Harvard undergraduates lead these thematic tours typically focused on three objects in our collections.
Portrait of a woman, Egypt, probably from Philadelphia (near er-Rubayat), second half 2nd century CE. Support: native Egyptian sycamore fig (Ficus sycomorus), willow wood (Salix species); binder: animal glue; pigments: bassanite, anhydrite, alunite, red and yellow ochres, bone black, carbon black, madder lake, red lead. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Mrs. John D. Rockefeller, Jr., 1939.111.
Watch an award-winning film about two teenage girls who travel to seek medical help after an unintended pregnancy.
László Moholy-Nagy, American, Light Prop for an Electric Stage (Light-Space Modulator), 1930. Aluminum, steel, nickel-plated brass, other metals, plastic, wood, and electric motor. Harvard Art Museums/Busch-Reisinger Museum, Gift of Sibyl Moholy-Nagy, BR56.5.
Curator Lynette Roth will discuss and activate this experimental device from 1930 by László Moholy-Nagy, a Bauhaus pioneer.
Fragmentary portrait of a woman, Egypt, second half 2nd century CE. Support: imported European lime wood (Tilia europaea); binder: beeswax; pigments: lead white, red and yellow ochres, carbon black, natrojarosite, Egyptian blue. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Mrs. A. Kingsley Potter, 1946.44.
We’re keeping our doors open late on the last Thursday of every month for an evening of art, fun, food, and more!
William Hogarth, British, The Reward of Cruelty, from The Four Stages of Cruelty, 1751. Etching and engraving. Fogg Museum/Gray Collection of Engravings Fund, G9035.
Harvard undergraduates lead these thematic tours typically focused on three objects in our collections.
Jacques-Fabien Gautier d’Agoty, French, “Muscles of the Back,” plate 14 from Myologie complette en couleur et grandeur naturelle (Complete Scientific Study of Muscles in Color and Life-Size), 1746. Color mezzotint. Philadelphia Museum of Art, Purchased with the SmithKline Beckman Corporation Fund, 1968, 1968-25-79n, TL42415.2. Image: Courtesy of the Philadelphia Museum of Art.
Harvard undergraduates lead these thematic tours typically focused on three objects in our collections.
Jean-Auguste-Dominique Ingres, French, Studies for the “Martyrdom of Saint Symphorien” (Saint, Mother, and Proconsul), 1833. Oil over graphite and red chalk (stylus transfer), squared in graphite, on canvas, backed by a wood panel. Harvard Art Museums/Fogg Museum, Bequest of Grenville L. Winthrop, 1943.245.
Join Sam Nehila as he explores how a sketch is not always a precursor to a finished work of art.
Portrait of a woman, Egypt, probably from Philadelphia (near er-Rubayat), second half 2nd century CE. Support: native Egyptian sycamore fig (Ficus sycomorus), willow wood (Salix species); binder: animal glue; pigments: bassanite, anhydrite, alunite, red and yellow ochres, bone black, carbon black, madder lake, red lead. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Mrs. John D. Rockefeller, Jr., 1939.111.
Join Kate Smith and Jen Thum to explore the original context, materials, and making of funerary portraits from Egypt.
Portrait of a woman, Egypt, probably from Philadelphia (near er-Rubayat), second half 2nd century CE. Support: native Egyptian sycamore fig (Ficus sycomorus), willow wood (Salix species); binder: animal glue; pigments: bassanite, anhydrite, alunite, red and yellow ochres, bone black, carbon black, madder lake, red lead. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Mrs. John D. Rockefeller, Jr., 1939.111.
Harvard undergraduates lead these thematic tours typically focused on three objects in our collections.
Artist Angela Lorenz’s “McSpheres” (Material Culture Spheres), like this one in progress, represent the different uses of paper in artworks in the Dare to Know exhibition.
Watch two films about the pain, joy, and other emotions of being queer in adolescence.
Artist Angela Lorenz’s “McSpheres” (Material Culture Spheres), like this one in progress, represent the different uses of paper in artworks in the Dare to Know exhibition.
Curious about the graphic arts and how we make sense of the world around us? Experiment with a new visual model for representing artworks.
Fragmentary portrait of a woman, Egypt, second half 2nd century CE. Support: imported European lime wood (Tilia europaea); binder: beeswax; pigments: lead white, red and yellow ochres, carbon black, natrojarosite, Egyptian blue. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Mrs. A. Kingsley Potter, 1946.44.
Harvard undergraduates lead these thematic tours typically focused on three objects in our collections.
