Schreiber, The Net, etching, University of Georgia. (A. H. Holbrook)
Paul Signac, Evening, Flessinque, 1898, 5color lithograph, 7 11/16" X 10?8", Michigan State University. (Development Fund)
John Smith, Portrait of Dutch Painter
Schalcken, mezzotint, University of Georgia. (Patrons' Funds)
John Talleur, Ambrose and Augustine, color
intaglio,
161/2" X 161/2", Kansas State
Moshe Tamir, King Schaul Trusts in God,
serigraph, 211/" X 173/4", Mount Holyoke
College. (Mr. Edward H. Weiss)
Frederick Taubes, The Goddess, etching,
David Teniers, Peasant Walking with Staff,
Funds)
Giovanni Battista Tiepolo, Vari Capricci,
1785, etching, Oberlin College. (Gift in
honor of Recha Jaszi)
Mark Tobey, Constellation, 1961, color
434" X 3 9/16",
Michigan
lithograph,
Beth Van Hoesen, Leeks, etching, 93/4" X 8",
Williams College. (Purchase)
Beth Van Hoesen, Nap, drypoint, 1734" X
19", Williams College. (Purchase)
Lucas van Leyden, The Triumph of Mordecai, 1515, engraving, Wesleyan University, Middletown. (Purchase)
Carle Vernet, The Horse Fair, lithograph,
Horace Vernet, Prince Gagarine, lithograph,
Jacques Villon, Lying Down, from Dents
de lait dents de loup, drypoint on Japan
paper, 8" X 6"1/2, Mount Holyoke College. (Ellen Whiting Selden Fund)
Denon Vivant, Portrait of Lady Hamilton,
Funds)
Edouard Vuillard, Portraits of Cezanne,
lithograph, Wesleyan University, Middletown. (Purchase)
Sol Wilson, Festival, lithograph, University
of Georgia. (A. H. Holbrook)
Anders Zorn, Portrait of Ernest Renan, etching, 11" X 15", Williams College. (Given
in memory of Karl E. Weston by Cornelia Van A. Chapin)
XXV 3
ARTJOURNAL
276
renaissance to 1800
Badia A. Isola Master, Saints Paul, John
the Evangelist and Peter, 14th C., egg
tempera on three wooden panels framed
together, each panel 133/8" X 123/4", Mount
Holyoke College. (Mrs. Caroline R. Hill)
Agnolo Bronzino, Virgin and Child With
St. John, oil on panel, 34" X 263/4", University of North Carolina. (Ackland Fund)
Niccolo da Foligno, St. Michael Weighing
Souls, painting, 413/4" X 27", Princeton
University. (C. 0. von Kienbusch)
Giovanni Battista Gaulli, Death of Adonis,
ca. 1685, oil, 60/4" X 481/4", Oberlin College. (Mrs. F. F. Prentiss Fund)
German, Saint Anne Holding Virgin and
Child, 16th C., gilded and polychromed
wooden sculpture, H. 15", Mount Holyoke College. (Mrs. Caroline R. Hill)
German, Southern (Swabian School?), Annunciation, and on the reverse, Christ in
the Garden of Gethsemane, late 15th or
early 16th C. tempera on gesso panel,
321/2" X 35!/", Mount Holyoke College.
Fig. 10. Adriaen Isenbrant, MADONNA ENTHRONED,
Chapel Hill.
(Mrs. Caroline R. Hill)
Giovanni di Paolo, Coronation of the Virgin,
ca. 1445, egg tempera on wooden panel
Nicoals Lancret, La Collation, oil, 40" X
fragment, 23" X 14", Mount Holyoke Col50", Indiana University. (Mr. K. T. Kellege. (Mrs. Caroline R. Hill)
ler)
Greco-Byzantine School, Queen of Heaven
Nicolas Largilliere, Portrait of a Man, oil,
or Mother of God, 12th C., painted
28" X 23", Morgan State College. (Hirwooden panel, 213/4" X 143/4", Mount
schl and Adler Collection)
Nicolas Largilliere, Portrait of a Woman,
Jean Baptiste Hilaire, The Musical and
oil, 28" X 23", Morgan State College.
The Card Party, oil, 267/8" X 22/4", In(Hirschl and Adler Collection)
diana University. (Purchase)
Jean Mariege, Fantastic Landscape, ca.
Melchoir de Hondecoeter, Birds and Fowl
1721-28, oil 325/8" X 51/2", Vassar Colin a Garden, oil, 3912" X 46" (sight),
lege. (First Presbyterian Church, PoughUniversity of Utah. (Anonymous)
keepsie)
Adriaen Isenbrant, Madonna Enthroned, oil
Simone Martini, Madonna and Child, 14th
on panel, 10" X 678", University of North
C, egg tempera on wooden panel, 1212"
Carolina. (Ackland Fund) (Fig. 10)
X 83", Mount Holyoke College. (Mrs.
Italian, North Umbrian School, Polychrome
Caroline R. Hill)
Wooden Crucifix, 12th or 13th C., egg
Gabriel Metsu, Family Group, oil on panel,
tempera on wood, 60" X 36", Mount
11" X 13", Morgan State College. (Mr.
and Mrs. Abraham M. Adler) (Fig. 14)
Italian, School of Giotto, Saint Francis ReJ. F. Millet, Landscape with Cottage, waterceiving the Stigmata with Brother Leo,
color, 412" X 7", Mount Holyoke College.
14th C. egg tempera on wooden panel,
331/2" X 19", Mount Holyoke College.
Charles Willson Peale, Portrait of George
Washington, 1795, oil, 30" X 25", AmItalian, Sienese School of Duccio, Angel,
herst College. (Purchase)
1st half of 14th C., egg tempera on wooden
Nino Pisano, School of, Virgin and Child,
panel, 71?4"X 7", Mount Holyoke Colmarble sculpture, 14th C., (silver crowns
lege. (Mrs. Caroline R. Hill) (Fig. 11)
are 17th-18th C.) 241/2" high, 714" X
Italian, Southern School, Madonna and Child
12/2" base, Williams College. (Mrs. Wilwith Saints, late 14th C., egg tempera on
liam Clarke) (Fig. 12)
wooden panel, 11/2" X 9", Mount HolySano di Pietro, Madonna and Child, 15th
oke College. (Mrs. Caroline R. Hill)
C., egg tempera on wooden panel with
Italian, Umbrian School, Mary Magdalene
punch work in gold, 91/2" X 77/", Mount
in the Wilderness Surrounded by Angels,
15th C., egg tempera on wooden panel,
Giovanni Girolano Savoldo, Pieta, ca. 1530,
with pastiglio work in the halos and cosoil, 435/8" X 603/", University of Califortumes, 45" X 29", Mount Holyoke Colnia, Berkeley. (Purchase) (Illustrated in
lege. (Mrs. Caroline R. Hill)
report on UC Berkeley on page 263).
Fig. 11. Italian, Sienese

Mount Holyoke College.
School
of
Duccio,
ANGEL,
Fig. 12. Nino Pisano, School of, VIRGIN AND CHILD,

Williams College.
ART JOURNALXXV 3
278
Spanish School, Portrait of a Royal Prince

of Spain, 17th C., oil, 59" X48", Stanford University. (Mr. and Mrs. Edward
M. Hamilton)
Giovanni Battista Tiepolo, Proculus, Bishop
of Verona, Visiting Saints Fermus and
Rusticus, oil, 221/2" X 14i/", University
of Illinois. (Purchase)
Ugolino Da Siena, Saint Catherine, tempera
on panel, 22" X 13", University of Illinois.
(Purchase)
Unknown (American), Girl in Blue Dress, ca.
1730, oil, University of Miami. (Purchase)
Unknown, (Italian), Mother and Child Sewing, 17th C., oil, 48" X 36", Cornell University. (Purchase) (Fig. 13)
Unknown (Spanish), Still Life With Quince,
17th C., oil, 28" X42", University of Rochester. (Dr. and Mrs. Fred W. Geib)
Esaias van de Velde, Mountainous Landscape,
oil on panel, 13" X 2134", University of
North Carolina, Chapel Hill, (Cdr. and
Mrs. L. H. Stahl in memory of Charles E.
Kistler)
Isack van Ostade, Landscape with a Village
Festival, 1641, oil on wood, 153/8"X 195/8",
Stanford University. (Mr. and Mrs. Prentis
Cobb Hale)
John Wootton, The Rubbing House: New
Market, oil, 40" X 50", University of Florida. (Mr. and Mrs. Marshall C. Sewall)
Michael Zeynsler, The Veil of Saint Veronica,
wood relief, 63/4" X 29", University of Illi-
William M. Chase, Still Life, oil, 22" X 18",

Morgan State College. (Hirschl and Adler
Collection)
Puvis de Chavannes, Daphnis and Chloe,
1872, oil, 35i/4" diameter, University of
California, Berkeley. (Mr. and Mrs. Samuel
Josefowitz)
Thomas Cole, Catskill Lake, oil, 22" X 30",
Fig. 13. Unknown, Italian, MOTHER AND CHILD SEWING, Cornell University.
(Purchase)
Henry Golden Dearth, Harbour Scene, oil,
25" X 32", Morgan State College. (Hirschl
and Adler Collection)
Alexandre Gabriel Decamps, Flight Into
Egypt, oil, 24" X 311/2", University of
North Carolina. (Ackland Fund)
Narcisse Virgile Diaz, Pool in The Wood, oil,
Jim Dine, Charcoal Self-Portrait, 1964, charcoal and oil on canvas and cement objects,
108" X 48", Oberlin College. (Purchase)
Jean Dubuffet, Paysage Boise, 1953, oil,
45" X 34", Oberlin College. (Joseph Bis-
nois, (Purchase)
1800 to present
Pierre Alechinsky, Surf, 1958, oil, 451/8" X
637/8", University of California, Berkeley.
(Julian J. and Joachim Jean Aberbach)
Karel Appel, Sursaut dans I'arbre, oil, University of Miami, Coral Gables. (Mr. and
Mrs. Simon Askin)
Ruth Asawa, Hydrangea, 1964, watercolor,
111/" X 15/4", William College. (Purchase)
Olle Baertling, Ykiak, 1961, oil, 76/4" X
3814", New York University. (Rose Fried)
Rudolf Baranik, Homage to Munch, 1963, oil
and collage on canvas, 48" X 54", New
York University. (Dr. Rudolph Drosd)
Leonard Baskin, Dead Man, 1957, bronze,
35" X 7", New York University. (Grace
Borgenicht)
Ralph Albert Blakelock, Sunset Glow, late
19th century, oil on wood panel, 9" X 12",
Michigan State University, (Development
Fund)
Norman Bluhm, Bitter Lemon, 1963, oil,
90" X 66", New York University. (Paul
Jenkins)
Seymour Boardman, Untitled, 1955, oil,
16" X 20", New York University, (Harold
Diamond)
Adolphe William Bouguereau, Portrait of a
Woman, oil, 48" X 32", Morgan State College. (Hirschl and Adler Collection)
Collection)
Bruce Conner, Beautiful Collage, 1958, collage, 10" X 11", New York University.
(Anonymous gift)
Jean Baptiste Camille Corot, Saint-NicolasLez-Arras, oil, 14" X 15?2", Morgan State
College. (Hirschl and Adler Collection)
Jasper Francis Cropsey, Lake Landscape, oil,
Salvador Dali, Composition, oil on panel,
1414" X 17", New York University. (Ned L.
Pines)
Mabel D'Amico, Night Heron II, collage,
24" X29", New York University. (Joseph
Renson)
Jacques Louis David, Achilles Displaying the
Body of Hector at the Feet of Patroclus,
oil, 447/8" X 57/8?", University of Illinois.
Fig. 14. Gabriel Metsu, FAMILY GROUP, Morgan State

