GROUND WAS BROKEN FOR THE EDWARD M KENNEDY INSTITUTE FOR THE UNITED STATES, SITUATED ON THE CAMPUS OF THE UNIVERSITY OF MASSACHUSETTS BOSTON. THE HISTORIC PROJECT WILL STAND BESIDE THE EXISTING JOHN F KENNEDY PRESIDENTIAL LIBRARY AND MUSEUM, ENCOURAGING VISITORS TO EXPLORE BOTH BUILDINGS. THE NEW FACILITY WILL HOUSE PARTICIPATORY EDUCATIONAL PROGRAMS DESIGNED TO ENGAGE THE PUBLIC IN THE SYSTEMS OF THE AMERICAN GOVERNMENT AND HEIGHTEN AWARENESS OF THE US SENATE'S ROLE IN THE GOVERNMENT. THE FACILITY WILL CONSIST OF ROUGHLY 40,000 SQUARE FEET OF PROGRAM SPACE, COMPRISED MAINLY OF CLASSROOM, EDUCATIONAL EXHIBITS, AND A REPRESENTATION OF THE SENATE CHAMBER. THE INSTITUTE'S OVERALL SITE PLAN HAS BEEN DESIGNED TO WORK IN HARMONY WITH IM PEI'S NEIGHBORING JOHN F KENNEDY LIBRARY. THE DESIGN INCLUDES AN INNOVATIVE COMPOSITE CLADDING, WHICH WRAPS THE EXTERIOR OF THE CHAMBER REPRESENTATION. THE CLADDING IS VISUALLY SEPARATED FROM THE 1-STORY VOLUME BY A RIBBON SKYLIGHT, WHICH RUNS ABOVE THE GROUND-FLOOR EXHIBITION SPACE. THE COMPLETE DEVELOPMENT WILL BOAST A LARGE EXPANSE OF OUTDOOR PUBLIC SPACE, GUIDING VISITORS TO THE ENTRANCE OF THE BUILDING. THE PUBLIC GREEN SPACE IS BORDERED BY TWO TRIANGULAR VOLUMES, WHICH DEFINE THE ENTRY TO THE BUILDING AND GEOMETRICALLY CONNECT THE INSTITUTE TO THE JOHN F KENNED LIBRARY. THE EXTERIOR OPEN SPACE IS A LINK BETWEEN THE INSTITUTE, THE JOHN F KENNEDY LIBRARY AND THE UNIVERSITY OF MASSACHUSETTS BOSTON CAMPUS, WHILE ALSO ACTING AS A CONNECTION TO THE WATERFRONT AND BOSTON HARBOR WALK. THE ENTRANCE APPROACH IS DESIGNED TO INCORPORATE COMPONENTS FROM EACH OF THE 50 STATES AND ENHANCE CONNECTION BETWEEN THE BUILDING AND THE ENTIRE NATION. THE SENATE CHAMBER REPRESENTATION IS THE HEART OF THE INSTITUTE, AND WILL FACILITATE INNOVATIVE EDUCATIONAL PROGRAMMING, SUCH AS AN IMMERSIVE MULTI-PLAYER SOCIAL EXPERIENCE, ACTIVATED BY 100 INTERACTIVE DESKS, BRINGING PARTICIPATING DEEP INSIDE THE LEGISLATIVE PROCESS. CREATED IN COLLABORATION WITH GAME DESIGNER ERIC ZIMMERMAN, THE ROLE-PLAYING EXPERIENCE WILL GUIDE GROUPS THROUGH HISTORICALLY ACCURATE EVENTS, WITH THE VISITORS DETERMINING THE OUTCOME. HIGHLY SOCIAL BY DESIGN, THE IMMERSIVE ACTIVITIES WILL ENABLE PARTICIPANTS TO ENGAGE IN NEGOTIATION, DEBATE, CAUCUSES AND VOTES. THE INSTITUTE WILL ALSO FEATURE A RECREATION OF THE ACTUAL OFFICE OF SENATOR KENNEDY.

EDWARD M KENNEDY INSTITUTE FOR THE UNITED STATES BREAKS GROUND IN BOSTON

GROUND WAS BROKEN FOR THE EDWARD M KENNEDY INSTITUTE FOR THE UNITED STATES, SITUATED ON THE CAMPUS OF THE UNIVERSITY OF MASSACHUSETTS BOSTON. THE HISTORIC PROJECT WILL STAND BESIDE THE EXISTING JOHN F KENNEDY PRESIDENTIAL LIBRARY AND MUSEUM, ENCOURAGING VISITORS TO EXPLORE BOTH BUILDINGS. THE NEW FACILITY WILL HOUSE PARTICIPATORY EDUCATIONAL PROGRAMS DESIGNED TO ENGAGE THE PUBLIC IN THE SYSTEMS OF THE AMERICAN GOVERNMENT AND HEIGHTEN AWARENESS OF THE US SENATE'S ROLE IN THE GOVERNMENT. THE FACILITY WILL CONSIST OF ROUGHLY 40,000 SQUARE FEET OF PROGRAM SPACE, COMPRISED MAINLY OF CLASSROOM, EDUCATIONAL EXHIBITS, AND A REPRESENTATION OF THE SENATE CHAMBER. THE INSTITUTE'S OVERALL SITE PLAN HAS BEEN DESIGNED TO WORK IN HARMONY WITH IM PEI'S NEIGHBORING JOHN F KENNEDY LIBRARY. THE DESIGN INCLUDES AN INNOVATIVE COMPOSITE CLADDING, WHICH WRAPS THE EXTERIOR OF THE CHAMBER REPRESENTATION. THE CLADDING IS VISUALLY SEPARATED FROM THE 1-STORY VOLUME BY A RIBBON SKYLIGHT, WHICH RUNS ABOVE THE GROUND-FLOOR EXHIBITION SPACE. THE COMPLETE DEVELOPMENT WILL BOAST A LARGE EXPANSE OF OUTDOOR PUBLIC SPACE, GUIDING VISITORS TO THE ENTRANCE OF THE BUILDING. THE PUBLIC GREEN SPACE IS BORDERED BY TWO TRIANGULAR VOLUMES, WHICH DEFINE THE ENTRY TO THE BUILDING AND GEOMETRICALLY CONNECT THE INSTITUTE TO THE JOHN F KENNED LIBRARY. THE EXTERIOR OPEN SPACE IS A LINK BETWEEN THE INSTITUTE, THE JOHN F KENNEDY LIBRARY AND THE UNIVERSITY OF MASSACHUSETTS BOSTON CAMPUS, WHILE ALSO ACTING AS A CONNECTION TO THE WATERFRONT AND BOSTON HARBOR WALK. THE ENTRANCE APPROACH IS DESIGNED TO INCORPORATE COMPONENTS FROM EACH OF THE 50 STATES AND ENHANCE CONNECTION BETWEEN THE BUILDING AND THE ENTIRE NATION. THE SENATE CHAMBER REPRESENTATION IS THE HEART OF THE INSTITUTE, AND WILL FACILITATE INNOVATIVE EDUCATIONAL PROGRAMMING, SUCH AS AN IMMERSIVE MULTI-PLAYER SOCIAL EXPERIENCE, ACTIVATED BY 100 INTERACTIVE DESKS, BRINGING PARTICIPATING DEEP INSIDE THE LEGISLATIVE PROCESS. CREATED IN COLLABORATION WITH GAME DESIGNER ERIC ZIMMERMAN, THE ROLE-PLAYING EXPERIENCE WILL GUIDE GROUPS THROUGH HISTORICALLY ACCURATE EVENTS, WITH THE VISITORS DETERMINING THE OUTCOME. HIGHLY SOCIAL BY DESIGN, THE IMMERSIVE ACTIVITIES WILL ENABLE PARTICIPANTS TO ENGAGE IN NEGOTIATION, DEBATE, CAUCUSES AND VOTES. THE INSTITUTE WILL ALSO FEATURE A RECREATION OF THE ACTUAL OFFICE OF SENATOR KENNEDY.

