ANNUAL REPORT

Report for the fiscal year July 1, 2014 –June 30, 2015 ANNUAL REPORT Report for the fiscal year July 1, 2014–June 30, 2015

CONTENTS

Director’s Foreword...... 3

Milestones...... 4

Acquisitions...... 5

Exhibitions...... 13

Loans ...... 18

Clark Fellows...... 19

Scholarly Programs...... 21

Publications...... 25

Library...... 26

Education ...... 27

CEVA...... 28

Member Events ...... 29

Public Programs...... 34

Financial Report...... 41 DIRECTOR’S FOREWORD

On July 4, 2014 we celebrated the official public opening of the new Tadao Ando-designed Clark Center. We welcomed more than 8,000 visitors and ended the evening with a band performance and fireworks. State Representative Gail Cariddi, Senator Ben Downing, and Board of Trustees President Peter Willmott joined for the ribbon cutting. The permanent collection has been reinstalled in the renovated Museum Building and is accompanied by nearly forty loans from private collectors. Visitors and staff alike are thrilled to see the return of their favorite paintings. We’re proud to announce that Apollo, the London-based international arts magazine, has chosen the Clark to receive its Museum Opening Award for best museum expansion in 2014. The Clark, selected by Apollo's editorial team and a panel of arts writers, was the “overwhelming winner” among a group of other museums. The award recognizes “the singular achievement accomplished in uniting art and architecture to create a completely original museum-going experience that defines a new standard for the field.” We opened Make It New: Abstract Expressionist Paintings from the National Gallery of Art in the lower galleries of the Clark Center. This addition reflects not only our physical expansion as an Institute, but also our expansion into the mid-twentieth century with the ability to display much larger works of art. Our second exhibition in the Clark Center, Monet | Kelly, opened on November 22. Ellsworth Kelly joined us at the opening celebration. His works in the show were inspired in various direct and indirect ways by Claude Monet’s plein-air paintings, eight of which are on loan from the Musée Marmotton, the Art Institute of Chicago, and others. We also opened two special exhibitions: Cast for Eternity: Ancient Ritual Bronzes from the Shanghai Museum and Raw Color: The Circles of David Smith. Cast for Eternity is the inaugural show for the West Pavilion of the Clark Center and marks another point in our collaboration with the Shanghai Museum. Raw Color was installed at the newly dedicated Lunder Center at Stone Hill, which continues to be a great location for intimate exhibitions. RAP received two generous grants: first, a $1,000,000 grant that will establish and endow the Florence Gould Foundation Fellowship, which will be presented to a senior curator or scholar who is pursuing a project in French art; and second, a generous grant from the Manton Foundation of $150,000 in support of many RAP programs and events over the next year, including a one-year post-doctoral fellowship and international research initiatives in West Africa. In 2014 the Clark received strong media coverage with approximately 300 million media impressions in November and December, including two New York Times features (one on the new Winslow Homer gift and another announcing the opening of Van Gogh and Nature); the selection by the Wall Street Journal of the Clark’s project as one of the Best of 2014 in Architecture; two very favorable Boston Globe reviews (one of Monet | Kelly and one highlighting our expansion project in a year-end wrap-up); and the publication of Apollo magazine’s December issue announcing the Clark as the winner of the Museum Opening of the Year award. We have surpassed our goal of 5,000 members, a 65% increase from 2013. Efforts have been initiated to increase this number as we also retain current members. Meanwhile, construction continues on the Manton Research Center. The skylight infrastructure has been completed, which has allowed the Consigli team to commence work on the new Reading Room. The outdoor installation Crystal, designed by Thomas Schütte, opens on June 14, 2015 in a meadow on Stone Hill. This piece, Schütte’s first architecturally focused work realized in the United States, will allow visitors to experience “art in nature” in a unique way. We are fortunate to have funding for this installation from the Ellsworth Kelly Foundation and the artist himself. It’s been an incredible year. We’re anticipating that the Van Gogh and Nature show will make the upcoming summer a memorable one.

Francis Oakley

3 MILESTONES

• July 4, 2014 marks the official opening of the new Tadao Ando-designed Clark Center after its completion in June.

• Apollo magazine’s December issue announces the Clark’s selection as the Museum Opening of the Year.

• Raw Color is installed at the newly dedicated Lunder Center at Stone Hill.

• RAP receives two generous grants: a $1,000,000 grant to establish and endow the Florence Gould Foundation Fellowship and a $150,000 grant from the Manton Foundation in support of various RAP programs.

Ribbon cutting for the Clark Center grand opening, July 4, 2014 (Photo: A. Blake Gardner); visitors experience the new Clark Center for the first time (Photo: Tucker Bair)

4 ACQUISITIONS

George K. Warren American, born 1824 or 1834, died 1884 Lake with Reflections, Williamstown, MA, c. 1870 Albumen print from wet collodion negative on original lithographed mount 3 15 5 /4 × 7 /16 in. (14.6 × 20.1 cm) Gift of Charles Isaacs and Carol Nigro 2014.15

Katsushika Hokusai Japanese, 1760–1849 The Kannon of the Pure Waterfall at Sakanoshita on the T¯okaid¯o Road, 1832 Color woodblock print 3 1 Sheet: 15 /16 × 10 /4 in. (38.5 × 26 cm) Gift of the Rodbell Family Collection 2014.16.1

Utagawa Hiroshige I Japanese, 1797–1858 Tsuchiyama Spring Rain, 1833–34 Color woodblock print 15 3 Sheet: 9 /16 × 14 /4 in. (25.2 × 37.4 cm) Gift of the Rodbell Family Collection 2014.16.2

Utagawa Hiroshige I Japanese, 1797–1858 H¯oki Province: Ono,¯ Distant View Winslow Homer, Charles Prentice Howland, 1878. of Mount Daisen, 1853 Oil on canvas. Gift of Susan Montgomery Howell Color woodblock print 13 1 in memory of Esther Howland Montgomery and Sheet: 14 /16 × 10 /4 in. (37.6 × 26 cm) Henry and David Howland. The Clark, 2014.13 Gift of the Rodbell Family Collection 2014.16.3

Winslow Homer Utagawa Hiroshige I American, 1836–1910 Japanese, 1797–1858 Charles Prentice Howland, 1878 Tango Province: Ama no hashidate, 1853 Oil on canvas Color woodblock print 1 11 3 21 /8 × 13¼ in. (53.7 × 33.7 cm) Sheet: 14 /16 × 9 /4 in. (37.3 × 24.7 cm) Gift of Susan Montgomery Howell in Memory Gift of the Rodbell Family Collection of Esther Howland Montgomery and Henry and 2014.16.4 David Howland 2014.13 Utagawa Hiroshige I Japanese, 1797–1858 Tiffany & Co. Shimotsuke Province: Mount Nikk¯o, American, founded 1837–present Urami Waterfall, 1853 Bowl, c. 1914–1921 Color woodblock print 7 11 Silver Sheet: 14 /16 × 9 /16 in. (36.7 × 24.6 cm) 1 Diameter: 13 /4 in. (33.7 cm) Gift of the Rodbell Family Collection Gift of Dr. Margaret D. Griffel in memory 2014.16.5 of Dr. and Mrs. Frank N. Dealy 2014.14

5 Utagawa Hiroshige I Japanese, 1797–1858 Awa Province: Naruto Whirlpools, 1855 Color woodblock print 1 5 Sheet: 14 /16 × 9 /8 in. (35.7 × 24.5 cm) Gift of the Rodbell Family Collection 2014.16.6

Utagawa Hiroshige I Japanese, 1797–1858 Kinry¯uzan Temple, Asakusa, 1856 Color woodblock print 7 3 Sheet: 14 /16 × 9 /4 in. (36.6 × 24.8 cm) Gift of the Rodbell Family Collection 2014.16.7

Utagawa Hiroshige I Japanese, 1797–1858 Maple Trees at Mama, Tekona Shrine and Linked Bridge Color woodblock print 5 1 Sheet: 14 /8 × 10 /8 in. (37.2 × 25.7 cm) Gift of the Rodbell Family Collection 2014.16.8

Utagawa Hiroshige I Japanese, 1797–1858 Utagawa Hiroshige I, Awa Province: Naruto Plum Garden, Kamata, 1857 Whirlpools, 1855. Color woodblock print. Color woodblock print Gift of the Rodbell Family Collection. The Clark, 3 Sheet: 14 × 9 /16 in. (35.6 × 23.4 cm) 2014.16.6 Gift of the Rodbell Family Collection 2014.16.9 Utagawa Hiroshige I Utagawa Hiroshige I Japanese, 1797–1858 Japanese, 1797–1858 View from Massaki of Suijin Shrine, Seid¯o and Kanda River from Sh¯ohei Bridge, 1857 Uchigawa Inlet, and Sekiya, 1857 Color woodblock print Color woodblock print 13 1 3 1 Sheet: 13 /16 × 9 /4 in. (35.1 × 23.5 cm) Sheet: 14 /4 × 10 /16 in. (37.5 × 25.5 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.10 2014.16.12

Utagawa Hiroshige I Utagawa Hiroshige I Japanese, 1797–1858 Japanese, 1797–1858 Horikiri Iris Garden, 1857 Plum Estate, Kameido, 1857 Color woodblock print Color woodblock print 1 3 5 1 Sheet: 14 /16 × 9 /4 in. (35.7 × 24.7 cm) Sheet: 14 /16 × 9 /2 in. (36.3 × 24.2 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.11 2014.16.13

Acquisitions continued 6 Utagawa Hiroshige I Toyohara Chikanobu Japanese, 1797–1858 Japanese, 1838–1912 Inside Akiba Shrine, Ukeji, 1857 Ladies in Waiting, Chiyoda Palace, 1891 Color woodblock print Color woodblock print 1 1 11 15 Sheet: 14 /16 × 9 /2 in. (35.7 × 24.2 cm) Sheet (Right): 14 /16 × 9 /16 in. (37.3 × 25.2 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.14 2014.16.19.3

Utagawa Hiroshige I Ohara Koson Japanese, 1797–1858 Japanese, 1877–1945 Otsuki¯ Plain in Kai Province, 1858 Nuthatcher atop Persimmons, c. 1910 Color woodblock print Color woodblock print 3 15 1 1 Sheet: 14 /4 × 9 /16 in. (37.4 × 25.3 cm) Sheet: 12 /8 × 7 /2 in. (30.8 × 19 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.15 2014.16.20