College.
Warren Brandt, Adam and Eve, 1963, oil,

84" X 97", New York University. (Anonymous gift)
James Brooks, Bixby, 1958, oil, 511/" X 66",
New York University. (Sam Kootz)
Fritz Bultman, Vase of the Winds II, 1962,
bronze sculpture, H. 60", W. 36", Depth
27", Williams College. (Artist)
John W. Casilear, Mountain Scene, oil,
Mary Cassatt, Jeanette, pastel, 21" X 171/",
Collection)
Alonzo Chappel, The Capture of Major Andre, oil, 2312" X 34i/2", Morgan State
sett)
Frank Duveneck, Portrait of A Girl, oil,
Louis Eilshemius, Nymphs and Landscape,
1918, oil, 25" X 201/2", New York University. (Mr. and Mrs. Bernard S. Needle)
Louis M. Eilschemus, Dawn, oil, 20" X 30",
Collection)
Xavier Esqueda, La Transformacion de los
Objetos, 1965, oil, 23/2" X 19"/2", Dartmouth College (Artist)
John F. Francis, Still Life, oil, 25" X 30",
Collection)
Sam Francis, Middle Blue, No. 5, watercolor,
2634" X 40/4", University of California,
Berkeley. (Julian J. and Joachim Jean
Aberbach)
Thomas George, Black Rain, 1959, oil,
60" X 5234", Dartmouth College. (Arthur
A. Cohen)
ARTJOURNAL
XXV 3
280
Hans Hofmann, Japanese Girl, 1935, casein

James Gill, Woman in Auto and Close-Up,
and oil on plywood, 433/8"X 353/8", Uni
1965, oil, 31" X 51", University of California, Berkeley. (Purchase)
versity of California, Berkeley. (Artist)
Hans Hofmann, The Lark, 1960, oil, 60/8?" X
Morris Graves, Antelope, gouache, 133/4" X
52?/8", University of California, Berkeley.
181?", Princeton University. (Prof. and
Mrs. P. J. Kelleher)
(Artist)
Hans Hofmann, Maiden Dance, 1964, oil,
Mathias Goeritz, Message to Harriet and
60I/8" X52/",
University of California,
Donald, 1958, metal collage, 18" X 121/2",
Berkeley. (Artist)
New York University. (Anonymous)
Hans Hofmann, Silent Night, 1964, oil,
Joel Goldblatt, Landscape, 1962, oil, 51" X
84" X 781/", University of California,
86", New York University. (Mr. and Mrs.
Berkeley.
(Artist)
Sander Landfield)
Arshile Gorky, Untitled, 1932, oil, 30" X 35", Hans Hofmann, Table with Tea Kettle,
Green Vase and Red Flowers, 1936, oil,
New York University. (May Walter)
X 403/8", University of California,
541/2"
Adolph Gottlieb, Pictographic Tablets 46-47,
Berkeley.
(Artist)
oil, 25" X 32", New York University. (Mr.
Hans Hofmann, Table with Fruit and Coffee
and Mrs. A. Ross)
Pot, 1936, oil and casein on plywood,
Margaret C. Grigor, Bronze Medal with stand,
X 475/8" (sight), University of Cali595/8"
commemorating the addition of Alaska
fornia, Berkeley. (Artist)
and Hawaii to the Union, diam.: 27/".
Hans Hofmann, The Wind, 1942, oil, enamel,
Society of Medalists, 71st Issue, May 1965,
gouache, india ink on blue poster board,
Mount Holyoke. (Artist)
437/%"X 2734", University of California,
Jose Guerrero, Black Penetration, oil, 68" X
Berkeley. (Artist)
90", New York University. (Anonymous)
Hans Hofmann, Yellow Table on Yellow
Etienne Hajdu, Figure of Woman, bronze,
Background, 1936, casein, oil crayon on
15" high, New York University. (Mr. and
plywood, 59i/2" X 47s/", University of CaliMrs. Arthur Ross)
Al Held, Mural Study, 1964-65, liquitex on
Angelo Ippolito, Corridor, 1965, oil, 60" X
canvas, 245/8" X 65i/4", New York Univer50", Michigan State University. (Developsity. (Purchase)
ment Fund)
Robert Henri, Wenceslas, The Melancholy
Angelo Ippolito, Swamp Runner, 1964, oil,
Pole, oil, University of Georgia. (Robert
72" X 100", New York University. (Mr.
Leonard Bocour)
Blake)
Edward Higens, Untitled, 1961, welded steel
Louis Isabey, A Town Harbour, oil, 9i4" X
and epoxy, 121/" X 111/2"X 1214", New
11", Morgan State College. (Hirschl and
York University. (John and Margaret Cook
Adler Collection)
Foundation)
Josef Israels, Dutch Girl Seated, oil, 19" X 27",
Hans Hofmann, Above Deep Waters, 1959,
oil, 8414" X 52", University of California,
Collection)
Paul Jenkins, Phenomena Break Labyrinth,
Berkeley. (Artist)
Hans Hofmann, And Out of the Caves, 1964,
1964, achrylic on canvas, 116" X 71", New
York University. (Anonymous)
oil, 841?" X 60/4", University of CaliforEastman Johnson, Two Boys With Sled (Fryenia, Berkeley. (Artist)
Hans Hofmann, The Bat, 1964, oil, 50?/8" X
burg, Maine) oil, 19" X 16", Morgan State
401/", University of California, Berkeley.
Asger Jorn, Ballet of Heads, 1960, oil,
(Artist)
447"/ X 57i/2", University of California,
Hans Hofmann, The Clash, 1964, oil, 52/8?" X
Berkeley. (Julian J. and Joachim Jean
6014", University of California, Berkeley.
Aberbach)
(Artist)
Asger Jorn, Head, 1959, oil on cardboard,
Hans Hofmann, Effervescence, oil, india ink,
303/" X 221/2" (sight), University of Calicasein, enamel on wood, 5418" X 351/2",
fornia, Berkeley. (Julian J. and Joachim
University of California, Berkeley. (Artist)
Jean Aberbach)
Hans Hofmann, Equinox, 1958, oil, 721/8" X
Asger Jorn, The Scandal, 1957, oil, 317/" X
(Artist)
Hans Hofmann, Le Gilotin, 1953, oil, 58" X
Asger
Jorn, Three Heads, 1940, oil, 32" X
(Artist)
Hans Hofmann, Heraldic Call, 1963, oil,
Asger Jorn, Two Heads, 1959, gouache, 28" X
enamel, 601?" X 483/8", University of Cali391/2", University of California, Berkeley.
Hans Hofmann, Indian Summer, 1959, oil,
Herbert Kallem, Premiere Danseuse, steel
6018" X 7214", University of California,
sculpture, 58" X22", New York University.
Berkeley. (Artist)
(Zero Mostel)
Fig. 15. Fernand Leger, PROFILES, Dartmouth College.
Vasily Kandinsky, Untitled, 1924, watercolor,

1334" X14", Dartmouth College. (Wallace
K. Harrison)
Zoltan Kemeny, The Years, 1955, zinc sculptural relief, 22" X 194", University of California, Berkeley. (Julian J. and Joachim
Aberbach)
John Frederick Kensett, Harvest Time, oil,
10" x 18", Morgan State College. (Hirschl
Jonah Kinigstein, The Parade of Evil Import, 1963, oil, 48" X 60", New York University. (Mr. and Mrs. Leonard Bocour)
Georg Kolbe, Adagio, signed bronze sculpture, H. 32", Stanford University. (Mr.
and Mrs. Paul R. Hanna)
John LaFarge, An Angel of Help, oil, 11" X
61/", Morgan State College. (Hirschl and
Adler Collection)
Albert Charles Lebourg, Beach Scene, water
color, 12" X 19", Morgan State College.
(Hirschl and Adler Collection)
Fernand Leger, Profiles, 1933, oil, 503/4" X
373/4", Dartmouth College. (Wallace K.
Harrison) (Fig. 15)
Andre Lhote, Nude, oil, 10l/2" X 18", Morgan State College. (Hirschl and Adler Collection)
Leo Manso, To Turgenev: Hunting Sketches
III, 1965, collage, 13" X 11?/8", Michigan
Irving Marantz, Children and Horsemen,
1963, oil, 47/2" X 39i/", New York University. (Mr. and Mrs. Sam Golden)
Conrad Marca-Relli, Cargo, 1958, oil and canvas on canvas, 77" X 108", New York University. (Anonymous) (Fig. 18)
Keith Martin, Room With Mirrors, 1965, collage, 9" X 11", Morgan State College. (Mrs.
Issac Hamberger Fund)
ARTJOURNAL
XXV 3
284
Ary Scheffer, Paolo and Francesca, 1854, oil,

45" X 64", Amherst College. (Fig. 17)
Jason Seley, Charles I, 1963, steel, 35" high,
University of California, Berkeley. (Artist)
Kendall Shaw, Hunt Beckmann Takes the
Ball, 1964, acrylic on canvas, New York
Fig. 18. Conrad Marca-Relli, CARGO, New York University.
Knox Martin, Mural Study, 1964, liquitex on