EDWARD M KENNEDY INSTITUTE FOR THE UNITED STATES BREAKS GROUND IN BOSTON

GLASS ARTIST DALE CHIHULY SAYS HIS WELL OF INSPIRATION NEVER RUNS DRY, EVEN AFTER SOME 40 YEARS PUSHING THE BOUNDARIES OF HIS MEDIUM. 'JUST WORKING WITH THE MATERIAL BRINGS FORTH A LOT OF IDEAS, IN BOTH THE GLASS BLOWING AND IN WORKING WITH THE GLASS AFTER IT'S BEEN BLOWN', CHIHULY SAID ON THE SIDELINES OF HIS MAJOR NEW EXHIBIT AT BOSTON'S MUSEUM OF FINE ARTS. 'CHIHULY: THROUGH THE LOOKING GLASS', 12 INSTALLATIONS THAT LIVE UP TO THEIR ALICE IN WONDERLAND BILLING, OPENS ON 10.APRIL AND WILL RUN THROUGH AUGUST IN THE RECENTLY OPENED ART OF THE AMERICAS WING. THE EXHIBIT FEATURES A MIX OF NEW AND EARLY WORKS FROM CHIHULY, PERHAPS THE FOREMOST ARTIST NOW WORKING IN GLASS AND, WITH HIS DISTINCTIVE CURLY HAIR AND EYE PATCH, CERTAINLY THE MOST RECOGNIZABLE. THE INSTALLATIONS CONTAIN SOME 7,000 INDIVIDUAL PIECES, INCLUDING MILLE FIORI (ITALIAN FOR 'A THOUSAND FLOWERS'), A 58 FOOT LONG INSTALLATION DISPLAYED IN A DARKENED ROOM. NEODYMIUM REEDS ON LOGS IS A SERIES OF TALL, PURPLE GLASS RODS SET AGAINST FRESHLY-CUT MAINE BIRCH, WHILE PERSIAN CEILING EVOKES A MADLY COLOURED SEASCAPE. THE 42 FOOT TALL LIME GREEN ICICLE TOWER, INSTALLED IN A HIGH-CEILINGED COURTYARD, WEIGHS SOME 10,000 POUNDS AND COMPRISES OVER 2,300 INDIVIDUAL PIECES OF GLASS. 'I TEND TO DO THINGS ON A HUGE SCALE BECAUSE IT'S EXCITING. I LIKE TO PUSH THINGS IN NEW AND DIFFERENT WAYS', CHIHULY SAID. 'MY PHILOSOPHY IS: WHEN ONE IS GOOD, A DOZEN IS BETTER.' 'THROUGH THE LOOKING GLASS' WAS SOME 18 MONTHS IN THE PLANNING AND CONCEPTION BEFORE ARRIVING IN BOSTON IN SIX GIANT CONTAINERS FOR A THREE-WEEK ASSEMBLY MARATHON. THE WORKS WERE CREATED IN CHIHULY'S TWO FACILITIES IN SEATTLE, THE BOATHOUSE, THE 'HOT SHOP' WHERE THE GLASS PIECES ARE BLOWN, AND THE BALLARD STUDIO, WHICH HAS 25 FOOT CEILINGS TO HELP PUT LARGE INSTALLATIONS TOGETHER. CHIHULY SAID HE DOESN'T TRY TO ANTICIPATE HOW VIEWERS WILL RESPOND TO HIS CREATIONS, BUT HOPES HIS WORK WILL LIFT UP THEIR SPIRITS. 'PEOPLE RESPOND TO THINGS IN A DIFFERENT WAY. IF YOU COULD RECORD WHAT PEOPLE WERE THINKING, THERE WOULD BE A TREMENDOUS VARIATION', HE SAID.

MFA, BOSTON, TO PRESENT 'CHIHULY: THROUGH THE LOOKING GLASS'

GLASS ARTIST DALE CHIHULY SAYS HIS WELL OF INSPIRATION NEVER RUNS DRY, EVEN AFTER SOME 40 YEARS PUSHING THE BOUNDARIES OF HIS MEDIUM. 'JUST WORKING WITH THE MATERIAL BRINGS FORTH A LOT OF IDEAS, IN BOTH THE GLASS BLOWING AND IN WORKING WITH THE GLASS AFTER IT'S BEEN BLOWN', CHIHULY SAID ON THE SIDELINES OF HIS MAJOR NEW EXHIBIT AT BOSTON'S MUSEUM OF FINE ARTS. 'CHIHULY: THROUGH THE LOOKING GLASS', 12 INSTALLATIONS THAT LIVE UP TO THEIR ALICE IN WONDERLAND BILLING, OPENS ON 10.APRIL AND WILL RUN THROUGH AUGUST IN THE RECENTLY OPENED ART OF THE AMERICAS WING. THE EXHIBIT FEATURES A MIX OF NEW AND EARLY WORKS FROM CHIHULY, PERHAPS THE FOREMOST ARTIST NOW WORKING IN GLASS AND, WITH HIS DISTINCTIVE CURLY HAIR AND EYE PATCH, CERTAINLY THE MOST RECOGNIZABLE. THE INSTALLATIONS CONTAIN SOME 7,000 INDIVIDUAL PIECES, INCLUDING MILLE FIORI (ITALIAN FOR 'A THOUSAND FLOWERS'), A 58 FOOT LONG INSTALLATION DISPLAYED IN A DARKENED ROOM. NEODYMIUM REEDS ON LOGS IS A SERIES OF TALL, PURPLE GLASS RODS SET AGAINST FRESHLY-CUT MAINE BIRCH, WHILE PERSIAN CEILING EVOKES A MADLY COLOURED SEASCAPE. THE 42 FOOT TALL LIME GREEN ICICLE TOWER, INSTALLED IN A HIGH-CEILINGED COURTYARD, WEIGHS SOME 10,000 POUNDS AND COMPRISES OVER 2,300 INDIVIDUAL PIECES OF GLASS. 'I TEND TO DO THINGS ON A HUGE SCALE BECAUSE IT'S EXCITING. I LIKE TO PUSH THINGS IN NEW AND DIFFERENT WAYS', CHIHULY SAID. 'MY PHILOSOPHY IS: WHEN ONE IS GOOD, A DOZEN IS BETTER.' 'THROUGH THE LOOKING GLASS' WAS SOME 18 MONTHS IN THE PLANNING AND CONCEPTION BEFORE ARRIVING IN BOSTON IN SIX GIANT CONTAINERS FOR A THREE-WEEK ASSEMBLY MARATHON. THE WORKS WERE CREATED IN CHIHULY'S TWO FACILITIES IN SEATTLE, THE BOATHOUSE, THE 'HOT SHOP' WHERE THE GLASS PIECES ARE BLOWN, AND THE BALLARD STUDIO, WHICH HAS 25 FOOT CEILINGS TO HELP PUT LARGE INSTALLATIONS TOGETHER. CHIHULY SAID HE DOESN'T TRY TO ANTICIPATE HOW VIEWERS WILL RESPOND TO HIS CREATIONS, BUT HOPES HIS WORK WILL LIFT UP THEIR SPIRITS. 'PEOPLE RESPOND TO THINGS IN A DIFFERENT WAY. IF YOU COULD RECORD WHAT PEOPLE WERE THINKING, THERE WOULD BE A TREMENDOUS VARIATION', HE SAID.

MFA, BOSTON, TO PRESENT 'CHIHULY: THROUGH THE LOOKING GLASS'

PROVENANCE RESEARCH CONDUCTED BY THE MUSEUM OF FINE ARTS, BOSTON (MFA), HAS RESULTED IN NEW DISCOVERIES ABOUT THE HISTORY OF OWNERSHIP OF FOUR 17th CENTURY TAPESTRIES IN THE MFA's COLLECTION. THE MUSEUM's RESEARCH REVEALED THAT THE TAPESTRIES, GIVEN TO THE MFA IN THE 1950s BY EUGENE GARBATY, A GERMAN JEWISH ART COLLECTOR AND REFUGEE, HAD BEEN INCLUDED IN A FORCED SALE IN 1935 OF THE STOCK OF THE ART DEALER MARGRAF & CO IN BERLIN, A FIRM RUN BY JAKOB AND ROSA OPPENHEIMER. THE MFA CONTACTED THE OPPENHEIMER HEIRS IN 2010 TO INFORM THEM OF THE DISCOVERY AND TO BEGIN SETTLEMENT DISCUSSIONS, WHICH CONCLUDED RECENTLY. THE FOUR TAPESTRIES (EACH MEASURING APPROXIMATELY 222 x 48 INCHES) WERE PART OF A LARGER SERIES THAT DEPICTED THE LIFE AND ACHIEVEMENTS OF POPE URBAN VIII. THE ENTIRE SERIES, BEGUN IN 1663 AND FINISHED IN 1679, WAS COMMISSIONED AFTER THE POPE'S DEATH BY HIS NEPHEW, CARDINAL FRANCESCO BARBERINI. THE TAPESTRIES HUNG IN THE BARBERINI PALACE IN ROME UNTIL THE END OF THE 19th CENTURY, WHEN THE SERIES WAS DISASSEMBLED AND SOLD. ORIGINALLY, THERE WERE 34 TAPESTRIES MADE OUT OF COLOURFUL WOOL AND SILK. AMONG THEM WERE 10 LARGER NARRATIVE PANELS, OF WHICH NINE ARE NOW IN THE VATICAN MUSEUM IN ROME, AND ONE IS IN THE MUSEES ROYAUX D'ART ET HISTOIRE IN BRUSSELS. THE SERIES ALSO INCLUDES 10 HORIZONTAL BORDER PANELS, CALLED FRIEZES, AND 14 VERTICAL BORDER PANELS, KNOWN AS PILASTERS. BY 1928, EIGHT OF THE PILASTERS FROM THE SERIES, INCLUDING THE FOUR AT THE MFA, WERE OWNED BY MARGRAF IN BERLIN. IN 1933, THE OPPENHEIMERS, WHO WERE JEWISH, FLED GERMANY TO AVOID NAZI PERSECUTION AND RELOCATED TO FRANCE. IN THEIR ABSENCE, THEY WERE FORCED OUT OF THEIR MANAGEMENT ROLES AT MAGRAF AND WERE FORBIDDEN FROM PERFORMING ANY LEGAL TRANSACTIONS FOR THE COMPANY. AS A WELL-KNOWN JEWISH BUSINESS, MARGRAF WAS DISSOLVED BY THE NAZI REGIME, ITS GALLERY STOCK SOLD OFF QUICKLY AND AT LOW PRICES IN A SERIES OF AUCTION HELD IN BERLIN IN 1935. THE EIGHT BARBERINI TAPESTRIES WERE INCLUDED IN THE MARGRAF LIQUIDATION SALE HELD AT THE AUCTION HOUSE PAUL GRAUPE ON 26-27.APRIL.1935. DISCOVERY OF THIS INFORMATION BY VICTORIA REED, THE MFA's MONICA S SADLER CURATOR FOR PROVENANCE, HELPED TO DETERMINE THAT THE TAPESTRIES WERE INCLUDED IN THE FORCED SALE, FROM WHICH THE OPPENHEIMERS WERE UNABLE TO REALIZE THE PROCEEDS. THE MUSEUM THEN CONTACTED THEIR HEIRS. JAKOB AND ROSA OPPENHEIMER LOST THEIR LIVES BEFORE THE END OF WORLD WAR II. AFTER THE WAR, THE BUSINESS SHARES IN MARGRAF WERE LEGALLY TRANSFERRED TO THEIR HEIRS, BUT ALMOST NONE OF THE GALLERY'S ARTWORK WAS RECOVERED.

