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Statement of Purpose

Fogg Art Museum, Arthur M. Sackler Museum, Busch-Reisinger Museum, Straus Center for Conservation.

HARVARD UNIVERSITY ART MUSEUMS ACQUIRE THE WALTER C. SEDGWICK COLLECTIONS OF JAPANESE BUDDHIST SCULPTURE AND EARLY CHINESE CERAMICS

HARVARD’S CENTER FOR THE TECHNICAL STUDY OF MODERN ART ANNOUNCES LANDMARK GIFT OF BARNETT NEWMAN’S STUDIO MATERIALS

Mission:

The mission of the Harvard University Art Museums is to serve as a catalyst for instruction and scholarship in the history of art by acquiring and conserving works of art, teaching, researching, preparing and implementing exhibitions, publishing catalogues and special studies, offering lectures, organizing symposia, and working closely with students and other faculty of Harvard University, the faculties of other universities, the curatorial staffs of other museums the world over, and all interested members of the general public, in the use of our collections and resources for scholarly and pedagogical purposes, as well as for personal pleasure and inspiration, and in training future museum curators and conservators in the details of our profession.

A Brief History:

The Harvard University Art Museums include the Fogg Art Museum (founded in 1891, opened in 1895), the Busch-Reisinger Museum (founded in 1902), and the Arthur M. Sackler Museum (opened in 1985). Their mission is to provide resources for the teaching of art history and related fields in the humanities; to serve as a catalyst for research in the humanities; to expose undergraduates to the importance of art in all cultures; to train professionals in the field of art museum administration; and to encourage the broader understanding of art and its history among the general public.

Location:

The Harvard University Art Museums comprise three museums, all located on the Harvard University campus in Cambridge, MA, at the intersection of Quincy Street and Broadway, adjacent to Harvard Yard and five minutes walking distance due east of the Harvard Square MBTA Red Line stop, Church Street exit. The Busch-Reisinger Museum is located in Werner Otto Hall. Enter through the Fogg Art Museum at 32 Quincy St. The Arthur M. Sackler Museum is located at 485 Broadway across from the Fogg. The Harvard University Art Museums' facilities are wheelchair accessible (enter the Fogg and Busch-Reisinger through the Fine Arts Library on Prescott Street).

Highlights & Collections

www.artmuseums.harvard.edu

Main Attractions:

Walk through the galleries of the Fogg Art Museum and you will recognize major paintings and sculpture by American and European artists such as Copley, Monet, van Gogh, Renoir, Picasso, Rothko and David Smith.

In the Sackler Museum you will discover Indian sculpture, ancient Chinese jades and bronzes, Korean ceramics, Greek and Roman coins, and Greek vases.

In the Busch-Reisinger you will find the finest collection of modern German and Northern European art with works by Beckmann, Beuys, Feininger, Kandinsky, Klee, Kirchner, Kokoschka, Klimt, Moholy-Nagy, Marc, and Munch.

As well as being major public art museums, the Harvard University Art Museums are part of one of the world's greatest universities. Professors, museum directors, and curators from around the world have studied at Harvard. Today, the Harvard University Art Museums along with the Straus Center for Conservation, are a major center for art historical research and training.

Each year, leading scholars at Harvard and from around the world arrange major exhibitions at the Art Museums, many of them the first of their kind in America. This tradition began in 1911, with the first American exhibition of Edgar Degas, and it has continued ever since. Visit these exhibitions and you will be on the forefront of new discoveries and revelations about the world of the visual arts.

Collections:

The collections of the Art Museums consist of more than 150,000 objects in all media, with works ranging from antiquity to the present and from Europe, North America, North Africa, the Middle East, India, Southeast Asia, and East Asia.

They range from antiquity to the present and are divided among eight curatorial departments (Ancient, Asian, Busch-Reisinger Museum, Drawings, Islamic and Later Indian, Prints, Photographs, and Western Paintings and Sculpture). They are comprehensive and encyclopedic within their areas.

Developed with an emphasis on their value for teaching and research, the collections comprise a unique resource in terms of breadth and quality, and are one of the finest university art collections in the world.

