HOOD MUSEUM OF ART quarter y · he Hood Museum of Art is delighted to present the ﬁrst major...

Spring/Summer 2009

H O O D M U S E U M O F A R T

C O N T E N T S

2Letter from the Director

3Special Exhibitions

4–5 Wearing Wealth and Styling Identity:Tapisfrom Lampung, South Sumatra, Indonesia

6–7 Félix de la Concha:Private Portraits/Public Conversations

8France in Transformation:The Caricature of Honoré Daumier,1833–1870

Special Insert:Calendar of Events

9Hood Online:Joining the Web Revolution

10–11 The Collections

12–13 Museum News

14–15 Hood Membership: Vital Support

D A R T M O U T H C O L L E G E

quarter y

Unknown artist, Lampung Province, Sumatra, Indonesia,Tapis Balak, silk and cotton with gold thread, red wool,and sequins. Lister Family Collection.Photo © 2004 by John Bigelow Taylor.

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L E T T E R F R O M T H E D I R E C T O R

In recent years, the Hood Museum of Art has sought to commission major proj-ects on campus that respond to College President James Wright’s invitation todisplay works of art in public places, and to Provost Barry Scherr’s encourage-

ment to provide transformative experiences through engagement with works of art.This has been achieved by the permanent placement of sculptures near theAdmissions Office and the Native American House, and by Wenda Gu’s extraordi-nary united nations project, made from human hair donated by our community,which temporarily transformed the Baker-Berry Library and the Hood Museum ofArt in 2007. Another exhibition of this kind takes place this spring/summer, also inBaker-Berry Library and at the museum. We invited the Spanish artist Félix de laConcha to paint portraits of fifty-one people, each session lasting two hours, duringwhich time he also audio- and video-recorded conversations with his sitters. Theportraits in canvas, audio, and video will be exhibited from April throughSeptember. The project is a response to the campus-wide programming theme for2008–10, “Conflict and Reconciliation,” established by the Dartmouth CentersForum, an amalgam of student and community-focused institutes and centers oncampus. Each of the sitters was selected because they had encountered conflict ofone kind or another in their personal lives and have made—or are making—thejourney toward reconciliation. This powerful project has been a revelation, aremarkable sample of the wonderful people in our community, and we thank Félixde la Concha for his dedication and imagination in realizing it.

Wearing Wealth and Styling Identity: Tapis from Lampung, South Sumatra,Indonesia presents a magnificent array of handwoven and embellished textiles ofgreat complexity. The works in this beautiful exhibition are from the Lister FamilyCollection, and most of them have been gifted to the Hood by board memberStephen Lister, Dartmouth Class of 1963. We are deeply grateful for both his col-lecting passion and his generosity of spirit. As with the warmly received 2006 exhi-bition Dreaming Their Way: Australian Aboriginal Women Painters, all the works inthis show of Indonesian textiles were made by women. They were also worn bywomen while participating in the ceremonial life of Lampung. We are grateful toDr. Mary-Louise Totton for her professional commitment in the presentation ofthese wonderful garments and the preparation of the scholarly book that accompa-nies the show.

The current economic environment has been challenging for the Hood Museumof Art, as it has for everyone. This has been a time of reorganization and increasedcommitment to delivering our key intentions: to create learning encounters and tocultivate teaching with objects. Our excellent staff does this well but wishes to do iteven better. We need and value the participation, advocacy, and support of all ourvisitors—students, faculty, alumni, and members of our broader community. Félixde la Concha’s project celebrates our stories, our shared humanity, and our com-mitment to each other. In times of challenge, museums can indeed be places ofconsolation and inspiration. Please do visit us, participate as a member, and enjoy,at no charge, the fabulous collections of Dartmouth College.

BRIAN KENNEDYDirector

2 H O O D Q U A R T E R L Y

Dartmouth CollegeHanover, New Hampshire 03755(603) 646-2808

Hood Quarterly #27 (Spring/Summer 2009)

Edited by Nils Nadeau

Designed by Joanna Bodenweber

Photography by Jeffrey Nintzel,unless otherwise noted.

Printed by Queen City Printers Inc.

© 2009 Trustees of Dartmouth College

HOOD MUSEUM OF ART STAFF

Gary Alafat, Security/Buildings Manager

Juliette Bianco, Assistant Director

Alex Bortolot, Assistant Curator, Special Projects

Emily Shubert Burke, Assistant Curator,Special Projects

Amy Driscoll, Docent and Teacher ProgramsCoordinator

Patrick Dunfey, Exhibitions Designer/Preparations Supervisor

Rebecca Fawcett, Registrarial Assistant

Cynthia Gilliland, Assistant Registrar

Sharon Greene, Development Officer

Katherine Hart, Associate Director andBarbara C. and Harvey P. Hood 1918 Curator of Academic Programming

Deborah Haynes, Data Manager

Alfredo Jurado, Security Guard

Brian Kennedy, Director

Adrienne Kermond, Tour Coordinator

Vivian Ladd, Museum Educator

Phil Langan, Security Guard

Barbara MacAdam, Jonathan L. Cohen Curator of American Art

Christine MacDonald, Business Assistant

Nancy McLain, Business Manager

Neely McNulty, Images and ArtStart Instructor

Karen Miller, Exhibitions and ProgramsCoordinator

Nils Nadeau, Communications and Publications Manager

Kathleen O’Malley, Associate Registrar

Robert Oxman, Security Guard

Sharon Reed, Membership Coordinator

John Reynolds, Lead Preparator

Mary Ellen Rigby, Gift Shop Manager

Roberta Shin, Executive Assistant to the Director

Margaret Spicer, Adjunct Curator of the Henry B.Williams Costume Collection

T. Barton Thurber, Curator of European Art

Rachel Tardelli Vermeal, Communications andPublic Relations Coordinator

Abigail Weir, Curatorial Assistant

Lesley Wellman, Assistant Director andCurator of Education

Kathryn Whittaker, Security Guard

Janet Whyte, Security Guard

Matthew Zayatz, Preparator

Hood Museum of Art docent Sybil Williamson introduces the Perugino altarpiece to local middle schoolstudents visiting as part of their school’s annual Renaissance Festival. Photo courtesy Hood Museum of Art.

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FRANCE IN TRANSFORMATION:THE CARICATURE OF HONORÉ DAUMIER, 1833–1870 April 25 through August 24, 2009

One of the most witty and adept caricaturists of all time, Honoré Daumier created social andpolitical cartoons that continue to resonate today.The Hood Museum of Art’s collection offers a rich overview of Daumier’s career as a graphic artist, presenting a picture of France in the mid-nineteenth century, a time when cultural and societal changes were ushering in a new era of modernity.

Generously funded by the Frank L. Harrington 1924 Exhibition Fund.

Honoré Daumier, 1830 and 1833 (1830 et 1833) (detail), plate 303 from the series Caricature (La Caricature), 1833,lithograph on wove paper. Purchased through the Adelbert Ames Jr. 1919 Fund; PR.987.21.

SPIRIT OF THE BASKET TREE:WABANAKI ASH SPLINT BASKETS FROM MAINEThrough June 28, 2009

Guest curator Jennifer Sapiel Neptune brings to light the rich visual dialogue between contem-porary Wabanaki basket artists of Maine and the legacy of Native American basket making inthe region. Originally created for indigenous use, baskets emerged as valued items of tradewith European settlers during the colonial era.They have remained at the center of culturalexchanges between Wabanaki people and Americans of non-native descent, serving to solidifycultural identity, perpetuate intergenerational continuity, and symbolize political sovereignty forWabanaki tribal members.

Generously supported by the Frank L. Harrington 1924 Exhibition Fund.

Ganessa Bryant, Point Basket, 2008, brown ash and sweetgrass. Purchased through the Alvin and Mary Bert Gutman ’40Acquisitions Fund; 2008.46.

H O O D Q U A R T E R L Y 3

WEARING WEALTH AND STYLING IDENTITY:TAPIS FROM LAMPUNG, SOUTH SUMATRA, INDONESIAApril 11 through August 31, 2009

Handwoven from cotton and silk threads colored with ancestral dye recipes and then embel-lished with gold- and silver-wrapped threads, silk embroidery, and appliquéd mirrors andmica, these ornate tube dresses were created by elite women of Lampung, South Sumatra. Ina land located between the two maritime routes linking east and west Asia, these sumptuousgarments communicate a family’s global contacts, social station, and clan identity. Guest curat-ed by Dr. Mary-Louise Totton, Assistant Professor of Art History, Frostic School of Art,Western Michigan University, the exhibition combines selected tapis from the Lister FamilyCollection with contextual archival photographs.

Generously supported by the Evelyn A. J. Hall Fund and the William B. Jaffe and Evelyn A. Jaffe Hall Fund.

Unknown artist, Lampung Province, Sumatra, Indonesia, Tapis Inuh, cotton with silk floss. Lister Family Collection.Photo by Don Tuttle.

FÉLIX DE LA CONCHA:PRIVATE PORTRAITS/PUBLIC CONVERSATIONSApril 4 through September 27, 2009

The Hood continues its series of major public art projects with an exhibition at the museumand in Baker-Berry Library exploring issues of conflict and reconciliation, the theme of theDartmouth Centers Forum for 2008–10, in the lives of residents of the Dartmouth and UpperValley communities. During the fall of 2008, the museum commissioned fifty-one portraits bySpanish painter Félix de la Concha.While painting the sitters, the artist conducted conversationswith them about conflicts they have experienced, audio- and videotaping each session.

Generously supported by gifts from Constance and Walter Burke ’44 and Yoko Otani Homma and Shunichi Homma M.D.,Class of 1977.