MFA, BOSTON, DISCOVERS PROVENANCE OF 17th CENTURY TAPESTRIES

PROVENANCE RESEARCH CONDUCTED BY THE MUSEUM OF FINE ARTS, BOSTON (MFA), HAS RESULTED IN NEW DISCOVERIES ABOUT THE HISTORY OF OWNERSHIP OF FOUR 17th CENTURY TAPESTRIES IN THE MFA's COLLECTION. THE MUSEUM's RESEARCH REVEALED THAT THE TAPESTRIES, GIVEN TO THE MFA IN THE 1950s BY EUGENE GARBATY, A GERMAN JEWISH ART COLLECTOR AND REFUGEE, HAD BEEN INCLUDED IN A FORCED SALE IN 1935 OF THE STOCK OF THE ART DEALER MARGRAF & CO IN BERLIN, A FIRM RUN BY JAKOB AND ROSA OPPENHEIMER. THE MFA CONTACTED THE OPPENHEIMER HEIRS IN 2010 TO INFORM THEM OF THE DISCOVERY AND TO BEGIN SETTLEMENT DISCUSSIONS, WHICH CONCLUDED RECENTLY. THE FOUR TAPESTRIES (EACH MEASURING APPROXIMATELY 222 x 48 INCHES) WERE PART OF A LARGER SERIES THAT DEPICTED THE LIFE AND ACHIEVEMENTS OF POPE URBAN VIII. THE ENTIRE SERIES, BEGUN IN 1663 AND FINISHED IN 1679, WAS COMMISSIONED AFTER THE POPE'S DEATH BY HIS NEPHEW, CARDINAL FRANCESCO BARBERINI. THE TAPESTRIES HUNG IN THE BARBERINI PALACE IN ROME UNTIL THE END OF THE 19th CENTURY, WHEN THE SERIES WAS DISASSEMBLED AND SOLD. ORIGINALLY, THERE WERE 34 TAPESTRIES MADE OUT OF COLOURFUL WOOL AND SILK. AMONG THEM WERE 10 LARGER NARRATIVE PANELS, OF WHICH NINE ARE NOW IN THE VATICAN MUSEUM IN ROME, AND ONE IS IN THE MUSEES ROYAUX D'ART ET HISTOIRE IN BRUSSELS. THE SERIES ALSO INCLUDES 10 HORIZONTAL BORDER PANELS, CALLED FRIEZES, AND 14 VERTICAL BORDER PANELS, KNOWN AS PILASTERS. BY 1928, EIGHT OF THE PILASTERS FROM THE SERIES, INCLUDING THE FOUR AT THE MFA, WERE OWNED BY MARGRAF IN BERLIN. IN 1933, THE OPPENHEIMERS, WHO WERE JEWISH, FLED GERMANY TO AVOID NAZI PERSECUTION AND RELOCATED TO FRANCE. IN THEIR ABSENCE, THEY WERE FORCED OUT OF THEIR MANAGEMENT ROLES AT MAGRAF AND WERE FORBIDDEN FROM PERFORMING ANY LEGAL TRANSACTIONS FOR THE COMPANY. AS A WELL-KNOWN JEWISH BUSINESS, MARGRAF WAS DISSOLVED BY THE NAZI REGIME, ITS GALLERY STOCK SOLD OFF QUICKLY AND AT LOW PRICES IN A SERIES OF AUCTION HELD IN BERLIN IN 1935. THE EIGHT BARBERINI TAPESTRIES WERE INCLUDED IN THE MARGRAF LIQUIDATION SALE HELD AT THE AUCTION HOUSE PAUL GRAUPE ON 26-27.APRIL.1935. DISCOVERY OF THIS INFORMATION BY VICTORIA REED, THE MFA's MONICA S SADLER CURATOR FOR PROVENANCE, HELPED TO DETERMINE THAT THE TAPESTRIES WERE INCLUDED IN THE FORCED SALE, FROM WHICH THE OPPENHEIMERS WERE UNABLE TO REALIZE THE PROCEEDS. THE MUSEUM THEN CONTACTED THEIR HEIRS. JAKOB AND ROSA OPPENHEIMER LOST THEIR LIVES BEFORE THE END OF WORLD WAR II. AFTER THE WAR, THE BUSINESS SHARES IN MARGRAF WERE LEGALLY TRANSFERRED TO THEIR HEIRS, BUT ALMOST NONE OF THE GALLERY'S ARTWORK WAS RECOVERED.