canvas on wood, 10" X35/2", New York
Andrea Masson, Untitled, 1942, collage,
167/%"
X 1214", New York University, (Bernard J. Reis)
Fig. 16. Auguste Rodin, THE WALKING MAN, Smith
Matta, A Pinch of Earth, 1953, oil, 41" X
College.
461/4",Dartmouth College. (Thomas George)
Alfred H. Mauer, Still Life, gouache, 18" X
21", New York University. (Mr. Ned L.
Pines)
Jervis McEntee, Landscape, oil, 36" X 24",
Collection)
Tad Miyashita, Of Moon and Sun, acrylic on
canvas, 48" X 48", New York University.
(Anonymous)
Robert Motherwell, Untitled, 1958, collage,
New York University.
14/2" X 112",
(Anonymous)
Clara Moulton, John C. Calhoun, pastel,
Fig. 17. Ary Scheffer, PAOLO AND FRANCESCA, Amherst
23" x 18", Morgan State College. (Hirschl
College.
Shepard A. Mount, Landscape and Fish, oil,
Larry Poons, Away out on the Mountain,
1965, acrylic emulsion on canvas, 72" X
144", Oberlin College. (Purchase)
Robert Natkin, Othello, 1963, oil, 84" X 84",
Sir Henry Raeburn, Portrait of a Woman,
New York University. (Mr. David Dolnick)
oil, 30" x 24", Morgan State College.
Gilbert Stuart Newton, Artist and Friends,
oil, 22" X 26", Morgan State College.
Allan Ramsay, Flora MacDonald, oil, 30" X
Erskine Nicol, Conversation Piece, oil, 25" X
Adler Collection)
1964
Robert Ranieri, North-Wind-Eagle,
Adler Collection)
metal sculpture, New York University.
Kenneth Noland, Spread, 1958, oil, 117" X
(Ford Foundation)
117", New York University. (William S. Theodore Robinson, Seascape, oil, 20" X 28",
Rubin)
Kenzo Okada, Mural Study, 1964, oil on cardCollection)
board in two parts, 31" X 2034" each,
Auguste Rodin, The Walking Man, bronze,
New York University. (Purchase)
712' X 21/2' X 51it, Smith College, (PurJohn Opper, Parthenon, 1963, 80" X 104",
chase) (Fig. 16)
New York University. (Anonymous)
Mark Rothko, Number 207, (Red Over Dark
Bill Parker, Abstraction, oil, 50" X 60",
Blue on Dark Gray), 1961, oil, 9234" X
Mount Holyoke College. (Nancy Everett
Dwight Fund)
(Purchase)
Henry Pearson, Aphrodite Ball II, 1965, liquiJohn Singer Sargent, An Actor in Chinese
tex on papier mache, 53/4" diam., New
Costume, oil, 21" X 14", Morgan State ColYork University. (Anonymous)
lege. (Hirschl and Adler Collection)
Waldo Pierce, Torrents of Spring, oil, 16" X
Angelo Savelli, Untitled, 1957, collage, 17" X
22", New York University. (Anonymous)
20", New York University. (Ned L. Pines)
University. (Anonymous)
David Simpson, Firing Line, 20th C., oil,
60" X 96", Stanford University. (Mr. and
Mrs. Edward M. Hamilton)
Francois Stahly, Coquille, 1953, wood sculpture, W. 251/2", Stanford University. (Artist)
Francois Stahly, Palo Alto, 1965, wood sculpture, H. 14', W. 3', Stanford University.
(Artist)
Sullivan Louis, 20 pieces from elevator enclosures, 1893, Tougaloo College. (City of
Chicago)
Thomas Sully, Gentle Shepherd, oil, 28" X
361/2", Morgan State College. (Hirschl and
Adler Collection)
Tade, Untitled, 1960, relief, 47" X31", New
York University. (Theodore Racoosin)
Hans Thoma, Nude in Grotto, oil, 23" X
Adler Collection)
Mark Tobey, Untitled, 1965, oil, 111/2"X
9", Stanford University. (Dr. Ralph Spiegl)
A. Ubeda, Trumpet, 1961, oil, 26" X32/2",
University of the South (Samuel Silverman)
George Van der Sluis, Ochre and White
Stones, 1963, oil and stone on canvas,
46" X 34" New York University. (Mr. and
Mrs. Leonard Bocour)
Bram Van Velde, Untitled, 1938, gouache on
paper mounted on canvas, 371/2"X 281/4",
University of California, Berkeley. (Julian
J. and Jochim Jean Aberbach)
Victor Vasarely, Yapura, 1951-56, oil, 43" X
39/,4", Dartmouth College. (Wallace K.
Harrison)
Claude Venard, Still Life, oil, 13" X 16",
Collection)
Claude Venard, L'Isle de St. Louis, 1957, oil,
40" x 40", Mount Holyoke College. (Mr.
and Mrs. Rodney L. White)
Esteban Vincene, Untitled #5, 1961, oil
38" x 48", New York University. (Bernard
Reis)
Charmion Von Wiegand, Untitled, 1947, oil,
New York University. (Howard Wise)
William Walton, Sun Sequence #1, 1964,
oil, 50" X60", New York University. (Philip
Johnson)
Edward H. Weiss, Black Moon Over Red Sky,
acrylic on canvas, 71" X 351/2", Mount
Holyoke College. (Artist)
Edward H. Weiss, Large Orange Starfish
Over Green Waters, 49" X 69", Mount
Holyoke College. (Artist)
Tom Wesselmann, Still Life #51, 1964,
New
108" X 96" X 161",
construction,
York University. (Anonymous)
Neil Williams, Variation on Paris Series,
watercolor, 24151/6"X 417/ ", Oberlin ColXXV 3
ARTJOURNAL
286
lege. (Genevieve Brandt and Mary Ainsworth)

Alexander H. Wyant, Landscape, oil, 14" X
Adler Galleries Collection)
1
incetown, April 26-May 13; Annual Student Exhibition, May 17-June 2.

INDIANA UNIVERSITY, MUSEUM OF ART: An Exhibition of Intaglios and Lithographs by
Richard Upton: France 1965, January 5-25;
Maori Artifacts from the Wellington Museum, New Zealand, January-February;
An-
tiquities from the Collection of Burton Y.
exhibitions/recent & current

ALBION COLLEGE: Art Staff Exhibition;
Feb. 6-
March 6; Contemporary Drawings; March

10-27; Art of Two Cities, April 13-May 1.
BELOIT COLLEGE, THEODORE LYMAN WRIGHT ART
CENTER: American
Indian
Paintings;
Callig-
raphy by Koho Kato; Photographs by Floyd

Hoover, Jan. 10-30; Drawings by Rico LeBrun, Feb. 1-28; Fiber, Clay and Metal,
Paintings by Dale Kendrick, March 4-27;
Annual Student Show, April 3-25; Ceramic
Sculpture by Clayton Bailey, Paintings by
Thomas Parker, Prints by Robert O. Hodgell, May 1-29.
BOSTON UNIVERSITY, ART GALLERY: A Selection
from the 1965 Corcoran Biennial, Nov. 16Dec. 7.
BRANDEIS UNIVERSITY, ROSE ART MUSEUM:
Wil-
liam Baziotes Memorial Exhibition, Nov.

1-28; For the Young Collector, Dec. 5-Jan.
9; Washington Color Painters, Jan. 17-Feb.
20; Philip Guston, 17th Century Painting
From the Low Countries, Feb. 27-March 27;
Rene Magritte, April 3-May 1; Permanent
Collection, May 9-June 19.
CENTIRALCOLLEGE, PELLA, IOWA: Prints by Robert 0. Hodgell, Feb.; Annual Staff Exhibition, March; Drawings and Paintings by
Karl Mattern, April; Student Exhibition,
May.
CLEVELAND INSTITUTE OF ART: Antonio Frasconi
1952-1963, December 12-31.
COLBY COLLEGE, WATERVILLE, ME.: German Impressionists, March; Waldo Pierce Retrospective, April.
Six Sculptors, December.
DREW UNIVERSITY, MADISON, N.J.:
Paintings by
Robert Nunnelley, Relief Paintings by Lou
Anne Smith, Paintings and Constructions
by Gerald Coble, Jan. 4-25.
DUKE UNIVERSITY, THE GALLERY DEPARTMENT OF
ART: A Survey of Egyptian Sculpture, Oct.
16-Nov. 28.
Five Centuries
of Graphic Art, Jan. 18-March 7.
HAVARD UNIVERSITY, FOGG ART MUSEUM: Turkoman Rugs, January 26-March 6.
FINCH COLLEGE, MUSEUM OF ART:
HOFFSTRA UNIVERSITY,
Mexican
January-February;
Folk
and Louisa Matthiasdottir, January 9-February 8.

KANSAS
STATE
TEACHERS
COLLEGE,
EMPORIA:
Scultpure by Bill Bagley and Prints by Russell Roller, February.

LEHIGH UNIVERSITY, ALUMNI MEMORIAL BUILDING GALLERIES : A len
Blagden,
January;
Eight Contemporaries, January; Billy Morrow Jackson, February; Colleen Browning,

March; Charles Burchfield, March; Walter
Murch, April; draw, cut, scratch, etchPrint!,
May; From Leigh's
Collection,
May;
Annual Student Exhibition, May-June.

MICHIGAN
STATE
UNIVERSITY,
EAST
LANSING:
Paintings by Milton Avery (MOMA), Feb.

26-March 13; Lithographs by Giacometti,
Feb. 21-March 13; Faculty Exhibition,
March 19-April 5; Murray Jones Retrospective, April 9-29; Graduate Exhibitions, May
4-29; Undergraduate Exhibition, June 3-26.
NEW SCHOOL FOR SOCIAL RESEARCH, ART CENTER:
Contemporary
EMILY
HEMPSTEAD, L.I.: Award
LOWE GALLERY,
Winners, L.I. Artists
Competition, January 4-14; Religious Symbols Used by Artists Post And Present, January 18-February 10; Paintings by Raoul
and Jean Dufy, March 1-10; L.I. Craftsmen's Guild Annual Exhibition, March 29April 22; Camera Infinity, March 29-April
22; Fifty Years of American Art From Prov-
Urban
Visions,
January
25-
February 24.
OBERLIN COLLEGE, ALLEN MEMORIAL ART MU-
Paintings by Olle Baertling, February

7-28; Medieval Brass Rubbings from England, March 5-31; 19th and 20th Century
European Drawings, April 11-May 1; Oberlin Faculty Show: Gutzeit, Tinker and
Whiteside, May 6-30; Japanese Prints from
the Mary A. Ainsworth Collection.
SEUM:
Exhibition, Feb. 28-March 18; Product Design Technology and Aesthetics, March 28April 22; Exhibit for The Ohio State University Conference on the Humanities,
April 25-May 20; Undergraduate Exhibition, May 23-June 14.
PACE COLLEGE, NEW YORK CITY: African Art,
February; Morton Birkin, March; Janet
Culbertson-Kaften, April; Student Spring
Show, May.
PENSACOLA JUNIOR COLLEGE, FINE ARTS GALLERY:
Prints and Colleges by Robert C. Skelley,

Jan. 12-28.
PHILLIPS ACADEMY, ANDOVER, ADDISON GALLERY
OF AMERICAN ART: White on White, January
5-February
FRANCISCO
STATE
COLLEGE:
"3",
Drew
Langsner, Martin Locks, Michael Cookingham, January 3-23.

SETON HALL UNIVERSITY, SOUTH ORANGE, N.J.:
Felipe Herenberg, Paintings, January 9February 6; Paintings by Dorothy Abelson,

Feb. 13-March 6; Paintings by Hans Weingaertner, March 13-April 3; Maine, 50 Artists of the 20th Century (AFA), May 1-22.
SOUTHERN ILLINOIS UNIVERSITY, UNIVERSITY GAL-
KANSAS CITY ART INSTITUTE, CHARLOTTE CROSBY

KEMPER GALLERY: Paintings by Leland Bell
OHIO STATE UNIVERSITY, ART GALLERY: Faculty
DEPAUW UNIVERSITY, ART CENTER, GREENCASTLE,

IND.:
Berry,
Art, March.
SAN
13.
PHILLIPS EXETER ACADEMY, LAMONT
LERIES, CARBONDALE: Optical
Art, February
21-March 18; Faculty Exhibition, March 21April 22; Jay McVicker, April 25-May 20;
Student Exhibition, May 23-June 17.
STANFORD UNIVERSITY, ART MUSEUM: FiguresThiebaud, September 26-October 31.
STEPHENS COLLEGE, DAVIS ART GALLERY, COLUMBIA, MISSOURI: 2nd Trans-Mississippi Paint-
ing, November 15-December 10; New Campus Architecture, January 17-February 4;

Drawings from the Museum of Modern Art,
February 7-25.
SYRACUSE UNIVERSITY, JOE AND EMILY LOWE ART
CENTER:Paintings and Drawings by Joseph

Floch, and, Pier Luigi Nervi: Structural
Architecture, December.
TOUGALOO
COLLEGE, THE
ORLEANS
GALLERY:
Paintings by Fritz Bultman, January; Murals in Architecture (AFA), February; Memorabilia of the 1913 Armory Show (AFA),
March; Works by Ivan Albright, April.
UNIVERSITY OF ARIZONA, STATE MUSEUM: Paintings by Paul Dyck, January.
UNIVERSITY OF ARKANSAS, ART CENTER GALLERY:
Leonardo Da Vinci Models (IBM), February; Paintings and Drawings by Joseph Stefanelli, and, Experimental Photography by
Norman De Marco, March; United States
Air Force Art Collection, April; 13th Annual
Exhibition, Advertising Artists Association
of Dallas, and, Childrens Art, May; Student
Exhibition, May-June.
UNIVERSITY OF CALIFORNIA, BERKELEY, ART GAL-
Jugendstile Expressionism, November

16-December 9; Competition Drawings, and,
New Acquisitions, January 6-February 16;
Directions in Kinetic Sculpture, March 18
to May 1; The University Art Collection,
Rediscoveries and New Acquisitions, May
21-July 29; Worth Ryder Art Gallery, Kroeber Hall: Paintings by David Simpson, January.
LERY:
UNIVERSITY OF CALIFORNIA, LOS ANGELES, ART

GALLERY: Henri
Matisse Retrospective,
Jan-
uary 5-February 20.