Félix de la Concha, Evelyn Ellis, 2008, oil on linen. Collection of the artist.

S P E C I A L

exhibitions

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The Hood Museum of Art isdelighted to present the firstmajor museum exhibition to

focus solely on tapis, the heavily orna-mented ceremonial sarongs made andworn by women in the south Suma-tran province of Lampung, Indonesia.Tapis are made from cloth strips thatare woven by hand from dyed cottonand silk threads, then sewn togetherinto a tube, and finally decorated withgold, silk, mirrors, and other preciousmaterials.

The exhibition explores the role oftapis in the ceremonial life of Lam-pung and explains what these complexgarments say about their wearersthrough their weave structures, theirdye colors, the motifs with which theyare embellished, and the materials andtechniques with which they are orna-mented. Women wear tapis at wed-dings and other important public occa-sions, arranging themselves into color-ful and glittering processions that arealternately the centerpieces and back-drops of such ceremonial moments.Their tapis indicate their wealth, socialstation, and family affiliation. An elitebridal attendant, for example, wouldbe identified by a “Tapis Balak,” a lux-urious sarong embellished with red feltroosters and rows of triangles com-posed of gold-wrapped threads (seecover image). The roosters and the tri-angle motif, which is known as “bam-boo shoot,” both have connotations of growth and fertility. Conversely, awidow would be recognized by a com-paratively minimalist tapis composed of deep blue bands that lacks metallicornament.

For centuries Lampung’s history ofinvolvement in global trade has beenan important factor in the creation,display, and aesthetics of tapis. Lam-pung faces the Sunda Strait, whichseparates Indonesia’s two best-knownislands of Sumatra and Java and is oneof only two waterways through whichships can navigate between eastern andwestern Asia. As a result, the peoplesof this province have enjoyed over twothousand years of maritime commercialconnections with imperial China,Islamic caliphates, Indic empires,Southeast Asian kingdoms, and, morerecently, Europeans and Americans.They traded pepper, elephants, gold,and other valuable commodities forprized textile goods and items thatcould ornament tapis, such as

WEARING WEALTH AND STYLING IDENTITY:TAPIS FROM LAMPUNG,

SOUTH SUMATRA, INDONESIA

Unknown artist, Lampung Province, Sumatra,Indonesia, Tapis Laut Lineau, cotton with gold-wrapped thread. Lister Family Collection. Photo © 2004 by John Bigelow Taylor.

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Unknown artist, Lampung Province, Sumatra,Indonesia, Tapis Raja Medal (detail), silk and cot-ton with gold-wrapped thread, silk floss, wool,gold wire, and sequins. Lister Family Collection.Photo © 2004 by John Bigelow Taylor.

Unknown artist, Lampung Province, Sumatra,Indonesia, Tapis Jung Sarat, cotton with gold-wrapped thread. Lister Family Collection. Photo © 2004 by John Bigelow Taylor.

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gold-wrapped thread and wire, silkfloss, mica and mirrors, beads, metalsequins, and coins.

Three of the tapis in the exhibitionshow how the lore of the sea and itscommerce and navigation became thesource of rich visual, material, and con-ceptual vocabularies that give tapismeaning in Lampung society. Tapisworn by brides and matrons from high-ranking and wealthy families, for exam-ple, were called “Jung Sarat,” or “FullyLaden Ship.” The name evokes thesource of Lampung’s wealth and caststhe tapis as a metaphorical ship with acargo full of riches. In one magnificentexample, the surface of the groundcloth is covered entirely with gold-wrapped threads that have been bentinto geometric patterns and sewn intoplace with silk thread, a techniquecalled “couching.” Other tapis, such asa “Tapis Laut Lineau” (“Sea Lines”),display what may be nautical charts ofstar paths or, as can be seen in theabove detail of a “Tapis Raja Medal,”outrigger ships and sailors.

Tapis are entrancing for the varietyof materials and complexity of tech-niques employed in their creation.Wearing Wealth and Styling Identityincludes several examples of the stun-ning tapis type known as “Inuh,”which combines bands of silk-embroi-dered cloth with panels of ikat, a pat-terned cloth made by dying individualthreads at calculated intervals so that aspecific design emerges when they arewoven into cloth. The embroideredbands are often equally intricate. Someportray abstracted cuttlefish, relatives ofthe squid that are native to the IndianOcean, while others, as in this example,depict sequences of figures and boatsthat may allude to maritime trade orceremonial processions on land.

While Indonesian textiles have beenwidely exhibited and studied, this exhi-bition represents pioneering work onthe sumptuous tapis of Lampung. This

scholarship was undertaken by Dr.Mary-Louise Totton, Assistant Profes-sor of Art History, Frostic School ofArt, Western Michigan University, whois the curator of the exhibition as wellas author of the accompanying publica-tion. Both endeavors grew out of herearlier work on representations of tex-tiles in ancient Javanese temples andare complemented by new informationshe has uncovered in Indonesia onindividual works in the exhibition andthe genre as a whole. Wearing Wealthand Styling Identity also celebrates theoccasion of the gift of a major portionof the Lister Family Collection of tapistextiles to the Hood Museum of Art.Stephen Lister, who has collected both tapis and Native American art, is a member of the Hood Board ofOverseers and of the Dartmouth Classof 1963.

ALEX BORTOLOT

Assistant Curator, Special Projects

Unknown artist, Lampung Province, Sumatra,Indonesia, Tapis Agheng, cotton with bast fiberand muscovite (colored mica). Lister FamilyCollection. Photo © 2004 by John Bigelow Taylor.

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F É L I X D E L A CO N C H AP R I VAT E P O RT R A I TS / P U B L I C CO N V E R SAT I O N S

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The Hood Museum of Art has, inrecent years, been engaged in aneffort to expand its reach acrosscampus and to the broader commu-

nity. Toward this end, a number of artworkshave been placed on the Dartmouth cam-pus, and in 2007 a major project byChinese artist Wenda Gu was installed atBaker Library. In keeping with the museum’sinterest in public art, the Hood commis-sioned Félix de la Concha to paint the por-traits of fifty-one people from the Dart-mouth and larger Upper Valley communi-ties as part of the Dartmouth CentersForum theme for the 2008–10 academicyears, “Conflict and Reconciliation.”

Known primarily for his paintings ofarchitectural landscapes, many produced asseries in which he explores the idea of time,de la Concha began to paint portraits in2005, including a series of Spanish culturalfigures that was exhibited in Madrid duringspring 2008. Recently, he has also complet-ed a series of portraits and conversationswith children and adults from the DominicanRepublic, and is working on a project withHolocaust survivors. A native of Spain, de laConcha has lived in Lyme, New Hampshire,for several years, and he became anAmerican citizen this fall.

The fifty-one portrait sitters in theHood’s commission were suggested for par-ticipation by numerous people on the basisof the sitters’ life experiences as they relat-ed to this theme; they have all encounteredconflict in their lives and have made—or aremaking—the journey toward reconciliation.The potential subjects of inquiry included anarray of personal, societal, and global con-flicts. During each two-hour portrait session,de la Concha interviewed the sitter whileaudio- and videotaping the entire experi-ence. The artist added video to the Hoodproject as a means of reconstructing, in realtime, the evolution of the sessions. Thus,“portrait” here comprises painted represen-tation, spoken narrative, and a visual record-ing of the interaction between artist andsubject—a multidimensional representationof an encounter that is intellectually, psy-chologically, and emotionally charged. Félixde la Concha: Private Portraits/PublicConversations will be exhibited at the HoodMuseum from April 4 through September27, 2009, with a gala opening planned forFriday, May 8.

This project was undertaken in conjunc-tion with the Dartmouth Centers Forum(DCF), a collaborative humanities allianceon the Dartmouth campus whose membersinclude the Allwin Initiative for CorporateCitizenship, Dickey Center, RockefellerCenter, Ethics Institute, Institute for Secu-rity, Technology, and Society, Hood Museumof Art, Hopkins Center, Leslie Center for

(opposite page) Félix de la Concha, Ken Yalowitz,2008, oil on linen. Collection of the artist.

(top) Willy Black.

(middle) Micaela Klein.

(bottom) Jim Castellini.

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The French painter and graphicartist Honoré Daumier (1808–1879) was described by his con-

temporary, the influential poet CharlesBaudelaire, as “one of the most impor-tant men, not only of caricature but inthe whole of modern art.” Daumier’sformative years as an artist coincided withthe first daily journals that incorporatedillustration, and he made his name withpolitical prints in such popular Frenchpublications as La Caricature and LeCharivari. The Hood Museum of Art’sholding of more than fifty Daumierprints offers a rich overview of the artist’ssatirical career, presenting a cavalcade ofcontemporary stereotypes that range frombourgeois city-dweller to sophisticatedcon man. Daumier’s lithographs inFrance in Transformation will be studiedby students taking French courses taughtby Professors Vivian Kogan and RoxanaVerona. The seed for the exhibition wasplanted several years ago when ProfessorVerona, a visiting Andrew W. Mellonscholar at the museum, studied theHood’s Daumier holdings for the purposeof including these prints in her courses.

Born into a lower-class family inMarseilles in 1808, Daumier left an earlyjob as an errand boy to pursue a career inart and supported himself through his

published caricatures. Almost immediate-ly, he turned his pen to a critique of thenewly established July Monarchy(1830–48), which succeeded the failedBourbon restoration that had in turn followed Napoleon’s defeat. In 1832,Daumier was sent to prison for six monthsas a result of his highly critical caricatureof the citizen-king Louis-Philippe asGargantua, the character from FrançoisRabelais’s sixteenth-century satire. Seatedon a toilet-like throne, the king is shownswallowing bags of money from the lowerclasses and excreting favors for his courtfavorites. Once he was released, Daumierreturned to work, and as the censorshiplaws grew stricter he moved away from themonarchy in particular to focus uponParisian life in general. His work providesa comprehensive picture of France in themid-nineteenth century as it movedtoward modernity.