MFA, BOSTON, DISCOVERS PROVENANCE OF 17th CENTURY TAPESTRIES

FOR THE FIRST TIME SINCE IT OPENED IN 1914, THE ISABELLA STEWART GARDNER MUSEUM'S 4,000 SQUARE FOOT TAPESTRY ROOM IS BEING RESTORED TO ITS ORIGINAL GLORY AND WILL ONCE AGAIN TAKE ITS PLACE AS ONE OF THE NATION'S GREAT TAPESTRY HALLS. THE RESTORATION OF THE BELOVED SPACE WILL RETURN THE TAPESTRY ROOM TO ITS ORIGINAL CONFIGURATION FOR ITS FIRST TIME SINCE A TEMPORARY STAGE, CHAIRS, AND OTHER MODERN ELEMENTS WERE ADDED TO ACCOMMODATE FORMAL CONCERTS IN THE EARLY 1970s. HISTORICALLY, THE TAPESTRY ROOM HAS BEEN A GALLERY AND HOME TO MANY OF THE MUSEUM'S PROGRAMS, INCLUDING THE POPULAR SUNDAY CONCERT SERIES. NOW, AS PART OF THE GARDNER MUSEUM'S EXTENSION AND PRESERVATION PROJECT, THE MUSEUM'S WORLD CLASS CONCERTS WILL BE RELOCATED TO AN INTIMATE NEW PERFORMANCE HALL IN THE RENZO PIANO-DESIGNED ADDITION, AND THE GARDNER WILL BE ABLE TO RESTORE THE SPACE TO ITS HISTORIC APPEARANCE, ENABLING VISITORS TO SEE AND ENJOY THE TAPESTRY ROOM FOR THE FIRST TIME IN NEARLY 40 YEARS. NO EVENT PROGRAMMING IS SCHEDULED FOR 2011 IN THE TAPESTRY ROOM; PROGRAMMING WILL RESUME IN 2012 IN THE NEW WING AND THE GALLERY WILL REMAIN OPEN UNTIL THEN SO THAT VISITORS CAN VIEW THE CONSERVATION AND PRESERVATION WORK TAKING PLACE. THE REINSTALLED TAPESTRY ROOM WILL BE HIGHLIGHTED AS PART OF THE MUSEUM'S GRAND OPENING FOR ITS NEW WING IN JANUARY 2012. 'ONE OF THE MOST IMPORTANT GOALS OF THE NEW WING IS THE RELOCATION OF PROGRAMMING WHICH HAS OUTGROWN THE HISTORIC GALLERIES', SAYS ANNE HAWLEY, THE NORMA JEAN CALDERWOOD DIRECTOR OF THE ISABELLA STEWART GARDNER MUSEUM. 'THE TAPESTRY ROOM IS PERHAPS THE MOST DRAMATIC EXAMPLE OF THAT AS IT HAD BECOME THE HUB OF THE MUSEUM'S LARGEST AND MOST POPULAR PROGRAMMING AND HAD LOST ITS FOCUS AS A GALLERY. THIS EFFORT RETURNS THE SPACE INTO A BEAUTIFUL GALLERY FOR VIEWING TAPESTRIES, SOMETHING AN ENTIRE GENERATION OF VISITORS HAS NOT EXPERIENCED.' THE NEW 70,000 SQUARE FOOT WING DESIGNED BY RENZO PIANO INCLUDES PURPOSE-BUILT SPACES FOR MANY OF THE ACTIVITIES FORMALLY HELD IN THE TAPESTRY ROOM, SUCH AS LECTURES, VISITOR ORIENTATION AND THE SUNDAY CONCERT SERIES. WHILE OCCASIONAL SMALLER MUSICAL PERFORMANCES AND TALKS WILL CONTINUE IN THE REINSTALLED SPACE, THE TAPESTRY ROOM WILL SERVE PRIMARILY AS A GRAND GALLERY FOR VIEWING TAPESTRIES AND OTHER WORKS OF ART. CURATORIAL AND CONVERSATION STAFFS HAVE PLANNED THE PRESERVATION AND RE-INSTALLATION OF THE TAPESTRY ROOM BASED ON HISTORIC PHOTOGRAPHS FROM THE MUSEUM'S ARCHIVES, WHICH WERE TAKEN IN 1915, 1916, AND 1926 BY PHOTOGRAPHER T.E. MARR AND SON. THE PHOTOGRAPHS REVEAL A PIANO PLACED IN FRONT OF THE LATE 14th CENTURY FRENCH FIREPLACE AND AN ARRANGEMENT OF FURNITURE AND OBJECTS IN THE CENTER OF THE GALLERY. CONSERVATION TREATMENT WILL ENCOMPASS CLEANING, RESTORATION AND RE-INSTALLATION OF MANY PARTS OF THE GALLERY, INCLUDING ITS MERCER-TILED FLOORS AND FRENCH MEDIEVAL STONE FIREPLACE, SELECT ART AND FURNITURE OBJECTS, AND NEW LIGHTING. THE HISTORIC ARRANGEMENT OF FURNITURE IN THE CENTER OF THE GALLERY AND OTHER VIGNETTES AROUND THE WINDOWS AS DEPICTED IN EARLY PHOTOGRAPHS ALSO WILL BE RESTORED. TWO OF THE MOST STRIKING AREAS WILL BE THE CONSERVATION OF THE MASSIVE FIREPLACE AND THE PAINTING OF THE ARCHANGEL MICHAEL BY PEDRO GARCIA DE BENABARRE THAT HANGS ABOVE IT, AND AN ARRANGEMENT OF TEN SIDE CHAIRS UPHOLSTERED IN 18th CENTURY NETHERLANDISH PAINTED LEATHER THAT WILL BE RE-INSTALLED AROUND A 17th CENTURY DUTCH TABLE IN THE CENTER OF THE GALLERY. ADDITIONALLY, LIGHTING UPGRADES WILL ENHANCE THE GALLERY'S HISTORIC ATMOSPHERE, REDUCE HARMFUL LIGHT ON THE COLLECTION AND IMPROVE VISIBILITY. EIGHTEEN TEXTILE PROJECTS ARE INCLUDE IN THE ROOM REFURBISHMENT PLANS. THEY INCLUDE CONSERVING ORIGINAL TEXTILES, RE-UPHOLSTERING FURNITURE, AND REPLACING MISSING, DAMAGED OR INAPPROPRIATE FURNISHING TEXTILES. TWO TAPESTRIES WILL BE REINSTATED TO THEIR ORIGINAL 1926 POSITIONS.

ISABELLA STEWART GARDNER MUSEUM RESTORES TAPESTRY ROOM TO FORMER GLORY

FOR THE FIRST TIME SINCE IT OPENED IN 1914, THE ISABELLA STEWART GARDNER MUSEUM'S 4,000 SQUARE FOOT TAPESTRY ROOM IS BEING RESTORED TO ITS ORIGINAL GLORY AND WILL ONCE AGAIN TAKE ITS PLACE AS ONE OF THE NATION'S GREAT TAPESTRY HALLS. THE RESTORATION OF THE BELOVED SPACE WILL RETURN THE TAPESTRY ROOM TO ITS ORIGINAL CONFIGURATION FOR ITS FIRST TIME SINCE A TEMPORARY STAGE, CHAIRS, AND OTHER MODERN ELEMENTS WERE ADDED TO ACCOMMODATE FORMAL CONCERTS IN THE EARLY 1970s. HISTORICALLY, THE TAPESTRY ROOM HAS BEEN A GALLERY AND HOME TO MANY OF THE MUSEUM'S PROGRAMS, INCLUDING THE POPULAR SUNDAY CONCERT SERIES. NOW, AS PART OF THE GARDNER MUSEUM'S EXTENSION AND PRESERVATION PROJECT, THE MUSEUM'S WORLD CLASS CONCERTS WILL BE RELOCATED TO AN INTIMATE NEW PERFORMANCE HALL IN THE RENZO PIANO-DESIGNED ADDITION, AND THE GARDNER WILL BE ABLE TO RESTORE THE SPACE TO ITS HISTORIC APPEARANCE, ENABLING VISITORS TO SEE AND ENJOY THE TAPESTRY ROOM FOR THE FIRST TIME IN NEARLY 40 YEARS. NO EVENT PROGRAMMING IS SCHEDULED FOR 2011 IN THE TAPESTRY ROOM; PROGRAMMING WILL RESUME IN 2012 IN THE NEW WING AND THE GALLERY WILL REMAIN OPEN UNTIL THEN SO THAT VISITORS CAN VIEW THE CONSERVATION AND PRESERVATION WORK TAKING PLACE. THE REINSTALLED TAPESTRY ROOM WILL BE HIGHLIGHTED AS PART OF THE MUSEUM'S GRAND OPENING FOR ITS NEW WING IN JANUARY 2012. 'ONE OF THE MOST IMPORTANT GOALS OF THE NEW WING IS THE RELOCATION OF PROGRAMMING WHICH HAS OUTGROWN THE HISTORIC GALLERIES', SAYS ANNE HAWLEY, THE NORMA JEAN CALDERWOOD DIRECTOR OF THE ISABELLA STEWART GARDNER MUSEUM. 'THE TAPESTRY ROOM IS PERHAPS THE MOST DRAMATIC EXAMPLE OF THAT AS IT HAD BECOME THE HUB OF THE MUSEUM'S LARGEST AND MOST POPULAR PROGRAMMING AND HAD LOST ITS FOCUS AS A GALLERY. THIS EFFORT RETURNS THE SPACE INTO A BEAUTIFUL GALLERY FOR VIEWING TAPESTRIES, SOMETHING AN ENTIRE GENERATION OF VISITORS HAS NOT EXPERIENCED.' THE NEW 70,000 SQUARE FOOT WING DESIGNED BY RENZO PIANO INCLUDES PURPOSE-BUILT SPACES FOR MANY OF THE ACTIVITIES FORMALLY HELD IN THE TAPESTRY ROOM, SUCH AS LECTURES, VISITOR ORIENTATION AND THE SUNDAY CONCERT SERIES. WHILE OCCASIONAL SMALLER MUSICAL PERFORMANCES AND TALKS WILL CONTINUE IN THE REINSTALLED SPACE, THE TAPESTRY ROOM WILL SERVE PRIMARILY AS A GRAND GALLERY FOR VIEWING TAPESTRIES AND OTHER WORKS OF ART. CURATORIAL AND CONVERSATION STAFFS HAVE PLANNED THE PRESERVATION AND RE-INSTALLATION OF THE TAPESTRY ROOM BASED ON HISTORIC PHOTOGRAPHS FROM THE MUSEUM'S ARCHIVES, WHICH WERE TAKEN IN 1915, 1916, AND 1926 BY PHOTOGRAPHER T.E. MARR AND SON. THE PHOTOGRAPHS REVEAL A PIANO PLACED IN FRONT OF THE LATE 14th CENTURY FRENCH FIREPLACE AND AN ARRANGEMENT OF FURNITURE AND OBJECTS IN THE CENTER OF THE GALLERY. CONSERVATION TREATMENT WILL ENCOMPASS CLEANING, RESTORATION AND RE-INSTALLATION OF MANY PARTS OF THE GALLERY, INCLUDING ITS MERCER-TILED FLOORS AND FRENCH MEDIEVAL STONE FIREPLACE, SELECT ART AND FURNITURE OBJECTS, AND NEW LIGHTING. THE HISTORIC ARRANGEMENT OF FURNITURE IN THE CENTER OF THE GALLERY AND OTHER VIGNETTES AROUND THE WINDOWS AS DEPICTED IN EARLY PHOTOGRAPHS ALSO WILL BE RESTORED. TWO OF THE MOST STRIKING AREAS WILL BE THE CONSERVATION OF THE MASSIVE FIREPLACE AND THE PAINTING OF THE ARCHANGEL MICHAEL BY PEDRO GARCIA DE BENABARRE THAT HANGS ABOVE IT, AND AN ARRANGEMENT OF TEN SIDE CHAIRS UPHOLSTERED IN 18th CENTURY NETHERLANDISH PAINTED LEATHER THAT WILL BE RE-INSTALLED AROUND A 17th CENTURY DUTCH TABLE IN THE CENTER OF THE GALLERY. ADDITIONALLY, LIGHTING UPGRADES WILL ENHANCE THE GALLERY'S HISTORIC ATMOSPHERE, REDUCE HARMFUL LIGHT ON THE COLLECTION AND IMPROVE VISIBILITY. EIGHTEEN TEXTILE PROJECTS ARE INCLUDE IN THE ROOM REFURBISHMENT PLANS. THEY INCLUDE CONSERVING ORIGINAL TEXTILES, RE-UPHOLSTERING FURNITURE, AND REPLACING MISSING, DAMAGED OR INAPPROPRIATE FURNISHING TEXTILES. TWO TAPESTRIES WILL BE REINSTATED TO THEIR ORIGINAL 1926 POSITIONS.