Fogg Museum: The drawings collection comprises 10,000 European and American drawings from the 14th century to the present. Major strengths include French 17th and early 19th centuries (in both fields the most comprehensive holdings in any U.S. collection), 16th century Italian and 18th century Venetian, German 18th and 19th centuries, and American and English 19th century works.The collection of 50,000 prints is particularly strong in old-master etchings, engravings, and woodcuts with extensive representation of the works of such masters as Schongauer, Dürer, Rembrandt, and Goya. It also includes outstanding examples by Blake, Turner, Constable, Daumier, Manet, Degas, Picasso, and Munch. The collection of 2,000 Western paintings is especially strong in early Italian Renaissance, 19th century French, 19th century British, and American painting (including the largest holdings of Copley in the country.) The largest segments of the collection are 19th and 20th century American, 19th century British, 17th century Dutch, 19th and 20th century French, and 14th-16th century Italian, although nearly 30 cultures and over 850 artists are represented. The 1,000 works of sculpture include significant holdings of French and Spanish Romanesque stone pieces, Italian Renaissance placquettes, an important group of 17th century Roman terracotta studies by Bernini and others, 19th century French sculpture (notably Rodin and Barye) and varied 20th century holdings. The photograph collection includes 7,000 works, 3,500 of which are by Ben Shahn, the primary collection of his photographic oeuvre. The 3,750 objects in the collection of Western decorative arts include 17th and 18th century American and English silver, 18th century Wedgewood pottery, 17th and 18th century clocks, Renaissance Limoges enamels, tapestries, and considerable quantities of European and American furniture.

Photography of the Middle East Reveals History of Western Impressions at Harvard's Fogg Art Museum

• Fuseli to Menzel: Drawings and Watercolors in the Age of Goethe
. Selections—most never exhibited outside Germany—from one of the foremost private collections of German drawings of the late 18th and early 19th centuries.

• Mastery and Elegance: Two Centuries of French Drawings from the Collection of Jeffrey E. Horvitz
. Highlights from the outstanding U.S. private collection of French old master drawings, most never previously exhibited.

• Tiepolo and His Circle: Drawings in American Collections
. A survey of the career of the 18th-century Italian draftsman from the rich holdings of U.S. museums and private collections.

• The Renaissance in France: Drawings from the Ecole des Beaux-Arts, Paris
. The most comprehensive exhibition of French Renaissance drawings ever presented in the United States.

• Drawings by Rembrandt and His School from the Museum Boijmans Van Beuningen, Rotterdam
. Selected works from one of the largest collections of drawings by Rembrandt and his pupils, with significant new scholarship and many new attributions.

• Guercino, Master Draftsman: Works from North American Collections
. A survey of the Italian Baroque master’s drawings, many never previously published or exhibited.

• 17th-Century Dutch Drawings: A Selection from the Maida and George Abrams Collection
. A 1991—92 survey of drawings from the Abrams Collection, shown at the Rijksmuseum, Amsterdam; the Graphische Sammlung Albertina, Vienna; the Pierpont Morgan Library, New York; and the Fogg Art Museum.

The Harvard University Art Museums’ dedication to collecting and presenting drawings has its roots in the work of pioneering scholars who played a significant role in shaping the Art Museums. During the middle of the 20th century, the Fogg Art Museum was the epicenter in North America of the study of drawings. The Fogg’s then associate director, Paul J. Sachs, and its distinguished curator of drawings who served for 45 years, Agnes Mongan, presented a wide range of works from local private collections and the Fogg’s holdings. Konrad Oberhuber, curator from 1975 to 1987, carried on their legacy with distinguished exhibitions and acquisitions.

Since 1988 the drawings collection has been curated by William W. Robinson, Maida and George Abrams Curator of Drawings.

The collection encompasses drawings, watercolors, pastels, sketchbooks, and albums, as well as 9,000 manuscript pages of drawings and notes by Stuart Davis. Unusual in its breadth and depth, the collection combines masterpieces from the American and principal European schools with large numbers of works of secondary and tertiary significance. The holdings’ teaching and research potential are enhanced by the balanced representation of the art of many periods and schools.