In his caricature Daumier developedseveral stock characters, the most famousof which was Robert Macaire. A charactercreated by a well-known actor ofDaumier’s time, Macaire was portrayedby the artist in a variety of professionalguises. Dressed like an elegant dandy,Macaire satirically expresses the abusesoccurring throughout society. Whetherdoctor, lawyer, or merchant, Macaire is atheart nothing but a con man. Mr.Daumier, your series . . . is . . . charmingsuggests the self-consciousness ofDaumier’s position at the newspaper LeCharivari. In the caption Macaire com-mends Daumier, seated on the left, for hisportrayal of the “bunch of thieves” con-stantly tricking the honest Parisian citi-zenry, when he himself is one of them.

Daumier also turned his gaze to intel-lectual women who advocated for paritywith men in What! Another caricature ofus in this morning�s Charivari! The BlueStockings had been a women’s discussiongroup in England, and Daumier appropri-ated the term for a series in which heridiculed the social and literary aspirationsof intellectual women of the time. Daumier’s derision is emphasizedthrough the women’s physical traits: withpinched faces and unkempt hair, his“bluestockings” are the antithesis of con-temporaneous depictions of the desirablefemale.

While this exhibition focuses onDaumier’s satirical lithographs, they rep-resent only one aspect of his wide-ranging

career. The Ass and the Two Thievesreveals another side of his work. A rareimpression, this print is based on aDaumier painting exhibited in the Salonof 1849. The subject is from the writing ofLa Fontaine, one of the artist’s favoriteauthors. An allegory of opportunity,Daumier shows two thieves in the fore-ground fighting over a stolen donkey,unaware that a third has taken the animaland is galloping away. The artist’s remark-able caricatures offer lessons guaranteedto resonate in perpetuity.

ABIGAIL WEIRCuratorial Assistant

Honoré Daumier, What! Another caricature ofus in this morning�s Charivari! (Comment!Encore une caricature sur nous . . . ), plate 39from the series The Bluestockings (Les Bas-Bleus), 1844, lithograph on wove paper.Purchased through the Hood Museum of ArtAcquisitions Fund; PR.2003.15.

Honoré Daumier, Mr. Daumier, your series . . .is . . . charming . . . (Monsieur Daumier, votreserie . . . est . . . charmante . . . ), plate 78 fromthe series Caricaturana (Robert Macaire), 1838,handcolored lithograph on wove paper.Purchased through the Class of 1935 MemorialFund; PR.2000.39.1.

Honoré Daumier, The Ass and the Two Thieves(L�Ane et les deux voleurs), plate 75 from theseries Artists� Recollections (Souvenirsd�artistes), 1863, lithograph on wove paper.Purchased through the Class of 1935 MemorialFund; PR.2000.39.3.

France in Transformation The Caricature of Honoré Daumier, 1833–1870


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As part of the Hood communicationteam�s early efforts to reach out to

new audiences (and to the museum�s cur-rent audience, but in new ways), theHood has entered the world of � onlinesocial media.� The Internet now supportsall kinds of interactive communicationstools, leading to it being dubbed � Web2.0� by technology experts to differenti-ate it from the original, more static anddocumentary, use of the Internet in the1990s.The possibilities here are excitingand ever-expanding. Over the past sever-al months, the Hood has established apresence on Web 2.0 platforms such asFacebook,Twitter, and Flickr, and it hasconverted its online museum news pageto an easily accessible RSS feed.* By usingthese powerful (and popular) new tools,the Hood strives to include both ouractual and our virtual communities morefully in our programming.

In addition, the Hood�s dedication toencouraging and developing its visitors�visual literacy is considerably enhancedthrough the new capabilities of theseonline platforms. For instance, Flickrallows users to browse any of the muse-um�s images (in its dedicated � photo-stream� ) according to their interests; italso supplies slideshows to the museum�sown Web site.The RSS news feed pres-ents users with the opportunity to benoti� ed when a story is posted, and tobrowse stories (as they do images) attheir convenience and according to theirinterests. It also enhances our searchengine presence online, thereby introduc-ing the Hood to potential new audiencesanywhere in the world via Google andthe like.

Facebook is another great example ofhow the museum can use these tech-nologies to enrich our interactions withvisitors. For example, we can promoteour intern-curated Space for Dialogueshows directly to Dartmouth students,many of whom are avid members ofFacebook. Events can be advertised, ortargeted online invitations sent out,according to the wonderfully speci� cFacebook demographics. Our monthlyemail newsletter, � Hood Happenings,� canbe sent directly to � fans� of the muse-um�s Facebook page.We should notunderestimate the potential here: thesite�s founder, Mark Zuckerberg, states on

Find the Hood Online:

Hood on Facebookhttp://www.facebook.com/pages/Hanover-NH/Hood-Museum-of-Art/37632245685

Hood on Twitterhttp://twitter.com/HoodMuseum

Museum News RSS Feedhttp://hoodmuseum.dartmouth.edu/about/news/rss.xml

his Facebook blog that � 150 million peo-ple around the world are now activelyusing Facebook and almost half of themare using Facebook every day. [Five yearsago] most of the people using it werecollege students in the United States.Today, people of all ages� grandparents,parents, and children� use Facebook inmore than 35 different languages and 170countries and territories.�

Through such interactive platforms,the individual has a voice; indeed, thereare usually spaces for feedback that in theHood�s case will encourage dialogueabout the museum and art-related issues.By incorporating Web 2.0 technologiesinto our communications toolbox, we areengaging with our growing audience ofmuseum supporters, visitors, and artlovers using a rich array of options forboth museum- and user-generated (andshared) content.We hope to see youonline soon!

RACHEL TARDELLI VERMEAL

Communications and Public RelationsCoordinator

NILS NADEAU

Communications and Publications Manager

*RSS: Really Simple Syndication; a � leformat that allows an individual to sub-scribe to news and media updatesthrough a Feed Reader. Facebook: Asocial networking Web site growing atthe rate of 600,000 users a day. Twitter:A social networking service that allowsyou to connect with others using up to140 characters at a time. Flickr: Animage hosting site that integrates with theHood�s Web site and Facebook presence.


hood online:// J O I N I N G T H E W E B R E V O L U T I O N

The Hood on Facebook.

The Hood on Twitter.

The Hood Web site.

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the collections

RECENT ACQUISITIONS

In December 2007, the Hood Museum of Art acquired a major collection of over onehundred Native American ledger drawings. Collected over thirty years by MarkLansburgh, Dartmouth Class of 1949, and considered the largest and most diverse col-lection of nineteenth-century Native American drawings in private hands, its acquisitionis of exceptional importance because of the opportunity it affords for study of a period ofprofound cultural transition among the Plains people during the second half of thenineteenth century.

During fall 2010, Dartmouth’s Leslie Center for the Humanities will sponsor anInstitute, directed by the distinguished historian Professor Colin Calloway, entitledMultiple Narratives in Plains Indian Ledger Art: The Mark Lansburgh Collection, whichwill involve a number of major scholars in the field, including Joyce Szabo, JackieRand, and Mike Cowdrey. At the same time, the Hood will present an exhibition of theledger drawings in conjunction with the fourth installment in our series of permanentcollection exhibitions, Native American Art at Dartmouth: Highlights from the HoodMuseum of Art, from October 2010 through March 2011.

Ledger drawings represent a continuation of the tradition of Plains pictographicshorthand that was formerly executed on animal hides. As contact with Euro-Americansincreased from the 1850s through the 1870s, this method of drawing was transferred tothe medium of paper. Early ledger art, executed largely by men, was primarily a recordof valiant deeds, a type of heraldic painting depicting warfare, hunting, and horse steal-ing. The genre evolved during the latter part of the nineteenth century, the beginningof the reservation era, to include scenes of social interaction such as courting anddomestic life, with some drawings made for sale to outside audiences as well.

This past fall seven works were acquired to add to the Hood’s collection of ledgerdrawings. Of these, five are by the artist Arrow, identifiable by his name glyph. Arrowwas a Southern Cheyenne warrior, a Lance Bearer of the Elk Society. His drawings arefrom a ledger collected in 1882 at Darlington Indian Territory, the Agency of theCheyenne-Arapaho Reservation. They may record the events of 1874–75, when theSouthern Cheyenne were engaged in a bitter battle with U.S. soldiers to preserve theirway of life as they were being forced onto reservations. For artists like Arrow, these draw-ings were recollections of tribal history, a means of holding on to their way of life in aperiod of dramatic upheaval and cultural change.

Arrow (Elk Society),Cheyenne, untitled, page

21 from the Elk SocietyLedger, about 1875,

graphite and colored pencilon ledger paper. Gift of

Mark Lansburgh, Class of1949, in honor of James

Wright, President ofDartmouth College;

2008.75.

Arrow (Elk Society),Cheyenne, untitled, page154 from the Elk Society

Ledger, about 1875,graphite and colored pencil

on ledger paper. Gift ofMary Alice Kean and

David Raynolds, Class of1949, in honor of President

James and Susan Wright;2008.71.3.