Portrait of a woman, Egypt, probably from Philadelphia (near er-Rubayat), second half 2nd century CE. Support: native Egyptian sycamore fig (Ficus sycomorus), willow wood (Salix species); binder: animal glue; pigments: bassanite, anhydrite, alunite, red and yellow ochres, bone black, carbon black, madder lake, red lead. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Mrs. John D. Rockefeller, Jr., 1939.111.
Harvard undergraduates lead these thematic tours typically focused on three objects in our collections.
Pietro Lorenzetti, Italian, Christ on the Cross with the Virgin and Saints Claire, John the Evangelist, and Francis (detail), c. 1320. Tempera and gold leaf on panel. Harvard Art Museums/Fogg Museum, Bequest of Grenville L. Winthrop, 1943.119.
Harvard undergraduates lead these thematic tours typically focused on three objects in our collections.
Portrait of a woman, Egypt, probably from Philadelphia (near er-Rubayat), second half 2nd century CE. Support: native Egyptian sycamore fig (Ficus sycomorus), willow wood (Salix species); binder: animal glue; pigments: bassanite, anhydrite, alunite, red and yellow ochres, bone black, carbon black, madder lake, red lead. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Mrs. John D. Rockefeller, Jr., 1939.111.
Harvard undergraduates lead these thematic tours typically focused on three objects in our collections.
Jacques-Fabien Gautier d’Agoty, French, “Muscles of the Back,” plate 14 from Myologie complette en couleur et grandeur naturelle (Complete Scientific Study of Muscles in Color and Life-Size), 1746. Color mezzotint. Philadelphia Museum of Art, Purchased with the SmithKline Beckman Corporation Fund, 1968, 1968-25-79n, TL42415.2. Image: Courtesy of the Philadelphia Museum of Art.
Join us for a focused discussion with curator John Overholt about the abolitionist broadside on view in the special exhibition Dare to Know.
Fragmentary portrait of a woman, Egypt, second half 2nd century CE. Support: imported European lime wood (Tilia europaea); binder: beeswax; pigments: lead white, red and yellow ochres, carbon black, natrojarosite, Egyptian blue. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Mrs. A. Kingsley Potter, 1946.44.
Join Caitlin Clerkin and Lissette Jiménez for a virtual conversation on how grief is expressed in ancient Egyptian portraits.
Louis Carrogis de Carmontelle, French, Figures Walking in a Parkland, 1783–1800. Watercolor and gouache with traces of black chalk underdrawing on translucent Whatman paper. J. Paul Getty Museum, Los Angeles, 96.GC.20, TL42418.3.
Harvard undergraduates lead these thematic tours typically focused on three objects in our collections.
Jacques-Fabien Gautier d’Agoty, French, Muscles of the Back, plate 14 from Myologie complette en couleur et grandeur naturelle (Complete Scientific Study of Muscles in Color and Life-Size), 1746. Color mezzotint. Philadelphia Museum of Art, Purchased with the SmithKline Beckman Corporation Fund, 1968, 1968-25-79n, TL42415.2. Image: Courtesy of the Philadelphia Museum of Art.
Harvard undergraduates lead these thematic tours typically focused on three objects in our collections.
Artist Angela Lorenz’s “McSpheres” (Material Culture Spheres), like this one in progress, represent the different uses of paper in artworks in the Dare to Know exhibition.
Harvard undergraduates lead these thematic tours typically focused on three objects in our collections.
Marie-Gabrielle Capet, French, Self-Portrait, c. 1790. Black, red, and white chalk on light tan antique laid paper. The Horvitz Collection, Wilmington, Del., D-F-429, TL42410.1.
Watch two films about teenage athletes overcoming cultural barriers.
Unidentified artist, American (active 18th century), Lottery Ticket: The Endless Knot, c. 1785–95. Woodcut. Harvard Art Museums/Fogg Museum, Gift of Walter S. Poor, Class of 1905, M20297.
Join us for a guided look at the printed ephemera in the exhibition Dare to Know, with curatorial assistant Casey Monahan.
Fragmentary portrait of a woman, Egypt, second half 2nd century CE. Support: imported European lime wood (Tilia europaea); binder: beeswax; pigments: lead white, red and yellow ochres, carbon black, natrojarosite, Egyptian blue. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Mrs. A. Kingsley Potter, 1946.44.
Join conservators Haddon Dine and Georgina Rayner for a virtual conversation on how grief is expressed in ancient Egyptian portraits.