Utagawa Hiroshige I Kawase Hasui Japanese, 1797–1858 Japanese, 1883–1957 Utagawa Hiroshige II Kaminohashi Bridge in Fukagawa, Tokyo, 1920 Japanese, 1826–1869 Color woodblock print 1 1 Harimaze Sheet, 19th century Sheet: 10 /2 × 15 /2 in. (26.7 × 39.4 cm) Woodblock print Gift of the Rodbell Family Collection 1 3 Sheet: 13 /2 × 9 /16 in. (34.3 × 23.3 cm) 2014.16.21 Gift of the Rodbell Family Collection 2014.16.16 Kawase Hasui Japanese, 1883–1957 Utagawa Hiroshige II A Section of the By¯od¯o in Temple, Uji, 1921 Japanese, 1826–1869 Color woodblock print 3 1 Kintai Bridge at Iwakuni in Su¯o Province, 1859 Sheet: 15 /16 × 10 /4 in. (38.5 × 26.1 cm) Color woodblock print Gift of the Rodbell Family Collection 1 5 Sheet: 14 /4 × 9 /8 in. (36.2 × 24.4 cm) 2014.16.22 Gift of the Rodbell Family Collection 2014.16.17 Kawase Hasui Japanese, 1883–1957 Unknown The Territory of Amakusa, 1922 Japanese Color woodblock print 1 7 Benjamin Franklin and Lightning, 1868–1875 Sheet: 12 /8 × 8 /8 in. (30.8 × 22.5 cm) Color woodblock print Gift of the Rodbell Family Collection 1 7 Sheet: 13 /2 × 9 /16 in. (34.3 × 23.9 cm) 2014.16.23 Gift of the Rodbell Family Collection 2014.16.18 Kawase Hasui Japanese, 1883–1957 Toyohara Chikanobu Uchiyamashita, Okayama, 1923 Japanese, 1838–1912 Color woodblock print 15 Ladies in Waiting, Chiyoda Palace, 1891 Sheet: 11 /16 × 9 in. (30.3 × 22.8 cm) Color woodblock print Gift of the Rodbell Family Collection 11 Sheet (Left): 14 /16 × 10 in. (37.3 × 25.4 cm) 2014.16.24 Gift of the Rodbell Family Collection 2014.16.19.1 Kawase Hasui Japanese, 1883–1957 Toyohara Chikanobu Kintai Bridge, Su¯o, 1924 Japanese, 1838–1912 Color woodblock print 3 7 Ladies in Waiting, Chiyoda Palace, 1891 Sheet: 10 /8 × 11 /16 in. (26.3 × 29 cm) Color woodblock print Gift of the Rodbell Family Collection 11 15 Sheet (Center): 14 /16 × 9 /16 in. (37.3 × 25.2 cm) 2014.16.25 Gift of the Rodbell Family Collection 2014.16.19.2

Acquisitions continued 7 Kawase Hasui Yoshida Hiroshi Japanese, 1883–1957 Japanese, 1867–1950 Z¯oj¯oji Temple, Shiba, 1925 Suiren Marsh at Hakk¯odasan, 1929 Color woodblock print Color woodblock print 3 9 7 9 Sheet: 15 /16 × 10 /16 in. (38.5 × 26.8 cm) Sheet: 10 /16 × 15 /16 in. (26.5 × 39.5 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.26 2014.16.33

Kawase Hasui Yoshida Hiroshi Japanese, 1883–1957 Japanese, 1867–1950 Tenn¯oji Temple, Osaka, 1927 Autumn in Hakk¯odasan, 1929 Color woodblock print Color woodblock print 5 1 1 1 Sheet: 15 /16 × 10 /4 in. (38.9 × 26 cm) Sheet: 15 /2 × 10 /2 in. (39.3 × 26.6 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.27 2014.16.34

Kawase Hasui Yoshida Hiroshi Japanese, 1883–1957 Japanese, 1867–1950 Snow at Kiyomizu Hall, Ueno, 1929 Itoigawa Morning, 1929 Color woodblock print Color woodblock print 9 11 1 5 Sheet: 15 /16 × 10 /16 in. (39.6 × 27.1 cm) Sheet: 14 /4 × 15 /8 in. (36.2 × 39.7 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.28 2014.16.35

Kawase Hasui Yoshida Hiroshi Japanese, 1883–1957 Japanese, 1867–1950 Late Autumn in Ichikawa, 1930 Fujiyama from Gotemba, 1929 Color woodblock print Color woodblock print 1 7 1 5 Sheet: 15 /4 × 10 /16 in. (38.7 × 26.5 cm) Sheet: 14 /4 × 15 /8 in. (36.2 × 39.7 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.29 2014.16.36

Kawase Hasui Yoshida Hiroshi Japanese, 1883–1957 Japanese, 1867–1950 Evening Shower at Imai Bridge, 1932 Kagurazaka Street after a Night Rain, 1929 Color woodblock print Color woodblock print 1 3 11 Sheet: 10 /4 × 15 /8 in. (26.1 × 39.1 cm) Sheet: 16 × 10 /16 in. (40.7 × 27.2 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.30 2014.16.37

Kawase Hasui Yoshida Hiroshi Japanese, 1883–1957 Japanese, 1867–1950 Lingering Snow in Urayasu, 1932 A Little Restaurant (at Night), 1933 Color woodblock print Color woodblock print 7 3 13 13 Sheet: 15 /16 × 10 /16 in. (39.2 × 25.9 cm) Sheet: 15 /16 × 10 /16 in. (40.1 × 27.5 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.31 2014.16.38 Kawase Hasui Japanese, 1883–1957 Yoshida Hiroshi Phoenix Hall, By¯od¯o Temple, Uji, 1933 Japanese, 1867–1950 Color woodblock print Sacred Bridge, 1937 1 7 Sheet: 15 /4 × 10 /16 in. (38.7 × 26.5 cm) Color woodblock print 3 13 Gift of the Rodbell Family Collection Sheet: 10 /4 × 15 /16 in. (27.3 × 40.2 cm) 2014.16.32 Gift of the Rodbell Family Collection 2014.16.39

Acquisitions continued 8 Torii Kotondo Masaharu Aoyama Japanese, 1900–1976 Japanese, 1893–1969 Makeup, 1929 Man Cutting Hay by Hand, 1950–1960 Color woodblock print Woodblock print 5 3 Sheet: 18 × 11 /16 in. (45.7 × 28.8 cm) Sheet: 17 × 11 /4 in. (43.2 × 29.9 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.40 2014.16.47

Tsuchiya Koitsu Shiro Kasamatsu Japanese, 1870–1949 Japanese, 1898–1991 Suma Beach, 1938 Shadow of a Mountain, 1959 Color woodblock print Color woodblock print 5 11 1 1 Sheet: 11 /16 × 16 /16 in. (28.7 × 42.4 cm) Sheet: 16 /2 × 11 /4 in. (41.9 × 28.5 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.41 2014.16.48

Takahashi Hiroaki Shiro Kasamatsu Japanese, 1871–1945 Japanese, 1898–1991 Night Shower at Izumi Bridge, 1924–1927 Snow Country, 1959 Color woodblock print Color woodblock print 11 1 11 1 Sheet: 6 /16 × 15 /16 in. (17 × 38.2 cm) Sheet: 16 /16 × 11 /4 in. (42.4 × 28.5 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.42 2014.16.49

Takahashi Hiroaki Shiro Kasamatsu Japanese, 1871–1945 Japanese, 1898–1991 Sacred Bridge, Nikko, 1924–1935 Shisendo Temple Garden, 1960 Color woodblock print Color woodblock print 1 1 7 1 Sheet: 10 /16 × 7 /16 in. (25.6 × 17.9 cm) Sheet: 16 /8 × 11 /4 in. (42.8 × 28.6 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.43 2014.16.50

Hiratsuka Un'ichi Shiro Kasamatsu Japanese, 1895–1997 Japanese, 1898–1991 Evening at Sado, 1938 Shadow on the Waves, 1971 Woodblock print Color woodblock print 1 1 7 5 Sheet: 18 /8 × 24 /16 in. (46.1 × 61.1 cm) Sheet: 16 /16 × 11 /16 in. (41.8 × 28.8 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.44 2014.16.51

Hiratsuka Un'ichi Hashimoto Okiie Japanese, 1895–1997 Japanese, 1899–1993 Lakeside at By¯od¯o-in, 1960 Young Girl and Iris, 1952 Woodblock print Color woodblock print 7 15 9 1 Sheet: 18 /16 × 12 /16 in. (46.9 × 32.9 cm) Sheet: 16 /16 × 23 /8 in. (42 × 58.8 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.45 2014.16.52

Hiratsuka Un'ichi Kiyoshi Sait ¯o Japanese, 1895–1997 Japanese, 1907–1997 Palace of the West Pagoda of Solitude, Kyoto, 1948 Nara Yakushiji, 1962 Color woodblock print 11 3 Woodblock print Sheet: 17 /16 × 23 /4 in. (45 × 60.4 cm) 15 3 Sheet: 16 /16 × 20 /16 in. (43 × 51.2 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.53 2014.16.46

Acquisitions continued 9 Kiyoshi Sait ¯o Kiyoshi Sait ¯o Japanese, 1907–1997 Japanese, 1907–1997 Gioji, Kyoto, 1955 Clay Image, 1954 Color woodblock print Color woodblock print 3 9 5 Sheet: 17 /8 × 23 /16 in. (44.1 × 59.8 cm) Sheet: 22 × 14 /8 in. (55.9 × 37.1 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.54 2014.16.60

Kiyoshi Sait ¯o Jun'ichiro Sekino Japanese, 1907–1997 Japanese, 1914–1988 Gion in Kyoto B, 1959 Ryoanji Rock Garden, 1956 Color woodblock print Color woodblock print 11 11 3 Sheet: 17 /16 × 23 /16 in. (45 × 60.2 cm) Sheet: 19 /8 × 12 in. (49.2 × 30.5 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.55 2014.16.61

Kiyoshi Sait ¯o Jun'ichiro Sekino Japanese, 1907–1997 Japanese, 1914–1988 Maiko, Kyoto, 1961 Mitsuke, 1962 Color woodblock print Color woodblock print 7 15 11 3 Sheet: 23 /8 × 17 /16 in. (60.6 × 45.6 cm) Sheet: 16 /16 × 21 /4 in. (42.4 × 55.2 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.56 2014.16.62

Kiyoshi Sait ¯o Tamami Shima Japanese, 1907–1997 Japanese, 1937–1999 House in Kyoto, 1963 A Stand of Trees, 1959 Color woodblock print Color woodblock print 5 5 5 9 Sheet: 17 /8 × 23 /8 in. (44.8 × 60 cm) Sheet: 17 /16 × 12 /16 in. (44 × 31.9 cm) Gift of the Rodbell Family Collection Gift of the Rodbell Family Collection 2014.16.57 2014.16.63