10

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Of the two Arrow drawings featured here, plate 21 depicts a warrior who has dis-mounted and run into a Ute camp where he is “counting coup” on an abandonedbaby. Counting coup was a war honors system, a means of tribal acknowledgment forvaliant deeds. The touching of a live enemy, a baby in this depiction, ranked very highon the bravery scale. This ledger drawing was donated by Mark Lansburgh ’49 in honorof President James Wright. Plate 154 depicts courting activities, with the artist himselfon the right, identified by the arrow glyph over his head. He is seen in a clandestinemeeting with two eligible young women, attired in brightly colored blankets, who havegone to a spring to fetch pails of water. They are accompanied by an older female rela-tive, depicted in muted tones, whose duty it was to prevent just this type of meeting.This drawing was given by David and Mary Alice Kean Raynolds (Dartmouth Class of1949) in honor of President James and Susan Wright.

Stephen A. Lister of Santa Fe, New Mexico, Dartmouth Class of 1963, and a memberof the Hood Museum of Art Board of Overseers, has recently donated an Eastern Sioux(Dakota) vest. Dating to about 1885 and made of tanned hide and cotton fabric, it isdecorated with dyed porcupine quills and glass beads in an abstract floral pattern.

Joe Horse Capture, guest co-curator of the Hood’s upcoming exhibition of its NativeAmerican collection in 2010–11, explains that the Dakota tribe straddles two culturalregions, the Great Lakes/Woodlands and the Plains. This vest, probably made from deerhide, is a good example of late-nineteenth-century work. The Great Lakes/Woodlandsinfluence can be seen in the repeating floral designs shown on the front of the vest.The quilled line that travels around the edge toward the back has branchlike forms onwhich there is small, leaf-type imagery. The Plains aspects of this vest are the five-point-ed stars and the color of the quills.

The Hood is most warmly appreciative to Mr. Lister, a collector of both Indonesiantextiles (to be shown at the Hood this spring and summer) and Native American art, forhis ongoing support.

In 1593–94 Hendrick Goltzius (Dutch, 1558–1617), one of the most influential artists inthe history of printmaking, engraved a set of six large scenes titled The Early Life of theVirgin. From the outset, the prints were regarded as models of several different styles:those of Albrecht Dürer (1471–1528), Raphael (1483–1520), Titian (c. 1490–1576), Lucasvan Leyden (1489/94–1533), Jacopo Bassano (c. 1510–1592), and Federico Barocci (c.1535–1612). Goltzius creatively borrowed recognizable elements from older paintings orprints and rearranged them to make entirely new compositions of his own, which heengraved in a manner associated with each artist. The series helped to establish his rep-utation as a versatile artist and became known as his Master Prints—the same expres-sion used to describe three famous engravings by his great predecessor Albrecht Dürer.Efforts such as these to surpass the achievements of previous generations of printmakersmarked Goltzius’s work for the rest of his career.

In the case of The Circumcision, Goltzius came so close in appearance to a work byDürer that—according to Karel van Mander (1548–1606)—it was mistaken for anauthentic print by the Renaissance master. The Hood also recently acquired the origi-nal composition by Dürer, a renowned German artist active in the late fifteenth andearly sixteenth centuries, which was one of twenty woodcuts depicting the Life of theVirgin based on St. Luke’s Gospel and the apocryphal writings. The series was consid-ered Dürer’s most accomplished set of prints executed from 1500 to 1505.

Goltzius modeled the overall composition, several figures, and myriad details afterDürer’s earlier print, but he also introduced a number of unique features that wouldhave been recognized by some of his contemporaries. Most importantly, the setting wastransformed from an ideal image of the Temple in Jerusalem to an accurate renderingof the Brewers’ Chapel in the church of St. Bavo in Haarlem, and he added a self-por-trait in the background. As Van Mander noted in his biography of the Dutch artist in1604, “These [prints] prove that Goltzius was a rare Proteus or Vertumnus, who couldassume all possible guises in his art and can recreate in all possible styles.”

Eastern Sioux (Dakota), vest,about 1885, tanned hide, porcupine quills, glass beads,cotton fabric. Gift of StephenA. Lister, Class of 1963;2008.82.

Albrecht Dürer, TheCircumcision, from the seriesThe Life of the Virgin, about1504–5, woodcut. Purchasedthrough the Jean and AdolphWeil Jr. 1935 Fund, throughgifts from Jane and W. DavidDance, Class of 1940, theCremer Foundation in memoryof J. Theodor Cremer, andthrough the Hood Museum ofArt Acquisitions Fund; 2008.95.

Hendrick Goltzius, The Circumcision, from the seriesThe Early Life of the Virgin, 1594, engraving.

Purchased through museum funds; 2008.72.4.

11

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Volunteer of the YearEvery year in October, in observation ofNational Arts and Humanities Month, theHood Museum of Art pays tribute to itsdedicated volunteer corps by naming aVolunteer of the Year.This past fall, werecognized the contributions of BarbaraHaak. Barbara began volunteering in themuseum shop more than twenty yearsago. She is distinguished by her goodhumor, sunny wit, and lifelong willingnessto help, whether by using her artisanexpertise to assist a shop customer buy-ing jewelry or by offering her home as awarehouse for the local book sale.Combining her love of books with recy-cling, Barbara also administers weekly todamaged books at the Howe Library.Weappreciate this opportunity to thankBarbara for her many hours of service tothe shop and the museum.

Magdelene Odundo and Subhankar BanerjeeOur connection with the Studio ArtDepartment at Dartmouth and theirartists-in-residence program has contin-ued to thrive. In 2007, both MagdeleneOdundo and Subhankar Banerjee exhibit-ed their works at the Hood. Mostrecently, it has been a pleasure to havehad both Odundo and Banerjee workingin Dartmouth’s Studio Art Departmentas artists-in-residence. In addition, theHood’s collection has been enriched byrecent acquisitions of work by theseartists. Not only has their presenceenhanced our relationship with StudioArt, but it has helped bring a deeperlevel of thought to artist-related pro-gramming.Whether interacting with stu-dents in the studios or in MuseumCollecting 101 or participating in ourpizza lunches and lecture series, theirtime has been much appreciated.

CATV VodcastsView Hood lectures and gallery talksonline! Subscribe to CATV’s podcastfeed at http://74.94.143.129:50000/netcast/vodcast.


Hood Art on CampusIn recent years the Hood Museum of Arthas been engaged in an effort to expandour reach across campus and to thebroader community.Toward this end, anumber of artworks have been placed onthe Dartmouth campus.We welcome youto visit and see the most recent install-ments. On November 9, 2008, RichardSerra’s sculpture Two-Plate Prop wasinstalled in the Darling Courtyard of theHopkins Center (see image above). Two-Plate Prop, an early work of Serra’s, is anon-narrative exploration of the verybasic vocabulary of sculpture: geometricforms that emphasize spatial relationshipsto the exclusion of all else. During thespring of 2009, Félix de la Concha: PrivatePortraits/Public Conversations will be exhib-ited at the museum and in Dartmouth’sBaker-Berry Library.

Collections on TourBlack Womanhood: Images, Icons, andIdeologies of the African Body is on view atthe San Diego Museum of Art through

April 26, 2009.The Hood contributed sig-nificantly to Pompeii and the Roman Villa:Art and Culture around the Bay of Napleswith Sir Lawrence Alma-Tadema’s TheSculpture Gallery, which appeared at theNational Gallery of Art,Washington, D.C.,from October 19, 2008, through March22, 2009, and is on view at the LosAngeles County Museum of Art fromMay 3 through October 4, 2009 (seeimage below).

Please Join Us in Going GreenThe Hood Museum of Art membershipprogram is working to become moreenvironmentally friendly, reduce our useof paper, and streamline our communica-tions process. If you would like to receiveannouncements of membership programsand events electronically, please email usat [email protected]. Itwould also be helpful to know if youremail address has changed recently.Wewill not share your address with thirdparties.Thank you for helping us to begood neighbors.

newsM U S E U M

Richard Serra’s Two-Plate Prop is installed in the Darling Courtyard of the Hopkins Center for the Arts.Photo by Joe Mehling.

Installation view of Pompeii and the Roman Villa: Art and Culture around the Bay of Naples with Sir LawrenceAlma-Tadema’s The Sculpture Gallery (1874; Hood Museum of Art) and related ancient and Renaissanceworks of art from Pompeii and Naples, Italy. Photograph by Rob Shelley, National Gallery of Art,Washington, D.C.

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RememberingSusan WoodIt is with great sad-ness that we notethe death of SusanWood, longtimedocent and friendof the museum, onDecember 24,2008. Susan lovedart deeply and

devoted a great deal of her time andenergy to the Hood and to the audiencesit serves. Susan was a member of thefirst group of docents to join the muse-um when it opened in 1985, and hercommitment to and participation in thework of the museum remained constantover the next twenty-three years. Sheloved learning about art and then sharingher knowledge and enthusiasm with audi-ences of all ages. She worked withteenagers and adults and in recent yearsparticularly enjoyed leading tours forpeople with Alzheimer’s. Of all the audi-ences she worked with, however, youngchildren were her favorite.We will alwayscherish Susan’s friendship, her unendingpassion for learning, and her often quietlyexpressed yet deeply felt enthusiasm anddelight in many aspects of life, most espe-cially art, community, and her family.

In recognition of her love of art,Susan’s children have directed memorialgifts to the museum. Contributions inmemory of Susan Wood may be made inher honor to the Hood Museum of Artto benefit the Education Department’scommunity outreach programs for chil-dren and families. Contributions shouldbe sent to Nancy McLain, Hood Museumof Art, Dartmouth College, Hanover, NH03755.

Better World ArtsPillow cushions have made their way tothe Hood Museum Shop from theAustralian Central Desert Aboriginalcommunities.These high-quality designsare the result of a cross-cultural projectmanaged by Australian Aboriginal artists.The pillows are stitched in workshops inIndia using the beautiful and powerfulimages of these Aboriginal artists.Theproject has received acclaim for itsunique cultural integration.

