Programs and Events || Exhibitions

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<ul><li><p>The Art Institute of Chicago</p><p>ExhibitionsSource: The Art Institute of Chicago Quarterly, Vol. 59, No. 1, Programs and Events (Jan. -Feb., 1965), p. 2Published by: The Art Institute of ChicagoStable URL: http://www.jstor.org/stable/4112573 .Accessed: 15/06/2014 04:15</p><p>Your use of the JSTOR archive indicates your acceptance of the Terms &amp; Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp</p><p> .JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.</p><p> .</p><p>The Art Institute of Chicago is collaborating with JSTOR to digitize, preserve and extend access to The ArtInstitute of Chicago Quarterly.</p><p>http://www.jstor.org </p><p>This content downloaded from 185.44.77.40 on Sun, 15 Jun 2014 04:15:08 AMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/action/showPublisher?publisherCode=artichttp://www.jstor.org/stable/4112573?origin=JSTOR-pdfhttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp</p></li><li><p>The Decorative Arts The collections of the department have been reorga- nized and are now shown in a new sequence. This department of the museum is one of the largest in number of holdings, but, by its nature, is the most difficult to present. For one thing the function of deco- rative arts collections has changed: they may once have served as inspiration for designers, but for the most part they no longer are used as models for copying. In our case, because the sculpture of the Lucy Maud Bucking- ham Collection has always been associated with the decorative objects of that collection, sculpture has been included in the displays when, strictly speaking, it does not belong to the arts of decoration. </p><p>We approached the reinstallation of the decorative arts from the point of view of showing the material logically, and as attractively as possible. Accordingly, the space around McKinlock Court is devoted to English mate- rial, with English ceramics shown in the gallery on the north side of the court, English silver and wrought-iron work in Hutchinson Gallery, and English furniture on the south side of the court and in the galleries imme- diately to the south. Continental material begins with the medieval objects from the Buckingham Collection and others, installed just to the south of Hutchinson Gal- lery, and is continued in a chronological sequence through the Robert Allerton Wing. American decorative arts, with which are shown our earlier American paint- ings, and our small group of Louis Sullivan material, are mounted in the eastern end of Gunsaulus Hall. </p><p>We have sought to show as much of the permanent col- lection as we comfortably can. Further, we have been able to show once more the French eighteenth century room, known as the Dangler Memorial Room, the En- glish Georgian Room given by Robert Allerton, and, for the first time, the mid-eighteenth century panelled room from the house known as Stagg Hall from Port Tobacco, Charles County, Maryland. Mrs. Potter Palmer and Mr. Allerton gave this room in 1930, but, save for its corner cupboard, the room had never been on view. While the Thorne Miniature Rooms free us, happily, from any necessity of assembling a major collection of period rooms, we have sought to show the few we own in as accurate and, at the same time, as attractive a guise as possible. The same motivation lies behind the other installations: clarity, honesty of presentation, and charm. J. M. </p><p>Beginning with this issue, the QUARTERLY of the Art Institute will be replaced by this present BULLETIN. The BULLETIN will be mailed to all Members of the Art Institute five times a year: January 1, March 1, May 1, September I, and November 1. On May 1, the Art Institute will issue the first of a series of scholarly annuals dealing with works of art in the collection, to be called MUSEUM STUDIES. The BULLETIN will keep Members informed about all lectures, exhibitions, theatre series, and all other activities of the Institute, and is edited by Frederick A. Sweet. </p><p>Exhibitions </p><p>EDWARD HOPPER </p><p>through January 31 </p><p>PIERRE BONNARD </p><p>January 8 through Feb. 28 </p><p>MAX BECKMANN </p><p>March 12 through April 11 </p><p>EIGHTEENTH CENTURY </p><p>EUROPEAN PORCELAINS </p><p>LENT BY </p><p>MRS. ALBERT J. BEVERIDGE </p><p>Continuing through June, 1965 </p><p>This content downloaded from 185.44.77.40 on Sun, 15 Jun 2014 04:15:08 AMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/page/info/about/policies/terms.jsp</p><p>Article Contentsp. [2]</p><p>Issue Table of ContentsThe Art Institute of Chicago Quarterly, Vol. 59, No. 1, Programs and Events (Jan. - Feb., 1965), pp. 1-8Front Matter [p. 1-1]Exhibitions [p. 2]The Decorative Arts [p. 2]Members' Previews [p. 3]Lecture Series [pp. 3-4]Gallery Talks [pp. 4-5]Films [pp. 5-6]Members Studio Classes [p. 6]Adult Sketch Classes [p. 6]Goodman Theatre [p. 6]Children's Theatre [p. 7]Saturday Classes for Children [p. 7]Junior Museum [p. 7]Back Matter [p. 8-8]</p></li></ul>