Kiyoshi Sait ¯o Gilles Louis Chrétien Japanese, 1907–1997 French, active c. 1820 Autumn in Nanzenji, 1971 After Louis Charles Auguste Couder Color woodblock print French, 1790–1873 3 3 Sheet: 15 /8 × 20 /8 in. (39.1 × 51.8 cm) Louis Philippe Teaching Geography at the Gift of the Rodbell Family Collection Collège de Reichenau, c. 1820 2014.16.58 Crayon manner lithograph, printed in black ink on white wove paper 3 1 Kiyoshi Sait ¯o Image: 15 /8 × 20 /16 in. (39.1 × 51 cm) 1 1 Japanese, 1907–1997 Sheet: 17 /4 × 24 /4 in. (43.8 × 61.6 cm) Todaiji, Nara, 1971 Mat: 21 × 26 in. (53.3 × 66 cm) Color woodblock print Gift of James A. Bergquist, Boston, in memory of 7 1 Sheet: 15 /16 × 20 /4 in. (39.2 × 51.5 cm) Professor S. Lane Faison Gift of the Rodbell Family Collection 2014.17.1 2014.16.59 Nadar French, 1820–1910 Caricature of Roger de Beauvoir, ca. 1854 Charcoal and white chalk on brown wove paper 3 7 8 /4 × 5 /8 in. (22.2 × 15 cm) Gift of James A. Bergquist, Boston, in memory of Professor S. Lane Faison 2014.17.2

Acquisitions continued 10 Slim Aarons Donato Creti American, 1916–2006 Italian, 1671–1749 Kings of Hollywood (Clark Gable, Van Heflin, Study for a figure of Alexander, 1671 Gary Cooper, James Stewart, enjoy a joke at a Pen and sepia ink on paper 13 1 New York Party at Romanoff's, Los Angeles), 5 /16 × 3 /2 in. (148 × 89 mm) 1957 Gift of David Jenness, in honor of Arthur F. Gelatin silver print Jenness (Professor, Williams College, 1946–1963) 13 7 Overall: 20 /16 x 24 /8 in. 2014.19.3 Gift of Frank and Katherine Martucci 2014.18 possibly Gerrit Adriaensz. Berckheyde Dutch, 1638–1698 Ernst Fries Standing Horseman, Seen from Rear German, 1801–1833 Red chalk on paper 1 5 Piano di Sorrento, 1826 7 /8 × 11 /8 in. (18.1 × 29.5 cm) Graphite on paper Gift of David Jenness, in honor of Arthur F. 1 14 × 18 /4 in. (35.6 × 46.4 cm) Jenness (Professor, Williams College, 1946– Gift of David Jenness, in honor of Arthur F. 1963) Jenness (Professor, Williams College, 1946–1963) 2014.19.4 2014.19.1 Jean François Millet Melchior Lechter French, 1814–1875 German, 1865–1937 Les Bêcheurs, c. 1855 Two Landscape Views, 1886 Black conté crayon and white chalk Graphite on paper heightened with white gouache on wove paper 3 on paper 9 × 13 /16 in. (22.9 × 33.5 cm) 3 3 12 /4 × 9 /4 in. (32.4 × 24.8 cm) 2014.20.1 Gift of David Jenness, in honor of Arthur F. Jenness (Professor, Williams College, 1946–1963) Jean François Millet 2014.19.2 French, 1814–1875 Les Bêcheurs, 1855–6 Etching with drypoint on tan laid paper 3 Sheet: 10 /4 × 15 in. (27.3 × 38.1 cm) 1 1 Plate: 9 /4 × 13 /8 in. (23.5 × 33.3 cm) 2014.20.2

John Wonnacott British, born 1940 Portrait of Sir Edwin Manton, 2014 Oil on canvas 3 15 39 /8 × 29 /16 in. (100 × 76 cm) Acquired by the Clark, 2015 2014.21

Adrian Zingg Swiss, 1734–1816 Strollers in the hills above Carlsbad Etching with brown wash on cream wove paper 3 7 11 /4 × 17 /16 in. (29.8 × 44.3 cm) Mat: 16 × 22 in. (40.6 × 55.9 cm) 2015.1

Jean Baptiste Greuze, Study of a Young Man, c. 1760. Oil on canvas. Acquired in honor of Richard Rand (Senior Curator, 1997–2015). The Clark, 2015.6

Acquisitions continued 11 Jacobus van Looy The Mower, 1898 Pastel on blue paper 1 17 /4 × 13 in. (43.8 × 33 cm) 2015.5

Jean Baptiste Greuze French, 1725–1805 Study of a Young Man, c. 1760 Oil on canvas 1 5 22 /4 × 18 /16 in. (56.5 × 46.5 cm) Acquired in honor of Richard Rand (Senior Curator, 1997–2015), 2015 2015.6

William Merritt Chase American, 1849–1916 Back of a Nude, 1888 Pastel and oil paint on canvas 1 21 /2 × 15 in. (54.6 × 38.1 cm) The Myron Kunin Collection in honor of Michael Conforti's retirement 2015.7

Lyonel Feininger German, 1871–1956, active in Germany William Merritt Chase, Back of a Nude, 1888. and America Pastel and oil paint on canvas. The Myron Parisian Houses, 1920 Kunin Collection in honor of Michael Conforti's Woodcut on paper 3 15 retirement. The Clark, 2015.7 20 /16 × 14 /16 in. (512 × 380 mm) 2015.10 Sir Lawrence Alma Tadema British, born Netherlands, 1836–1912 Pair of Portieres for the Marquand Music Room, c. 1884–1887 Silk rep fabric, silk embroidery thread, velvet cotton backing, wood rings 1 3 Approximately 87 /2 x 44 /4 in. (222.3 x 113.7 cm) Gift of Brian Coleman 2015.2.1

Ernst Ludwig Kirchner German, 1880–1938 Bathers Throwing Reeds, 1909 Color woodcut on paper 11 1 15 /16 × 21 /8 in. (398 × 537 mm) 2015.3

Francisco de Goya y Lucientes Spanish, 1746–1828 The Disasters of War (Los Desastres de la Guerra), 1810–1820 Complete set of 80 plates in etching and aquatint with some engraving and drypoint, bound in modern boards 2015.4.1 .80

Acquisitions continued 12 EXHIBITIONS

July 4–October 19, 2014 Raw Color: The Circles of David Smith Raw Color was the first exhibition to bring together all five of David Smith'sCircles series since the National Gallery of Art’s David Smith exhibition more than thirty years ago. The exhibition assembled nine sculptures and three paintings from the Circles series (1962–63) and related works that explore the relationship between nature and industry. The Clark’s Lunder Center at Stone Hill, located less than a hundred miles from Smith’s home and studio in the Adirondacks, served as an ideal site for sculpture that questioned the relationship between the natural and the man-made, the related and the serial.

July 4–September 21, 2014 Cast for Eternity: Ancient Ritual Bronzes from the Shanghai Museum The first installation in the West Pavilion of the new Clark Center, Cast for Eternity: David Smith, Circle II (detail), 1962. Painted steel, 105 1/2 x 110 11/16 x 23 5/8 in. Ancient Ritual Bronzes from the Shanghai © The Estate of David Smith/Licensed by VAGA, NY Museum was drawn from the core of the Shanghai Museum’s exceptional collection of bronze vessels and bells dating from the Erlitou period to the Han dynasty (eighteenth to the first century BCE). The thirty-two objects in the exhibition showed the range of artistic expression and variety of sculptural forms realized during China’s Bronze Age. The exhibition was organized by the Shanghai Museum and the Clark, designed by Selldorf Architects (New York), and was supported by the E. Rhodes and Leona B. Carpenter Foundation and the Asian Cultural Council.

Container for Cowrie Shells with Seven Yaks on Lid (detail). Dian culture, 2nd–1st century BCE. Shanghai Museum, 79112

13 Jasper Johns, Target, 1958. Oil and collage on canvas, 91.4 x 91.4 cm. © Jasper Johns/ Licensed by VAGA, New York, NY

September 6–November 2, 2014 Radical Words: From Magna Carta to the Constitution Radical Words brought together six important documents significant to American history, spanning more than eight centuries: Magna Carta, the Declaration of Independence, an early draft of the Constitution, the Emancipation Proclamation, the Declaration of Rights of the Women of the United States, and the Universal Declaration of Human Rights. August 2–October 13, 2014 Magna Carta came to the Clark courtesy of the Dean and Chapter of Lincoln Make it New: Abstract Painting from Cathedral as part of the United Kingdom’s the National Gallery of Art, 1950– preparations for celebrating the document’s 1975 800th anniversary in 2015. “The modern painter cannot express this age, the airplane, the atom bomb, the radio, The exhibition was organized by the in the old forms,” said Jackson Pollock in Clark, in partnership with Lincoln 1951. “Each age finds its own technique.” Cathedral—Bringing Magna Carta to the Drawn from the holdings of the National USA. It was generously supported by the Gallery of Art, Washington, this exhibition Commonwealth of Massachusetts, the showed how the challenge was taken up officers and employees of Allen & Company, by Pollock, his peers, and the generation Inc., the Gilder Foundation, and an that came after them. Working in Europe indemnity from the Federal Council on the and America in the wake of the Second Arts and the Humanities. World War’s cataclysm and horror, the

artists included here did nothing less than reinvent painting. The methods they found An original 1215 Magna Carta (detail) were as varied as the age itself. What they had in common was a doubt-tinged faith in the power, and perhaps the necessity, of abstract art. Pollock’s radical method of pouring, dribbling, flinging, and splattering paint onto canvas gave them permission to redefine what painting could be, even as his towering example made them wonder if they could continue, in the words of poet Ezra Pound, to “make it new.” Make It New was organized by the National Gallery of Art, Washington, in collaboration with the Clark.

Exhibitions continued 14 Sybil Andrews, Sledgehammers (detail), 1933. Color linocut on paper. Daniel Cowin Collection © Glenbow, Calgary, 2014

November 23, 2014–February 16, 2015 February 28–May 17, 2015 Monet | Kelly Machine Age Modernism: Prints from In the summer of 1952, Ellsworth Kelly the Daniel Cowin Collection entered the garden studio in Giverny, Machine Age Modernism, a special France, where Claude Monet (1840–1926) presentation of prints from the Daniel had worked during his final decades. The Cowin Collection, captured the tumultuous sight astonished him. Among the leaves aesthetic and political climate of the years and broken glass were paintings by Monet before, during, and after World Wars I and of his gardens and lily ponds. Monet’s later II in Britain. Today known as the Machine paintings resonated with Kelly’s passion Age, this was an era that embraced for intense, curious looking at natural industry and mechanization. New modes of forms. During his years in France following communication and transportation infused World War II and on multiple return trips, with the aura of speed and efficiency— Kelly traveled to Belle-Île, a windswept radios, trains, automobiles, airplanes— island off the Atlantic coast where Monet transformed the landscape of the country. had painted the peculiar rock formations The exhibition featured two groups of prints: along the shore. This exhibition explored the first by Edward Wadsworth and C. R. the significance of Kelly’s 1952 visit to W. Nevinson, who chronicled Britain’s Monet’s studio to Kelly’s work, as well as the military efforts during World War I, and influence of the later Monet paintings on the second by artists from the progressive Kelly’s practice. Grosvenor School of Modern Art in London who learned to make prints from common Monet | Kelly was made possible by the linoleum flooring. Sybil Andrews, Claude generous contribution of Denise Littlefield Flight, Lill Tschudi, and others made Sobel. Additional support was provided by technically experimental prints whose Agnes Gund, Marie-Josée and Henry R. vibrant colors and geometric forms bridged Kravis, and Emily Rauh Pulitzer. abstraction and representation.