A Closer LookLearning to Look, created by the HoodMuseum of Art, is an approach designedto help viewers look carefully and thinkcritically about any work of art theyencounter.The approach includes the fivesteps involved in exploring a work of art:careful observation, analysis, research,interpretation, and critique. Developedoriginally to equip regional teachers of allgrade levels and subjects to integrate artinto the curriculum, it is a technique thathas proven to be empowering for a muchbroader audience.

For this reason, the museum is creat-ing a new series of brochures called “ACloser Look” that will be available in thegalleries for visitors. Each brochure

focuses on a single work of art and leadsvisitors through the Learning to Looktechnique.The first brochure was intro-duced in the winter and focuses on theAmerican painting pictured below by Lilly Martin Spencer called The JollyWasherwoman. Careful observation of therich visual information included in thepainting, coupled with the subsequentstages of inquiry, reveals much aboutnineteenth-century America, includingwomen’s changing roles, issues of classand immigration, and insights into cloth-ing and laundering practices of the time.

Whether you already have somebackground in art or you would like todevelop your confidence and skills forinterpreting visual objects from diversecultures and time periods, we hope youwill visit the museum and enjoy using oneof the “A Closer Look” brochures.

A COMMUNITY OF LEARNERS

Lilly Martin Spencer, The Jolly Washerwoman, 1851, oil on canvas. Purchased through a gift fromFlorence B. Moore in memory of her husband, Lansing P. Moore, Class of 1937; P.993.25.

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The Grand Tour

On November 8, 2008, the HoodMuseum of Art hosted One Night in

November:The Grand Tour, the museum’sfirst major fundraising event, to providevital support to the Hood’s collectionsand public programs. Over one hundredmembers of the museum and specialguests attended in full evening attire andenjoyed champagne and hors d’oeuvres,art adventures, and a lively auction, fol-lowed by dinner and dancing as well as afew surprises.

The evening was inspired by the muse-um’s recent exhibition European Art atDartmouth, which included a portrait byPompeo Batoni (1708–1787) of WilliamLegge, the Second Earl of Dartmouth, anearly benefactor and the namesake ofDartmouth College.This recent acquisi-tion features the young earl striking apose while on his grand tour of Europe,an important part of a young gentleman’sfinishing education from the seventeenththrough the nineteenth centuries.TheHood Museum of Art’s event created anopportunity for guests to experience agrand tour of their own.The eveningbegan with the presentation of passportsas guests arrived and were greeted by theHood’s own modern-day Lord Dart-mouth. Guests then enjoyed a “launchparty” for the tour before being spiritedaway by museum staff members to discov-er art from every corner of Europe onview in the galleries and behind thescenes. At the conclusion of the art adven-ture, puzzle pieces collected by the travel-ers revealed a rare mezzotint by JohnDixon (1740–1811) after George Stubbs,titled A Tigress. The acquisition was fundedwith proceeds from the gala and will becredited to One Night in November 2008 inperpetuity.

A live auction in the Kim Gallery host-ed by Hood Director Brian Kennedy fea-tured fun and romantic getaways, a bargetour of the Connecticut River, private dinners by professional chefs, behind-the-scenes tours and events with the Directoror Curator of European Art Bart Thurber,and a private portrait sitting with interna-tionally known Spanish artist Félix de laConcha. Following the auction, guestswere escorted to the Hanover Inn for asumptuous five-course dinner createdespecially for the occasion by award-win-ning chef Jason Merrill. Amidst silver can-delabras, velvet flowers, and brocadelinens, guests dined on pheasant cre-pinette, wild mushroom ragout, pancettawrapped veal loin, and roulade of soleMilanese, paired with fine wines. DanFalcone, who portrayed Lord Dartmouththroughout the evening, entertained withprose readings and songs. Following din-ner, guests danced the night away to themusic of Swing Machine with DavidWestphalen and Fred Haas, Class of 1973.Many guests had their photo taken with

Lord Dartmouth as a memento of theevening—all for an important cause.

The event raised vital funds to supportthe museum’s collections and the numer-ous public educational programs offeredfree of charge throughout the year tochildren and adults of all ages. As a teach-ing museum, the Hood has the uniqueopportunity to merge knowledge and dis-covery through scholarly research anddirect engagement with original works ofart.We would like to offer special thanksto our guests and supporters for makingthe museum’s first gala event an unprece-dented success.

A Class Act:Members Participate inEuropean Art Courses

This past fall and winter HoodMuseum of Art members participat-

ed in two four-session courses—the firstof their kind at the museum—focusing onthe Hood’s European art collection.Thefall course explored European paintingsand sculpture, while the winter coursecentered on European Old Master prints.Both courses were taught by Curator ofEuropean Art Bart Thurber and otherHood staff members and incorporatedlectures, direct engagement with worksof art, gallery tours, behind-the-scenestours, and discussions.

“The sessions are all interesting, informative,and fun and expand your understanding ofthe art, making it very accessible.”

In the fall, participants discoveredwhat it takes to produce an exhibition.They learned about the process, viewed a virtual tour of the show, and examinedthe models used by curators and design-ers when planning exhibitions. Hood education staff also led a hands-on explo-ration of how the collections are used in teaching.

The winter print course began in theEuropean exhibition galleries, whereCurator Bart Thurber provided anoverview of the exhibition and the printcollection.Two Rivers Print Studio inWhite River Junction was the site of thesecond session, where live demonstra-tions included various printmaking

John Dixon, after George Stubbs, A Tigress, 1773,mezzotint on laid paper. Purchased with proceedsfrom One Night In November:The Grand Tour;2008.33.

Photos from top to bottom: Lord Dartmouth,portrayed by Dan Falcone, and Director BrianKennedy greet Dartmouth Artist-in-ResidenceMagdalene Odundo; Assistant Curator AlexBortolot leads members on an art adventure;dinner in the Daniel Webster Room, Hanover Inn;guests Don and Abby Penfield dance the nightaway. Photos by Jon Gilbert Fox.

H O O D M E M B E R S H I P V I T A L S U P P O R T

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processes such as drypoint, etching,woodcut, and an examination of materialsrelated to lithography.

For both courses, the final sessionwas devoted to filling gaps in the collec-tions, recent acquisitions, and plans forthe future. Course participants wereintroduced to works of art for possiblemuseum acquisition and asked to applywhat they had learned in a discussion ofthe merits of each work.

The Hood Museum of Art plans tooffer more courses in the future. Pleasewatch for listings!

January Sneak Preview

Members at the Investor level andabove were invited to an exclusive

sneak preview of Focus on Photography:Works from 1950 to Today. Emily Burke,Assistant Curator of Special Projects andorganizer of the exhibition, gave theopening lecture and guided attendees ona tour of photographic landscapes, docu-mentaries, and portraits by Walker Evans,Serge Hambourg,William Christenberry,James Nachtwey, Loretta Lux, Sally Mann,Diane Arbus, and Andy Warhol, to name a few. A wine and cheese reception followed in the Kim Gallery, where mem-bers socialized, discussed the works inthe exhibition, and had a chance to askthe curator questions.The event was anopportunity for us to thank our membersfor their support of free educational programming and access to the HoodMuseum of Art.

MEMBERSHIP FORM

Name

Spouse/Partner

Address

Telephone

Email

❏ Amount enclosed (make check payable to Hood Museum of Art at Dartmouth College) or deducted from credit card $

❏ Mastercard ❏ Visa ❏ Discover ❏ American Express

Card number

Card expiration date

Signature

Hood Museum of Art members showtheir enthusiasm for the visual artsthrough their support of school pro-grams, scholarly lectures, gallery talks,and symposia. Membership gifts also helpto support acquisitions of works of art.In return, we are pleased to offer mem-bership benefits that include reduced orfree admission at participating museumsnationwide, advanced invitations to art-focused trips, and member-only eventsdesigned around our special exhibitions.Please join us at the Hood and celebrateall that the arts have to offer! ■

Friend $50–99Subscription to Hood Museum of Art Quarterly15% discount at the Hood Museum Shop Invitation to exclusive member-only events

Member $100–249All of the above, plusFree admission or discounts at museumsnationwide through the National Associationof Reciprocal Membership (NARM) Program

Investor $250–499All of the above, plusAn exclusive sneak preview of an upcoming exhibition Packet of postcards of images from the Hood Museum of Art permanent collection*

Patron $500–1,499All of the above, plusPriority invitation to the biannual Hood Museum of Art Gala

Lathrop Fellow $1,500–4,999All of the above, plusInvitation to an annual national or international art trip

Director’s Circle $5,000–9,999All of the above, plusA copy of Hood Museum publications for a year*

Chairman’s Circle $10,000+All of the above, plusDinner with the director and Board ofOverseers of the Hood Museum of Art

Corporate Level $1,000Membership benefits for up to ten employeesat the Friend levelCompany recognition in selected museum publications

* For tax purposes the value of the benefit(s) will bededucted from the membership fee.

❏ I wish to claim the entire gift as a tax deduction. Iunderstand that I will not receive benefits that have amonetary value attached to them.

HOOD MUSEUM OF ART MEMBERSHIP PROGRAM

Please mail this form to or contact the museum at:Membership Program Hood Museum of Art Dartmouth CollegeHanover, New Hampshire 03755T : (603) 646-2808 F : (603) 646-1400 [email protected]

Members discuss a painting with Curator of Euro-pean Art Bart Thurber. Photo by Teresa Lattanzio ’09.

Members explore modern and contemporary pho-tographs from the museum’s collection during anexclusive sneak preview and speak with EmilyShubert Burke (top, right),Assistant Curator ofSpecial Projects and organizer of the exhibition.Photos by Tilman Dette ’10.