Major strengths include:

• French works of the 17th and early 19th centuries (in both fields, the most comprehensive holdings in any U.S. collection)
• 16th-century Italian drawings
• 17th-century Dutch drawings
• American and English 19^tth-century works

The collection is also distinguished by the strength of its holdings of works by individual artists:

• The Fogg holds the most drawings by Ingres (50), Géricault (20), and David (nearly 100) outside France.
• The 55 watercolors and drawings by Blake, 50 by Beardsley, and numerous works by the Pre-Raphaelites comprise the most outstanding groups of those artists’ work outside Great Britain.
• In the American school, the collection includes more than 20 Homer watercolors, over 500 drawings and sketchbooks by Sargent, and a fine group of drawings and pastels by Whistler.
• Other artists whose work is especially well represented are Fragonard, Courbet, Degas, Picasso, Tiepolo, and Rembrandt.
• Italian holdings include important works by Carpaccio, Filippino Lippi, Fra Bartolommeo, Perugino, Michelangelo, Pontormo, Veronese, Guardi, Canaletto, and Piranesi.
• German and Netherlandish masters include Dürer, Holbein, Bruegel, Jacques de Gheyn II, Rubens, Cuyp, Menzel, and Rembrandt.

The drawings collection includes the following works:

• 6,000 American works
• 1,500 French works
• 1,250 Italian works
• 1,100 British works
• 600 Dutch and Flemish works
• 500 German/Austrian/Swiss works
• 250 Spanish works

Exhibits & Special Events: www.artmuseums.harvard.edu

Coins of Alexander the Great

• Ongoing (at the Sackler)
• Alexander the Great (336-323 B.C.) left a remarkable legacy of political and artistic change in the wake of his dazzling military conquests in the fourth century B.C. His rapid ascendancy and lasting importance are well-documented in the coins of the ancient world, and this display of coins offers a sampling of his numerous depictions. Opened 1996.

The Persistence of Memory: Continuity and Change in American Cultures

• Ongoing (at the Fogg)
• This installation, organized by Timothy Anglin Burgard, former Henry Luce Foundation Associate Curator of American Art, consists of approximately sixty paintings, sculptures, and decorative arts objects. The persistence of memory, personal and collective, living and historical, has been a determining force in American cultures. It occupies an especially prominent place in a country whose Native American histories could be encompassed by the life spans of five consecutive centenarians. Immigrant histories perhaps constitute the most important component of the culture of memory in the Americas, and include Native American memories of the pre- and post-European contact periods; African American memories of unrecorded African origins, involuntary enslavement, and liberation; and Euro-American memories of separation, acculturation, and assimilation. The attendant tensions between the past and the present have fostered often competing desires to preserve and recover historical memories, or to renounce them and embrace an undefined future. The objects in The Persistence of Memory have been selected and displayed to suggest that the power of culture and the survival of its artifacts are determining forces in the development of American social discourse. Opened 1995.

Circa 1874: The Emergence of Impressionism

• Ongoing (at the Fogg)
• Organized by Ivan Gaskell, Margaret S. Winthrop Curator of Paintings, this selection of paintings from the permanent collection reflects the emergence of impressionism as a form of pictorial practice. These works were made shortly before the time of the first impressionist exhibition in Paris in 1874 and demonstrate the variety of what became known as the "new painting," which was not merely a single style. The installation includes works by Bazille, Boudin, Jongkind, Monet, Degas, and Renoir. Opened 1995.

France and the Portrait, 1799-1870

• Ongoing (at the Fogg)
• Organized by Ivan Gaskell, Margaret S. Winthrop Curator of Paintings, this installation of works from the permanent collection explores the changing conventions and practice of portraiture in France between the rise and power of Napoleon and the fall of the Second Empire. The exhibition examines how individuals' images were fashioned in the context of the many and frequent political and social changes that France underwent in these decades, and includes paintings, sculptures, miniatures, and photographs by such artists as David, Ingres, and Couture. Opened 1995.

LONG-TERM INSTALLATIONS IN THE PERMANENT COLLECTION GALLERIES

Listed below are descriptions of thematic installations in the permanent collection galleries. These installations usually hang for one to three years. If you are planning or organizing a trip to the Harvard University Art Museums in the future please check with the Public Relations office on the status of these installations.