UNIVERSITY OF CALIFORNIA, SANTA BARBARA, ART
GALLERY: Robert
Thomas
Retrospective,
January 11-February 13;* Surrealism-A

State of Mind, February 22-March 27.
UNIVERSITY OF COLORADO, FINE ARTS GALLERY:
GALLERY:
Prints by Tadeusz Lapinski, January 25February 20; Fabulous Decade, February 827; Frederich Law Olmstead, March 1-16.
PURDUE UNIVERSITY, FINE ART GALLERY: American Figure Painters, December 1-31.
Boulder Valley Public Schools, March 1-21;

Undergraduate-Graduate Show, March 23April 11; Lynn Wolfe, April 14-May 8;
M.A.-M.F.A. Exhibition, May 11-June 7.
UNIVERSITY OF FLORIDA, UNIVERSITY GALLERY,
GAINESVILLE: Pearsall Collection of Indian
ART JOURNALXXV 3
288
Artifacts, January 2-February 6; Prints by

Paul Klee (MOMA), February 15-March 6;
Design '66, March 12-April 3; Miniatures
and Small Sculptures of India, April 10-May
29; Recent American Synagogue Architecture, June 5-July 3.
UNIVERSITY
OF
GEORGIA,
MUSEUM
OF
ART,
ATHENS:Paintings by Frank Pack, January

2-31; 14th Annual Print Exhibit (AFA),
January 23-February 15; Wedgewood Ware,
Feb. 1-27; Prints from Associated American
Artists, March 1-30; Graduate Students,
April 1-30; County High School Art, May;
Annual Exhibition, Athens Art Association,
June 1-30.
UNIVERSITY OF ILLINOIS, KRANNERT ART MUSEUM,
CHAMPAIGN-URBANA:
The
New
Japanese
Paintinng and Sculpture, December 12-January 30; Ralston Crawford, Paintings and
Prints, February 6-27.
UNIVERSITY OF IOWA, IOWA CITY: Fifteen
Op
Artists, December 5-January 9; From the

West, January 9-February 6.
UNIVERSITY OF KANSAS, MUSEUM OF ART, LAW-
ings by Barry Kahn, March 1-27; Prints by

Michael Ponce de Leon, March 22-April
17; Milton Avery Retrospective, April 3May 1; Serigraphs by Jack Hughes, April
12-May 8 Student Show, May 17-June 27.
UNIVERSITY
OF
NEW
HAMPSHIRE,
PAUL
ARTS
CENTER:Rajput Paintings, December 13January 11; A Century of American Paintings, January 15-February 15; Alumni Exhibition,
February 17-March 6; The
Young Eye, January 28-February 20; Woven
Wall Hangings by Dorian Zachai, February 25-March 20; New Hampshire Art
Association Annual Exhibition, March 8April 1; 14th National Print Exhibition,
(AFA); Furniture and Interior Design,
March 22-April 14.
UNIVERSITY OF NEW
GALLERY:
Recent
MEXICO,
Paintings
UNIVERSITY ART
by Jesse
Rei-
chek, February 6-March 6; Mr. and Mrs.

William H. James Collection, February 13March 13; Andrew Dasburg Drawings,
February 13-March 13; 20th Century Sculpture, March 27-May 1; Masters Thesis Ex-
RENCE:Les Mardis, Stephane Mallarme and
the Artists of His Circle, December.

UNIVERSITY OF KENTUCKY: Niles
Spencer,
Octo-
MINNESOTA,
DULUTH:
George Inness, Approaching Storm, Fort Worth Art Association. Included in the exhibition, Paintings by George
Inness, Dec. 12-Jan. 30, University of Texas, Austin.
Dedica-
tory Exhibition for the Alice Tweed Tuohy

Room of the Tweed Gallery, November 5December 5; Faculty Exhibition, January 7February 6; Looking at Pictures with
Gertrude Stein, Bonnard Lithographs, February 9-27; Drawings by Rico LeBrun,
March.
UNIVERSITY OF MINNESOTA,
MINNEAPOLIS:
Re-
OF
MISSOURI:
Prints
11-
January
UNIVERSITY
OF NORTH CAROLINA, WEATHERSPOON ART GALLERY, GREENSBORO: Artists of
the Consolidated University of North Carolina, January 16-31.

UNIVERSITY OF NOTRE DAME, ART GALLERY: Be
My Guest!, February 20-March 13; Senior

Retrospective and Graduate Student Exhibition, March 27-June 12.
Invitational
Drawing
Poindexter Collection, November 30-January 23; Architecture in a Japanese Neighborhood, January 11-February 3; Morris
Graves-A
Retrospective,
February 8March 13; Interiors 1966; March 22-April
3; Dutch and Flemish Paintings of the
Baroque Age (WAAM), April 5-25; Shaker
Art, April 19-May 8; United States Air
Force Art Collection, May 2-15; Architecture of Pietro Belluschi, April 19-May 15;
Juan O'Gorman, Mexican Mural Painter
(WAAM), May 2-29; Onda, A Documentation, (WAAM), May 2-29; Arts of New
Guinea, May 17-July 17.
(Note: Through inadvertence the exhibitions listed for the University of Oregon's
Museum of Art in the Fall Issue of the
ART JOURNALwere from the schedule of
the 1964-65 Academic year-Apologies.
N.G.)
OF
PENNSYLVANIA, INSTITUTE OF
ART: Atmosphere
'65-'66,
March 17-May 8.
UNIVERSITY OF ROCHESTER, MEMORIAL ART GAL-
Hopper, March 6-22; Art Department

Faculty Show, April 11-29; Student Show,
May 2-13.
February 1-27; American PhotographyThe Sixties, February 22-March 20; Draw-
Forain,
30; Artists of the Consolidated University

of North Carolina, February 4-27; The
Ideal Theater: Eight Concepts, March 119 (AFA); American Master Drawings,
March 22-April 6; African Sculptures,
(Segy), April 8-May 1; Paintings from the
Marshall Collection, May 6-29; 30th Annual Student Art Exhibition, June-Sept.
CONTEMPORARY
by Edward
UNIVERSITY OF NEBRASKA, UNIVERSITY ART GALLERIES: Wooden Bowls by Bob Stocksdale,
CENTER, CHAPEL HILL:
UNIVERSITY
cent Paintings by Peter Busa, January 6February 6; Gausta, January 25-February

15; Lithographs by Zigmunds Priede, February 14-March 18.
UNIVERSITY
UNIVERSITY OF NORTH CAROLINA, ACKLAND ART
UNIVERSITY OF OREGON, MUSEUM OF ART: The
lection of American Art, October 30-January 16; Etchings by William Gropper, December 19-29; Eugene Massin Retrospective, February 20-March 13.
UNIVERSITY OF
Paintings by Howard B. Schleeter, December 5-31; Recent Works by Walter Rutkowski, January 2-28; Paintings, Drawings
and Medals by Richard Kurman, January
30-February 25.
Show, January; Lithographs by Daumier,

Woodcuts by Robert O. Hodgell, February; Faculty Show, March; Paintings from
San Francisco, April; Senior Thesis Exhibition, May.
UNIVERSITY OF MIAMI, JOE AND EMILY LOWE ART

GALLERY: The Virgil Barker Memorial
Col-
Five Centuries of Illustrated Fables (AFA),

March 1-22; 19th and 20th Century European Drawings (AFA), March 7-27; 18th
Century Sketches and Bozzetti from American and European Collections, April 6-May
8.
UNIVERSITY OF NEW MEXICO, JONSON GALLERY:
UNIVERSITY OF OMAHA:
ber 10-November 6; Graphics '66, Marcel

Fiorini, November 13-December 14; Paintings by Frederic Thursz, January 9-February
6; Sebastiano and Marco Ricci, February 13March 6.
UNIVERSITY OF MICHIGAN, ANN ARBOR: Aesop,
hibition, May 10-22; Annual Student Exhibition, May 28 through summer.
Rene Magritte, La Folie de la Grandeur (Collection of

Joseph H. Hirshhorn). Included in the exhibition, Surrealism, A State of Mind, University of California, Santa
Barbara, February 22-March 27.
LERY: Homage to the Square, Josef Albers,

January 7-30; Contemporary Japanese
Prints, January; The Ugly Face of Rochester, Small Sculptures, Water colors and
Drawings by Henry Moore, Paintings by
John Quidor, February 5-27.
UNIVERSITY
OF
TENNESSEE,
GALLERY OF
FINE
ARTS:Jenny Lind, January 5-25; Drawings

and Paintings by Jac Friling, February 7ARTJOURNAL
XXV 3
290
March 3; Stan Sessler Paintings, March 730; Michigan Water Color Society, April 428; Students' Show, May.
UNIVERSITY OF WISCONSIN, MADISON: Paintings
by Julian Stanczak, February-March; Sculpture by Frank Gallo, March-April; Paintings by Seymour Rosofsky, April-May.
UNIVERSITY OF WISCONSIN, MILWAUKEE:
Greek
and Russian Icons, November 15-December

10.
WASHINGTON
UNIVERSITY,
GALLERY
OF
ART:
Oriental Painting, Sculpture, Woodcuts

from the Nelson Gallery, January 21March 11; Drawings from the Newberry
Collection, and, Paintings by Juan Gr's
from St. Louis Collections, March 13April 8; Faculty Exhibition, April 10-May
20; Student Exhibition, May 22-June 10.
WESTERN
MICHIGAN
UNIVERSITY,
KALAMAZOO:
Second National Print and Drawing Exhibition, February 20-March 31.