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GENERAL INFORMATION

Museum and Shop Hours Tuesday–Saturday: 10 A.M.–5 P.M.Sunday: 12 noon–5 P.M.Wednesday evening to 9 P.M.

Group ToursGuided tours of the museum are available for groups by appointment. Call (603) 646-1469 for information.

Assistive listening devices are available for all events. The museum, including the ArthurM. Loew Auditorium, is wheelchair accessible.

Admission and ParkingThere is no admission charge for entrance tothe museum. Metered public parking is avail-able in front of the museum on WheelockStreet and behind the museum on LebanonStreet. All-day public parking is available atthe Parking Garage on Lebanon Street. For more information please call (603) 646-2808 or visit our Web site: www.hoodmuseum.dartmouth.edu

Advertising for the Hood Museum of Art’s exhibitions and programs has been generously underwritten by the Point andthe Junction Frame Shop.

The Hood Museum of Art is committed to environmentalmindfulness and stewardship. This publication is certified tothe Forest Stewardship Council Standard.

Dartmouth CollegeHanover, NH 03755

Non-Profit Org.US PostageP A I DDartmouth College

H O O D M U S E U M O F A R T

quarterly

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S p r i n g / S u m m e r 2 0 0 9

D A R T M O U T H C O L L E G E

This spring and summer at the Hood:

FÉLIX DE LA CONCHA:PRIVATE PORTRAITS/PUBLIC CONVERSATIONSApril 4 through September 27, 2009

WEARING WEALTH AND STYLING IDENTITY:TAPIS FROM LAMPUNG, SOUTH SUMATRA,INDONESIAApril 11 through August 31, 2009

FRANCE IN TRANSFORMATION:THE CARICATURE OF HONORÉ DAUMIER, 1833–1870April 25 through August 24, 2009

SPIRIT OF THE BASKET TREE:WABANAKI ASH SPLINT BASKETS FROM MAINEThrough June 28, 2009

Felix de la Concha, Amparo Carvajal-Hufschmid, 2008, oil on linen. Collection of the artist.

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Félix de la Concha:Private Portraits/Public ConversationsApril 4–September 27, 2009

The Hood continues its series of major public art projects withan exhibition at the museum and at Baker-Berry Libraryexploring issues of conflict andreconciliation, the theme of theDartmouth Centers Forum for2008–10, in the lives of residentsof the Dartmouth and Upper

Valley communities. During the fall of 2008, the museumcommissioned fifty-one portraits by Spanish painter Félixde la Concha.While painting the sitters, the artist con-ducted conversations with them about conflicts they haveexperienced, audio- and videotaping each session.

Félix de la Concha, Evelyn Ellis (detail), 2008, oil on linen. Collection of the artist.

Wearing Wealth and Styling Identity:Tapis from Lampung, South Sumatra, IndonesiaApril 11–August 31, 2009

Handwoven from cotton and silk threads colored with ances-tral dye recipes and then embellished with gold- and silver-wrapped threads, silkembroidery, and appliquéd mir-rors and mica, these ornate tube dresses were created byelite women of Lampung, South

Sumatra. In a land located between the two maritimeroutes linking east and west Asia, these sumptuous gar-ments communicate a family’s global contacts, social sta-tion, and clan identity.Unknown artist, Lampung Province, Sumatra, Indonesia, Tapis Inuh (detail),cotton with silk floss. Lister Family Collection. Photo by Don Tuttle.

Admission and educational programming at themuseum are FREE because of the leadership ofour members, who believe, as we do, that art isfor everyone.We are grateful to our membersfor their vital support. In appreciation, we arepleased to offer a variety of membership bene-fits. Please become a member TODAY!

The Hood Museum of Art at Dartmouth College isdedicated to bringing visual arts, school programs,lectures, gallery talks, symposia, and artists to thou-sands of visitors from the community and beyond.Visit our Web site for features on our exhibitions,an overview of collection highlights, museum newsand notes, and an updated calendar.

The 2009 exhibitions place the permanent collections in thespotlight.Their global perspective, range, and variety respondto our role as a museum for teaching and learning.

SPECIAL EXHIBITIONS

Dartmouth CollegeHanover, NH 03755

France in Transformation:The Caricature of Honoré Daumier, 1833–1870 April 25 through August 24, 2009

One of the most witty and adeptcaricaturists of all time, HonoréDaumier created social andpolitical cartoons that continueto resonate today.The HoodMuseum of Art’s collection offersa rich overview of Daumier’scareer as a graphic artist, pre-senting a picture of France in the

mid-nineteenth century, a time when cultural and societalchanges were ushering in a new era of modernity.

Generously funded by the Frank L. Harrington 1924 Exhibition Fund.

Honoré Daumier, 1830 and 1833 (1830 et 1833) (detail), plate 303 fromthe series Caricature (La Caricature), 1833, lithograph on wove paper.Purchased through the Adelbert Ames Jr. 1919 Fund; PR.987.21.

Spirit of the Basket Tree:Wabanaki Ash Splint Baskets from MaineThrough June 28, 2009

Guest curator Jennifer SapielNeptune brings to light the richvisual dialogue between contem-porary Wabanaki basket artists of Maine and the legacy of NativeAmerican basket making in theregion.These baskets haveremained at the center of cultur-al exchanges between Wabanaki

people and Americans of non-native descent, serving tosolidify cultural identity, perpetuate intergenerational conti-nuity, and symbolize political sovereignty for Wabanaki trib-al members.Generously supported by the Frank L. Harrington 1924 Exhibition Fund.

Ganessa Bryant, Point Basket, 2008, brown ash and sweetgrass. Purchasedthrough the Alvin and Mary Bert Gutman ’40 Acquisitions Fund; 2008.46.

S P R I N G 2 0 0 9

SPRING 2009 CALENDAR OF EVENTS AND SPECIAL EXHIBITIONS

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AP

RIL

4A

pril,Saturday,2:00 P.M.

Introductory Tour of Spirit of the Basket

Tree:Wabanaki A

sh Splint Baskets from

Maine

7A

pril,Tuesday,7:00 P.M.

Arthur M

.Loew A

uditoriumPA

NE

L D

ISC

US

SIO

NT

hree professionals who w

ork in the field of con-flict and reconciliation—

Ira Byock M.D

.,Director

ofPalliative Medicine at D

HM

C,D

onna SulturaM

.S.W.,grief counselor,and Laurie Levin,law

yerand m

ediator—discuss the issues they deal w

ithin their respective professions.

14 April,Tuesday,12:30 P.M

.C

ollis 101L

UN

CH

TIM

E PA

NE

L D

ISC

US

SIO

NM

arysa Navarro,H

istory;Mary Lou G

uerinot,Biology;and A

mparo C

arvajal-Hufschm

id,Studio A

rtThree professors,representing the social sciences,the sciences,and the hum

anities/arts,respectively,w

ill discuss issues involving conflict and reconcilia-tion in their w

ork.Navarro w

ill discuss the found-ing of the W

omen’s Studies Program

,Guerinot

will talk about developing new

plant hybrids thatw

ill aid in eradicating hunger and detoxifying soil,and C

arvajal-Hufschm

id will consider the role of

the arts.

16 April,T

hursday,5:00 P.M.

Kim

Gallery

LE

CT

UR

EKenneth Yalow

itz,The N

orman E.M

cCulloch Jr.

Director of the John Sloan D

ickey Center for

International Understanding

Ken Yalowitz,form

er United States am

bassador toG

eorgia and Belarus,will give a lecture about his

work as an am

bassador and how the dissolution

of the Soviet Union im

pacted issues of conflictand reconciliation.Seating is lim

ited.

17 April,Friday,4:30 P.M

.A

rthur M.Loew

Auditorium

OP

EN

ING

LE

CT

UR

E A

ND

RE

CE

PT

ION

Wearing W

ealth and Styling Identity:Tapis

from L

ampung,South Sum

atra,IndonesiaM

ary-Louise Totton,Assistant Professor of A

rtH

istory,Frostic School of the Arts,W

esternM

ichigan University and curator of the exhibition

Dr.Totton w

ill give an introductory lecture abouttapis,the heavily ornam

ented ceremonial sarongs

made and w

orn by wom

en in the south Sumatran

province of Lampung,Indonesia.

18 April,Saturday,10:00 A.M

.–12:00 P.M.

Kim

and Lathrop Galleries

RO

UN

DT

AB

LE

C

ultures of Cloth in Sum

atra,IndonesiaSusan R

odgers,College of the H

oly Cross;

Fiona Kerlogue,Hornim

an Museum

;Miranda

How

ard and Mary-Louise Totton,W

esternM

ichigan University

Three specialists w

ill present on their own

research into textile arts and the textile traditionsof Indonesia.A

discussion of Wearing W

ealth andStyling Identity,m

oderated byM

ary-Louise Totton,w

ill follow.

18 April,Saturday,2:00 P.M

.Tour of Félix de la C

oncha:Private Portraits/Public C

onversations with H

ood Director

Brian K

ennedy

25 April,Saturday,2:00 P.M

.Introductory Tour of W

earing Wealth and

Styling Identity:Tapis from Lam

pung,SouthSum

atra,Indonesia

MA

Y

3M

ay,Sunday,12:00–5:00 P.M.

FAM

ILY D

AY

Sailing Ships,Silk,and Gold:

Textiles from Indonesia

Explore these handwoven fabrics decorated w

ithgold,m

irrors,and mica,and learn about the sailing

ships that brought prosperity to South Sumatra,

akey port betw

een east and west A

sia.In the studio,decorate fabrics to w

ear home.For chil-

dren ages 6 to 12 and their adult companions.

No pre-registration is required.For inform

ation,call (603) 646-1469.

