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  • 50 Years of Pre-Columbian Art — Dumbarton Oaks
    between objects and cultures A gilded Mixtec atlatl a painted Maya figurine ancient glyphs and delicate Andean mosaics showcase the heights of ancient American artistic achievement and highlight recent advances in object research Objects loaned from Harvard University s Peabody Museum recall a tradition of institutional ties originally cultivated by Bliss himself who consulted regularly with the museum s curators and conservators After five decades his Pre Columbian collection continues to incite scholarly inquiry reveal ancient craftsmanship and delight the eye of the viewer Robert Woods Bliss collected with passion and exacting care Between 1912 and his death in 1962 he acquired works of art from some thirty ancient American cultures many of them theretofore unstudied His predilection for fine workmanship high quality materials and interesting or unusual designs shaped the collection and in no small part the emerging field of Pre Columbian studies Committed to furthering knowledge of Pre Columbian art Bliss collaborated widely to publish and exhibit his pieces Catalogues of his collection included research by scholars at Harvard University and the Smithsonian Institution The National Gallery of Art hosted an exhibition of Bliss objects from 1947 to 1962 In 1963 wishing to display his collection in perpetuity Bliss donated it to Dumbarton Oaks for installation in the museum s newly built Pre Columbian wing designed by the architect Philip Johnson Today the mid 20th century avant garde building has been retrofitted with climate control UV protection windows and new interior and exterior lighting Celebratory displays are interspersed among the collection s permanent exhibits The result is an exciting and dynamic installation that juxtaposes old and new permanent and temporary familiar and groundbreaking We hope that you will join us in celebrating 50 years of Pre Columbian art at Dumbarton Oaks Download the booklet PDF 2 7MB for

    Original URL path: http://www.doaks.org/museum/pre-columbian/50-years-of-pre-columbian-art (2016-02-18)
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  • Philip Johnson Pavilion — Dumbarton Oaks
    of the designed landscapes at Dumbarton Oaks and Johnson employed curved glass walls to blend the landscape with the building He later reminisced that his idea was to fit a small pavilion into an existing treescape to make the building become part of the Bosque Johnson maintained that he wanted the garden to march right up to the museum displays and become part of them with the plantings brushing the glass walls and the sound of splashing water audible in the central fountain Furthering this idea Mildred Bliss suggested creating four interior glazed planter areas situated between the galleries and the fountain Johnson also believed that the pavilion was to be best enjoyed from the inside In addition to offering interesting garden views the eight gallery spaces allow for a well organized circulation plan They also provide intimate areas for visitors to enjoy and study the Pre Columbian objects Each interconnected exhibition gallery is 25 feet in diameter having curved glass walls supported by cylindrical columns sheathed in Illinois Agatan marble and shallow domes that rise from flat bronze rings The floors are teak laid from the center out in radii and ended by wide rims of mottled green Vermont

    Original URL path: http://www.doaks.org/museum/pre-columbian/philip-johnson-pavilion (2016-02-18)
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  • History of the Pre-Columbian Collection — Dumbarton Oaks
    one of the first collectors to emphasize the artistic significance of such objects equating them with Greek and Roman antiquities and European paintings at a time when Pre Columbian objects were generally placed in museums of natural history After discovering this art he developed an interest in the peoples and cultures of the Pre Columbian world He and Mildred Bliss traveled to sites in Mexico and Guatemala and supported excavations in Panama by Harvard University s Peabody Museum of Archaeology and Ethnology When selecting pieces for purchase or documenting those already in his collection he sought the advice of experts including Samuel Lothrop of Harvard University and Matthew Stirling of the Smithsonian Institution From 1947 until 1960 Robert Bliss put his Pre Columbian Collection on display at the National Gallery of Art in Washington It remained on exhibit there for fifteen years and garnered as he put it the steadily increasing response of a large and interested public During the 1950s Robert Bliss lent objects to temporary exhibitions in Paris Stockholm London Zurich The Hague and Berlin In 1957 he published a catalogue of his Pre Columbian collection arguably the first of its kind in the field of Pre Columbian art In the late 1950s Robert Bliss began to plan a permanent home for the Pre Columbian Collection He chose the architect Philip Johnson to design a structure that would be appropriate for the collection and that would complement the Byzantine museum and surrounding gardens at Dumbarton Oaks After Robert Bliss death in 1962 Mildred Bliss saw the building project to completion Since 1963 the Johnson Wing has housed a large part of the Pre Columbian collection for public viewing Document Actions Print this Share Navigation Museum About Plan Your Visit Guided Tours Byzantine Collection Pre Columbian Collection 50 Years