WILLIAMS COLLEGE, MUSEUM OF ART: 150 Years
of American Drawing, Oct. 25-Nov. 15;
Paintings by Anne Laton Parker, Jan. 4-19;
A Tribute to Kay Sage, Feb. 1-20; Vassar
College Williams College Exchange, Feb.
26-March 18.
YALE UNIVERSITY, GALLERY OF ART: Art of
Latin America Since Independence, January 27-March 13.
During the exhibition season many artists
from academic faculties are seen in exhibitions in public museums and dealers galleries. Notable recent instances are the following: Harold Altman, Associate Professor at
Pennsylvania State University exhibited forty
new intaglio prints at the Weyhe Gallery in
New York, Thomas Bang, of the faculty of
the University of California at Santa Barbara, exhibited recent work at the Esther
Bear Gallery in Santa Barbara, Harvey Littleton, Professor of Art at the University of
Wisconsin at Madison, exhibited seventy five
pieces of free-blown glass at the Milwaukee
Art Center, Charles Pollock, Associate Professor at Michigan State University exhibited
recent paintings at the Gertrude Kasle Gallery in Detroit, and Wayne Thiebaud, Associate Professor at the University of California
at Davis, showed new figure paintings at the
Alan Stone Gallery in New York. Group exhibitions of the same kind have been the exhibition, Art from New Jersey Colleges, presented in the galleries of the New Jersey State
Museum in Trenton, and the exhibition,
Ten From Rutgers, held at the Bianchini
Gallery in New York.
AFA-FORD FOUNDATION
VISITING ARTISTS PROGRAM
The Ford Foundation's Visiting Artists
Program has taken artists to a number of
University and College Museums within the
past year. the program is aimed at providing
a broad community contact with professional
artists, does not involve teaching responsibilities and is usually accompanied by an exhibition of the resident artist's work during his
stay. In the third year of the program twenty
seven artists have been assigned residencies.
The following were those assigned to colleges
and universities: Clifford Chieffo, Colorado
State College, Greeley; Byron Burford, Ball
State Teachers College, Muncie; Eugene Massin, West Virginia University, Morgantown;
Paul Brach, University of New Mexico, Albuquerque; Jack Sonnenberg, Hampton Institute, Hampton, Virginia; Marcia Marcus,
Rhode Island School of Design, Providence;
and Frank Roth, University of Rhode Island,
Kingston.
A University Collects. Thirty-two works
from New York University's collection of
more than six hundred paintings, sculptures,
drawings and prints, have been selected by
Ruth Gurin, Curator, for national circulation under the auspices of The American
Federation of Arts. This is the most recent
exhibition in a series devoted to the collections of colleges and universities. The present
exhibition represents a cross sectional sampling of contemporary European and American painting. The statements accompanying
the paintings were prepared by New York
University students and curatorial aides. The
exhibition is accompanied by a handsomely
designed and illustrated catalogue.
Museum of Graphic Art. A new development of considerable interest is the establishment of a Museum of Graphic Art. The
President and Director is Donald H. Karshan. Caroline Karpinski who is Vice President of the Museum, served as curator for
the first exhibition, presented in the Finch
College Museum of Art from January 18
through March 7. Other Directors of the
Museum include Carl Zigrosser, A. Hyatt
Mayor, Mrs. Otto Spaeth, Mrs. Guri Lie
Zeckendorf and Mr. Edward Albee. Mr. Karshan stated that the first exhibition was organized to demonstrate the objectives of the
organization, rather than wait until the museum had its own building. The exhibition,
entitled, Five Centuries of Graphic Art,
represented all the major print making techniques and included examples by recognized
masters from Schongauer to Lasansky.
SURREALIST
EXHIBITION
AT
SANTA BARBARA CAMPUS OF
OF
THE UNIVERSITY
CALIFORNIA
The exhibition Surrealism-A State of
Mind is ideally suited to a university gallery:
it is comparatively small (thirty paintings,
twenty-three drawings and watercolors, seven
sculptures); it is made up of works that have
not yet, for the major part, reached astronomical values; it has quality; it is dedicated
to a movement that is of particular interest to
young artists and to art historians; and the

foreword to the catalogue by Julien Levy, a
man who was, and is very much involved
with the movement is an important document in its own right.
While the exhibition at the University
covers the period from the first Surrealist
Manifesto to our time, an exhibition held simultaneously at the Santa Barbara Museum
of Art is dedicated to the dada movementthis is the outcome of the kind of constructive cooperation between a university and a
civic organization that is bound to be of
benefit to both.
The organizer, Mrs. Ala Story, Staff Specialist in Art at the University, has had a
rich experience as a collector and a museum
director. The selection reflects the sureness of
her connoisseurship, and the drawings and
watercolors, in particular, are of the highest
calibre.
The exhibition includes works that were
executed soon after the first Surrealist Manifesto of 1924 by the great names of the
movement. There is a magnificent Ernst of
1926, a Tanguy of 1929, a Dali of 1930. Miro,
unfortunately, is represented by much later
examples. The high point of the movement
is marked by two works of considerable documentary interest lent by the Museum of
Modern Art: a photo-collage of the members
of the surrealist group by Ernst of 1930, and
a Cadavre Exquis, ca. 1933, on which Breton,
Hugo and Tzara collaborated.
The exhibition covers the movement right
up to our time with works by lesser known
men. They seem to be pursuing the surrealist
will-o'-the'-wisp with unabated vigor, a still
fertile imagination and consummate craftsmanship. Among these, Granel, Chimes, Carrington, Humphry, and the Japanese Noji
stand out.
Even the most enlightened selection necessarily shows partiality. This exhibition leans
definitely towards the more romantic side of
surrealism: a sense of sensuous nostalgia is
omnipresent. Significantly, Tanguy, Magritte,
Delvaux, Seligmann are better represented
than Masson, Miro and Matta. The harsher
and more lurid phases of psychic automatism
that led to biomorphism and eventually to
abstract expressionist developments in America are not much in evidence, although there
is a splendid and terrible drawing by Miro of
the late thirties, one by Matta of 1939 and
one by Gorky of 1946 illustrating this evolution. One might still wish that this trend
had been more abundantly illustrated.
Standing out as they do against the background created by the knowingly understated
installation of Stanley Reifel, the works are a
rich and beguiling tribute to the extraordinary vitality and lasting powers of the cadavre exquis. Surrealism, even in its more
romantic form, is still a very active force in
(Continued on page 294)
ART JOURNALXXV 3
292
(Continued from page 292)

our artistic ethos. The exhibition opened
February 26 and was on view through March
25.
HENRI
DORRA
University of California
Santa Barbara, California
INNESS
COMES TO TEXAS
The new museum of the University of

Texas staged one of its most impressive exhibitions to date from December 12 to January
30. This showing was the most comprehensive exhibition given to George Inness since
his death when New York City granted him
such an honor in the Fine Arts Building.
One hundred twenty-five paintings in oil and
watercolor and several drawings were included. The exhibition was organized with
the assistance of the most outstanding scholar
on this American artist, LeRoy Ireland, who
has spent a life time in putting together all
of the pieces and aspects that are evident in
this cross section of paintings. Ireland's catalog raisonne "The Work of George Inness"
been published concurrently by the University of Texas Press.
In the galleries newly lighted by Richard
Kelly with their well proportioned spaces the
familiar Inness canvasses suddenly come to
life and actually have a contemporary look
about them. In the entrance gallery is a cross
section of work from 1844-1860 that shows
the influence of Lorraine, Poussin, Constable
and Turner whom he had recently seen
abroad. Here we also see the Barbizon
influence in the light and atmosphere and
some indication of the freepainting that is to
follow in the 60's. It was during this decade
that he mastered his new style but even as
early as 1857 in "St. Peter's, Rome", lent by
The New Britian Museum, he has more of
the firmness of Corot.
In 1855 he finished The Lackawanna Valley a painting which stands out by its quality from all of his later work. The subject
matter did not suit the young artist who already considered himself a lyric poet among
painters. In this painting Inness was forced
to represent the first stage of industrialization-a subject that contained no appeal for
him because of its factual aspects. A new
scheme for color was also necessary to clarify
machinery and topography as well. Inness
lighted his palate to an intensity not seen before and to a degree that was not heard of in
Paris until 10 years later. He combined the
teaching of Barbizon with the panoramic
style of the Hudson River School and thus
produced his own unique style.
In another work from 1876-80 called An
Old Roadway he approaches Courbet in the
landscape but falls short in the use of
figures, a shortcoming which spoils many
otherwise fine works. In 1875 he did two versions of a storm-in the sketch called North
LATIN AMERICAN SHOW

Conway he remains dull and gray in his
tones but in the oil The Approaching Storm
A major exhibition of paintings from
he shows all of the vigor that he was able to
Latin America, which has been in preparaput into the work in the studio. This is one
tion for the last two years, opened at Yale
of the most outstanding paintings in the exArt Gallery on January 27, 1966.
University
hibition and I say this at the risk of prejEntitled "Art of Latin America Since Inudice since it was the first acquisition of our
dependence," it was organized by Stanton L.
Fort Worth Art Association in 1904. With
Catlin of the Yale University Art Gallery in
reference to the relationship between sketch
collaboration with Terence Grieder of the
and finished work a statement by his son to
Department of History of Art at the Univerthe effect that he (Inness) sketched in the
of Texas, which co-sponsored the exhibisity
fields in quietness, but that in his studio he
tion with Yale.
painted at white heat-passionate, dynamic,
Certainly the largest exhibition of its kind
painting over paintings, some as many as six
ever to be assembled in North America, or
times on one canvas.
elsewhere (there are 378 entries in the cataInness was obviously inspired by Corot and
it is intended to show representative
logue!)
spent years in his footsteps in Italy. The Italand characteristic paintings of Central and
ian paintings, such as In A Roman CampagSouth American countries from colonial
na done in 1873, are of a cosmopolitan chartimes to the present. To quote from the
acter, charming and well organized and filled
of the catalogue:
preface
with an attractive melancholy not found in
"The aim of this exhibition is to provide
his other work. Inness, sometimes exaggeratan introduction to the closer study of
ed Corot's weakness as Thomas Moran did
Latin American artistic and cultural evoTurner's with the same results. As the piclution during the century and a half
torial quality of the work decreased its marsince Independence. It is addressed priket value increased and this stimulated overmarily to the North American university
production. In 1865 however Inness sucbecause of its
which,
community,
cumbed to the visionary mysticism of Sweresources in teaching and research, both
denborg-a vague theosophical nature worinterdisciplinary and specialized, has a
ship and his painting lost its strength and
unique capacity for cultivating knowlended in mannerism. During the 1870-1880
edge within particular areas of scholarly
period Inness had a more inquisitive interest
and public interest."
in form. His brushwork became more active
as well as his color. In 1874 he could have
The catalogue itself is a significant docuseen the work of the Impressionists in Paris
ment running to 240 pages with 116 illustrabecause after this year his work does take on
tions. The periods are divided chronologicalmore of the lightness and color possible from
ly into five: 1785-1835, 1835-1875, 1875-1910,
such an influence. In his late works he uses
1910-1945, and 1945-1965. Following the esas a common denominator an observed realisays on these periods is an extensive series of
ty that includes atmosphere, space, and light
biographies. The catalogue is the prelude to
raised to higher levels of order, clarity and
a book to be published "in a year or two"
beauty.
In analyzing the current exhibition several
thoughts come to mind-what
significance
does Inness really have today? Are we actually looking at the paintings or are we merely
being nostalgic and overlooking many mistakes? In some of the work of Inness there
are moments of genius, for instance in the
Spring Blossom (1889) lent by the Metropolitan, or in Apple Blossom Time (1883) lent
by the Pennsylvania Academy of Fine Arts.
Sometimes we see emotion set forth as in a
Van Gogh and in one of the great pieces in
the entire show, Off the Coast of Cornwall,
England, lent by the Paine Art Center, he
combines Homer and Courbet.
The exhibition is accompanied by a fortyeight page illustrated catalog in addition to
the catalog raissone of LeRoy Ireland. Incidentally Mr. Ireland's archive of Inness photographs has been presented to the UniverArturo Borda, LEONOR GONZALEZ AND JOSi BORDA
sity of Texas Library.
RAYMONDT. ENTENMANN (Collection of Hector Borda). Included in the exhibition,
Art of Latin America Since Independence, sponsored by
Director
Yale University and the University of Texas, Yale UniFort Worth Art Center
versity, January 27-March 73.
ARTJOURNAL
XXV 3
294
Alejandro Obreg6n, CARNIVOROUS FLOWERS (Alejandro