ISABELLA STEWART GARDNER MUSEUM RESTORES TAPESTRY ROOM TO FORMER GLORY

BOSTON'S ICONIC LUXURY SHOPPING DESTINATION, NEWBURY STREET WILL HAVE A STUNNING NEW TREAT COME 24.MARCH. SABATINO NORTH AMERICA, THE LARGEST IMPORTER AND MANUFACTURER OF GOURMET TRUFFLE PRODUCTS IN THE US IS OPENING THEIR FLAGSHIP RETAIL STORE, SABATINO & CO ROMA. THE STORE WILL INTRODUCE A WIDE RANGE OF UNIQUE PRODUCTS INCLUDING GOURMET FOODS AND CONDIMENTS, COOKBOOKS AND HOME ACCESSORIES TO ADD A EUROPEAN TOUCH TO YOUR LIFE.
FOR MORE INFORMATION VISIT www.sabatinoandco.com

SABATINO NORTH AMERICA TO OPEN STORE IN BOSTON

BOSTON'S ICONIC LUXURY SHOPPING DESTINATION, NEWBURY STREET WILL HAVE A STUNNING NEW TREAT COME 24.MARCH. SABATINO NORTH AMERICA, THE LARGEST IMPORTER AND MANUFACTURER OF GOURMET TRUFFLE PRODUCTS IN THE US IS OPENING THEIR FLAGSHIP RETAIL STORE, SABATINO & CO ROMA. THE STORE WILL INTRODUCE A WIDE RANGE OF UNIQUE PRODUCTS INCLUDING GOURMET FOODS AND CONDIMENTS, COOKBOOKS AND HOME ACCESSORIES TO ADD A EUROPEAN TOUCH TO YOUR LIFE.
FOR MORE INFORMATION VISIT www.sabatinoandco.com

SABATINO NORTH AMERICA TO OPEN STORE IN BOSTON

THE JOHN HANCOCK TOWER IN BOSTON BY I.M. PEI & PARTNERS, HAS BEEN SELECTED TO RECEIVE THE 2010 AIA 25 YEAR AWARD. THE JOHN HANCOCK TOWER HAS DEMONSTRATED EXCELLENCE IN FUNCTION, IN THE DISTINGUISHED EXECUTION OF ITS ORIGINAL PROGRAM, AND IN THE CREATIVE ASPECTS OF ITS STATEMENT BY TODAY'S STANDARDS. THE 2010 25 YEAR AWARD WILL BE PRESENTED AT THE AIA NATIONAL CONVENTION IN NEW ORLEANS. 35 YEARS AFTER ITS DEDICATION, THE LEAN, RHOMBOID REFLECTIVE GLASS TOWER DESIGNED BY HENRY COBB, FAIA, CONTINUES TO DRAMATIZE THIS CLASSIC ARCHITECTURAL QUESTION OF AESTHETIC BALANCE. BUILT ON A SMALL SITE ADJACENT TO SOME OF BOSTON'S GREATEST ARCHITECTURAL ASSETS, THE TOWER HAD TO BE MASSIVE ENOUGH TO ACCOMMODATE THE OWNER'S REQUIREMENTS, YET ABSOLUTELY MINDFUL OF ITS DELICATE AND HISTORIC SURROUNDINGS. LOCATED IN BOSTON'S HISTORIC COPLEY SQUARE, THE HANCOCK TOWER CONTINUES TO SERVE AS AN OFFICE BUILDING. THE 60 STORY, 790 FOOT REFLECTIVE GLASS TOWER REMAINS THE TALLEST BUILDING IN NEW ENGLAND. BOSTON GLOBE ARCHITECTURE CRITIC ROBERT CAMBELL, FAIA, SAID THE TOWER IS 'ONE OF THE GREATEST OFFICE TOWERS OF THE SECOND HALF OF THE 20th CENTURY.'

JOHN HANCOCK TOWER TO RECEIVE AIA 25 YEAR AWARD

THE JOHN HANCOCK TOWER IN BOSTON BY I.M. PEI & PARTNERS, HAS BEEN SELECTED TO RECEIVE THE 2010 AIA 25 YEAR AWARD. THE JOHN HANCOCK TOWER HAS DEMONSTRATED EXCELLENCE IN FUNCTION, IN THE DISTINGUISHED EXECUTION OF ITS ORIGINAL PROGRAM, AND IN THE CREATIVE ASPECTS OF ITS STATEMENT BY TODAY'S STANDARDS. THE 2010 25 YEAR AWARD WILL BE PRESENTED AT THE AIA NATIONAL CONVENTION IN NEW ORLEANS. 35 YEARS AFTER ITS DEDICATION, THE LEAN, RHOMBOID REFLECTIVE GLASS TOWER DESIGNED BY HENRY COBB, FAIA, CONTINUES TO DRAMATIZE THIS CLASSIC ARCHITECTURAL QUESTION OF AESTHETIC BALANCE. BUILT ON A SMALL SITE ADJACENT TO SOME OF BOSTON'S GREATEST ARCHITECTURAL ASSETS, THE TOWER HAD TO BE MASSIVE ENOUGH TO ACCOMMODATE THE OWNER'S REQUIREMENTS, YET ABSOLUTELY MINDFUL OF ITS DELICATE AND HISTORIC SURROUNDINGS. LOCATED IN BOSTON'S HISTORIC COPLEY SQUARE, THE HANCOCK TOWER CONTINUES TO SERVE AS AN OFFICE BUILDING. THE 60 STORY, 790 FOOT REFLECTIVE GLASS TOWER REMAINS THE TALLEST BUILDING IN NEW ENGLAND. BOSTON GLOBE ARCHITECTURE CRITIC ROBERT CAMBELL, FAIA, SAID THE TOWER IS 'ONE OF THE GREATEST OFFICE TOWERS OF THE SECOND HALF OF THE 20th CENTURY.'

JOHN HANCOCK TOWER TO RECEIVE AIA 25 YEAR AWARD

THE MUSEUM OF FINE ARTS, BOSTON, HAS ANNOUNCED THAT IT HAS RETURNED TO THE MUSEO DIOCESANO TRIDENTINO (DIOCESAN MUSEUM OF TRENT, ITALY) AN EMBROIDERED PANEL, THE ENTOMBMENT OF SAINT VIGILIUS, FROM AROUND 1390-91. COMMISSIONED BY GEORGE OF LIECHTENSTEIN ON THE OCCASION OF HIS APPOINTMENT AS BISHOP PRINCE OF TRENT IN 1390, THE EMBROIDERY DEPICTS THE ENTOMBMENT OF SAINT VIGILIUS, THE THIRD BISHOP AND PATRON SAINT OF TRENT, AND THE DELIVERY OF THE NEWS OF HIS MARTYRDOM TO THE POPE AND EMPEROR THEODOSIUS. THE PROCESS OF RETURNING THE PANEL TO TEH MUSEO DIOCESANO BEGAN WHEN THE MFA LEARNED THAT THE WORK WAS PART OF THE SAINT VIGILIUS SERIES OF EMBROIDERED PANELS OWNED BY THE MUSEO. IN CELEBRATION OF ITS RETURN, THE MUSEO WILL UNVEIL THE EMBROIDERY AT A SPECIAL HOLIDAY CELEBRATION IN TRENT, WHEN THE WORK WILL BE INCLUDED IN THE EXHIBITION 'GUIDED BY A STAR: THE LONG JOURNEY OF THE MAGI'. THE MFA PURCHASED THE EMBROIDERY IN 1946 FROM AN ITALIAN ART DEALER IN NEW YORK WITHOUT KNOWLEDGE OF ITS SUBJECT MATTER OR PROVENANCE. PRIOR TO THE ACQUISITION, CURATORIAL STAFF INQUIRED ABOUT ITS HISTORY AND WERE ONLY TOLD THAT A PREVIOUS OWNER HAD INHERITED IT ALONG WITH A LARGE COLLECTION OF OTHER ANTIQUE OBJECTS. THE MUSEUM HAD NO ADDITIONAL INFORMATION ABOUT ITS PROVENANCE UNTIL 2008, WHEN DR EVELIN WETTER OF THE ABEGG-STIFTUNG CONTACTED THE MFA, INDICATING THAT THE PANEL WAS ONCE PART OF THE SAINT VIGILIUS SERIES. CURATORIAL RESEARCH BY THE MFA CONFIRMED THAT THE PANEL DID BELONG TO THAT SERIES. IN JUNE 2008, THE MFA CONTACTED THE MUSEO DIOCESANO TO INITIATE DISCUSSIONS ABOUT ITS RETURN, WHICH CONCLUDED IN APRIL 2010 WITH THE SIGNING OF AN AGREEMENT BY THE MFA, THE ARCHDIOCESE OF TRENT AND THE MUSEO DIOCESANO. THE TRANSFER FROM BOSTON TO TRENT IN NOVEMBER 2010 HAS ALLOWED FOR THE RECONSTRUCTION OF THE NARRATIVE CYCLE OF THE LIFE OF SAINT VIGILIUS. THE SET OF EMBROIDERIES IS PARTICULARLY IMPORTANT TO THE TRENT REGION FOR ITS HISTORIC SUBJECT MATTER AND ITS ARTISTIC RARITY.