    Original URL path: http://www.doaks.org/museum/pre-columbian/history (2016-02-18)
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  • The Music Room — Dumbarton Oaks
    to find an antique Renaissance ceiling and flooring however and instead commissioned the Parisian designer Armand Albert Rateau to fabricate reproductions inspired by examples at the guardroom of the historic Château de Cheverny near Paris The Blisses engaged the American artist Allyn Cox to paint murals for the walls of the Music Room corridor and entrance staircase For the staircase murals the more ambitious of the two projects Cox envisioned the space compartmentalized by trompe l oeil Baroque style architectural frames within which are depictions of classical architectural ruins and various Italian Renaissance style buildings as well as people resting or engaged in work activities in the manner of eighteenth century paintings of classical ruins On the advice of Rateau the Blisses acquired as the true centerpiece of the room a large French Renaissance sixteenth century stone mantelpiece that originally came from the Château de Théobon in Loubès Bernac France The Blisses used the Music Room for musical programs scholarly lectures and intellectual discourse It continues to serve these purposes at Dumbarton Oaks hosting an annual public lecture series and the Friends of Music at Dumbarton Oaks concert series which was inaugurated in 1946 Document Actions Print this Share Navigation

    Original URL path: http://www.doaks.org/museum/house/music-room (2016-02-18)
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  • History of the House Collection — Dumbarton Oaks
    led to important acquisitions of French Gothic sculptures They were also attracted to the French Impressionists and famously acquired Degas s Song Rehearsal in 1918 at the artist s estate sale After purchasing Dumbarton Oaks in 1920 the Blisses began planning as early as 1924 for a Music Room This room more than any other in the house would come to embody the Blisses taste both as collectors and connoisseurs In 1929 the Blisses purchased Italian Renaissance furniture from the Brambilla collection at the Villa Farnese at Caprarola They also acquired significant antique rugs which due to their fragility can no longer be displayed In the early 1930s they obtained two important large scale tapestries The Month of April and The Prince of Malice and a portrait of Mary of Burgundy by the German Renaissance artist Bernhard Strigel In the late 1930s as they prepared to give the property and collection to Harvard the Blisses continued to acquire for the Music Room These latter acquisitions were of exceptionally high quality and included Tilman Riemenschneider s early sixteenth century lindenwood sculpture Virgin and Child on the Crescent Moon and El Greco s early seventeenth century Visitation Document Actions Print this Share

    Original URL path: http://www.doaks.org/museum/house/history (2016-02-18)
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  • The Byzantine Emperors on Coins — Dumbarton Oaks
    common term for gold coins beyond the Byzantine Empire most notably the Muslim dinar Unlike silver and copper which were also used in the variegated and hierarchical Byzantine monetary system gold does not tarnish therefore most of the coins selected for this project are gold The exhibition enables the viewer to follow the development from the realistic portrait type characteristic of Roman art and coinage to a more idealized and highly stylized representation of the ruler The specimens illustrated here suggest other major changes that affected the Byzantine coinage over eleven centuries The most important change was the growing evidence of Christian themes and symbols first the cross and cross bearing insignia became more and more ubiquitous while later on religious figures initially Christ himself then the Virgin and saints dominated the iconography By the tenth century religious subjects had taken precedence over the ruler s image Coins thus exemplify the religious character of Byzantine culture The coins are divided into six sections that observe the chronological unfolding of imperial rule and the various governing dynasties They are placed in a slider and are accompanied with information about their issuing and properties Clicking on a coin image allows for multiple zoom into the high resolution images For a more comprehensive illustrated introduction to Byzantine coins their iconography and the context of their issue see our online exhibition Coinage of the Byzantine Empire Bibliographic references Note All references are to the Dumbarton Oaks publications of the items except for BZC 2009 013 A R Bellinger et al Late Roman Gold and Silver Coins at Dumbarton Oaks Diocletian to Eugenius Dumbarton Oaks Papers 18 1964 161 236 DOP 1964 S Bendall A Private Collection of Palaeologan Coins Wolverhampton 1988 PCPC P Grierson M Mays Catalogue of Late Roman Coins in the Dumbarton