Obreg6n). Included in the exhibition, Art of Latin America
Since Independence, sponsored by Yale University and
the University of Texas, Yale University, January 27March 13.
which is planned as a scholarly resource for

the teaching of Latin American art of the
nineteenth and twentieth centuries.
After being shown at Yale (January
27-March 15) and at Texas (April 7-May
15), the exhibition will be seen at the San
Francisco Museum of Art, July 2-August 7)
and the La Jolla Museum of Art (August
27-September 30).
It provides a unique opportunity for
North American scholars and artists to see
the painting of sister countries in this hemisphere and to study it in relation to Latin
American history, traditions, customs and
ideas. It seemed to this reviewer that a casual visit left many visitors perplexed and a little disappointed. One assumes that this somewhat diffident response derives from unfamiliarity-not only with the styles-of colonial
and nineteenth century modes, but also with
Rubbers,
Miguel Caride, CONFIGURATION (Galeria
Buenos Aires). Included in the exhibition, Art of Latin
America Since Independence, sponsored by Yale University and the University of Texas, Yale University, January
27-March 13.
certain old-fashioned mannerisms of earlier

twentieth century decades, and furthermore
that, in order to get a sympathetic reaction
to these paintings, one needs a knowledge of
the social, historical and cultural backgrounds of the countries which produced
them, which is another way of saying that
between North America and our neighbors
to the South there is still an urgent need of
cultural interchange-and
at all levels.
During the showing at Yale the Art Gallery and the Yale Council on Latin American
J. Chiappini, PORTRAITOF TOUSSAINT (Museo de Bellas

Artes de Caracas). Included in the exhibition, Art of Latin
America Since Independence, sponsored by Yale University and the University of Texas, Yale University, January
27-March 13.
Studies held an "Inter-American Symposium

on Intellectual Backgrounds of Latin American Art since independence" (March 2-5) with
talks by fifteen Latin-American scholars and
comments by various North-Americans. The
art of Columbia, Ecuador, Venezuela, Peru,
Boliva, Guatemala, Mexico, Argentina, Chile,
and Brazil was discussed by the various
speakers.
catalogues
BOB
JONES,
UNIVERSITY
ART
MUSEUM:
Bob
Jones University Collection of Religious

Art, published on the occasion of the
museum's 14th Anniversary and the transfer of the collection to a building of its
own on the University campus. This catalogue is notable for the twenty color plates
among the illustrations. Many other objects
are reproduced as well and the organization of the text provides a guided tour
of the museum. 44 pages, 44 illustrations.
BOWDOIN COLLEGE, MUSEUM OF ART: The
Sal.
ton Collection-Renaissance
and Baroque
Medals and Plaquettes, with a preface by
Marvin S. Sadik, Director, and an introduction by Mrs. Mark Salton. One hundred
and eighty-seven items meticulously catalogued and illustrated in eighty-two gravure illustrations printed in exact size.
Catalogue design by Leonard Baskin.
DUKE UNIVERSITY, DEPARTMENT OF ART GALLERY: A Survey of Egyptian Sculpture from
the Old Kingdom through the GrecoRoman Period, Oct. 16-Nov. 28, 1965.
Brochure for an exhibition of objects
rarely seen in loan exhibitions, drawn
from public collections in Brooklyn, Boston, Baltimore, and New York, as well as
dealers. 12 pages, 4 illustrations.
HARVARD UNIVERSITY, FOGG ART MUSEUM:
Me-
morial Exhibition-Works of Art from the

Collection of Paul J. Sachs (1878-1965),
Nov. 15, 1965-Jan. 15, 1966. Foreword by
John Coolidge, Director, Introduction by
Agnes Mongan. One hundred items, meticulously described, documented and illustrated, with a biographical chronology of
the donor, and a check list of the entire
collection. This is a publication which is,
in itself, a notable memorial to Paul Sachs.
214 pages, 101 illustrations.
MICHIGAN STATE UNIVERSITY, KRESGE ART CEN-
TER: Murray Jones 1915-1964-A Memorial

Exhibition.
Introductory statement by
Jerome Hausman. A distinctive catalogue,
conceived with specific reference to the
character of the works involved and to its
"memorial" function. Designed by Sylvia
Winter and Charles Pollock. 20 pages, 15
illustrations, one in color.
UNIVERSITY OF ARIZONA, ART GALLERY: Charles
Burchfield-His Golden Year, a retrospective exhibition of water colors, oils and

graphics. Designed and edited by the Art
Gallery staff and published by the University Press. This is a substantial addition
to the bibliography on an important American painter, most particularly with reference
to the extensive autobiographical text by
Mr. Burchfield himself. The catalogue contains the usual accompaniment of chronology, list of one man exhibitions, awards
ART JOURNALXXV 3
296
and honors, and selected bibliography. 130

illustrations, including four in color and
two photographic portraits of the artist.
The exhibition was seen in Tucson from
November 14, 1965 through January 9,
1966.
UNIVERSITY OF CALIFORNIA, BERKELEY: Jugendstil and Expressionism in German Posters,
catalogue of an exhibition shown initially
at the University Art Gallery and later at
the Pasadena Art Museum. Organized by
Herschel B. Chipp, with a chronology and
catalogue by Brenda Richardson. Catalogue lists one hundred and two items by
some sixty artists and illustrates many in
color. This is an altogether notable compilation of facts and pictures that will
prove endlessly useful. Provides an excellent counterbalance to the concentration
of attention on the French parallels in
Art Nouveau.
UNIVERSITY
OF
CALIFORNIA,
SANTA
BARBARA:
Robert Thomas, Sculpture 1952-1965, a

retrospective. Foreword by Michael Canney, Acting Director of the Art Gallery
and an introduction by Henry Seldis. This
is an exceptionally effective catalogue chiefly
by reason of the generous format and
large photographs, one to a page. Quite exceptionally several of the pieces are reproduced in color of good quality. Mr.
Thomas has been a member of the art
faculty at Santa Barbara since 1954. 48
pages, 33 illustrations. Catalogues designed by Michael Canney.
UNIVERSITY
OF
ILLINOIS,
KRANNERT ART MU-
Crawford, Feb. 6-27, 1966.

Foreword by Lee Chesney. Brochure-catalogue designed by R. Perlman notably in
the spirit of the artist's works in spite
of the use of colored stocks and inks. 8
pages, 8 illustrations.
SEUM: Ralston
INDIANA UNIVERSITY ART MUSEUM: A Selection
of Ancient Gems from the Collection of

Burton Y. Berry, introduction by Burton Y.
Berry. 112 items catalogued and reproduced in exact size outline and enlarged
impression. This is certainly one of the
handsomest publications of its kind, in
which paper, type, photography, and
printing have been coordinated in an extraordinary unity. Design by George Sadek.
67 pages, 112 illustrations, cloth bound.
Ancient
INDIANA UNIVERSITY ART MUSEUM:
Indian Sculpture and Painting, exhibition
catalogue, introduction and catalogue text
by Theodore Bowie. Notable for a spacious
and elegant layout and a most effective
alternation of colored stock. Designed by
George Sadek. 24 pages, 32 illustrations.
UNIVERSITY OF KANSAS MUSEUM OF ART: Les
Mardis, Stephane Mellarme and the Artists
of his Circle. Another of the customarily
thorough publications of the Art Museum
at Lawrence, exploring this time the complex relationships that existed during the
1880's among the arts of poetry, painting

and music. The text is divided among
James L. Connelly, Robert T. Neely,
Jeanne A. Stump, and Kalus Berger, all of
the University's faculties of history, art history and French and Italian. The catalogue
proper was prepared by Jeanne Stump and
Michael Stoughton, Museum Registrar. It
is perhaps a carping criticism, but one
could wish that so carefully prepared a
publication could have been given a visual character in closer harmony with the
undoubted distinction of the items in the
exhibition, which, not incidentally, included the famous portrait of Mallarme
by Manet, lent by the Louvre. 66 pages,
17 illustrations.
UNIVERSITY OF KANSAS MUSEUM OF ART: Landscape Sculpture by Dale Eldred. Exhibition in Lawrence, November 5 through
December 12, 1965. Marks the first in
series of such exhibitions devoted to artists
working in the region. Brief but perceptive essay on the artist and his work by
Richard L. Brown. Foreword by Brett
Waller. Hardly more than a pamphlet
this is still a model of effective modesty.
UNIVERSITY OF KENTUCKY ART GALLERY:
Graph-
ics '66-Marcel Fiorini. The latest in a

long established series, devoted this time
to the work of a single artist. Brief biographical data, a short statement by the
artist, and a longer essay of the graphic
art of Marcel Fiorini by Roger van Gindertael, in English and in French. The
plates are large, mostly full page, eleven
in number. Catalogue list of 71 items
covers work from 1948 to 1965, a useful
check list for curators.
UNIVERSITY OF MIAMI,
JOE AND EMILY
LOWE
ARTGALLERY:
The Virgil Barker Memorial
Collection of American Art. This exhibition, Oct. 30-Jan. 16, initiated what promises to be a growing memorial to a distinguished scholar in the field of American
Art. Including traditional as well as contemporary works it appears to reflect Mr.
Barker's breadth of interest in the field.
The attempt to provide each catalogue
item with an interpretive "label" has produced some doubtful simplifications, but
this is a generally well-conceived catalogue.
Introductory note by August L. Freundlich, Director. Catalogue designed by Paul
Berg. 34 pages, 14 illustrations, one in
color.
UNIVERSITY OF MIAMI, JOE AND EMILY LOWE
ART GALLERY: Masterworks in Miami, with
an introductory note by August L. Freundlich, Director, and a preface by Boris DuPont Paul, Curator and organizer of the
exhibition. Again, the captions accompanying the illustrations are somewhat elementary for a University audience, but the
catalogue as a whole is well designed. 32
UNIVERSITY OF
NEW
MEXICO,
UNIVERSITY ART
MUSEUM:Bulletin, No. 1, Winter 1965/66.