MUSEUM OF FINE ARTS, BOSTON, RETURNS EMBROIDERED PANEL

THE MUSEUM OF FINE ARTS, BOSTON, HAS ANNOUNCED THAT IT HAS RETURNED TO THE MUSEO DIOCESANO TRIDENTINO (DIOCESAN MUSEUM OF TRENT, ITALY) AN EMBROIDERED PANEL, THE ENTOMBMENT OF SAINT VIGILIUS, FROM AROUND 1390-91. COMMISSIONED BY GEORGE OF LIECHTENSTEIN ON THE OCCASION OF HIS APPOINTMENT AS BISHOP PRINCE OF TRENT IN 1390, THE EMBROIDERY DEPICTS THE ENTOMBMENT OF SAINT VIGILIUS, THE THIRD BISHOP AND PATRON SAINT OF TRENT, AND THE DELIVERY OF THE NEWS OF HIS MARTYRDOM TO THE POPE AND EMPEROR THEODOSIUS. THE PROCESS OF RETURNING THE PANEL TO TEH MUSEO DIOCESANO BEGAN WHEN THE MFA LEARNED THAT THE WORK WAS PART OF THE SAINT VIGILIUS SERIES OF EMBROIDERED PANELS OWNED BY THE MUSEO. IN CELEBRATION OF ITS RETURN, THE MUSEO WILL UNVEIL THE EMBROIDERY AT A SPECIAL HOLIDAY CELEBRATION IN TRENT, WHEN THE WORK WILL BE INCLUDED IN THE EXHIBITION 'GUIDED BY A STAR: THE LONG JOURNEY OF THE MAGI'. THE MFA PURCHASED THE EMBROIDERY IN 1946 FROM AN ITALIAN ART DEALER IN NEW YORK WITHOUT KNOWLEDGE OF ITS SUBJECT MATTER OR PROVENANCE. PRIOR TO THE ACQUISITION, CURATORIAL STAFF INQUIRED ABOUT ITS HISTORY AND WERE ONLY TOLD THAT A PREVIOUS OWNER HAD INHERITED IT ALONG WITH A LARGE COLLECTION OF OTHER ANTIQUE OBJECTS. THE MUSEUM HAD NO ADDITIONAL INFORMATION ABOUT ITS PROVENANCE UNTIL 2008, WHEN DR EVELIN WETTER OF THE ABEGG-STIFTUNG CONTACTED THE MFA, INDICATING THAT THE PANEL WAS ONCE PART OF THE SAINT VIGILIUS SERIES. CURATORIAL RESEARCH BY THE MFA CONFIRMED THAT THE PANEL DID BELONG TO THAT SERIES. IN JUNE 2008, THE MFA CONTACTED THE MUSEO DIOCESANO TO INITIATE DISCUSSIONS ABOUT ITS RETURN, WHICH CONCLUDED IN APRIL 2010 WITH THE SIGNING OF AN AGREEMENT BY THE MFA, THE ARCHDIOCESE OF TRENT AND THE MUSEO DIOCESANO. THE TRANSFER FROM BOSTON TO TRENT IN NOVEMBER 2010 HAS ALLOWED FOR THE RECONSTRUCTION OF THE NARRATIVE CYCLE OF THE LIFE OF SAINT VIGILIUS. THE SET OF EMBROIDERIES IS PARTICULARLY IMPORTANT TO THE TRENT REGION FOR ITS HISTORIC SUBJECT MATTER AND ITS ARTISTIC RARITY.

MUSEUM OF FINE ARTS, BOSTON, RETURNS EMBROIDERED PANEL

WHEN DECORATING HIS HOME SOME YEARS AGO, FINANCIER HENRY KRAVIS SOLD A PAINTING BY JOHN SINGER SARGENT TO THE MUSEUM OF FINE ARTS IN BOSTON. THE PAINTING, 'CHARLES STEWART SIXTH MARQUESS OF LONDONERRY, CARRYING THE GREAT SWORD OF THE STATE AT THE CORONATION OF KING EDWARD VII AUGUST 1902, AND MR WC BEAUMONT, HIS PAGE ON THAT OCCASION', IS ONE OF THOUSANDS OF WORKS THAT WILL NOW BE DISPLAYED AT THE MUSEUM'S NEW ART OF THE AMERICAS WING, WHICH OPENS TO THE PUBLIC ON 20.NOVEMBER. 'THIS IS THE KIND OF SARGENT THAT IS A REAL OPPORTUNITY FOR THE MUSEUM BECAUSE IT IS NOT THE KIND OF SARGENT THAT IS POPULAR IN COMMERCIAL TERMS', MUSEUM DIRECTOR MALCOLM ROGERS TOLD A NEWS CONFERENCE ON FRIDAY TO LAUNCH THE NEW EXHIBITION HALL. HANGING CLOSE TO THE 'LORD LONDONDERRY' PAINTING IS SARGENT'S IMMENSELY POPULAR PAINTING 'THE DAUGHTERS OF EDWARD DARLEY BOIT'. SARGENT IS ONE OF HUNDREDS OF AMERICAN ARTISTS REPRESENTED IN THE ART OF THE AMERICAS WING, INCLUDING JOHN SINGLETON COPLEY AND HIS FAMOUS PORTRAIT OF AMERICAN PATRIOT PAUL REVERE, FROM 1768. THE EXPANSION, WHICH INCREASES THE MUSEUM'S SQUARE FOOTAGE BY 28%, WAS 10 YEARS IN THE MAKING AND REPRESENTS THE BIGGEST INITIATIVE IN THE WORLD FOCUSED ON AMERICAN ART AND CULTURE, ROGERS SAID. THE $504 MILLION PROJECT INVOLVED $345 MILLION FOR THE BUILDING AND $159 MILLION FOR ENDOWMENT OF PROGRAMS, POSITIONS AND ANNUAL OPERATIONS. FUND RAISING WAS COMPLETED SHORTLY BEFORE THE FINANCIAL MARKET CRISIS OF LATE 2008. THE FOUR-FLOOR BUILDING CONTAINS 53 GALLERIES THAT INCLUDE WORKS OF ART FROM THE NORTH, CENTRAL AND SOUTH AMERICA SPANNING THREE MILLENNIA, MORE THAN DOUBLING THE NUMBER PREVIOUSLY ON VIEW. THEY INCLUDE PAINTINGS, FURNITURE, SCULPTURE, MUSICAL INSTRUMENTS, TEXTILES, FASHION AND JEWELRY. THE NEW WING ALLOWS NUMEROUS MASTERPIECES TO BE DISPLAYED THAT HAVE BEEN IN STORAGE FOR DECADES DUE TO THE LACK OF LARGE-SCALE EXHIBITION SPACE. ONE OF THOSE PIECES IN THOMAS SULLY'S 1819 PAINTING 'THE PASSAGE OF THE DELAWARE', DEPICTING GEORGE WASHINGTON LEADING HIS TROOPS ACROSS THE DELAWARE RIVER TO SURPRISE BRITISH FORCES; AND JOHN SINGLETON COPLEY'S 'GEORGE IV WHEN PRINCE OF WALES' FROM 1809. THE NEW WING AND ADJACENT GLASS-ENCLOSED RUTH AND CARL J SHAPIRO FAMILY COURTYARD, WAS DESIGNED BY THE LONDON-BASED FIRM FOSTER & PARTNERS.
FOR MORE INFORMATION VISIT www.mfa.org

