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End Notes: And Then There s Mauve - The Magazine Antiques

End Notes: And Then There’s Mauve Eleanor H. Gustafson Photograph by Caitlin Cunningham Photography; all photographs © President and Fellows of Harvard College. Did you know that the color mauve, or, rather, the pigment, was discovered in 1856 by an eighteen year- old student experimenting with the hydrocarbons in coal tar from street lamps in an attempt to discover a cure for malaria? He failed in that endeavor, but he did find a beautiful purple residue in his flasks. His is just one of the stories others involve lice, roots, shellfish, bones, and cow urine, to name a few curious sources told in “A History of Color: An Audio Tour of the Forbes Pigment Collection,” recently launched by the Harvard Art Museums and available at harvardartmuseums.org. Narrated by Narayan Khandekar, senior conservation scientist and director of the Straus Center for Conservation and Technical Studies at Harvard, and conservation coordinator Alison Cariens, the tour offers a fascinating and

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What museums can learn from Philip Guston and his frank take on white culpability

What museums can learn from Philip Guston and his frank take on âwhite culpabilityâ By Murray Whyte Globe Staff,Updated January 6, 2021, 3:42 p.m. Email to a Friend Philip Guston s Riding Around, from 1969.Genevieve Hanson/The Estate of Philip Guston, courtesy Hauser & Wirth Private Collection ANDOVER â Itâs right there on the wall of the little rotunda at the Addison Gallery of American Art: Philip Gustonâs âCorridor,â a 1969 painting of a diminutive white-hooded Klansman tilting his head to read a clock on the wall. Itâs the only place around here youâre likely to see such a thing for a while, despite best-laid plans to the contrary. More than that, itâs a window into the museum worldâs slow lope of change alongside a culture in sudden fast-forward.

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Harvard Jun Chinese ceramics | Harvard Magazine

Photograph courtesy of Harvard Art Museums; ©President and Fellows of Harvard College Even the Qing emperors, nearly four centuries ago, recognized Song dynasty (960-1279) Jun ware a distinctive opalescent blue, sometimes splashed with organic-seeming, almost foliate lobes of plum as one of the five great achievements of China’s astonishing ceramic legacy. In contemporary perspective, Jun techniques in fact persisted much longer, at least into the Ming era (1368-1644): the fourteenth and fifteenth centuries. Photograph courtesy of Harvard Art Museums; ©President and Fellows of Harvard College One unusual set of such vessels is the subject of Harvard Art Museums’ exhibition “Adorning the Inner Court,” on display through August 13. For his fiftieth reunion, Ernest B. Dane, A.B. 1892, and his wife, Helen Pratt Dane, donated a ceramic and jade collection to the museum, including 60 pieces of “Numbered Jun” ware: various lobed and rectangular pots (with holes to drai

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January-February 2021 | Harvard Magazine

Montage Shelby Meyerhoff uses body paint and photography to transform herself into creatures and scenes from the natural world. Photograph: a blue-ringed octopus Photograph courtesy of Shelby Meyerhoff Shelby Meyerhoff’s liminal, liberating body painting John F. Kennedy as an undergraduate, circa 1939, had well-formed views on the advent of World War II. Photograph courtesy of the John F. Kennedy Presidential Library and Museum

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The Undergraduate writes about building a more inclusive community at Harvard

Image courtesy of Harvard Art Museums; © President and Fellows of Harvard College The place I remember most from freshman fall won’t show up on Google’s map of Harvard. I took a class whose questions permeate my studies to this day: “Racial Capitalism and the Black Radical Tradition ,” taught by history professors Vincent Brown and Walter Johnson. The initial seminar room was too small to fit all who showed up, eager to pick up the tools necessary for dismantling what we opposed, so they took us underground. In a larger basement space of Quincy House, our conversations about the past became reckonings with the present: the innumerable ways that slavery and colonialism reverberate inside and beyond Harvard’s gates.

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