Collections

Two identical, bright red-painted aluminum sheets are mounted on a white wall. Each of the rectangular sheets is folded convexly along its center and oriented vertically.

Strategies of Withdrawal: The Art of Lee Lozano and Charlotte Posenenske

In the 1960s, artists Lee Lozano and Charlotte Posenenske both pursued truly radical forms of creating and living. Curatorial fellow Lauren Hanson suggests their work and legacy is worthy of our (re)consideration.

By Lauren Hanson

A man's hand holds a mobile phone that displays a Harvard Art Museums magazine article.

Harvard Art Museums from Home

Experience the Harvard Art Museums from home as we spotlight new stories about our collections and revisit some old favorites.

On the left, a blue photographic image shows a raised subway platform under construction. On the right, an image shows a woman holding a blue square cyanotype print featuring a collage of photographic negatives of people.

Art Talk: Cyanotypes—Art and Science at Home

Conservation scientist Julie Wertz talks about the science and process of cyanotypes, also demonstrating how to make one at home.

This unpainted caramel-colored wooden sculpture depicts a slender man with a long curly beard, dressed in robes, a cape, and a hat. Both hands have broken off at the wrist.

Art Talk: The Wood and the Worms

Curatorial fellow Gabriella Szalay explores the intricacies of 15th- and 16th-century carved wooden altarpieces and their vulnerability to time.

A small brass figurine depicts a woolly ram with a long tail. A bearded man pokes his head out from under its belly, grasping the animal’s side with his left arm. The animal’s fur is indicated by striated lines. The surface is shiny and nearly black, and partly covered in light brown encrustations.

Escape Artists

Curators delve into works from across the collections that illustrate escapes—whether it be from immediate danger, demands of daily life, health problems, political crises, or even the rules of nature.

This print shows two raised hands, clasped together, in fire engine red, overlaid with a blue inscription in all caps, “Come Together in Peace.” The background is beige.

Art and Agency

To artists and activists, art provides tools to raise awareness and shape communities. This look at political art of the past raises questions about today’s responsibilities for artists and art institutions to make a stance.

This image shows the reverse of a bronze handheld mirror with a lightly incised decoration. The main body is round with a raised edge, and there is a long, diagonal tear on the lower section. A tang extends from the body but there is no handle.

Art Talk: Mirror, Mirror—Reflections on the Etruscans and Their Afterlife

Curatorial fellow Frances Gallart Marqués explores a group of ancient bronze mirrors and the enduring legacy of the people who made them.

A round-topped limestone slab has two horizontal registers. The upper register depicts the god Horus as a child, holding snakes, a scorpion, a lion, and an oryx; he is standing on two crocodiles. To the left of him is his mother Isis, who wears a long dress and a crown of cow’s horns and a sun disk. To the right is Horus as an adult, who has a falcon’s head. The lower register shows the goddess Taweret, who has the face and body of a hippopotamus, the paws of a lion, and the tail of a crocodile. She faces a bald man who makes offerings to her.

A Salve for Your Snake Bites

Curatorial fellow Jen Thum explains how the museums’ ancient Egyptian magical stele speaks to themes of protection, family, and healing.

By Jen Thum

In this drawing on light brown paper, a slender man sits atop a horse, his back turned to the viewer. The horse is indicated by only a few black strokes that define its torso and saddle. The man holds the reins and firmly plants a foot in a stirrup. A few highlights of white dot his shirt and pants, and his sleeves are colored bluish black. His grey face is seen in profile, as he looks to the right. He wears a visor cap that shades his eyes. In the lower left side, the artist’s signature, “Degas,” appears in a red stamp.

Homecoming for a Degas Drawing

Paper conservator Anne Driesse discusses the treatment of a long-lost Degas drawing that only recently returned to the museums.

By Anne Driesse

This framed painting shows an older white man in a tuxedo holding a cigarette. At rgiht, the image is reflected in the glass of a gallery.

Art Talk: Max Beckmann’s Self-Portrait in Tuxedo

Curator Lynette Roth examines Max Beckmann’s Self-Portrait in Tuxedo (1927) and the ongoing fascination with this enigmatic painting.