Exhibitions continued 15 July 4–September 27, 2015 Whistler’s Mother: Grey, Black, and White James McNeill Whistler’s most famous work, Arrangement in Grey and Black, No. 1 (Portrait of the Artist’s Mother), is known to many as Whistler’s Mother. The painting served as the centerpiece of the exhibition Whistler’s Mother: Grey, Black, and White, which also featured a selection of Whistler’s prints and drawings, Japanese woodblock prints that inspired the artist, and ephemera that explored the image’s role in popular A detail of the interior of Thomas Schütte: Crystal culture. Displayed in the galleries of the (Photo: Tucker Bair) Lunder Center at Stone Hill, Whistler’s Mother presented works from the Lunder June 14, 2015–October 9, 2017 Collection of James McNeill Whistler at the Thomas Schütte: Crystal Colby College Museum of Art as well as Contemporary artist Thomas Schütte from the Clark’s permanent collection. (German, b. 1954) is best known for his The exhibition was presented in collaboration public large-scale sculptures of figures with the Colby College Museum of Art and that reimagine the role of statuary and the Lunder Consortium for Whistler Studies, monuments. The artist’s fascination with and was generously supported by a grant architecture as a kind of public sculpture from The Lunder Foundation, by Katherine that is both symbolic and practical and Frank Martucci, and by an indemnity complements his figurative practice and from the Federal Council on the Arts and its exploration of the human form. Thomas the Humanities. Schütte: Crystal, Schütte’s site-specific installation at the Clark, is the artist’s first full-scale architectural artwork in the United States. It is located on a meadow near the top of Stone Hill, close to the woodland’s edge. Visitors enter the structure through doors on the northwest side; the southeast side of the structure is open and frames a view of trees and mountains. By drawing the visitor’s attention to this somewhat unexpected view, Crystal provides visitors the opportunity to reflect on how landscapes and places, including the Clark’s campus, are constructed and preserved. The structure’s unusual construction does not clearly communicate its purpose, allowing visitors to construct their own meanings for this newly made place. Major funding for Thomas Schütte: Crystal comes from the Ellsworth Kelly Foundation and from Elise Jaffe + Jeffrey Brown, whose James McNeill Whistler, Arrangement in Grey and Black, No. 1 (Portrait of gift made possible Crystal’s project design the Artist’s Mother) (detail), 1871. Oil on canvas. Musée d’Orsay, Paris and architectural work. © RMN-Grand Palais / Art Resource, NY (photo: Jean-Gilles Berizzi).

Exhibitions continued 16 June 14–September 13, 2015 Van Gogh and Nature For Vincent van Gogh, nature was the defining subject of his art. Over the course of his short but intense working life, Van Gogh studied and depicted nature in all its forms—from the minutiae of insects and birds’ nests to the most sweeping of panoramic landscapes—creating a body of work that revolutionized the representation of the natural world at the end of the nineteenth century. Van Gogh’s focus on Vincent van Gogh, A Wheatfield, with Cypresses (detail), 1889. Oil on canvas. The nature was rooted in his love of the art National Gallery, London, bought Courtauld Fund, 1923 Image © The National Gallery, London 2014 of his time, both the landscapes created by Barbizon School artists and the highly keyed, quickly brushed paintings of the Impressionists, but he brought a personal passion and subjective sensibility to his work that continues to enthrall art lovers to this day. Much of the artist’s adult life was devoted to drawing and painting the natural world, yet this fundamental aspect of his work has not previously been the Visitors enjoy the exhibition Van Gogh and Nature (Photo: Tucker Bair) focus of intense study. Presenting fifty works including iconic paintings such as A Wheatfield, with Cypresses(1889, National Gallery, London), The Olive Trees (1889, The Museum of Modern Art, New York), and The Sower (1888, Kröller-Müller Museum, Otterlo), the exhibition focused on Van Gogh the serious artist, not on the mythic “tortured painter” of film and fiction. Van Gogh was presented as a thoughtful and meticulous student of nature who found solace and personal fulfillment in studying and enjoying the natural world. Van Gogh and Nature was made possible by the generous contributions of Denise Littlefield Sobel and Diane and Andreas Halvorsen. Major support was provided by Acquavella Galleries and the National Endowment for the Arts, with additional support from Howard Bellin; the Consulate General of the Kingdom of The Netherlands; the Robert Lehman Foundation; and the Netherland-America Foundation. This Vincent van Gogh, A Wheatfield, with Cypresses (detail), 1889. Oil on canvas. exhibition was supported by an indemnity The National Gallery, London, bought Courtauld Fund, 1923 Image © The National from the Federal Council on the Arts and Gallery, London 2014 the Humanities.

Exhibitions continued 17 LOANS

During the fiscal year 2014–15, the Clark loaned works to the following institutions:

Impression, Sunrise Pleasure and Piety: The Art of Joachim Wtewael Musée Marmottan Monet, Paris, 09/18/2014 to (1566–1638) 01/18/2015 Centraal Museum, Utrecht, 02/21/2015 to 1955.37, Joseph Mallord William Turner, 05/25/2015 Rockets and Blue Lights (Close at Hand) to Warn National Gallery of Art, Washington, DC, Steamboats of Shoal Water 06/28/2015 to 10/04/2015 1955.529, Claude Monet, The Duck Pond The Museum of Fine Arts, Houston, Houston, 1955.584, Pierre Auguste Renoir, Self Portrait 11/01/2015 to 01/31/2016 1955.591, Pierre Auguste Renoir, Bridge at Chatou 1991.9, Joachim Anthonisz Wtewael, The Wedding of Peleus and Thetis

Manet, Monet, van Gogh: Japanese Inspirations 500th anniversary of the death of Aldus Museum Folkwang, Essen, 09/27/2014 to Manutius 02/01/2015 The Grolier Club, New York, 02/24/2015 to 1979.23, Pierre Bonnard, Women with a Dog 04/25/2015 Virgil, Virgilius. Aldvs, rare book

Goya: Order and Disorder Museum of Fine Arts, Boston, 10/12/2014 to Monet and the Birth of Impressionism 01/19/2015 Städelsches Kunstinstitut und Städtische Galerie, 1955.749, Francisco de Goya, Autumn Frankfurt am Main, 03/11/2015 to 06/28/2015 1955.552, Édouard Manet, Interior at Arcachon 1955.562, Hilaire Germain Edgar Degas, Dancers Paul Durand Ruel and Impressionism in the Classroom Musée du Luxembourg, Paris, 10/08/2014 to 1955.612, Pierre Auguste Renoir, Madame 02/08/2015 Claude Monet Reading The National Gallery, London, 03/04/2015 to 05/31/2015 1955.598, Pierre Auguste Renoir, Sleeping Girl Pierre Bonnard (1867–1947): Peindre l’Arcadie Musée d’Orsay, Paris, 03/16/2015 to 07/19/2015 1979.23, Pierre Bonnard, Women with a Dog Sargent: Portraits of Artists and Friends National Portrait Gallery, London, 02/12/2015 to 05/25/2015 Degas, an Impressionist? The Metropolitan Museum of Art, New York, Musée des Impressionismes Giverny, 03/27/2015 06/29/2015 to 10/04/2015 to 07/19/2015 1955.14, John Singer Sargent, Carolus Duran 1955.544, Hilaire Germain Edgar Degas, Self Portrait

The Artist's Garden: American Impressionism and the Garden Movement For study in advance of Le Nain Brothers Pennsylvania Academy of Fine Arts, Philadelphia, exhibition 02/12/2015 to 05/24/2015 Kimbell Art Museum, Fort Worth, beginning Chrysler Museum of Art, Norfolk, 06/16/2015 to 05/18/2015 09/06/2015 1955.787, The Le Nain Brothers, The Young 1955.10, George Inness, Home at Montclair Card Players

The Sins: Pride Bruce Museum, Greenwich, Connecticut, 06/27/2015 – 10/18/2015 1981.63, Dirck van Delen, Church Interior with the Parable of the Pharisee and the Publican (Luke 18:9-14)

18 CLARK FELLOWS

Matthieu Chambrion Ralph Lieberman Curator and Researcher Independent Scholar Heritage Inventory Department September–December 2014 Région Centre (Orléans), France

July–August 2014 Prita Meier Assistant Professor of Art History Kimberly Conaty University of Illinois at Urbana-Champaign Sue and Eugene Mercy, Jr. Assistant Curator September 2014–May 2015 of Drawings and Prints Museum of Modern Art New York Parul Mukherji Professor of Arts and Aesthetics July–August 2014 Jawaharlal Nehru University New Delhi, India Christopher Heuer September–December 2014 Assistant Professor Department of Art and Archaeology Princeton University Carrie Noland Professor of French and Comparative July–August 2014 Literature University of California–Irvine Gabriele Finaldi September 2014–May 2015 Deputy Director for Collections and Research Museo Nacional del Prado Madrid, Spain Michele Cometa Professor or Comparative Literature July–August 2014 and Visual Culture University of Palermo Jacqueline Terrassa Palermo, Italy Kress Fellow in Museum Education February–May 2015 Managing Museum Educator for Gallery and Studio Programs, Metropolitan Museum of Art Director, Museum Education Division, Sheila Crane National Art Education Association Associate Professor of Architectural History University of Virginia July–August 2014 February–May 2015 Thomas Crow Michael Holly Fellow Kathrin Müller Art Historian Associate Professor of Art History Institute of Fine Arts Goethe-Universität New York University Frankfurt am Main, Germany September–December 2014 February–May 2015

19 Johanna Burton Keith Haring Director and Curator of Education and Public Engagement The New Museum of Contemporary Art New York June–July 2015

Hanneke Grootenboer Professor of the History of Art and Head of the Ruskin School of art University of Oxford June–July 2015

Alexa Sand Associate Professor of Art History Department of Art and Design Utah State University June–July 2015

Paul Smith Professor of History of Art University of Warwick June–July 2015

Shelly Casto Director of Education Wexner Center for the Arts Kress Fellow in Museum Education June–July 2015