    Original URL path: http://www.doaks.org/museum/online-exhibitions/byzantine-emperors-on-coins (2016-02-18)
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  • Philip Johnson at Dumbarton Oaks — Dumbarton Oaks
    building in Johnson s late 1950s sea change in architectural thinking from International Style modernism to Postmodern classicism Since its opening in 1963 the Bliss Collection has been thoroughly researched and published in several impressive catalogues Handbook of the Robert Woods Bliss Collection of Pre Columbian Art introduction by Michael D Coe Washington D C 1963 Supplement to the Handbook of the Robert Woods Bliss Collection of Pre Columbian Art Washington D C 1969 Elizabeth Hill Boone ed Andean Art at Dumbarton Oaks Washington D C 1996 Karl A Taube Olmec Art at Dumbarton Oaks Washington D C 2004 Susan Toby Evans ed Ancient Mexican Art at Dumbarton Oaks Central Highlands Southwestern Highlands Gulf Lowlands Washington D C 2010 Joanne Pillsbury Miriam Doutriaux Reiko Ishihara Brito and Alexandre Tokovinine eds Ancient Maya Art at Dumbarton Oaks Washington D C 2011 The Johnson pavilion on the other hand has been little discussed or studied See Bibliography The architect Mark Wigley Dean of the Columbia University Graduate School of Architecture Planning and Preservation provocatively offered a psychological interpretation for the lack of scholarly interest in the Museum of Pre Columbian Art as the building is usually named in the literature He wrote Our fear of this work and I believe it is a fear is a fear of seduction by that which lies just outside the rules outside the law Mark Wigley Reaction Design in Philip Johnson The Constancy of Change ed Emmanuel Petit with foreword by Robert A M Stern New Haven 2009 217 Wigley s comments are quoted more fully at the end of this publication This anniversary year provides an excellent opportunity to commemorate the Collection s impressive housing arguably a work of art in its own right Document Actions Print this Share Next The Robert Woods Bliss Collection of Pre Columbian Art Philip Johnson at Dumbarton Oaks The Robert Woods Bliss Collection of Pre Columbian Art Planning the Museum Addition Phase 1 Philip Johnson Philip Johnson and the Art Museum Planning the Museum Addition Phase 2 The Pre Columbian Collection Pavilion Last Concerns Installation of the Collection Landscaping and the Acoustical Problem Critical Appraisal of the Philip Johnson Pavilion The Pre Columbian Pavilion as Postmodern Design Philip Johnson and Mildred Barnes Bliss Fifty Years Later Bibliography Figures Philip Johnson at Dumbarton Oaks Figure 1 Philip Johnson at Dumbarton Oaks Figure 2 Philip Johnson at Dumbarton Oaks Figure 3 Philip Johnson at Dumbarton Oaks Figure 4 Philip Johnson at Dumbarton Oaks Figure 5 Philip Johnson at Dumbarton Oaks Figure 6 Philip Johnson at Dumbarton Oaks Figure 7 Philip Johnson at Dumbarton Oaks Figure 8 Philip Johnson at Dumbarton Oaks Figure 9 Philip Johnson at Dumbarton Oaks Figure 10 Philip Johnson at Dumbarton Oaks Figure 11 Philip Johnson at Dumbarton Oaks Figure 12 Philip Johnson at Dumbarton Oaks Figure 13 Philip Johnson at Dumbarton Oaks Figure 14 Philip Johnson at Dumbarton Oaks Figure 15 Philip Johnson at Dumbarton Oaks Figure 16 Philip Johnson at Dumbarton Oaks Figure 17 Philip Johnson

    Original URL path: http://www.doaks.org/museum/online-pubs/philip-johnson (2016-02-18)
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  • Fellowship Opportunities — Dumbarton Oaks
    under the direction of a faculty member at their own university Graduate students who do not have the PhD in hand by the application deadline of November 1 must apply as Junior Fellows Successful applicants for Junior Fellowships who have the PhD in hand by the beginning of the Fellowship term may be granted the status and stipend of Fellows Fellowships are for scholars who hold a doctorate or appropriate final degree or have established themselves in their field and wish to pursue their own research Summer Fellowships are for Byzantine Pre Columbian or Garden and Landscape scholars on any level of advancement beyond the first year of graduate post baccalaureate study Please note Fellowship applicants in Garden and Landscape Studies should see here for additional information Tyler Fellowships are two year fellowships designed for Harvard graduate students who have completed all departmental requirements for the PhD before the application deadline Tyler Fellowships are governed by unique terms You may learn more about the Tyler Fellowship and its terms here Mellon Fellowships in Urban Landscape Studies are offered by the Garden and Landscape Studies program and are intended for scholars and designers to pursue research on the history and current conditions of urban landscapes Mellon Fellowships are governed by unique terms You may learn more about the Mellon Initiative in Urban Landscape Studies here and fellowship terms here Document Actions Print this Share Navigation Studies Programs Fellowships and Grants Fellowships Fellowship Terms William R Tyler Fellowships Mellon Fellowships in Urban Landscape Studies Applications 2015 2016 Fellows One Month Research Awards Project Grants Short Term Pre Doctoral Residencies Byzantine Studies Pre Columbian Studies Garden and Landscape Studies Opportunities for Harvard Students Important Dates for Fellowships and Grants February 1 Mellon Fellowship applications due March 1 One Month Research Award applications due

    Original URL path: http://www.doaks.org/research/fellowships-and-grants/fellowships (2016-02-18)
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