5M

ay,Tuesday,12:30 P.M.

Collis 101

LU

NC

HT

IME

PAN

EL

DIS

CU

SS

ION

Molly Bode,Student A

ssembly President,A

ndrewZ

abel,student leader of Big Green Bus,and

Micaela K

lein,Inter-Com

munity C

ouncil Intern,allparticipants in the Félix de la C

oncha portraitproject,w

ill discuss potential challenges and con-flicts facing their generation,including the eco-nom

ic crisis,global warm

ing,and war.

6M

ay,Wednesday,5:30 P.M

.A

rthur M.Loew

Auditorium

AR

TIS

T L

EC

TU

RE

AN

D R

EC

EP

TIO

NB

earing Witness:D

aniel Heym

an’s Portraitsof Form

er Prisoners of A

bu Ghraib

Daniel H

eyman,artist and m

ember of the C

lass of1985,incorporates depositions of form

er prison-ers in his portraits.

6M

ay,Wednesday,7:00 P.M

.A

DU

LT W

OR

KS

HO

P

Félix de la Concha:Portraits and Stories

Bring a friend or plan to make

anew

one in thislively,discussion-based program

.In his work,de la

Concha paints a portrait in tw

o hours while the

sitter shares his or her story.In the studio,we

will pair up to sketch each other and share sto-

ries of our own.N

o previous art experience necessary.Participation lim

ited to sixteen.Pleasepre-register by calling (603) 646-1469.

8M

ay,Friday,4:30 P.M.

Arthur M

.Loew A

uditoriumQ

UE

ST

ION

AN

D A

NS

WE

R S

ES

SIO

NA

rtist Félix de la Concha and Brian Kennedy,

Director,H

ood Museum

of Art

Brian Kennedy and Félix de la Concha w

ill discussthe artist’s w

ork and the precedents for andprocess behind the exhibition Félix de la Concha:Public Portraits/Private Conversations.R

eception will

follow in the K

im G

allery.A D

artmouth C

entersForum

event on Conflict and R

econciliation.

9M

ay,Saturday,2:00 P.M.

Tour ofSpirit of the B

asket Tree:W

abanaki Ash Splint B

askets from M

aine w

ith Alex B

ortolot,Assistant C

urator,Special P

rojects

12 May,Tuesday,12:30 P.M

.L

UN

CH

TIM

E G

AL

LE

RY

TA

LK

Abigail W

eir,Curatorial A

ssistantA

bigail Weir,the curator for France in

Transformation:Caricatures by H

onoré Daum

ier,1833–1870,w

ill introduce the exhibition.

13 May,W

ednesday,7:00 P.M.

AD

ULT

WO

RK

SH

OP

Wearable W

ealth:Textiles from Indonesia

Join this lively,discussion-based program and

explorethe exhibition W

earing Wealth and Styling

Identity.We’ll learn about fabulous handw

oven andem

bellished textiles,the maritim

e trade thatfueled Sum

atra’s prosperity,and the ways in w

hichclothing com

municates social station and clan

identity.Finally,we’ll decorate textiles of our ow

nin the studio.N

o previous art experience neces-sary.Participation is lim

ited to sixteen.Please pre-register by

calling (603) 646-1469.

16 May,Saturday,2:00 P.M

.Introductory Tour of

Félix de la Concha:

Private Portraits/Public Conversations

20 May,W

ednesday,5:30 P.M.

LE

CT

UR

ET

he Dao of the B

rush:Aesthetics of C

hineseP

ainting,Poetry,and Calligraphy

Richard Pegg,Curator of A

sian Art,

MacLean C

ollectionSince the Tang dynasty,poetry,painting,and callig-raphy have been appreciated together as the ulti-m

ate in the visual arts of China.This lecture w

illexplore the aesthetic sensibilities of the com

bina-tion of these three form

s of expression in orderto

better understand the complex relationships

made m

anifest through them.


.Introductory Tour of W

earing Wealth and

Styling Identity:Tapis from Lam

pung,SouthSum

atra,Indonesia

26M

ay,Tuesday,12:30 P.M.

LU

NC

HT

IME

GA

LL

ER

Y T

AL

KA

lex Bortolot,Assistant C

urator,Special ProjectsA

lex Bortolot,the curatorial coordinator forW

earing Wealth and Styling Identity,w

ill introducethe exhibition.

28 May,T

hursdayM

EM

BE

R R

EG

ION

AL

TR

IPH

ood Museum

of Art m

embers w

ill visit theSterling and Francine C

lark Art Institute and their

new Stone H

ill Center in W

illiamstow

n,Massa-

chusetts,and Mass M

OC

A in N

orth Adam

s,fortours and lunch.Participants w

ill be accompanied

by Hood staff and C

urator of European Art Bart

Thurber.This daytrip is by invitation to m

embers

at the Lathrop Fellow,D

irector’s,and Chairm

an’sC

ircle levels.Please call (603) 646-9660 for inform

ation.


.Introductory Tour of

France inTransform

ation:T

he Caricatures of H

onoréD

aumier

HO

OD

HIG

HL

IGH

TS

TO

UR

SExplore a selection of objects in the m

useum's

collection with an experienced guide on selected

Saturdays.Visit our W

eb site or watch for transac-

tion ads in the Valley New

sannouncing the dates

and topics for these tours.

AR

TV

EN

TU

RE

SInteractive

tours for children ages eight and older are offered on select Saturdays at 10:00 A.M.D

ates and topics are noted on the Calendar of

Events on the museum

’sWeb site and listed in

Valley New

stransaction ads tw

ow

eeks in advance.Lim

ited to twenty children on a pre-registration

basis.For information,call the m

useum’s

Education Departm

ent at (603) 646-1469.

GR

OU

P T

OU

RS

Free guided tours of the museum

’s collections and exhibitions are

available byappointm

ent forany

group of fiveor m

ore.Contact us at

(603) 646-1469 or hood.museum

.tours@dartm

outh.edu.

All m

useum exhibitions and events are free and open to

the public unless otherwise noted.For the safety of all of

our visitors,the Hood M

useum of A

rt will enforce legal

seating capacity limits at every event in accordance w

ithR

SA 153:5 and Life

Safety Code 101.

Assistive listening devices are available for all

events.The m

useum,including the A

rthur M.Loew

Auditorium

,is wheelchair accessible.For accessi-

bility requests,please call 603-646-2809 or e-mail

Access.H

ood@D

artmouth.edu.

CALENDAR OF EVENTSS

PR

ING

20

09

930837_ in_insert 3/12/09 1:12 PM Page 1

JUNE

17 June,Wednesday, 10:30 A.M.Tour of Félix de la Concha: PrivatePortraits/Public Conversations with Karen Miller, Exhibitions and ProgramsCoordinator

20 June, Saturday, 2:30 P.M.Tour of Félix de la Concha: PrivatePortraits/Public Conversations with Hood Director Brian Kennedy

24 June,Wednesday, 7:00 P.M.ADULT WORKSHOPLearning to LookThe Hood Museum of Art has developed a simpletechnique to empower visitors to look carefullyand think critically about any work of art theyencounter. Experience it for yourself in thisrelaxed, discussion-based workshop.You'll enjoyyour museum visits on a deeper level in thefuture. No previous art experience necessary.Participation is limited. Call (603) 646-1469 toregister.

27 June, Saturday, 2:00 P.M.Introductory Tour of Wearing Wealth andStyling Identity:Tapis from Lampung, SouthSumatra, Indonesia

JULY

1 July,Wednesday, 7:00–8:30 P.M.ADULT WORKSHOPBook Club NightMany people are comfortable reading and dis-cussing great works of literature. Come to themuseum with your book club and learn to “read”and discuss great works of art. Fun, interactiveactivities will also teach you new things about each other. Registration is limited to the first clubto sign up, with a maximum of 12 members. Call(603) 646-1469 to register.

8 July,Wednesday, 1:00–3:00 P.M.CHILDREN’S PROGRAMTextiles from IndonesiaThis program will give children an opportunity toexplore fabulous textiles from Indonesia decorat-ed with sequins, mirrors and gold thread.They’lllearn about the maritime trade that made thisregion wealthy and visit the studio to decorate atextile of their own. For ages 8–11. Participationis limited. Call (603) 646-1469 to register.

8 July,Wednesday, 7:00–8:30 P.M.YOUNG TEEN AND ADULT WORKSHOPFélix de la Concha: Portraits and StoriesIn his work, Félix de la Concha paints a likeness intwo hours while the sitter shares his or herstory.The story and the image become the por-trait. In this workshop, teens and adults will workin pairs to share stories and create portraits ofeach other. No previous art experience neces-sary—just a sense of fun and a willingness to dis-cover new things about each other. For teens ages12–14 and their adult companions. Participation islimited. Call (603) 646-1469 to register.

8 July,Wednesday, 7:30 P.M.Arthur M. Loew AuditoriumLECTUREThe Grand Tour and the Classical Past inMid-Eighteenth-Century ItalyT. Barton Thurber, Curator of European Art, willpresent a lecture in conjunction with the twenty-seventh Classical Association of New EnglandSummer Institute.This year’s institute focuses onancient centers of classical culture, from mainlandGreece and the city of Rome to the ever-expand-ing horizons of the classical world. For other public programs during the week of July 6–11,go to www.caneweb.net/csi/csifly09n.pdf.

14 July,Tuesday, 12:30 P.M.TOUR AND DISCUSSIONFélix de la Concha and the WesternPortrait TraditionT. Barton Thurber, Curator of European Art, willlead a tour through the museum’s permanent collection galleries and Félix de la Concha: PrivatePortraits/Public Conversations.