Fellows continued 20 SCHOLARLY PROGRAMS

September 6, 2014 October 17–18, 2014 “Make It New? New Positions “Outside In: The Interface between on Midcentury Abstraction” Self-Taught and Mainstream Art A Clark Symposium Practices in the United States Convened by Darby English and David Breslin in the Twentieth Century” A Clark Colloquium In this symposium, supported in part by a grant from the Helen Frankenthaler Convened by Lynne Cooke (Senior Curator, National Foundation, three distinguished artists Gallery of Art) reflected on the effects and consequences In preparation for an exhibition that shares of mid-century abstraction with interlocutors the same title of the colloquium and that of their choice. Some questions they will be held at the National Gallery of Art, pursued were: What characteristics of the Metropolitan Museum of Art, and the mid-century abstraction continue to matter, Los Angeles County Museum of Art, Lynne and how? How are contemporary artists Cooke gathered scholars, curators, and and writers dealing with the impurity and an artist to discuss issues pertinent to its limitations that obtained to so much art conception. Some of the issues that the lauded for its virtue and freedom? What colloquium addressed were: the utility or remains to be discovered? futility of the categories of the “outsider” and “self-taught” in the context of modern Participants included: Brice Marden, Vincent Katz, Amy and contemporary art; the shifting meanings Sillman, Thomas Eggerer, Glenn Ligon, Byron Kim, and and associations assigned to concepts Yve-Alain Bois. of the self-taught, naïve, and visionary at different historical junctures in the twentieth century; the investment in these issues by September 27, 2014 art history, art criticism, folkloristics, and “Sculpture and Photography: cultural materialism; other sites and objects The Art Object in Reproduction” of cultural marginality; and the exhibitionary A Clark-Getty Symposium models for presenting the outsider inside. Convened by Megan Luke (University of Southern Participants included: Douglas Crimp (University of California) and Sarah Hamill (Oberlin College) Rochester); Randall Griffey (Metropolitan Museum This symposium considered how of Art); Suzanne Hudson (University of Southern photographs translate sculptural space California); Katherine Jentleson (Duke University); into two dimensions. Papers examined Thomas Lax (Museum of Modern Art); Zoe Leonard how photography, as both an art practice (Artist); Anne Monahan (Phillips Collection); Kevin and pictorial tool, mediates the history of Murphy (Williams College Museum of Art); Ann sculpture and even informs our perception of Reynolds (University of Texas at Austin); Ann Temkin sculpture’s space. The symposium attempted (Museum of Modern Art); Elaine Yau (University of to determine photography’s special role, California, Berkeley). particularly in relation to writing, in the art history of sculpture. How does photography narrate a history of sculpture? How does photography picture spatial experience?

Participants included: Suzanne Blier (Harvard University); Peter Geimer (Freie Universität Berlin); Geraldine Johnson (University of Oxford); Anne McCauley (Princeton University); Stephen Melville (The Ohio State University, Emeritus); Alina Payne (Harvard University); D.N. Rodowick (University of Chicago).

21 November 7–8, 2014 February 16–17, 2015 “Art History and Emergency” College Art Association– A Clark Conference Getty International Fellows Convened by Darby English and David Breslin For the third consecutive year, the Clark Held in conjunction with the joint congress of ARIAH hosted international scholars following (American Research Institutes in Art History) and RIHA the annual conference of the College Art (the International Association of Research Institutes in Association. This year, fifteen scholars the History of Art) visited Williamstown to meet with Clark staff, learn more about the activities of the This Clark Conference assessed art history’s museum and the Research and Academic specific roles and responsibilities with Program, and discuss how the Clark regard to the condition widely described might be a more effective convener of as the “humanities crisis.” What part has international events. art history to play in the situation and the development of strategies for dealing with Participants included: Bhuiyan Mokammal it? From where in our midst might the (Jahangirnagar University, Bangladesh), Dafne champions of humanities research emerge Cruz Porchini (Instituteo Nacional de Bellas Artes, or already exist? Mexico), Boureima Diamitani (West African Museums Programme, Burkina Faso), Ljerka Dulibic (Croatian Participants included: Caroline Arscott (The Courtauld Academy of Sciences and Arts), Georgina Gluzman Institute of Art); Manuel Borja-Villel (The Museo (Universidad de San Andrés, Argentina), Angelo Nacional Centro de Arte Reina Sofía); Carolyn Kakande (Makarere University, Uganda), Nazar Kozak Christov-Bakargiev (Independent Curator); Thomas (National Academy of Sciences of Ukraine), Savita Crow (New York University); Patrick Flores (University Kumari (National Museum Institute of History of of the Philippines-Diliman); Marjorie Garber (Harvard Art, Conservation and Museology, India), Nomusa University); Kajri Jain (University of Toronto); Anatoli Makhubu (University of Cape Town, South Africa), Mikhailov (European Humanities University); Mary Miller Ana Mannarino (Rio de Janeiro Federal University, (Yale University); Our Literal Speed; Michael Rakowitz Brazil), Marton Orosz (Museum of Fine Arts, Budapest, (Artist, Northwestern University); Howard Singerman Hungary), Andrey Shabanov (European University at (Hunter College, City University of New York). St. Petersburg, Russia), Shao Yiyang (Central Academy of Fine Arts, China), Lize Van Robbroeck (Stellenbosch University, South Africa), and Nora Veszpremi (Hungarian National Gallery, Hungary).

Chicago-based artist Theaster Gates speaks at the November 2014 symposium "Art History and Emergency" (Photo: Tucker Bair)

Scholarly Programs continued 22 February 27–28, 2015 March 13 – 14, 2015 “Does History Still Matter? “Transference: New Approaches to A Clark Colloquium Drawing in the Early Modern Period” This invitational colloquium—convened by A Clark Colloquium Jeremy Melius (Tufts University) and Felipe Supported by the Samuel H. Kress Foundation and the Pereda (The John Hopkins University)— Manton Foundation questioned the role that “history” has to Transference, convened by Iris Moon play in shaping our approach to art and (Metropolitan Museum of Art), brought its place as a site of debate in scholars’ together scholars of art history from both the agendas. The question explored was museum and the academy, as well as art whether or not we can do without history if conservators, for a collective consideration we still wish to remain critical. of new approaches to Early Modern Participants included: Caroline Arscott (The European drawing practice. Traditional Courtauld Institute of Art), Whitney Davis (University scholarship on the graphic arts of this of California, Berkeley), Aden Kumler (University of period gives priority to Old Master drawings, Chicago), Michele Matteini (Institute of Fine Arts, New especially emphasizing the artist’s hand and York University), Stephen Melville (The Ohio State corresponding ideas of single authorship, University), David Nirenberg (University of Chicago), originality, and authenticity. The theme, Margaret Olin (Yale University), Spyros Papapetros “transference,” allows one to considerably (Princeton University), and Frederic Schwartz widen the focus conventionally adopted (University College London). in consideration of this material. It was a principal objective of this Clark Colloquium to establish Early Modern drawing in its fullness as a technically and structurally March 10, 2015 varied, dynamic, and emergent field of A Clark Conversation scholarly inquiry. Discussions bridged with Jacqueline Lichtenstein recent findings in the material and technical Jacqueline Lichtenstein joined Iris conservation of drawings with historical Moon, Jane and Morgan Whitney Fellow, and theoretical discourses, rather than Metropolitan Museum of Art, in a wide- preserve the gulf that customarily separates ranging conversation about her life and these two areas of inquiry. Participants scholarship. Lichtenstein is professor of the also considered the processes of material philosophy of art at the University of Paris- transference that bind the practice of Sorbonne. She is a scholar of early modern drawing to other Early Modern media art theory and aesthetics, particularly such as tapestries, paintings, and prints in concerning the debates between color and unexpectedly close ways. design in seventeenth-century France. She Participants included: Yvonne Elet (Vassar College), was Edmond J. Safra Visiting Professor Juliet Fleming (New York University), Christopher at the Center for Advanced Study of the Heuer (Center for Advanced Study in the Visual Arts), Visual Arts in Washington, DC and is the Matthew Hunter (McGill University), Anna Jolly (Abegg- author of The Eloquence of Color: Rhetoric Stiftung), Jacqueline Lichtenstein (Université Paris- and Painting in the French Classical Age Sorbonne), Kathrin Müller (Goethe Universität), Kristel (1993) and The Blind Spot: An Essay on the Smentek (Massachusetts Institute of Technology), Relations Between Painting and Sculpture Femke Speelberg (Metropolitan Museum of Art), and in the Modern Age (2008). Richard Taws (University College London).

Scholarly Programs continued 23 April 10–11, 2015 April 24 – 25, 2015 “Prospects for Digital Humanities “Performance and its Materials” and the Arts” A Clark Colloquium A CLIR Digital Humanities Colloquium This invitational Colloquium, convened by Sponsored by the Council on Library and Information Julia Bryan-Wilson (University of California Resources at Berkeley) and Tavia Nyong’o (New York This invitational colloquium—convened University), addressed the methodological by the Clark’s Research and Academic challenges of writing a robust history of Program and sponsored by the Council performance. The Colloquium’s principal on Library and Information Resources questions asked: What is the stuff of (CLIR)—considered methods and performance? How does performance art transformations at the intersection of history change when one takes seriously humanities scholarship and computational the objects, artifacts, works of art, and technologies. Collectively, the research that other materials with which the preforming this colloquium explored takes place in a body interacts, in which it is clothed, and new environment: one where new forms which constitute a large part of the material of scholarly expression exist in a digital character of performance art? Building on ecology of data, algorithms, metadata, the Research and Academic Program’s analytical and visualization tools. Research widely recognized capacity to convene key and scholarly work conducted in this specialists from a variety of disciplines; we environment—a wealth of digital resources worked in this case with partners to realize at current scales, speeds, and levels of an intellectual event that began to map the complexity—essentially requires and priorities of a materially-sensitive history of generates new methodological approaches performance. This Colloquium dealt directly and intellectual strategies. What are these with the significances of performance art methods and strategies, particularly for beyond the domain of the gesturing body, those scholars engaged with visual material? which has largely preoccupied historians of This colloquium attempted to identify the this medium. methodological shifts and transformations in Participants included: Claire Bishop (City University the humanities and explore the implications of New York), Jennifer D. Brody (Stanford University), for future research and pedagogy. Joshua Chambers-Letson (Northwestern University), Participants included: Thomas Bartscherer (Bard Sharon Hayes (artist), Adrian Heathfield (University of College), Ben Chang (Rensselaer Polytechnic Institute), Roehampton), SanSan Kwan (University of California, Morris Eaves (University of Rochester), Shona Berkeley), Thomas Lax (Museum of Modern Art), Macdonald (University of Massachusetts Amherst), Simone Leigh (artist), Carrie Noland (University of Norton Owen (Jacob’s Pillow), Alicia Peaker (Middlebury California, Irvine), and Taisha Paggett (artist). College), David Pilachowski (Williams College), Emily Robins Sharpe (Keene State College), Kelcy Shepherd (Amherst College), Christa Williford (CLIR), Lise Sanders (Hampshire College),and Gerald Zahavi (University at Albany, State University of New York).