Marks the change in name (from Art
Gallery to Museum) and the initial exhibition of the Julius Rolshoven Collection of
paintings, recently given to the University
by the artist's widow. The Bulletin is also
made possible through the provisions of
the Julius Rolshoven Memorial Fund.
Planned as an annual summary of the
growth of the University art collections,
this is an admirable beginning, designed by
Robert Ellis, Assistant Director of the
Museum. Besides a check list of the
lection, and short pieces on a recently
Rolshoven Collection, there is a summary
of recent acquisitions for the print collection of short pieces on a recently
acquired 18th century Spanish-Colonial
Inmaculada and an early, "New Mexican"
Stuart Davis. 34 pages, 16 illustrations.
UNIVERSITY
OF WISCONSIN, MILWAUKEE, DEPARTMENT OF ART HISTORY GALLERY: Greek
and Russian Icons and Other Liturgical

Objects in the Collection of Mr. Charles
Bolles Rogers. Shown in Milwaukee from
Nov. 15 through Dec. 10, 1965. Preface by
Jack Wasserman, Chairman of the Department of Art History and Curator of
the Gallery, and an extended introduction
to the subject by A. Dean McKenzie, Assistant Professor in the Department. The
introduction, together with the detailed
cataloguing of the items in the exhibition
and the many illustrations make this a
permanently valuable publication. There
is a short bibliography of works on the
subject in English. Cover and frontispiece
in color. 44 pages, 35 plates, 60 illustrations.
RANDOLPH-MACON WOMAN'S COLLEGE:
Catalogue
of the Collection of American Painting at
Randolph-Macon Woman's College by Mary
Frances Williams, Professor of Art and Curator of the Collection. Published for the
seventy-fifth anniversary of the founding of
the college. Lists ninety-two works by American artists acquired between 1907 and
1965. 128 pages, 97 illustrations.
STANFORD UNIVERSITY, DEPARTMENT OF ART AND

ARCHITECTURE: Fortunato Duranti 1787-1863,
Biographical note by Dr. Luigi Dania, and

introduction by Lorenz Eitner. Notable
for the beautiful reproduction of the
drawings which made up the exhibition.
Designed by Jack W. Stauffacher. 30
STANFORD UNIVERSITY ART
MUSEUM: Figures/
Thiebaud, Sept. 26-Oct. 31, 1965. Introduction by Gerald M. Ackerman, Director
of the Exhibition. Personal Notes on
Painting by Wayne Thiebaud. Catalogues
39 items from 1963-65. 32 pages, 26 illustrations.
UNIVERSITY OF TEXAS, UNIVERSITY ART MUSEUM:
The School of Fountainebleau. An ExhibiARTJOURNAL

XXV 3
298
tion of Paintings, Drawings, Engravings,

Etchings and Sculpture 1530-1619, foreword by Raymond T. Entenmann and Donald B. Goodall and introductory essays by
Marian Davis and Sam Cantey III. Elegantly designed and copiously illustrated
catalogue for what must have been a handsome exhibition. All of the objects shown
are catalogued in detail and there is a
useful section of biographical notes, a
general bibliography and a list of previous
exhibitions of this subject. Unfortunately
the two color plates are poor in quality.
There is a hard cover edition of this
catalog in a limited edition. The Exhibition was seen at the Fort Worth Art Center (Sept.-Oct.) before its showing in Austin (Nov.-Dec.). Eighty pages. Catalog design by Kim Taylor.
UNIVERSITY OF TEXAS, UNIVERSITY ART MUSEUM:
The Paintings of George Inness 1844-94),

Published to accompany the large exhibition held at the museum from December
12, 1965 to January 30, 1966. Preface by
Leroy Ireland, Introduction by Nicolai
Cikovsky, Jr., catalogue notes by Donald

B. Goodall, Director of the Museum. Published concurrently with Mr. Ireland's
Catalogue Raisonne, this suffers rather
badly by comparison, showing all the
signs of having been put together hastily
out of material assembled for the larger
publication. The "visuals" are badly managed, the arrangement of color plates and
photographs of Inness on the cover and
title page being singularly inept. This is
particularly regrettable this being the publication of the two which will be most
readily available to the majority of exhibition visitors and subsequent students of
Inness. Plus marks for the inclusion of a
chronology, detailed catalogue of picture,
list of previous exhibitions, and a useful
bibliography. 48 pages, 35 illustrations.
WILLIAMS
COLLEGE MUSEUM
OF
Years
ART:
of American Drawing, 1780-1930, from the

Collection of John Davis Hatch, October
25-November 15, 1965. Exhibition handlist
with a foreword by S. Lane Faison, Jr.
and a note on "Collectomania" by Mr.
Hatch. This selection was made by Mr.

Faison and Dr. Jakob Rosenburg and was
subsequently shown at the University of
North Carolina, Chapel Hill, and at Mills
College, Oakland. 16 pages, two illustrations.
YALE
UNIVERSITY,
UNIVERSITY
ART
GALLERY:
American Pewter, Garvan and other Collections at Yale. By Graham Hood. Vol.
30, No. 3, special issue, Yale University
Art Gallery Bulletin, Fall 1965. 58 pages,
55 illustrations.
NOTE:It is generally assumed that
EDITOR'S
one of the basic justifications for an exhibition catalogue is to provide a permanent
record of the effort, research and otherwise,
which goes into the project as a whole. With
this premise it is notable that in many instances among the publications listed above
the record "floats" without the slightest indication of when or where the exhibition
took place. If I may point the finger, Indiana, Michigan State, Stanford and Miami
are remiss in this regard.
museum personnel
BELOIT COLLEGE, WRIGHT ART CENTER: Christie
Thomsen appointed registrar.

UNIVERSITY OF CALIFORNIA, BERKELEY, UNIVER-
Tom L. Freudenheim, apSITYARTMUSEUM:

pointed Assistant Director; Therese Varvaris, Exhibition Assistant; Mary Anne S.
Craft, Registrar; Larry Dinnean, Museum
Preparator; Diane Parker, Secretary. The
following members of the University's faculty have been appointed as curators:
Sventlana Alpers, in Baroque Art; James
Cahill, in Oriental Art; Herschel B. Chipp,
in Modern Art; Richard Peters in Archi-
tecture; Juegen Schulz, in Renaissance Art;

and David Wright, in Medieval Art.
COLBY COLLEGE: Hugh
J.
Gourley
III,
COLLEGE, ART GALLERY:
Carl
I.
UNIVERSITY
OF
MINNESOTA,
DULUTH,
PRINCETON
UNIVERSITY,
ART
MUSEUM:
Hedy
Backlin-Landman appointed Executive Assistant and Curator of American Art;

Frances Follin Jones, appointed Chief
Curator; Louis Papp, Building Superintendent.
Belz
appointed Director, also serves as Assistant

Professor of Art History.
LAMONT GALLERY:
George Mellor appointed Director; Mrs.

Bridget Paddock, Assistant Director.
ap-
pointed as first full-time director of Colby

Art Museum. Formerly acting director of
Museum of School of Design. Christopher
Huntington, curator, is resigning.
MILLS
PHILLIPS EXETER ACADEMY,
VASSAR COLLEGE,
ART
GALLERY:
Miss
Innis
Shoemaker appointed Curator.
TWEED
GALLERY:
Maynard Stone appointed Curator.
museum buildings/ renovation/ new construction/ future plans

Art Museum: The
PRINCETON
UNIVERSITY,
new building for Princeton's art collections is scheduled for completion during
the winter with its reopening set for June.
Works belonging to the University have
spent the last two years as loans to Oberlin
College, Vassar College, Duke University,
the University of Mississippi, the Baltimore Museum of Art, the Metropolitan
Museum of Art, and Colonial Williamsburg.
UNIVERSITY
OF
CALIFORNIA,
BERKELEY:
The
largest University museum project in process is that for the University Art Center
at Berkeley. The design for the building
was selected from a national competition.
It is by the San Francisco design team of
Mario J. Ciampi, architect, FAIA; Paul W.

Reiter, associate architect, with Richard L.
Jorasch and Ronald E. Wagner, design
associates. Peter Selz, new director of the
University Art Museum, has stated that
"while it will be serviceable to both works
of art and people, this new building makes
an aesthetic statement of its own: it
places a dynamic, sculptural structure into
a space, activated and enlivened by its
form." The four million dollar building
will be characterized by a series of gently
rising terraces fanning out on two levels
in roughly a semicircular pattern. It will
be built on the south side of Bancroft Way
and will be close to the art, music, and
environmental design buildings, as well as
University dormitories.
The structure which will contain one hundred thousand square feet of space will
have an art museum with seven galleries, a
theater workshop, conference facilities, and
studios for music and art. Total gallery
space will be about thirty thousand square
feet. Among the galleries will be one for
the world's largest collections of paintings
by Hans Hofmann; two for changing exhibitions, two for permanent collections,
plus one for new acquisitions and another
for prints and drawings. Conference and
seminar rooms, a kitchen and a three
hundred seat theater are also provided.
The building is scheduled for completion
late in 1968.
ART JOURNALXXV 3
300
comprehensive catalogue with seventy plates

will be published.
The exhibition of approximately eighty
works by forty-two known artists covers the
late 16th to the early 19th centuries, from
the Momoyama through the late Edo periods
in Japan, and includes the major masters of
this era.
UNIVERSITY
OF THE SOUTH, SEWANEE, TENN.,

FINE ARTS GALLERY: The Fine Arts Gallery
has recently moved into new quarters in

the recently completed Guerry Hall, which
houses the University's fine arts departments.
THE NEW ART MUSEUM

PONCE, PUERTO RICO
AT
The new Art Museum, formed by the

Puerto Rican industrialist, Luis A. Ferre, and
built from the design of Edward D. Stone,
was dedicated on December 28, 1965. Ferre's
aim was to bring together a collection of Occidental Art. Recently his collection was augmented by a gift from the Samuel H. Kress
Foundation. Julius Held of Barnard College
has served as adviser to the Ferre Foundation
in its acquisition program. Rene Taylor is
Director of the Museum. Professor Held has
described the art collection in an article published in Art Quarterly (No. 1, 1964). Many
of the paintings are Spanish, although there
are also examples of the Italian, Flemish,
Dutch, and English Schools. A catalogue of
The Samuel H. Kress Collection of Italian
and Spanish Painting (Ponce, 1962) is available.
One of the participants in the opening ceremony has informed us that it is a most attractive museum, one of Stone's most successful art buildings which makes particularly
effective use of exterior space in this tropical
climate. Ponce is situated at some distance
from San Juan, across a mountain range a
longish motor trip, but easily accessible by
plane. In addition to works by old masters
there is a collection of contemporary painting particularly by local artists.
RICCI SHOW
The new Art Museum of Ponce, Puerto Rico; view of the

upper galleries.
CHINESE
JAPANESE
The new Art Museum of Ponce, Puerto Rico.
ART
An exhibition of Chines art from the collection of King Gustaf VI Adolf of Sweden
will be shown in museums and galleries in
Washington, Minneapolis, New York, Cleveland, and San Francisco during the fall and
spring of 1966 and 1967. It is being circulated by the International Exhibition Foundation (Mrs. John A. Pope, President).
The exhibit was selected by Bo Gyllensvard, Curator of the King's collection and Director of the Museum of Far Eastern Antiquities in Stockholm, in cooperation with Dr.
John A. Pope, Director of the Freer Gallery
of Art, Washington, D.C.
Consisting of 150 objects of the finest quality this distinguished exhibition, culled from
more than 2,000 items in the Royal collection, covers the history of Chinese art and
culture from the Bronze Age to the end of
the eighteenth century. Begun by King Gustaf VI Adolf in 1907 when he was crown
Prince, the choice stresses the beauty and
rarity of Early Chinese bronzes, ceramics,
jade, and carvings in lacquer, bone, ivory,
and rhinoceros horn, etc.
ART
An important exhibition "Japanese Painters of the Floating World", which will include fine examples of ukiyo-e paintings very
rarely shown outside of Japan, will be on
view at the Andrew Dickson White Museum
of Art, Cornell University, April 7 through
May 9, 1966, and at Munson-Williams-Proctor Institute Museum of Art, Utica, New
York, May 15 through June 19. The thirtyfour lenders to this noteworthy exhibition
include leading museums and institutions in
this country and Canada and also include a
number of private collectors who have extensive holdings of ukiyo-e paintings and will
lend choice examples, many of these to be
exhibited for the first time.
The exhibition is organized by Martie W.
Young, Associate Professor of Art History
and Curator of Asian Art, White Art Museum, Cornell University and Robert J.
Smith, Professor of Anthropology (a specialist
on Japanese culture), Cornell University. A
An exhibition of paintings by Sebastian