MUSEUM OF FINE ARTS BOSTON TO OPEN NEW ART OF THE AMERICAS WING

WHEN DECORATING HIS HOME SOME YEARS AGO, FINANCIER HENRY KRAVIS SOLD A PAINTING BY JOHN SINGER SARGENT TO THE MUSEUM OF FINE ARTS IN BOSTON. THE PAINTING, 'CHARLES STEWART SIXTH MARQUESS OF LONDONERRY, CARRYING THE GREAT SWORD OF THE STATE AT THE CORONATION OF KING EDWARD VII AUGUST 1902, AND MR WC BEAUMONT, HIS PAGE ON THAT OCCASION', IS ONE OF THOUSANDS OF WORKS THAT WILL NOW BE DISPLAYED AT THE MUSEUM'S NEW ART OF THE AMERICAS WING, WHICH OPENS TO THE PUBLIC ON 20.NOVEMBER. 'THIS IS THE KIND OF SARGENT THAT IS A REAL OPPORTUNITY FOR THE MUSEUM BECAUSE IT IS NOT THE KIND OF SARGENT THAT IS POPULAR IN COMMERCIAL TERMS', MUSEUM DIRECTOR MALCOLM ROGERS TOLD A NEWS CONFERENCE ON FRIDAY TO LAUNCH THE NEW EXHIBITION HALL. HANGING CLOSE TO THE 'LORD LONDONDERRY' PAINTING IS SARGENT'S IMMENSELY POPULAR PAINTING 'THE DAUGHTERS OF EDWARD DARLEY BOIT'. SARGENT IS ONE OF HUNDREDS OF AMERICAN ARTISTS REPRESENTED IN THE ART OF THE AMERICAS WING, INCLUDING JOHN SINGLETON COPLEY AND HIS FAMOUS PORTRAIT OF AMERICAN PATRIOT PAUL REVERE, FROM 1768. THE EXPANSION, WHICH INCREASES THE MUSEUM'S SQUARE FOOTAGE BY 28%, WAS 10 YEARS IN THE MAKING AND REPRESENTS THE BIGGEST INITIATIVE IN THE WORLD FOCUSED ON AMERICAN ART AND CULTURE, ROGERS SAID. THE $504 MILLION PROJECT INVOLVED $345 MILLION FOR THE BUILDING AND $159 MILLION FOR ENDOWMENT OF PROGRAMS, POSITIONS AND ANNUAL OPERATIONS. FUND RAISING WAS COMPLETED SHORTLY BEFORE THE FINANCIAL MARKET CRISIS OF LATE 2008. THE FOUR-FLOOR BUILDING CONTAINS 53 GALLERIES THAT INCLUDE WORKS OF ART FROM THE NORTH, CENTRAL AND SOUTH AMERICA SPANNING THREE MILLENNIA, MORE THAN DOUBLING THE NUMBER PREVIOUSLY ON VIEW. THEY INCLUDE PAINTINGS, FURNITURE, SCULPTURE, MUSICAL INSTRUMENTS, TEXTILES, FASHION AND JEWELRY. THE NEW WING ALLOWS NUMEROUS MASTERPIECES TO BE DISPLAYED THAT HAVE BEEN IN STORAGE FOR DECADES DUE TO THE LACK OF LARGE-SCALE EXHIBITION SPACE. ONE OF THOSE PIECES IN THOMAS SULLY'S 1819 PAINTING 'THE PASSAGE OF THE DELAWARE', DEPICTING GEORGE WASHINGTON LEADING HIS TROOPS ACROSS THE DELAWARE RIVER TO SURPRISE BRITISH FORCES; AND JOHN SINGLETON COPLEY'S 'GEORGE IV WHEN PRINCE OF WALES' FROM 1809. THE NEW WING AND ADJACENT GLASS-ENCLOSED RUTH AND CARL J SHAPIRO FAMILY COURTYARD, WAS DESIGNED BY THE LONDON-BASED FIRM FOSTER & PARTNERS.
FOR MORE INFORMATION VISIT www.mfa.org

MUSEUM OF FINE ARTS BOSTON TO OPEN NEW ART OF THE AMERICAS WING

THE HISTORIC NEW ENGLAND, BOSTON, MASS, RECENTLY ACQUIRED A PAINTING BY NEW ENGLAND ARTIST GERTRUDE BEALS BOURNE (1868-1962). THE BEAUTIFUL WATER COLOUR DEPICTS GERTRUDE BEALS BOURNE'S STUDIO, CREATED FOR HER BY HER HUSBAND, ARCHITECT FRANK BOURNE, IN 'SUNFLOWER CASTLE', THEIR HOUSE ON BOSTON'S BEACON HILL. THE BOURNES MOVED IN RIGHT AFTER THEIR MARRIAGE IN 1904 AND LIVED THERE UNTIL 1962. KNOWN FOR PAINTING GARDENS AND COLONIAL REVIVAL ARCHITECTURE, BOURNE'S WORK WAS SHOWN AT SUCH VENUES AS TE BOSTON ART CLUB, THE NEW YORK WATER COLOUR CLUB, THE AMERICAN WATER COLOUR CLUB, THE CORCORAN GALLERY OF ART, AND THE NATIONAL GALLERY OF ART. THE VAST COLLECTIONS OF HISTORIC NEW ENGLAND'S LIBRARY AND ARCHIVES PROVIDE IMPORTANT DOCUMENTATION FOR NEW ENGLAND'S CULTURAL AND ARCHITECTURAL HISTORY. ITS HOLDINGS INCLUDE PHOTOGRAPHS, ARCHITECTURAL DRAWINGS, MANUSCRIPTS, EPHEMERA, PRINTS AND ENGRAVINGS, ARTWORK AND BOOKS. VISIT HistoricNewEngland.org TO EXPLORE THE ONLINE COLLECTION OF MANUSCRIPTS, PHOTOGRAPHY AND MORE. HISTORIC NEW ENGLAND IS THE OLDEST, LARGEST AND MOST COMPREHENSIVE REGIONAL HERITAGE ORGANIZATION IN THE NATION. THE FACILITY BRINGS HISTORY TO LIFE WHILE PRESERVING THE PAST FOR EVERYONE INTERESTED IN EXPLORING THE AUTHENTIC NEW ENGLAND EXPERIENCE FROM THE 17th CENTURY TO TODAY. HISTORIC NEW ENGLAND OWNS AND OPERATED 36 HISTORIC HOMES AND LANDSCAPES SPANNING FIVE STATES. THE ORGANIZATION SHARES THE REGION'S HISTORY THROUGH VAST COLLECTIONS, PUBLICATIONS, PUBLIC PROGRAMS, MUSEUM PROPERTIES, ARCHIVES AND FAMILY STORIES THAT DOCUMENT MORE THAN 400 YEARS OF LIFE IN NEW ENGLAND.

THE HISTORIC NEW ENGLAND ACQUIRES BOURNE WATERCOLOUR

THE HISTORIC NEW ENGLAND, BOSTON, MASS, RECENTLY ACQUIRED A PAINTING BY NEW ENGLAND ARTIST GERTRUDE BEALS BOURNE (1868-1962). THE BEAUTIFUL WATER COLOUR DEPICTS GERTRUDE BEALS BOURNE'S STUDIO, CREATED FOR HER BY HER HUSBAND, ARCHITECT FRANK BOURNE, IN 'SUNFLOWER CASTLE', THEIR HOUSE ON BOSTON'S BEACON HILL. THE BOURNES MOVED IN RIGHT AFTER THEIR MARRIAGE IN 1904 AND LIVED THERE UNTIL 1962. KNOWN FOR PAINTING GARDENS AND COLONIAL REVIVAL ARCHITECTURE, BOURNE'S WORK WAS SHOWN AT SUCH VENUES AS TE BOSTON ART CLUB, THE NEW YORK WATER COLOUR CLUB, THE AMERICAN WATER COLOUR CLUB, THE CORCORAN GALLERY OF ART, AND THE NATIONAL GALLERY OF ART. THE VAST COLLECTIONS OF HISTORIC NEW ENGLAND'S LIBRARY AND ARCHIVES PROVIDE IMPORTANT DOCUMENTATION FOR NEW ENGLAND'S CULTURAL AND ARCHITECTURAL HISTORY. ITS HOLDINGS INCLUDE PHOTOGRAPHS, ARCHITECTURAL DRAWINGS, MANUSCRIPTS, EPHEMERA, PRINTS AND ENGRAVINGS, ARTWORK AND BOOKS. VISIT HistoricNewEngland.org TO EXPLORE THE ONLINE COLLECTION OF MANUSCRIPTS, PHOTOGRAPHY AND MORE. HISTORIC NEW ENGLAND IS THE OLDEST, LARGEST AND MOST COMPREHENSIVE REGIONAL HERITAGE ORGANIZATION IN THE NATION. THE FACILITY BRINGS HISTORY TO LIFE WHILE PRESERVING THE PAST FOR EVERYONE INTERESTED IN EXPLORING THE AUTHENTIC NEW ENGLAND EXPERIENCE FROM THE 17th CENTURY TO TODAY. HISTORIC NEW ENGLAND OWNS AND OPERATED 36 HISTORIC HOMES AND LANDSCAPES SPANNING FIVE STATES. THE ORGANIZATION SHARES THE REGION'S HISTORY THROUGH VAST COLLECTIONS, PUBLICATIONS, PUBLIC PROGRAMS, MUSEUM PROPERTIES, ARCHIVES AND FAMILY STORIES THAT DOCUMENT MORE THAN 400 YEARS OF LIFE IN NEW ENGLAND.

