Harvard University. Art Museums

Fogg Art Museum

Virginia Anderson

Theodore E. Stebbins

Though the eminent nineteenth-century British critic and watercolorist John Ruskin never set foot in the United States, his writings were widely read here. American artists eagerly took up his call for the meticulous depiction of nature and the preservation through copying of some of the finest works of civilization before time or misguided restoration overtook them. His influence was disseminated by the legendary Charles Eliot Norton, the nation's first professor of art history, who taught at Harvard from 1874 to 1898, and by Norton's protege Charles Herbert Moore. The Last Ruskinians is the catalogue of an exhibition that traces Ruskin's impact on these teachers, their students, and many other artists and collectors. The works represented here include floral studies, landscapes, architectural details, views of Venice, and copies after ancient, medieval, and Renaissance art. Most are in watercolor, Ruskin's favorite medium. Included are ten works by Ruskin himself, all drawn from the Harvard collections, and twice as many by his friend Moore, a Harvard drawing instructor and the Fogg Art Museum's first director.

Charles Eliot Norton, Charles Herbert Moore, and Their Circle

The Last Ruskinians

Stuart Cary Welch

Asia Society. Galleries

Gods, Kings, and Tigers: The Art of Kotah focuses on the art of a single Rajasthani kingdom, founded during the early seventeenth century, and investigates in detail its political, religious, and cultural context. This volume provides the first in-depth examination of Kotah and its rulers, and highlights some 70 paintings and 10 items of royal regalia from the Kotah royal collection, including images of the gods (especially Krishna, the deity of the royal family and.

The Art of Kotah

Gods, Kings, and Tigers

Theoretical, Technical, and Case Studies

Sketches in Clay for Projects by Gian Lorenzo Bernini

Harry Cooper

Ron Spronk

Just before World War II, Piet Mondrian fled from Paris to London and later to New York, where he lived until his death in 1944. Upon his arrival in Manhattan, the artist began reworking seventeen of the paintings he brought with him, many of which had already been finished and exhibited. He changed lines and added blocks and bars of color to give them what he called "more boogie-woogie." By inscribing these so-called transatlantic works with a double date, for example "38/42," Mondrian emphasized the exceptional history of the series.

Mondrian: the Transatlantic Paintings

Harvard University. Art Museums

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