Jean-Honoré Fragonard, French, The Girls’ Dormitory, c. 1770. Brown wash (unfiltered bistre) over graphite on off-white antique laid paper, framing lines in brown ink. Harvard Art Museums/Fogg Museum, Gift of Charles E. Dunlap, 1954.106.
Join us for a focused talk on a drawing by French artist Jean-Honoré Fragonard in the exhibition Dare to Know, with curator Joachim Homann.
Gordon W. Gahan, American, Untitled (soldier with medical supplies on stretcher in front of helicopter examining water, Vietnam), 1967–68. Gelatin silver print. Harvard Art Museums/Fogg Museum, Gift of Barbara Robinson, 2007.184.1.158.
Harvard undergraduates lead these thematic tours typically focused on three objects in our collections.
Portrait of a woman, Egypt, probably from Philadelphia (near er-Rubayat), second half 2nd century CE. Support: native Egyptian sycamore fig (Ficus sycomorus), willow wood (Salix species); binder: animal glue; pigments: bassanite, anhydrite, alunite, red and yellow ochres, bone black, carbon black, madder lake, red lead. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Mrs. John D. Rockefeller, Jr., 1939.111.
Harvard undergraduates lead these thematic tours typically focused on three objects in our collections.
Nicolas Maréchal, French, Ursus maritimus (Polar bear), Drawing for an illustration to Ménagerie du Muséum d’histoire naturelle, ou Description et histoire des animaux (Menagerie of the Museum of Natural History, or Description and History of Animals), by Etienne de Lacépède (Paris: 1801). Black chalk, extensively stumped. The Horvitz Collection, Wilmington, Del., D-F-1456, TL42410.6.
Harvard undergraduates lead these thematic tours typically focused on three objects in our collections.
Harry Annas, American, Untitled (boy kneeling with turkey, man standing by), 1947. Gelatin silver print. Harvard Art Museums/Fogg Museum, Transfer from the Carpenter Center for the Visual Arts, American Professional Photographers Collection, 4.2002.11245.
We’re keeping our doors open late for an evening of art, fun, food, and more!
Portrait of a woman, Egypt, probably from Philadelphia (near er-Rubayat), second half 2nd century CE. Support: native Egyptian sycamore fig (Ficus sycomorus), willow wood (Salix species); binder: animal glue; pigments: bassanite, anhydrite, alunite, red and yellow ochres, bone black, carbon black, madder lake, red lead. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Mrs. John D. Rockefeller, Jr., 1939.111.
Interested in art of the ancient world? Explore ancient painting processes and make your own copy of a Roman-period funerary portrait.
William Playfair, Scottish, The History of Jacobinism, Its Crimes and Perfidies, 1795. Red leather and marble bound book with etchings and engravings. Harvard Art Museums/Fogg Museum, Gift of Patrice Higonnet, M21315.1–33.
Join us for a focused talk on 18th-century book binding in the exhibition Dare to Know, with conservation technician Yi Bin Liang.
Jacques-Fabien Gautier d’Agoty, French, “Muscles of the Back,” plate 14 from Myologie complette en couleur et grandeur naturelle (Complete Scientific Study of Muscles in Color and Life-Size), 1746. Color mezzotint. Philadelphia Museum of Art, Purchased with the SmithKline Beckman Corporation Fund, 1968, 1968-25-79n, TL42415.2. Image: Courtesy of the Philadelphia Museum of Art.
Join exhibition curator Elizabeth Rudy for an in-depth tour of Dare to Know: Prints and Drawings in the Age of Enlightenment.
Portrait of a woman, Egypt, probably from Philadelphia (near er-Rubayat), second half 2nd century CE. Support: native Egyptian sycamore fig (Ficus sycomorus), willow wood (Salix species); binder: animal glue; pigments: bassanite, anhydrite, alunite, red and yellow ochres, bone black, carbon black, madder lake, red lead. Harvard Art Museums/Arthur M. Sackler Museum, Gift of Mrs. John D. Rockefeller, Jr., 1939.111.
The Harvard Art Museums will be closed on New Year’s Day.
Jacques-Fabien Gautier d’Agoty, French, “Muscles of the Back,” plate 14 from Myologie complette en couleur et grandeur naturelle (Complete Scientific Study of Muscles in Color and Life-Size), 1746. Color mezzotint. Philadelphia Museum of Art, Purchased with the SmithKline Beckman Corporation Fund, 1968, 1968-25-79n, TL42415.2. Image: Courtesy of the Philadelphia Museum of Art.
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