Scholarly Programs continued 24 PUBLICATIONS

Raw Color: The Circles of David Smith Edited by David Breslin with essays by Michael Brenson, David Breslin, and Charles Ray Published by the Clark Art Institute and distributed by Yale University Press, July 2014

Make It New: Abstract Painting from the National Gallery of Art, 1950–1975 By Harry Cooper with contributions by David Breslin and Matt Jolly Published by the Clark Art Institute and distributed by Yale University Press, August 2014

Monet | Kelly Essays by Yve-Alain Bois and Sarah Lees Published by the Clark Art Institute and distributed by Yale University Press, November 2014

Machine Age Modernism: Prints from the Daniel Cowin Collection Essays by Jay A. Clarke and Jonathan Black Published by the Clark Art Institute and distributed by Yale University Press, February 2015

Journal of the Clark, Volume 15 Published by the Clark Art Institute, March 2015

Van Gogh and Nature Van Gogh and Nature, published by the Clark and distributed by Essays by Richard Kendall, Sjraar van Heugten, Yale University Press, includes essays by exhibition co-curators Richard Kendall, Sjraar van Heugten, and Chris Stolwijk. and Chris Stolwijk Published by the Clark Art Institute and distributed by Yale University Press, June 2015

25 LIBRARY

Acquisitions Books 2,132 volumes Auction catalogues 210 volumes Journal subscriptions 629 titles (873 volumes received)

Cataloguing Books 2,583 volumes Journals 806 volumes Auction catalogues 210 volumes Digital objects added 106,047

Total Holdings Total catalogued volumes 256,576 Total archival holdings 1741 linear feet Total digital objects 203,290 Total archival finding aids 144

Library Use Readers’ cards issued 135 Signatures in log1 2,632 Books shelved2 17,329 Photocopies supplied 15,353 Reference queries 4,024 Reference queries (archives) 30 Interlibrary loan transactions (ILL) 589 Borrowing 410 Lending 999 Total ILL

Circulation 6,974 Check-outs 5,588 Check-ins 1,718 Holds 88 Recalls 14,368 Total circulation activity

1 These statistics do not reflect use of the library by the staff of the institute, or of the Williamstown Art Conservation Center .

Because of the closure of the library due to construction, there are no logbook statistics from January 1, 2015 onward .

2 The library is a non-circulating, open-stack collection, and statistics on book use are partial . This figure does not include books replaced by users directly .

26 EDUCATION

Gallery Talks Number of Groups Number of People

School Group Gallery Talks Elementary Schools 73 2,151 High Schools 125 4,232 Colleges 77 1,667 Self-guided School Groups 19 448l School Totals 294 8,498

Adult Group Gallery Talks Public Talks 116 3,121 Special Group Talks 80 2,222 Self-guided Groups 67 1,910 Adult Totals 263 7,253

Total 557 15,751

27 CEVA

The Clark’s Center for Education in the November 14–15, 2014 Visual Arts (CEVA) organizes courses and CEVA Fall Colloquium: Change as colloquia designed to share the Clark’s a Challenge and an Opportunity philosophy of museum engagement as widely as possible with museums and other Participants: Bill Appleton, Rebecca Aubin, Michael curatorial institutions across the country. Cassin, Antonia Dapena-Tretter , Lisa Donovan, Emily These programs have helped establish Hermans, Kelsey Mullen, Jessica Wozniak the Clark as an acknowledged center of excellence in the field of museum education. CEVA’s approach emphasizes exploratory, August 17–20, 2014 interactive dialogues, rather than a one- CEVA Docent Summer School way flow of information from presenter to Participants audience, promoting real conversations with museum visitors about works of art. Berclee Cameron It offers a richer, more personal experience Yale Center for British Art for visitors by helping them to develop their Jerry Cartwright own responses, analytical thinking, visual Hyde Collection understanding, and aesthetic sensibility. At the same time it also promotes an MaryLou Cartwright awareness of the cultural, social, and Hyde Collection historical contexts in which works of art are made. Mary Hubbard Birmingham Museum of Art The CEVA philosophy helps to shape interpretation at the Clark in all its forms: Gigi Jordan live gallery talks, labels and wall texts, Phoenix Art Museum audio and multimedia programs, and even the recently published book, The Clark: Ellen Le The Institute and Its Collections. CEVA’s Delaware Art Musuem professional colloquia provide curators Marilyn Lichtman and educators in schools, universities, Corcoran Museum of Art and museums with opportunities to engage in conversations and share experiences Alan Lubert with each other in discussions that are Nelson-Atkins Museum of Art rarely possible elsewhere. Each of the colloquia focuses on a particular theme of Mary Moberg current interest in the realm of museums and Chrysler Museum of Art educators. These themes are listed below Emily Omura with relevant dates, and examples of the Birmingham Museum of Art institutions from which participants came. In addition, CEVA’s training programs for Helane Rheingold museum educators and volunteer guides have Neuberger Museum of Art, SUNY Purchase continued to be very popular. Listed below are participants from the fall colloquium and Sally Schmidt docent summer school participants. Chrysler Museum of Art Judith Silver New Britain Museum of American Art

28 MEMBER EVENTS

July 1, 2014 July 21 – September 8, 2014 Clark Members Day Make It New: Five Galleries, Clark members enjoyed special member- Five Perspectives only access to the galleries before the Over the course of five Mondays, an Clark’s grand opening on July 4. individual intrigued and inspired by abstraction discussed one of the five July 7, 14, 21, 28; August 4, 11, 18, 25; different galleries that comprised Make It September 1, 8, 15, 2014 New: Abstract Painting from the National Member Mondays Gallery of Art, 1950–1975. Each talk took place in the respective gallery. Guest Members enjoyed early admission to the speakers included Mike Glier, artist and galleries every Monday during the summer professor of art, Williams College; Michael from July 7–September 15. Galleries opened Fried, J.R. Herbert Boone Chair in the at 9 am, an hour before the public opening. Humanities, Johns Hopkins University; David Breslin, co-curator of Make It New, July 9, 2014 the Clark; Darby English, Starr Director, Member Gallery Talk: Introduction to the Research and Academic Program, the Clark’s Permanent Collection Galleries Clark; and Jessica Fisher, poet and assistant Visitors joined Collections Interpretation Project professor of English, Williams College. Manager Viktorya Vilk for an introduction to and highlights tour of the Clark’s newly July 22, 2014 installed permanent collection galleries. Across the Pond: Pre-concert Reception for Sustainer Members July 11 and 16, 2014 Sustainer-level and above members were Member Gallery Talks: Cast for invited to a pre-concert reception before Eternity: Ancient Ritual Bronzes reliving the sounds of the Beatles with from the Shanghai Museum Across the Pond. Associate Director of Program and Planning Tom Loughman took visitors on a tour July 25, 2014 of highlights from the exhibition Cast for Member Gallery Talk: Introduction to the Eternity: Ancient Ritual Bronzes from the Clark’s Permanent Collection Galleries Shanghai Museum. Kathleen Morris, Sylvia & Leonard Marx Director of Collections and Exhibitions/ Curator of Decorative Arts, led a highlights tour of the Clark’s newly installed permanent collection galleries.

July 26, 2014 Member Brunch: Get to Know the Clark Clark members enjoyed a brunch buffet, followed by “Get to Know the Clark” tours introducing the Clark’s newly expanded and renovated campus.

29 August 6, 2014 August 27, 2014 Member Gallery Talk: Make It New: New Member Champagne Toast Abstract Painting from the National New members of the Clark were invited to Gallery of Art, 1950–1975 a champagne toast followed by a highlights Richard Rand, Robert & Martha Lipp Senior tour of the permanent collection. Curator/Curator of Paintings and Sculpture, led a highlights tour of Make It New: August 29, 2014 Abstract Painting from the National Gallery Member Gallery Talk: Introduction to the of Art, 1950–1975. Clark’s Permanent Collection Galleries Kathleen Morris, Sylvia & Leonard Marx August 13, 2014 Director of Collections and Exhibitions/ Member Gallery Talk: Introduction to the Curator of Decorative Arts, led a highlights Clark’s Permanent Collection Galleries tour of the Clark’s newly installed permanent Richard Rand, Robert & Martha Lipp Senior collection galleries. Curator/Curator of Paintings and Sculpture, led a highlights tour of the Clark’s newly September 10, 2014 installed permanent collection galleries. Member Gallery Talk: Radical Words: From Magna Carta to the Constitution August 13, 2014 Kathleen Morris, Sylvia & Leonard Marx Spotlight on David Smith, Director of Collections & Exhibitions/Curator Photographic Abstraction, and the of Decorative Arts introduced the exhibition Surface of Sculpture with Sarah Hamill Radical Words: From Magna Carta to Sarah Hamill, assistant professor of modern the Constitution. and contemporary art at Oberlin College, led a conversation with members in the September 16, 2014 galleries at the Lunder Center at Stone Hill. Artists’ Studio Tour around the Gowanus Canal August 16, 2014 Clark Society patrons were invited to New Member Brunch: Get to Know the Clark York for an artists’ studio tour around the Clark members enjoyed a brunch buffet, Gowanus Canal, including artist Teresita followed by “Get to Know the Clark” tours Fernandez ‘s Boerum Hill town house and introducing the Clark’s newly expanded and the SNØHETTA-designed warehouse studio renovated campus. space of José Parlá.

August 27, 2014 October 7, 2014 Member Gallery Talk: Raw Color: Really Rotten Royals The Circles of David Smith “Bad King John” wasn’t the only cruel king. David Breslin, associate director of the In this member talk, acquisitions librarian Research and Academic Program/associate Terri Boccia looked at evil emperors, curator of contemporary projects, led a cranky queens, and other nefarious nobles highlights tour of Raw Color: The Circles of represented in the Clark library’s special David Smith. collections.

Member Events continued 30 October 10, 2014 January 15, 21, and February 13, 2015 Sunset and Sustainability: Three Viewpoints: Line, Location, Explorations of the Clark’s Campus and Language Matthew Noyes, horticulturist and grounds During this series of talks, practicing artists manager, led an uplifting sunset walk on the shared their perspectives of the exhibition Clark’s trails. Noyes discussed efforts being Monet | Kelly. Each talk took place in made by the Clark as the Institute aspires the exhibition galleries. Guest speakers toward a greener campus management plan. included painter John MacDonald on language (January 15), painter Stephen October 15, 2014 Hannock on location (January 21), and Member Gallery Talk: Radical Words: artist and Williams College Professor of Art From Magna Carta to the Constitution Mike Glier on language (February 13). Director of Adult, School & Community Programs Ronna Tulgan Ostheimer February 3, 2015 introduced the exhibition Radical Words: Member Gallery Talk: Monet | Kelly From Magna Carta to the Constitution. Visitors joined Williams College graduate student Nathan Stobaugh for a highlights October 23, 2014 tour of Monet | Kelly. The Magna Carta: Like You’ve Never Seen It February 4, 2015 Michael Cassin, director of the Center Member Gallery Talk: Monet | Kelly for Education in the Visual Arts, showed David Breslin, associate director of the members various examples of how the Research and Academic Program and Magna Carta has been used and portrayed associate curator of contemporary projects, throughout history. led a highlights tour of Monet | Kelly.