18 July, Saturday, 2:00 P.M.Introductory Tour of France in Transforma-tion:The Caricatures of Honoré Daumier

18 July, Saturday, 10:00 A.M.–5:00 P.M.Hanover StreetfestJoin us for a day of fun and information, and meetHood staff members and volunteers! The muse-um’s booth will feature children’s art activities,raffles, and membership information.

21 July,Tuesday, 12:30 P.M.LUNCHTIME GALLERY TALKAlex Bortolot,Assistant Curator of SpecialProjects and curatorial coordinator for WearingWealth and Styling Identity:Tapis from Lampung, SouthSumatra, Indonesia, will introduce the exhibition.

22 July,Wednesday, 12:30 P.M.LUNCHTIME GALLERY TALKAfter Daumier: Social Comment inIllustrations and Cartoons in the EarlyTwentieth CenturyAward-winning American syndicated comic-stripcartoonist and author Jules Feiffer will speakabout graphic humor in the Daumier exhibition.

24 July, Friday, 5:00 P.M.Arthur M. Loew AuditoriumFILM SCREENING AND RECEPTIONInk Across TimeAward-winning 50-minute documentary film byDartmouth Studio Art professor Louise Hamlinand Dartmouth filmmaker Michael Sacca. Past and present are linked as an actual seventeenth-century copper engraving is printed during aDartmouth class.The process is interwoven withstudio visits and colorful narrative by artists andmuseum professionals.

25 July, Saturday, 2:00 P.M.Arthur M. Loew AuditoriumMUSEUM INTRODUCTION AND TOURBrian Kennedy, Director, will give a general intro-duction to the Hood Museum of Art, followed byan introductory tour of Félix de la Concha: PrivatePortraits/Public Conversations in the galleries.

25 July, Saturday, 3:00–5:00 P.M.eMotion Campus Sculpture Walking TourIn conjunction with eMotion, the 2009 DartmouthSummer Arts Festival, students from ProfessorAngela Rosenthal’s sculpture course (Art History16) will be stationed at sculptures on campus togive brief talks. Pick up your tour map at theHood’s main entrance. For further details, see theLeslie Humanities Center or Hood Web sites.

29 July,Wednesday, 7:00–8:30 P.M.TEEN WORKSHOPFélix de la Concha: Portraits and StoriesBring a friend or plan to make a new one in thislively, discussion-based program exploring the artof Félix de la Concha. In his work, the artist paintsa portrait in two hours while the sitter shares hisor her story.The story and the image become theportrait. In this workshop, teens will work in pairsto share stories and create portraits of each otherusing mixed media. No previous art experiencenecessary. For ages 15–19. Participation is limited.Call (603) 646-1469 to register.

AUGUST

1 August, Saturday, 2:00 P.M.Introductory Tour of Wearing Wealth andStyling Identity:Tapis from Lampung, SouthSumatra, Indonesia

4 August,Tuesday, 12:30 P.M.LUNCHTIME GALLERY TALKKaren Miller, Exhibitions and ProgramsCoordinator and project manager of Félix de laConcha: Private Portraits/Public Conversations, willgive an introductory behind-the-scenes look atthe making of the exhibition. Meet in the maincorridor of Baker Library.The tour will concludein the Hood Museum of Art.

12 August,Wednesday, 1:00–3:00 P.M.CHILDREN’S PROGRAMPuzzles, Stories, and GamesIn this program, children will explore great worksof art in the museum’s collection through fun,hands-on activities and visit the studio to create a puzzle masterpiece of their own. For ages 8–11.Participation is limited. Call (603) 646-1469 toregister.

18 August,Tuesday, 12:30 P.M.LUNCHTIME GALLERY TALKCulture Clash: Daumier and the ArtsKristin O’Rourke,Adjunct Assistant Professor ofArt History, will discuss Honoré Daumier’s satireof the fine arts, from sculpture, painting, theater,and literature—especially female writers—to thenewly developed medium of photography.

29 August, Saturday, 2:00 P.M.Introductory Tour of France in Transforma-tion:The Caricatures of Honoré Daumier

SEPTEMBER

22 September,Tuesday, 12:30 P.M.LUNCHTIME GALLERY TALKKatherine Hart,Associate Director, will offer abehind-the-scenes tour of Félix de la Concha:Private Portraits/Public Conversations.

UPCOMING

22 October SPECIAL EVENTArt in Bloom at the Hood Museum of ArtCome celebrate art and flowers at this day-longevent featuring Charlie Nardozzi, senior horticul-turist and spokesperson for the National Garden-ing Association, and Julie Moir Messervy, interna-tional garden designer and author. Join us for anexploration of the museum galleries, lectures,artfully inspired floral arrangements, a silent auc-tion, and a luncheon.Watch the Hood’s Web siteand your mail for details.

28–29 OctoberMEMBER TRIPJoint Trip with St. Gaudens NationalHistoric SiteThe Hood Museum of Art is pairing with St.Gaudens National Historic Site in Cornish, N.H.,for an overnight trip to New York City.We’ll tourthe St. Gaudens exhibition at the MetropolitanMuseum of Art, visit St. Gaudens’s NYC memori-als, and meet Samuel White, architect and grand-son of Stanford White. Open to all member levels. For information, contact the MembershipOffice at (603) 646-9660 or [email protected].

FALL MEMBERS COURSEWatch for details about a four-session course onModern and Contemporary Art: Highlights from theHood Museum of Art, the third of the Hood’s majorpermanent collections exhibitions.

All museum exhibitions and events are free and open tothe public unless otherwise noted. For the safety of all ofour visitors, the Hood Museum of Art will enforce legalseating capacity limits at every event in accordance withRSA 153:5 and Life Safety Code 101.

Assistive listening devices are available for allevents.The museum, including the Arthur M. LoewAuditorium, is wheelchair accessible. For accessi-bility requests, please call 603-646-2809 or [email protected].

CALENDAR OF EVENTSS U M M E R 2 0 0 9

* ALL EVENTS TAKE PLACE IN THE HOOD GALLERIES UNLESS OTHERWISE INDICATED.

Wearing Wealth and Styling Identity:Tapis from Lampung, South Sumatra, IndonesiaThrough August 31

Handwoven from cotton and silk threads colored with ancestraldye recipes and then embellishedwith gold- and silver-wrappedthreads, silk embroidery, andappliquéd mirrors and mica, theseornate tube dresses were createdby elite women of Lampung, SouthSumatra. In a land located betweenthe two maritime routes linking

east and west Asia, these sumptuous garments communicatea family’s global contacts, social station, and clan identity.Generously supported by the Evelyn A. J. Hall Fund and the William B. Jaffe andEvelyn A. Jaffe Hall Fund.

Unknown artist, Lampung Province, Sumatra, Indonesia, Tapis Inuh (detail),cotton with silk floss. Lister Family Collection. Photo by Don Tuttle.

Art That Lives? Exploring Figural Art from AfricaOpens July 25

People around the world have attimes responded to works of artas more than mere inanimateobjects, seeing them instead as living things.This exhibition exam-ines the complex ways that Africanpeoples view images, especiallydepictions of the human form, asforces that impact personal expe-rience. Sculptures from across the

African continent reveal how art has mediated disputes,exerted political authority, and given presence to the dead.Generously funded by the Frank L. Harrington 1924 Exhibition Fund.

Unknown Kongo artist, Democratic Republic of the Congo or Angola,Nkisi Nkondi, 19th century, wood, mixed media. Hood Museum of Art.

Félix de la Concha:Private Portraits/Public ConversationsThrough September 27

The Hood continues its series of major public art projects withan exhibition at the museum and at Baker-Berry Library explor-ing issues of conflict and reconcili-ation, the theme of the DartmouthCenters Forum for 2008–10, inthe lives of residents of theDartmouth and Upper Valley communities.The museum com-

missioned fifty-one portraits by Spanish painter Félix de laConcha.While painting the sitters, the artist conducted con-versations with them about conflicts they have experienced,audio- and videotaping each session.Generously supported by gifts from Constance and Walter Burke, Class of 1944,and Yoko Otani Homma and Shunichi Homma M.D., Class of 1977.

Félix de la Concha, Evelyn Ellis (detail), 2008, oil on linen. Collection of the artist

France in Transformation:The Caricature of Honoré Daumier, 1833–1870 Through August 24

One of the most witty and adeptcaricaturists of all time, HonoréDaumier created social and politi-cal cartoons that continue to res-onate today.The Hood Museum of Art’s collection offers a richoverview of Daumier’s career as agraphic artist, presenting a pictureof France in the mid-nineteenthcentury, a time when cultural and

societal changes were ushering in a new era of modernity.Generously funded by the Frank L. Harrington 1924 Exhibition Fund.

Honoré Daumier, 1830 and 1833 (1830 et 1833) (detail),1833, lithographon wove paper. Hood Museum of Art.

MEMBERSHIP MATTERS

Free AccessEducational ProgrammingAcquisitions

B E C O M E A M E M B E R TO DAY [email protected]

F R E E A N D O P E N T O A L L !(603) 646-2808

MUSEUM AND SHOP HOURS

Tuesday–Saturday: 10 A.M.–5 P.M.Sunday: 12 noon–5 P.M.Wednesday evening to 9 P.M.

The 2009 exhibitions place the permanent collections in thespotlight.Their global perspective, range, and variety respondto our role as a museum for teaching and learning.

SPECIAL EXHIBITIONS HB 6034Dartmouth CollegeHanover,NH 03755

S U M M E R 2 0 0 9

SUMMER 2009 CALENDAR OF EVENTS AND SPECIAL EXHIBITIONS

SUMMER 2009 CALENDAR OF EVENTS INSIDE

Non-Profit Org.US PostagePAIDDartmouth College

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