CAMBRIDGE, Mass. — In 1971, at a remote government settlement in Australia’s Northern Territory called Papunya, a group of elderly Aboriginal men painted designs from ancestral creation stories onto a school wall in cheap, bright acrylics.
Home to one of the first and largest collections devoted to the Bauhaus, Harvard Art Museums now has a new, online resource that makes it easier to navigate these holdings.
CAMBRIDGE, Mass. — The first blue pigment to hold its color was often prized over gold. The semi-precious stone lapis lazuli was ground into an iridescent pigment, sometimes called ultramarine, that seemed to shine when applied to the canvas.
Symbolist artists — including Aubrey Beardsley, Jean Delville, and Odilon Redon — were united less by style than by their shared intention of illustrating invisible aspects of human experience.
CAMBRIDGE, Mass. — Among Pop art’s notable motifs are capitalism, consumerism, and now Catholicism.
Today, archivists across the US took to Twitter to answer questions from the public.
Cambridge, Mass. — There is a story that sometimes circulates through the art world claiming the reason some of Mark Rothko’s work has faded over time is because he bought his paint at Woolworth’s Department Store.
CAMBRIDGE, Mass. — On a warm day in June six years ago, the front doors of the Fogg Museum closed quietly. There was no banner reading “Closing Day” on Quincy Street at the edge of Harvard Yard, no ceremony, no press, no speech. At five o’clock, museum visitors shuffled out the exit in droves, toting travel books and the last discounted souvenirs.
When the Harvard Art Museums reopen this Sunday after a six-year expansion project, historic pigments foundational to the field of art conservation in the United States will be on public view.