The Art of Identity: African Sculpture from the Teel Collection

• at the Fogg
• The exhibition brings together selections of African sculpture from the William E. and Bertha L. Teel collection, an extraordinary group of arts from sub-Saharan Africa that were compiled over nearly thirty-five years. Few artistic subjects are more important than identity. Representations of identity provoke important questions across a range of cultures and genres, impacting our reading not only of persona, but also issues of gender, religion, place and forms of governance. Identity provides a valuable lens for understanding the way the arts of Africa embody and display recognizable aspects of selfhood, community and nation. The diverse collection of sculptures in The Art of Identity illustrates the complexity of art traditions in Africa and offers the opportunity to examine issues of identity in African art. The Art of Identity is organized by Suzanne Blier, professor of African art and architecture, Harvard University, and Elizabeth and John Moors Cabot Directors, Harvard University Art Museums. It is co-curated by Suzanne Blier, Aimée Bessire and Mark Bessire. The exhibition and related programs are supported in part by the Massachusetts Cultural Council, a state agency. Opened November 1996.

Investigating the Renaissance

• at the Fogg
• The works that comprise the installation form one of the foremost collections of early Italian Renaissance paintings in North America. The core of Sienese and Florentine fourteenth and fifteenth-century paintings is complemented with strong examples of other Italian, Netherlandish and German paintings, sculpture and decorative arts. Artists represented include Fra Angelico, Taddeo Gaddi, Fra Filippo Lippi, Sandro Botticelli, and Giovanni di Paolo. Investigating the Renaissance is installed in three exhibition galleries, including Warburg Hall, the single largest gallery in the Fogg Art Museum, which reopened to the public after serving as temporary office space for several years. Fitted with a sixteenth-century Burgundian wooden ceiling, Warburg Hall is one of the most distinctive exhibition spaces in North America. The art of the Renaissance has been central to the Fogg for much of the museum's history, for visitors to the museum as well as for the teaching of the history of art. In recent years, however, the focus of museum practice and art history has shifted and diversified to the extent that this art seems culturally remote for many museum visitors, students and scholars. Investigating the Renaissance is conceived with the twin goals of creating new audiences for these works, and creating new modes of access for those already acquainted with them. The Fogg Art Museum is especially well-placed to rekindle an interest in the art of the Renaissance because of its institutional history, the strength of its early Italian Renaissance holdings and the key role played by the Art Museums' Straus Center for Conservation in the study, presentation and interpretation of these objects. Investigating the Renaissance is organized by Ivan Gaskell, Margaret S. Winthrop Curator of Paintings, Stephan Wolohojian, National Endowment for the Arts Intern, and other members of the Fogg's Department of Paintings, Sculpture, and Decorative Arts in conjunction with the staff of the Straus Center for Conservation. The installation has received support from the National Endowment for the Arts, a federal agency, The Getty Grant Program, and The Scott Opler Foundation, Inc. Opened November 1996.

Sublimations: Art and Sensuality in the Nineteenth Century

• Ongoing (at the Fogg)
• One common perception of the nineteenth century is that it was an era of strict propriety, often masking secret vice. The intention behind this reinstallation of works from the permanent collection is to bypass the prurience and ethical self-congratulation implicit in such a view and to demonstrate how the arts of this period in Europe and North America engaged unapologetically with the senses. In doing so, they helped define various arenas of social and personal life, such as worship, the service of food and drink, and bodily adornment, as well as the -integrally related- construction of sexuality. The paintings and objects exhibited have been selected for the sensual -often erotic- charge they convey when viewed together as artifacts for the construction of sexuality, both female and male. Sublimations is organized by Ivan Gaskell, Margaret S. Winthrop Curator of Paintings. Opened 1996.

Severan Silver Coinage

• Ongoing (at the Sackler)
• The installation consists of thirty-three coins that make up part of a magnificent collection of 276 denarii from the Severan dynasty of the Roman Imperial period given to the Harvard University Art Museums' coin room. The collection was assembled by Mark Stalton. The Severan dynasty began with the North African military leader Septimius Severus, who ruled 193-211 A.D. The coins in the installation depict Severus, his wife Julia Domna and their two sons Caracalla and Geta, along with Macrinus, Elagabalus, Severus Alexander and Maximinus. The installation Severan Silver Coinage is organized by Anne McClanan, keeper of coins in the Ancient Art Department. Opened 1996.