and Marco Ricci was held at the Brook Memorial Art Gallery in Memphis in January
and later shown at the University of Kentucky Art Gallery in Lexington. Prepared by
Michael Milkovich, director of the Brooks
Gallery. It was accompanied by a catalogue
listing 50 entries. Plus a bibliography and
list of works by these two artists in American
collections. The catalogue was published by
the University of Kentucky.
Sebastiano
Ricci, THE INFANT MOSES SAVED BY
PHARAOH'S DAUGHTER, Brooks Memorial Art Gallery,
Memphis, Tennessee. Samuel H. Kress Collection.
AT UNIVERSITY
EXHIBITION
OF MARYLAND
The Art Department of the University of
Maryland opened on April 4, 1966, an exhibition titled "A Decade of Federal Art Patronage: 1933 to 1943" in the new art gallery,
J. Millar Tawes Fine Art Center at the College Park campus.
This exhibition is the first comprehensive
showing of government sponsored mural,
easel and graphic art since the liquidation of
the projects in 1943. Works of approximately
fifty artists are included. Among the better
known are: Ivan Albright, George Biddle,
Peter Blume, William Calfee, Arshile Gorky,
Seymour Fogel, Adolph Gottlieb, Morris
Graves, William Gropper, Mitchell Jamieson,
Loren MacIver, Herman Maril, Reginald
Marsh, Jackson Pollock, Bordman Robinson,
Ralph Rosenborg and Ben Shahn.
ARTJOURNAL
XXV 3
302
The majority of works are from the University of Maryland's own collections. Lenders
include The Museum of Modern Art, The
National Collection of Fine Arts, the National Gallery of Art, the Library of Congress and Mr. and Mrs. Herbert Benevy of
New York. The Benevys have generously lent
two rare WPA paintings by Jackson Pollock.
This will be the first public showing of these
works.
The exhibition was organized under the
direction of George Levitine. The Department's exhibition committee is chaired by
Alain de Leiris and includes Professors Andree Hayum, Ralph Freeny, Clifford Chieffo
and Mitchell Jamieson.
The catalog was written by Francis V.
O'Connor and designed by Ralph Freeny. It
includes a short history of the Federal art
projects, a chronology, a bibliography and
other data pertinent to the period covered
by the exhibition. It is hoped that this catalog will outlive the exhibition to serve as a
useful tool for those wishing to undertake
further research into one of the most neglected areas of American art.
CHRISTINA,
QUEEN OF
SWEDEN: THEME FOR AN
EXHIBITION
IN STOCKHOLM
Christina of Sweden, the 17th-century
queen who abdicated to take up residence in
Rome and became one of the famous personalities of her time, and the first "modern"
woman in European history, will set her imprint on Stockholm in the summer of 1966.
The National Gallery in the Swedish capital
has chosen Christina and her epoch the theme
of the 11th European Exhibition, to be held
under the auspices of the Council of Europe
between July 1 and October 16.
A whole flight of halls and rooms in the
National Gallery will be emptied to house
this exhibition, which is probably the largest
single cultural manifestation of its kind ever
to be arranged in Sweden. Since Christina's
vast and priceless collections have been scattered all over the world during the centuries,
museums in many countries will contribute
by lending their treasures. By personal courtesy of Pope Paul VI, the Vatican, as a
unique exception of a strict rule, will lend a
number of invaluable manuscripts.
The project has been in preparation for
almost ten years. It will give a broad expose
of European culture in the 17th century and
of the personal life and career of Christina,
the queen who was the only daughter of
Gustavus Adolphus, defender of Protestan-
tism in the Thirty Years War, but who renounced her right to the Swedish crown in
1654 to be converted to the Catholic faith.
Visitors to the exhibition will be able to follow her story, the early childhood and reign
in Sweden, the long journey through Europe,
and her last 30 years in Rome, where she
was in the focus of attention of the ecclesiastical, intellectual and artistic world.
Among the innumerable exhibits to be on
display will be some 250 large paintings, half
a hundred sculptures and countless drawings,
manuscripts and historic documents, all intimately connected with the life of Christina.
There will be masterpieces by Raphael, Rubens, Titian, Tintoretto, Veronese, Bernini
and Bourdon from the big galleries of the
world-from Rome, Venice, Paris, Madrid. . .
The famous "Codex Argenteus", the Silver
Bible, which for the last 300 years has been
kept at the University Library in Uppsala,
will also be on show.
A special exhibit will be a true copy of
the Barberini Theatre in Rome, where, in
January 1655, Christina for the first time met
the Roman nobility at a performance of "II
trionfo della pieta", written by Guilio Rospigliosi, better known in history as Pope Clement IX. The final scene of this play-fireworks over Rome in honour of the queenwill be staged at the National Gallery, accompanied by the original music written for
Christina.
At the Drottingholm Court Theatre, just
outside Stockholm, the Scarlatti opera
"L'honest a negli armori", conposed in 1680
by order of Christina, will be produced for
the occasion. Many other cultural events in
Stockholm during the summer will also be
connected with the exhibition. A full-colour
TV film depicting Christina's life and travels
is at present being prepared by the Swedish
TV for distribution all over the world.
MORRIS GRAVES SHOW AT

U. OF OREGON
A retrospective exhibition of the works of
Northwest painter Morris Graves was held at
the Museum of Art at the University of Oregon February 8 through March 13. Approximately 100 paintings and drawings were included as well as eight works by the artist
recently acquired for the permanent collections of the Museum of Art. The special
focus of the exhibition was the personal religious symbolism in the works of Morris
Graves. The catalogue carries statements by
Morris Graves; an article on the artist by
Nancy Wilson Ross, and an interpretation of
the religious symbolism in Graves' work by

Gerald Heard. Morris Graves' work has been
described
as mystical,
Zenreligious
influenced. The artist describes his own work
as an attempt to express, in symbolic form,
the progress of a personal religious exploration.
FINCH
COLLEGE
"Galaxy of Ladies" is the title of an exhibition at the Finch College Museum of Art
consisting of paintings from the Paul Magriel
Collection. Some are romantic portraits but
it is the ultimate significance of the scene, as
an intimate expression of one of nature's
moods, or the importance of shifting sunlight
at teatime, that gives expression to the essential form of these poetic American paintings.
There are fifty paintings, watercolors and
pastels of nineteenth and twentieth century
American art, including examples of Arthur
B. Davies, William Glackens, Childe Hassam,
Robert Henri, Guy Pene du Bois, John
Singer Sargent and Everitt Shinn. Barbara
Novak O'Doherty in her text for the catalogue, states "one of the revelations of the
exhibition is the green dream of Thomas W.
Dewing, La Peche, in which Vogue-ish
women inhabit interior landscapes of the
mind, ordered space assumes unsettling expressive power, and films of nuanced pigment turn fact into phantasm. Long neglected along with the more superficial and fashionable artists of his time, he emerges here
as a provocative and exciting figure, worthy
of further interest and investigation."
MULTI-GALLERY
NEW YORK
SHOW IN
The Public Education Association of New

York has organised another of its group
shows to be held simultaneously in several
New York art galleries. Opening April 26, it
will include 370 major works by the most inportant American and European painters
and sculptors of the past 70 years. Like the
memorable multi-gallery Picasso and Braque
exhibitions in 1962 and 1964, this show will
benefit the Public Education Association a
voluntary citizens group which works to improve the public schools of New York City.
The exhibition theme "Seven Decades" in
honor of PEA's Seventieth Anniversary. The
contents will range from the Post-impressionism to kinetic sculpture made last year. The
initial selection was made by Peter Selz who
is now director of the University Art Museum at U.C. Berkeley (see story in this issue).
I
ART JOURNALXXV 3
304

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College Art Association

NormanA. Geske / Editor

college museum notes

lines for the quarterlyissues are September

Fig. 1. Greek, Kylix by the Epeleios Painter, Michigan

Fig. 3. Chinese, Ming Dynasty, Village

the far east

Fig. 2. Iranian, Luristan finial, Williams College.

Fig. 4. Indian, Gandhara-Hadda(?), Head of a Bodhisattva,

Fig. 5. Indian, Gwalior, Brahami, Oberlin College.

arts of africa, oceania,

Fig. 6. Peruvian (Chimu, ca. 1200 A.D.),

(Mr. and Mrs. Orme Lewis)

YOUNG IRISH GIRL, Mount

Fig. 8. Jacob Jordaens, DEATH OF CLEOPATRA, Mount

Budd Hopkins, Drawing, 1965, ink and

Jacques Dassoneville, French Peasant Family

Kathe Kollwitz, Temperance Poster, 1922,

Fig. 9. Albrecht Durer, MADONNA WITH THE MONKEY.

William Glackens, Here Is Our Music & I

Fig. 11. Italian, Sienese

Fig. 12. Nino Pisano, School of, VIRGIN AND CHILD,

Spanish School, Portrait of a Royal Prince

William M. Chase, Still Life, oil, 22" X 18",

Fig. 14. Gabriel Metsu, FAMILY GROUP, Morgan State

Warren Brandt, Adam and Eve, 1963, oil,

Hans Hofmann, Japanese Girl, 1935, casein

Fig. 15. Fernand Leger, PROFILES, Dartmouth College.

Vasily Kandinsky, Untitled, 1924, watercolor,

Ary Scheffer, Paolo and Francesca, 1854, oil,

Fig. 18. Conrad Marca-Relli, CARGO, New York University.

Knox Martin, Mural Study, 1964, liquitex on

lege. (Genevieve Brandt and Mary Ainsworth)

incetown, April 26-May 13; Annual Student Exhibition, May 17-June 2.

tiquities from the Collection of Burton Y.

exhibitions/recent & current

March 6; Contemporary Drawings; March

raphy by Koho Kato; Photographs by Floyd

liam Baziotes Memorial Exhibition, Nov.

DREW UNIVERSITY, MADISON, N.J.:

DUKE UNIVERSITY, THE GALLERY DEPARTMENT OF

ART: A Survey of Egyptian Sculpture, Oct.

and Louisa Matthiasdottir, January 9-February 8.

Scultpure by Bill Bagley and Prints by Russell Roller, February.

Eight Contemporaries, January; Billy Morrow Jackson, February; Colleen Browning,

May; From Leigh's

Annual Student Exhibition, May-June.

Paintings by Milton Avery (MOMA), Feb.

HEMPSTEAD, L.I.: Award

Winners, L.I. Artists

Paintings by Olle Baertling, February

Prints and Colleges by Robert C. Skelley,

Langsner, Martin Locks, Michael Cookingham, January 3-23.

Felipe Herenberg, Paintings, January 9February 6; Paintings by Dorothy Abelson,

KANSAS CITY ART INSTITUTE, CHARLOTTE CROSBY

OHIO STATE UNIVERSITY, ART GALLERY: Faculty

DEPAUW UNIVERSITY, ART CENTER, GREENCASTLE,

PHILLIPS EXETER ACADEMY, LAMONT

LERIES, CARBONDALE: Optical

ing, November 15-December 10; New Campus Architecture, January 17-February 4;

CENTER:Paintings and Drawings by Joseph

Jugendstile Expressionism, November

UNIVERSITY OF CALIFORNIA, LOS ANGELES, ART

College Museums Notes - About Yale's Exposition 1966 - p.13-14

College Museums Notes - About Yale's Exposition 1966 - p.13-14