November 22, 2014 February 10, 2015 Monet | Kelly: Member Preview Rare Books Talk: Roses are Red, Clark members enjoyed special member- Tiffany Boxes are Blue… only access to Monet | Kelly before the Acquisitions librarian Terri Boccia delivered exhibition opened to the public. a special Valentine to members with this rare books program, highlighting flowers, December 6 and 7, 2014 poetry, jewels, and other tokens of love from Members’ Shopping Days and Holiday volumes in the library’s special collections. Gift-Wrapping Members received twenty-five percent off all February 14, 2015 merchandise purchased during this special Member Appreciation Day two-day event. The stunning Museum Store, Members enjoyed a Valentine’s Day filled located in the Clark Center, made its debut with special activities, including love- with a celebration of Japanese architecture themed gallery talks in the permanent and design. collection, a twenty percent discount and gift wrapping in the Museum Store, a photo booth, music, gift membership specials, and more.

Member Events continued 31 February 27, 2015 April 7, 2015 Clark Society Preview Member Gallery Talk: Machine Age of Machine Age Modernism Modernism: Prints from the Daniel Clark Society members were invited to the Cowin Collection Clark Center for cocktails and a behind-the- Jay A. Clarke, Manton Curator of Prints, scenes look at Machine Age Modernism: Drawings, and Photographs, led a highlights Prints from the Daniel Cowin Collection with tour of Machine Age Modernism: Prints Manton Curator of Prints, Drawings, and from the Daniel Cowin Collection. Photographs Jay A. Clarke. April 14, 2015 March 11, 2015 Rare Books Talk: Forget the Member Gallery Talk: Machine Age April Showers Modernism: Prints from the Daniel Acquisitions librarian Terri Boccia shared Cowin Collection some rare botanical and garden books from Jay A. Clarke, Manton Curator of Prints, the Clark library's special collections. Drawings, and Photographs, and Megan Kosinski, curatorial assistant, led a April 17, 2015 highlights tour of Machine Age Modernism: Clark Society Preview of Puget Sound Prints from the Daniel Cowin Collection. on the Pacific Coast Clark Society members previewed the Albert Bierstadt painting on loan from the Seattle Art Museum and perused the permanent collection.

Members enjoyed a rare books talk on April 14, 2015 with Acquisitions Librarian Terri Boccia, who shared some rare botanical and garden books from the Clark library's special collection

Member Events continued 32 April 26, 2015 June 13, 2015 Clark Society Meet and Greet Clark Society Preview with Belinda Rathbone of Van Gogh and Nature Clark Society members were invited for Clark Society members were invited to an cocktails and conversation with author exclusive preview of Van Gogh and Nature. Belinda Rathbone following her talk. June 17, 2015 May 14, 2015 Member Gallery Talk: Van Gogh: Nature into Art Van Gogh and Nature Michael Cassin, director of the Center Richard Kendall, Clark curator at large, for Education in the Visual Arts, provided led a highlights gallery tour of Van Gogh members insights into the exhibition Van and Nature. Gogh and Nature. June 25, 2015 May 21, 2015 Member Talk: Thomas Schütte’s Crystal Van Gogh and the Natural World Kathleen Morris, Sylvia & Leonard Marx Clark members were invited to the Director of Collections and Exhibitions/ Netherlands Consulate General in New York Curator of Decorative Arts, took members for a talk by Richard Kendall, Clark curator for a special look at Thomas Schütte: at large. Crystal, a new installation in nature at the Clark. May 26 and 27, 2015 Drawn to Paris: A Clark/Mount Mixer June 29, 2015 Clark members were invited to The Member Gallery Talk: Mount, Edith Wharton’s home in Lenox, Van Gogh and Nature Massachusetts, to hear a lecture by Michael Members enjoyed a behind-the-scenes Cassin, director of the Clark’s Center talk in the Van Gogh and Nature special for Education in the Visual Arts. Cassin exhibition gallery. discussed writers and artists influenced by the City of Light. A reception followed.

June 13, 2015 Thomas Schütte Talk Contemporary artist Thomas Schütte met members for an exploration of Crystal, his outdoor sculpture located in a meadow at the top of Stone Hill.

Member Events continued 33 PUBLIC PROGRAMS

COURSES FILMS

December 30 and 31, 2014; January 2, 2015 September 20, October 4, and October 25, 2014 Intergenerational Yoga Radical Words Film Series Free yoga classes for all ages and skill levels In celebration of the exhibition Radical were held in the Clark Center. Words: From Magna Carta to the Constitution, three family-friendly films were aired: The Adventures of Robin Hood (September 20), 1776 (October 4), and FAMILY EVENTS Constitution USA (October 25).

November 2, 2014 December 14, 2014; January 11, 2015 Freedom Family Day Ellsworth Kelly: Fragments In celebration of the exhibition Radical In this documentary, aired at the Clark in Words: From Magna Carta to the conjunction with the exhibition Monet | Kelly, Constitution, the Clark hosted the first Ellsworth Kelly revisits the Paris of his family day in the renovated and expanded early twenties, revealing influences which building. Visitors were inspired by one of became leitmotifs that he would return to, the most important documents for political refine, and re-work for decades to come. liberty and justice. David Breslin, associate director of the Research and Academic Program and February 22, 2015 associate curator of contemporary projects, Winter Wonderland of Fun introduced the film. The new Clark campus was the setting for family winter fun, including sledding, cross December 30 and 31, 2014; January 2, 2015 country skiing, snowshoeing, snowman School Vacation Film Festival building, and hot chocolate and s’mores by Families enjoyed free screenings of Frozen, the campfire. The Fantastic Mr. Fox, and Hugo in the West Pavilion over the school break. May 3, 2015 Machine Age Family Day Families were welcomed to celebrate the Clark’s special exhibition Machine Age GALLERY TALKS Modernism with a variety of activities, Looking at Lunchtime including learning basic printmaking methods, viewing an artist demonstration, September 11, 2014 watching modern machines in action, and Michael Cassin, director of the Center for listening to a jazz performance inspired by Education in the Visual Arts, hosted the music of the era. lunchtime talk “Renoir’s Back!” in the permanent collection galleries.

October 9, 2014 “Monet in Normandy,” a half-hour talk in the permanent collection galleries, was hosted by Director of the Center for Education in the Visual Arts Michael Cassin.

34 November 13, 2014 MUSIC Acquisitions Librarian Terri Boccia hosted a discussion in the galleries of one of the July 8, 2014 Clark’s new additions, a late nineteenth- Free Concert: Occidental Gypsy century mosque lamp. Nationally recognized Occidental Gypsy played a dynamic, multi-genre mix of January 8, 2015 original vocal and instrumental pieces. Michael Cassin, director of the Center for Education in the Visual Arts, hosted this July 15, 2014 lunchtime talk, looking at Chrysanthemums by James Tissot. Free Concert: Viva Quetzal Latino jazz-rock fusion band Viva Quetzal February 12, 2015 performed as part of the Clark’s free summer concert series. Michael Cassin, director of the Center for Education in the Visual Arts, hosted this lunchtime talk, looking at portraits by Pierre- July 22, 2014 Auguste Renoir. Free Concert: Across the Pond Across the Pond, a popular Beatles tribute March 12, 2015 band that strives to capture the exuberance Jay A. Clarke, Manton Curator of Prints, of a Beatles live show, performed a lively Drawings, and Photographs, highlighted concert at the Clark. some of the works in the Machine Age Modernism exhibition. July 29, 2014 Free Concert: Misty Blues April 9, 2015 Misty Blues delighted the crowd with blues Curatorial Assistant Megan Kosinski led tunes made popular by the bold and brassy a talk on the Machine Age Modernism women of the '20s, '30s and '40s. exhibition. August 3, 2014 May 14, 2015 Close Encounters with Music Michael Cassin, director of the Center for In a program designed to display J.S. Education in the Visual Arts, discussed Bach’s breadth, boldness, and beauty, Camille Pissarro’s River Seine (The Louvre the English Suites were played by pianist from the Pont Neuf and Port of Rouen: Roman Rabinovich, first-prize winner of the Unloading Wood). international Arthur Rubinstein Competition. Celebrated cellist Yehuda Hanani performed June 11, 2015 one of the incomparable unaccompanied Michael Cassin, director of the Center for suites, and the two performers together Education in the Visual Arts, discussed Jules presented the complement to the German Dalou’s sculpture Bacchus and Ariadne. Baroque. A new composition in neo-Baroque style by Williamstown composer Steven Dankner received its world premiere.

Public Programs continued 35 August 5, 2014 October 19, 2014 Free Concert: Oxen of the Sun Performing Artists in Residence Program The region's premier soul folk band, a Cellist Edward Arron co-directed a chamber vibrant five-piece ensemble of friends from music concert at the Clark with pianist Jeewon Williamstown, North Adams, and Pittsfield, Park, joined by violist Dimitri Murrath and performed at the Clark. violinist Jennifer Frautschi. They presented Mozart’s Piano Quartet in G minor, K. 478 August 12, 2014 Ravel Sonata for Violin, and Cello Faure Piano Free Concert: Woods Tea Co. Quartet in C minor, Opus 15. Acoustic group Woods Tea Co. performed Celtic tunes, sea shanties, American folk, and novelty songs with crisp harmonies, blending PERFORMING ARTS traditional and vintage musical styles. July 16, 30; August 13, 27; September 10, 24, 2014 August 19, 2014 The Met: Live in HD Free Concert: Sister City Jazz The Clark presented screenings from the Ambassadors Metropolitan Opera: Popular local band Sister City Jazz Ambassadors, hailing from Pittsfield, July 16, 2014 performed a wide range of jazz music, from New Orleans style to modern jazz fusion. Rigoletto Director Michael Mayer placed his August 26, 2014 production of Verdi’s towering tragedy Free Concert: Mike & Ruthy in Las Vegas in 1960. Piotr Beczala was Mike & Ruthy, aka Michael Merenda and the womanizing Duke, Željko Lucic was Ruth Ungar, delivered catchy folk-pop his tragic sidekick, Rigoletto, and Diana choruses with honest, organic folk and roots Damrau was Rigoletto's daughter, Gilda. elements, played out on guitars, fiddle, banjo, and ukulele. July 30, 2014 La Rondine September 7, 2014 Angela Gheorghiu and Roberto Alagna Miro Sprague Quintet starred in this ravishing romance, set in Jazz pianist Miro Sprague, a composer glamorous 1920’s Paris, from Giacomo and bandleader known for his dynamic Puccini, arguably the world’s most popular performance style and inspiring creativity, opera composer. presented an intimate concert at the Clark. August 13, 2014 October 12, 2014 Otello Dover Quartet at Williams College Verdi’s Shakespearean masterpiece The Dover Quartet, featuring violinists Joel returned to the Met in this encore Link and Bryan Lee, violist Milena Pajaro- performance with Johan Botha in the van de Stadt, and cellist Camden Shaw, title role opposite the star soprano Renée presented the premiere performances of Fleming as Desdemona. three string quartets by local composer Stephen Danker at Williams College.