LONG-TERM INSTALLATIONS IN THE PERMANENT COLLECTION GALLERIES

Listed below are brief descriptions of a selection of thematic installations in the permanent collection galleries. These installations usually hang for one to three years. If you are planning a trip to the Art Museums in the future please check with the museum on the status of these and other long-term installations.

American Art after 1950

• Fogg Art Museum
• With this new installation of works by American artists of the post-war era, modern and contemporary art once again finds a home in the Art Museums' galleries. Selected by Harry Cooper, associate curator of modern art, this long-term installation focuses on abstract art by major American artists of the last fifty years, including Jackson Pollock, Mark Rothko, Franz Kline, Frank Stella, Ellsworth Kelly and Agnes Martin. Works from the museum's permanent collection are supplemented by selected loans, including paintings by Robert Ryman, Jasper Johns, and Brice Marden. The exhibition is supported with funds from the John M. Rosenfield Teaching Exhibition Fund. Opened December 26, 1998.

Gian Lorenzo Bernini: Sketches in Clay

• Fogg Art Museum
• In one of its most far-sighted and spectacular purchases ever, the Fogg, in 1937, acquired 27 terracotta sculptures, fourteen of which can be associated directly with greatest sculptor of the Roman Baroque, Gian Lorenzo Bernini (Naples 1598-1680 Rome), a fifteenth was added in 1995. These works are studies for some of Bernini's most important projects and cover nearly the whole of the artist's career. They include saints and allegorical figures, but perhaps most memorable are the extraordinarily vivid angels, seemingly descending directly from a heavenly realm in swirls of flowing drapery. The installation, which marks the quartercentenary of Bernini's birth (1998), is organized by Ivan Gaskell, Margaret S. Winthrop Curator, and Colette Czapski Hemingway, 1996-1998 Andrew W. Mellon Intern, Department of Paintings, Sculpture, and Decorative Arts, with contributions by Jeannine O'Grody, 1995-1996 National Endowment for the Arts Intern. Opened Feburary 28, 1998.

Wall Drawing #830: Four Isometric Figures with Color Ink Washes Superimposed

• Arthur M. Sackler Museum lobby
• This major wall drawing by conceptual artist Sol LeWitt, one of our generation's premier draftsmen, occupies four walls in the lobby of the Sackler Museum. Comprising four large-scale geometric shapes on fields of primary colors, the drawing dramatically amplifies and animates the Sackler's double-height entry space. The project was organized at the Art Museums by Elizabeth and John Moors Cabot Director. Opened 1997.

The Art of Identity: African Sculpture from the Teel Collection

• Fogg Art Museum
• The installation brings together selections of African sculpture from the William E. and Bertha L. Teel Collection, an extraordinary group of arts from sub-Saharan Africa that were compiled over nearly thirty-five years. This diverse collection of sculptures illustrates the complexity of art traditions in Africa and offers an opportunity to examine issues of identity in African art. The Art of Identity is co-curated by Suzanne Blier, professor of Fine Arts, Harvard University, Aimée Bessire and Mark Bessire. Support for the installation was provided in part by the Massachusetts Cultural Council, a state agency. Opened 1996.

The Art of Ancient Rome: Roman Gallery Re-Installation

• September 1999 (Arthur M. Sackler Museum)
• For the first time since its opening in 1985, the Roman art gallery on the fourth floor of the Arthur M. Sackler Museum will be renovated. The Department of Ancient Art will re-open the gallery in September. This important teaching collection includes a number of stone masterpieces, including the monumental statue of Emperor Trajan (2nd century), and the lively late second century sarcophagus depicting the battle between the Greeks and the Amazons, as well as dozens of smaller household objects in bronze, glass, terracotta, and bone. The exhibition will be re-organized into thematic groups-Portraiture, Everyday Life, Funerary Arts, and Gambling, Spectacles & the Taste for the Exotic-to place the objects in context. Used on a daily basis by students and scholars from around the world, this collection serves as a crucial resource for the study of classical art and culture at Harvard, and beyond.

SEMINARS

The Harvard University Art Museums' facilities are wheelchair accessible. For general information, please call (617) 495-9400. For more information on events, please contact the Friends, Fellows, and Special Programs Office at (617) 495-4544.

World Wide Web: www.artmuseums.harvard.edu.