THE HISTORIC NEW ENGLAND ACQUIRES BOURNE WATERCOLOUR

ARNOLD SCAASI HAS DRESSED THEM ALL, FROM BROADWAY ACTRESSES AND HOLLYWOOD STARS TO THE LADIES WHO LUNCH AND AMERICA'S FIRST LADIES. EPITOMIZING THE 'LIFESTYLES OF THE RICH AND FAMOUS', HIS CUSTOM-MADE CLOTHING EVOKES THE HEIGHT OF ELEGANCE AND CRAFTSMANSHIP FROM THE LATE 1950s TO THE PRESENT. IN CELEBRATION OF THE ACCLAIMED FASHION DESIGNER AND HIS RECENT GIFTS TO THE MUSEUM OF FINE ARTS, BOSTON (MFA), OF MORE THAN 100 OUTFITS (TO COMPLEMENT THE MFAs ACQUISITION OF HIS ARCHIVE), THE MUSEUM PRESENTS 'SCAASI: AMERICAN COUTURIER', FROM 25.SEPTEMBER THROUGH 11.JUNE.2011, IN THE LORING GALLERY. THE EXHIBITION SHOWCASES 28 OF SCAASI'S FABULOUS OUTFITS AND EXPLORE HIS PROFESSIONAL RELATIONSHIP WITH FOUR WOMEN FROM AMONG HIS EXTENSIVE CLIENTELE, INCLUDING BARBRA STREISAND, FOR WHOM HE DESIGNED THE SEEMINGLY TRANSPARENT BLACK TULLE PANTS ENSEMBLE THAT SHE WORE WHEN ACCEPTING HER 1969 OSCAR FOR FUNNY GIRL. THE ENSEMBLE, NOW PART OF THE MUSEUM'S COLLECTION, IS DISPLAYED, ALONG WITH ADDITIONAL OUTFITS CREATED FOR THE ACTRESS. SCAASI'S RICHLY TAILORED SUITS, COCKTAIL DRESSES AND LAVISH EVENING GOWNS WERE STATEMENT PIECES, OFTEN MADE FOR WOMEN WITH BIG PERSONALITIES WHO LIVES GRAND LIVES, SUCH AS CELEBRITIES ELIZABETH TAYLOR, MARY TYLER MOORE, SOPHIA LOREN AND BARBRA WALTERS, AND SOCIALITES BROOKE ASTOR, AUSTINE HEARST, EVELYN LAUDER, IVANA TRUMP AND GAYFRYD STEINBERG. IN ADDITION, HE CREATED BEAUTIFUL CLOTHES FOR WOMEN WHO WERE SUDDENLY THROWN ONTO THE WORLD STAGE, FIRST LADIES BARBRA BUSH, HILLARY CLINTON AND LAURA BUSH, WHOSE ELEGANT SCAASI GOWNS HELPED THEM ESTABLISH A STRONG PUBLIC IMAGE. BORN ARNOLD ISAACS ON 8.MAY.1930, THE MONTREAL NATIVE STUDIED AT THE PRESTIGIOUS COTNOIR-CAPPONI SCHOOL OF DESIGN IN MONTREAL AND THE CHAMBRE SYNDICALE DE LA HAUTE COUTURE PARISIENNE IN PARIS, WHERE HE APPRENTICED AT THE HOUSE OF PAQUIN BEFORE MOVING TO NEW YORK CITY TO WORK WITH RENOWNED DESIGNER CHARLES JAMES. SHORTLY THEREAFTER, 'ISAACS' WAS TURNED BACKWARDS AND BECAME SCAASI. HE GAINED RECOGNITION FOR HIS DESIGNS, AND IN 1955, THE DECEMBER COVER OF VOGUE PICTURED A COAT HE DESIGNED FOR DRESSMAKER CASUALS, CREATING THE BUZZ THAT HELPED SCAASI LAUNCH HIS READY-TO-WEAR LINE THE FOLLOWING YEAR. IN 1958, THE DESIGNER WON THE PRESTIGIOUS COTY FASHION CRITICS AWARD AND HIS SUCCESS WAS ASSURED. IN 1964, HE OPENED HIS COUTURE SALON.

MUSEUM OF FINE ARTS, BOSTON, PRESENTS 'SCAASI: AMERICAN COUTURIER'

ARNOLD SCAASI HAS DRESSED THEM ALL, FROM BROADWAY ACTRESSES AND HOLLYWOOD STARS TO THE LADIES WHO LUNCH AND AMERICA'S FIRST LADIES. EPITOMIZING THE 'LIFESTYLES OF THE RICH AND FAMOUS', HIS CUSTOM-MADE CLOTHING EVOKES THE HEIGHT OF ELEGANCE AND CRAFTSMANSHIP FROM THE LATE 1950s TO THE PRESENT. IN CELEBRATION OF THE ACCLAIMED FASHION DESIGNER AND HIS RECENT GIFTS TO THE MUSEUM OF FINE ARTS, BOSTON (MFA), OF MORE THAN 100 OUTFITS (TO COMPLEMENT THE MFAs ACQUISITION OF HIS ARCHIVE), THE MUSEUM PRESENTS 'SCAASI: AMERICAN COUTURIER', FROM 25.SEPTEMBER THROUGH 11.JUNE.2011, IN THE LORING GALLERY. THE EXHIBITION SHOWCASES 28 OF SCAASI'S FABULOUS OUTFITS AND EXPLORE HIS PROFESSIONAL RELATIONSHIP WITH FOUR WOMEN FROM AMONG HIS EXTENSIVE CLIENTELE, INCLUDING BARBRA STREISAND, FOR WHOM HE DESIGNED THE SEEMINGLY TRANSPARENT BLACK TULLE PANTS ENSEMBLE THAT SHE WORE WHEN ACCEPTING HER 1969 OSCAR FOR FUNNY GIRL. THE ENSEMBLE, NOW PART OF THE MUSEUM'S COLLECTION, IS DISPLAYED, ALONG WITH ADDITIONAL OUTFITS CREATED FOR THE ACTRESS. SCAASI'S RICHLY TAILORED SUITS, COCKTAIL DRESSES AND LAVISH EVENING GOWNS WERE STATEMENT PIECES, OFTEN MADE FOR WOMEN WITH BIG PERSONALITIES WHO LIVES GRAND LIVES, SUCH AS CELEBRITIES ELIZABETH TAYLOR, MARY TYLER MOORE, SOPHIA LOREN AND BARBRA WALTERS, AND SOCIALITES BROOKE ASTOR, AUSTINE HEARST, EVELYN LAUDER, IVANA TRUMP AND GAYFRYD STEINBERG. IN ADDITION, HE CREATED BEAUTIFUL CLOTHES FOR WOMEN WHO WERE SUDDENLY THROWN ONTO THE WORLD STAGE, FIRST LADIES BARBRA BUSH, HILLARY CLINTON AND LAURA BUSH, WHOSE ELEGANT SCAASI GOWNS HELPED THEM ESTABLISH A STRONG PUBLIC IMAGE. BORN ARNOLD ISAACS ON 8.MAY.1930, THE MONTREAL NATIVE STUDIED AT THE PRESTIGIOUS COTNOIR-CAPPONI SCHOOL OF DESIGN IN MONTREAL AND THE CHAMBRE SYNDICALE DE LA HAUTE COUTURE PARISIENNE IN PARIS, WHERE HE APPRENTICED AT THE HOUSE OF PAQUIN BEFORE MOVING TO NEW YORK CITY TO WORK WITH RENOWNED DESIGNER CHARLES JAMES. SHORTLY THEREAFTER, 'ISAACS' WAS TURNED BACKWARDS AND BECAME SCAASI. HE GAINED RECOGNITION FOR HIS DESIGNS, AND IN 1955, THE DECEMBER COVER OF VOGUE PICTURED A COAT HE DESIGNED FOR DRESSMAKER CASUALS, CREATING THE BUZZ THAT HELPED SCAASI LAUNCH HIS READY-TO-WEAR LINE THE FOLLOWING YEAR. IN 1958, THE DESIGNER WON THE PRESTIGIOUS COTY FASHION CRITICS AWARD AND HIS SUCCESS WAS ASSURED. IN 1964, HE OPENED HIS COUTURE SALON.

MUSEUM OF FINE ARTS, BOSTON, PRESENTS 'SCAASI: AMERICAN COUTURIER'