Public Programs continued 36 August 27, 2014 National Theatre for the first time since The Enchanted Island its premiere in 1987, when it won the Evening Standard Award for Best Play. In this encore performance, eminent conductor William Christie led an all- August 21, 2014 star cast with David Daniels (Prospero) and Joyce DiDonato (Sycorax) as the The Curious Incident of the Dog in the formidable foes, Plácido Domingo as Night-Time Neptune, Danielle de Niese as Ariel, Based on the acclaimed novel by Mark and Luca Pisaroni as Caliban. Haddon, The Curious Incident of the Dog in the Night-Time was hailed by September 10, 2014 the London Times as “a phenomenal Roméo et Juliette combination of storytelling and spectacle.” Gounod’s ultra-sensual interpretation of Shakespeare was an ideal vehicle September 4, 2014 for star soprano Anna Netrebko and the remarkable tenor Roberto Alagna. Medea Plácido Domingo conducted this Helen McCrory returned to the National encore performance. Theatre to take the title role in Euripides’ powerful tragedy in a new version by Ben September 24, 2014 Power, directed by Carrie Cracknell. La Fanciulla del West September 16, 2014 Puccini’s wild-west opera had its world premiere in 1910 at the Met. In this A Streetcar Named Desire encore performance, all-American diva Tennessee Williams’ timeless Deborah Voigt sang the title role of the masterpiece starred Gillian Anderson as “girl of the golden west,” starring opposite Blanche DuBois, Ben Foster as Stanley, Marcello Giordani. and Vanessa Kirby as Stella.

July 24; August 7, 21; September 4, 16, 2014 November 22, 2014 London National Theatre Jiuta Shamisen Performance with Fujii The Clark presented screenings from the Hirokazu London National Theatre: From traditional stages to contemporary rock, pop, and jazz concerts, the three- July 24, 2014 stringed instrument called shamisen has King Lear forged art and entertainment culture in Japan for centuries and continues to shape Academy Award winner Sam Mendes new spheres in world music. Fujii Hirokazu returned to the National Theatre to direct performed a short piece in the Kyushu Simon Russell Beale in the title role of regional jiuta style. Shakespeare's tragedy. November 22, 2014 August 7, 2014 Shamisen: A Salute to Tradition A Small Family Business A special presentation at the Clark A riotous exposure of entrepreneurial showcased two traditional shamisen musical greed by Olivier Award-winning styles—nagauta and gidayu—as performed playwright Alan Ayckbourn, A Small by Japan's preeminent chanters, shamisen Family Business returned to the players, and a traditional nihon buyo dancer.

Public Programs continued 37 PUBLIC LECTURES September 14, 2014 Michael Fried and Marc Gotlieb July 13, 2014 – September 28, 2014 Michael Fried, J.R. Herbert Boone Clark Inspired Professor of Humanities and Art History at The Johns Hopkins University, and The lecture series “Clark Inspired” was presented Marc Gotlieb, director of the Williams by people whose professional lives have been College Graduate Program in the History influenced by their connection to the Clark or to of Art and Class of 1955 Memorial Williamstown’s art community.July 13, 2014 Professor of Art, Williams College, Richard Brettell presented “A Promise of Happiness: On the Writing and Teaching of Art History.” Richard R. Brettell, professor of aesthetic studies in the interdisciplinary program in arts and humanities at the University September 21, 2014 of Texas at Dallas, took a look at some of Kavita Singh and Patrick Flores his favorite works in the Clark’s collection Kavita Singh, professor at the School of from his vantage point as a curator and Arts and Aesthetics, Jawaharlal Nehru as a scholar. University, New Delhi, and Patrick Flores, professor of art history at the August 2, 2014 University of Philippines at Diliman Michael Govan and curator of the University of the Philippines Vargas Museum, joined Clark Michael Govan, Williams College Class Director Michael Conforti to present of 1985, director and CEO of the Los “The Clark in the World,” a discussion of Angeles County Museum of Art, and their experiences as both conveners and Clark Trustee, shared thoughts about participants in various Clark international how the Clark and Williamstown have events. shaped his career.

September 28, 2014 August 16, 2014 John Onians, Mariët Westermann, and OIivier Meslay Michael Ann Holly Olivier Meslay, Senior Curator of Darby English, Starr Director of the European and American Art and the Research and Academic Program, Barbara Thomas Lemmon Curator of led the conversation “Past, Present, European Art at the Dallas Museum of and Future: The Clark’s Research and Art, spoke about the unique scholarly Academic Program,” which looked at and social environment at the Clark the formation and growth of the program and in Williamstown as well as the and the future directions it may take in differences between European and light of trends in the study and criticism American museums. of the visual arts. Participants included John Onians, FSA, professor emeritus, August 17, 2014 University of East Anglia, Norwich; S. Hollis Clayson Mariët Westermann, vice president, The S. Hollis Clayson, professor of art history Andrew W. Mellon Foundation; Michael and Bergen Evans Professor in the Ann Holly, Starr Director emeritus, RAP Humanities at Northwestern University, and Clark Visiting Professor, Williams shared how her long relationship with College Graduate Program in the History the Clark has helped to shape her of Art. scholarship and perspectives on art.

Public Programs continued 38 July 12, 2014 August 9, 2014 Madeline Burke-Vigeland Behind the Scenes: Opening Up and Kulapat Yantrasast the Clark Landscape Madeline Burke-Vigeland, architect and Gary Hilderbrand, principal, Reed principal at Gensler design firm, and Hilderbrand Associates and Adjunct Kulapat Yantrasast, founding partner and Professor of Landscape Architecture at creative director of wHY design firm, joined the Harvard University Graduate School of Clark Director Michael Conforti for a behind- Design, discussed his role as lead principal the-scenes look at the Clark’s expansion for the Clark’s new landscape design. project. August 10, 2014 July 18, 2014 Nature Is Everything and Everybody: The Same Only Better: A Conversation about David Smith Updating a Beloved Museum Art historian and former New York Times art Annabelle Selldorf, Fellow of the American critic Michael Brenson and Rebecca Smith, Institute of Architects and principal of the artist and daughter of artist David Smith, firm Selldorf Architects, joined Robert & engaged in a far-ranging conversation Martha Lipp Senior Curator Richard Rand touching on the Clark's exhibition, the role and Sylvia & Leonard Marx Director of of place and landscape in Smith's practice, Collections and Exhibitions Kathy Morris his use of color, and his legacy. in a conversation about her redesign and renovation of the Clark’s original museum September 7, 2014 building. Living with Magna Carta The Very Reverend Philip Buckler, Dean of July 19, 2014 Lincoln, presented the opening lecture for A Good Meal: Ancestors, Gods, and the exhibition Radical Words: From Magna Gifts in Ancient and Imperial China Carta to the Constitution. The talk focused In conjunction with the exhibition Cast for on the ancient City of Lincoln and its great Eternity: Ancient Ritual Bronzes from the medieval Cathedral, from Roman times to Shanghai Museum, distinguished scholar the present day. Lincoln Cathedral owns one of Chinese art Derek Gillman presented a of four surviving copies of the 1215 Magna public talk looking at the role of ancient Carta, which it lent to the Clark. Chinese bronzeware in ritual banqueting. October 5, 2014 August 3, 2014 Magna Carta as Good Governance: The Making of “Make It New” Environmental Rights as Citizen Rights Harry Cooper, curator of modern art at the In a wide-ranging talk on the emerging National Gallery of Art, and David Breslin, relationship between the environment and associate director of the Research and human rights, Professor Duncan French, Academic Program and associate curator head of Lincoln Law School and professor of contemporary projects at the Clark, of international law, University of Lincoln, discussed the exhibition Make It New: England, discussed the perennial struggle Abstract Painting from the National Gallery between citizenry and those in authority to of Art, 1950–1975. achieve outcomes that are effective, fair, and legitimate.

Public Programs continued 39 November 23, 2014 April 26, 2015 Opening Lecture on Monet/Kelly Belinda Rathbone and Robert and Martha Berman Lipp Senior The Boston Raphael Curator Richard Rand joined artist Ellsowrth Belinda Rathbone, daughter of Perry Kelly for an in-depth discussion of the Rathbone, the director of the Museum exhibition Monet | Kelly. of Fine Arts, Boston from 1955 to 1972, discussed her book The Boston Raphael: December 11, 2014 A Mysterious Painting, an Embattled Looking at Lunchtime: Fabulous Feasts Museum in an Era of Change, and a Daughter’s Search for the Truth. Alexis Goodin, curatorial research associate, explored pieces in the Clark's silver collection during this lunchtime talk. May 5, 2015 The Back of the Painted Beyond January 25, 2015 Michael Ann Holly, Starr Director emeritus Late Monet and Abstract of the Research and Academic Program Expressionism: Conflicting Views and Clark visiting professor in the Graduate Program in the History of Art at Williams Michael Leja, professor of art history at the College, presented a lecture that considered University of Pennsylvania, explored Claude how, in the realm of art history, the dominance Monet's relation to Jackson Pollock, Mark of representational questions is giving way Rothko, and Barnett Newman in this free to issues of presence. Can art historians lecture. temporarily suspend the drive towards making meaning when we encounter early modern February 8, 2015 paintings and the allure of their backgrounds? Kelly’s Debuts: A Quest for Impersonality June 14, 2015 Yve-Alain Bois, professor of art history at the Opening Lecture for Van Gogh and Institute for Advanced Study in Princeton, Nature New Jersey, discussed his work on the The Clark welcomed the three curators who catalogue raisonné of Ellsworth Kelly’s created Van Gogh and Nature and wrote the paintings and sculptures. catalogue: Richard Kendall, curator at large at the Clark; Chris Stolwijk, director of RKD/ March 1, 2015 Netherlands Institute for Art History and Opening Lecture: Machine Age former curator at the Van Gogh Museum Modernism in Amsterdam; and Sjraar van Heugten, Jay A. Clarke, Manton Curator of Prints, independent art historian. The speakers Drawings, and Photographs, presented the discussed the origin of the exhibition and opening lecture for the exhibition Machine the significance of its theme, which they Age Modernism: Prints from the Daniel researched together for three years. Cowin Collection.

Public Programs continued 40 FINANCIAL REPORT

Statement of revenue collected and expenses paid for the year ended June 30, 2015 (with comparative totals for the year ended June 30, 2014)

2013 2012 Operating Support and Revenue From Investments $9,869,679 $12,590,004 Memberships 1,448,382 1,202,981 Contributions and Grants 4,901,950 1,608,797 Earned Revenue 1,738,028 1,311,585 Other Income 319,923 462,259 TOTAL OPERATING REVENUE $18,277,962 $17,175,626

Operating Expenses Research and Academic Program 2,665,877 2,512,499 Museum Program 7,953,328 6,805,354 External Affairs 2,673,063 2,578,891 General Administration 4,985,694 5,278,881 TOTAL OPERATING EXPENSES $18,277,962 $17,175,626

14.6%

27.3%

Research and Academic Programs

Museum Program

External Affairs

General Administration

14.6% 43.5%

41 Cover Image: Kawase Hasui, Tenn¯oji Temple (detail), Osaka, 1927. Color woodblock print. Gift of the Rodbell Family Collection. The Clark, 2014.16.27