LONG-TERM INSTALLATIONS IN THE PERMANENT COLLECTION GALLERIES

Marking Places: Spatial Effects of African Art
Fogg Art Museum
This exhibition explores the ways in which African objects articulate certain types of spaces and the layers and changes within them. The exhibition covers a wide expanse of Sub-Saharan Africa, highlighting some of the continent’s most prolific and renowned art-producing cultures such as the Senufo, Yoruba, Bamum, and Kuba. Comprised of a range of objects from architectural elements to masks, the show includes works such as Benin plaques, which once covered the palace exterior and created a boundary between royal and non-royal spaces, and Dan masks, whose presence in the village makes visible the coexistent and coeval spirit world and temporarily transforms public space into ritual space. Works are largely drawn from the outstanding collection of the Peabody Museum of Archaeology and Ethnology at Harvard University as well from local collectors.

The Art of Ancient Rome
Arthur M. Sackler Museum
This collection includes a number of stone masterpieces, such as the monumental statue of emperor Trajan (2^nd century) and the late-second-century sarcophagus depicting the battle between the Greeks and the Amazons, as well as dozens of small household objects in bronze, glass, terracotta, and bone. The exhibition is organized into thematic groups—Portraiture, Everyday Life, Funerary Arts, Gambling, Spectacles, and the Taste for the Exotic—to place the objects in context. Used daily by students and scholars from around the world, this collection serves as an important resource for the study of classical art and culture at Harvard and beyond. The exhibition opened in September 1999.

Gian Lorenzo Bernini: Sketches in Clay
Fogg Art Museum
In one of its most important purchases ever, in 1937 the Fogg acquired 27 terracotta sculptures, 14 of which can be associated directly with Gian Lorenzo Bernini (1598–1680), the greatest sculptor of the Roman Baroque. A fifteenth was added in 1995. These works are studies for some of Bernini's most important projects and cover nearly the whole of the artist's career. They include saints, allegorical figures, and the extraordinarily vivid angels, seemingly descending directly from a heavenly realm in swirls of flowing drapery. The installation, which marks the quatercentenary of Bernini's birth (1998), was organized by Ivan Gaskell, Margaret S. Winthrop Curator, and Colette Czapski Hemingway, 1996–1998 Andrew W. Mellon Intern, Department of Paintings, Sculpture, and Decorative Arts, with contributions by Jeannine O'Grody, 1995–1996 National Endowment for the Arts Intern. The exhibition opened February 28, 1998.

Wall Drawing #830: Four Isometric Figures with Color Ink Washes Superimposed
Arthur M. Sackler Museum lobby
This major wall drawing by conceptual artist Sol LeWitt, one of our generation's premier draftsmen, occupies four walls in the lobby of the Sackler Museum. Comprising four large-scale geometric shapes on fields of primary colors, the drawing dramatically amplifies and energizes the Sackler's double-height entry space. The project was organized at the Art Museums by Elizabeth and John Moors Cabot Director and opened in 1997.

The Harvard University Art Museums is one of the leading arts institutions in the United States and the world. It is distinguished by the range and depth of its collections, its groundbreaking exhibitions, and the original research of its staff. For more than a century, it has been the nation’s premier training ground for museum professionals and scholars and is renowned for its seminal and ongoing role in the development of the discipline of art history in this country.

The three art museums at Harvard—the Arthur M. Sackler Museum, the Busch-Reisinger Museum, and the Fogg Art Museum—are all outstanding institutions in their respective fields. The Fogg also houses the Straus Center for Conservation, long a leader in the research and development of scientific and technology-based analysis of art. The 150,000 objects in the art museums’ collections range in date from ancient times to the present and come from Europe, North America, North Africa, the Middle East, South Asia, East Asia, and Southeast Asia. Each museum also has an active program of special exhibitions that promotes new scholarship in its areas of focus.

As an integral component of the Harvard University community, the three art museums serve as a resource for all students, adding a special dimension to their areas of study. The public is welcome to experience the collections and special exhibitions as well as to enjoy lectures, symposia, and other programs in the various museums.

The collections are divided among ten curatorial areas: Ancient Art; Architecture and Design; Asian Art; Busch-Reisinger Museum; Drawings; Islamic and Later Indian Art; Modern and Contemporary Art; Paintings, Sculpture and Decorative Arts; Prints; and Photographs. Developed with an emphasis on their value for teaching and research, these holdings are a uniquely broad and rich resource that is continually enhanced through gifts and acquisitions. Together, the holdings of the three museums constitute one of the finest university art collections in the world, with resources rivaling those of many major public museums.

The Straus Center for Conservation is the oldest fine arts conservation treatment, research, and training facility in the United States. The Center specializes in the conservation of paintings, sculpture, decorative objects, historic and archaeological artifacts, and works of art on paper. Its team members are pioneers in developing new applications of digital imaging in conservation. The Center’s state-of-the-art facilities support a broad range of analytical services.

Visitor Information

Location and Hours
The Fogg Art Museum and the Busch-Reisinger Museum are located at 32 Quincy Street in Cambridge. The Arthur M. Sackler Museum is located next door at 485 Broadway. Each Museum is a short walk from the Harvard Square MBTA station.

Hours are Monday through Saturday, 10 a.m. – 5 p.m., Sunday 1 – 5 p.m.; the Museums are closed on national holidays.

Admissions:

• Adults: $9.00
• Senior citizens: $7.00
• College students w/ ID: $6.00
• Under 18: Free
• Harvard students & affiliates: Free
• Members: Free
• Saturday 10:00 a.m.–12:00 p.m.; everyday after 4:30 p.m.: Free
• Cambridge Public Library cardholders: Free

•  Adults: $8.00
• Senior citizens: $6.00
• College students w/ ID: $4.00

The Harvard University Art Museums receive support from the Massachusetts Cultural Council. More detailed information is available at 617-495-9400 or on the Internet at www.artmuseums.harvard.edu.

The Art Museums are within five minutes walking distance of the Harvard Station MBTA bus and Subway terminals.

By car from downtown Boston, the Central Artery, or the Cambridge exit off the Massachusetts Turnpike, take Storrow Drive to the Harvard Square exit, go over the bridge onto JFK Street; proceed north through Harvard Square, intersect Massachusetts Avenue, and bear right through the underpass onto Broadway. The Harvard Art Museums are just past the fire station.

The Harvard University Art Museums' facilities are wheelchair accessible. For general information, please call (617) 495-9400. For more information on events, please contact the Friends, Fellows, and Special Programs Office at (617) 495-4544. World Wide Web: www.artmuseums.harvard.edu.

The Harvard University Art Museums is supported in part by the Massachusetts Cultural Council.

Key Personnel

Thomas Lentz, Elizabeth and John Moors Cabot, Directors, Harvard University Art Museums

• Frances Beane, Deputy Director, Harvard University Art Museums
• Henry Lie, Director, Straus Center For Conservation
• Peter Nisbet, Daimler-Benz Curator, Busch-Reisinger Museum
• Ivan Gaskell, Margaret S. Winthrop, Curators of Paintings, Fogg Art Museum
• William Robinson, Ian Woodner, Curators of Drawings, Fogg Art Museum
• Marjorie B. Cohn, Carl A. Weyerhaeusers, Curator of Prints, Fogg Art Museum
• Robert Mowry, Curator of Chinese Art, Head of The Asian Art Department, Arthur M. Sackler Museum
• David Gordon Mitten, Curator of Ancient Art, Arthur M. Sackler Museum
• Helen Molesworth, Curator of Contemporary Art
• Barbara Lee, Associate Curator of Contemporary Art
• Susan von Salis, Associate Curator of archives.

CAMBRIDGE, MA (March 7, 2005) Thomas W. Lentz, Elizabeth and John Moors Cabot Director of the Harvard University Art Museums, today announced the appointment of Susan Dackerman as the new Carl A. Weyerhaeuser Curator of Prints at the Fogg Art Museum. Dackerman will assume the position on July 5, 2005, after the retirement of the incumbent, Marjorie B. Cohn, longtime curator and conservator and former acting director of the Art Museums.

"Susan brings exceptional enthusiasm, dedication, and experience to the position," Lentz said. "Her insights as a scholar and educator and her expertise in curatorial affairs make her an ideal choice to lead our teaching, collecting, and program efforts in the area of prints, and a worthy successor to Jerry Cohn."

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