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An archetype of American marine painting by Luminist master Fitz Henry Lane (1804–65), entitled Ship in Fog (oil on canvas, ca. 1860), has been acquired by the Princeton University Art Museum. The painting dramatically bolsters the Museum’s esteemed holdings of American art, particularly American Luminism, and will substantially increase the collection’s utility as a research and teaching resource.

Ship in Fog is set in Gloucester Harbor from the vantage point of the open water, looking toward land. Lane rendered several seagoing vessels in a shroud of fog illuminated by the hazy late-afternoon sun, with the harbor’s Ten Pound Island and its lighthouse barely visible in the middle distance. In sharper focus in the foreground appear the backs of two figures in a rowboat and a meticulously rendered schooner brig at anchor nearby.

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There's something about watercolor painting that seems a perfect fit for a summer exhibition – perhaps the watery way the paint absorbs into the paper is as cooling as a dip in a refreshing lake.

Even though most of us played with water-based paint in school, it is nonetheless intriguing to learn that "watercolor paint is a finely ground pigment suspended in an aqueous solution of gum Arabic, made from the sap of the acacia tree." This all comes to life in Painting on Paper: American Watercolors at Princeton, on view through Aug. 30 at the Princeton University Art Museum.

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An actor known for his role as an Italian Mafia assassin is now promoting and exhibiting an old master painting of a bloodied, dying saint.

Federico Castelluccio, who played the ponytailed hired gun Furio Giunta on “The Sopranos” TV series, has rediscovered the artwork, a depiction of St. Sebastian said to have been painted by Guercino in the 1630s. This week, in its first American showing, the painting went on view at the Princeton University Art Museum after its European debut in a survey of St. Sebastian portraits at a castle near Turin, Italy, last year.

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Princeton University Art Museum, Princeton, NJ
September 19, 2015 – January 3, 2016
For information, call 609.258.3788 or visit

One of the finest collections of works to be held by a single family, the Henry and Rose Pearlman Collection has not toured in its entirety since 1974, when it was placed on long-term loan at the Princeton University Art Museum and where it has remained ever since. This major exhibition will present Impressionist and Post-Impressionist masterpieces from the Pearlman Collection and will feature paintings and sculptures by artists who were transformative members of the avant-garde of their day.

This exhibition will offer insights not only into the development of Impressionism and Post Impressionism, but into the history of collecting avant-garde art in the United States. A fully illustrated catalogue accompanies the exhibition. The exhibition has been made possible, in part, by presenting sponsor Neiman Marcus and additional supporters.

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Kelly Baum, who for past five years has served as the Haskell Curator of Modern and Contemporary Art at the Princeton University Art Museum, will join the Metropolitan Museum of Art’s Modern and Contemporary curatorial team.

The hiring comes at an important time, after the museum has announced plans to renovate their Modern wing and that in March of 2016 it will expand into the old Whitney Museum building. The building will be known as the Met Breuer and will focus on Modern and Contemporary exhibitions.

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“500 Years of Italian Master Drawings from the Princeton University Art Museum,” currently on view at the Cantor Arts Center, features nearly 100 Italian artworks from the 15th to 20th century and is the first major exhibition devoted to the collection since the 1960s. The exhibit traces the origins of disegno — drawing — as the foundation for architecture, sculpture and painting, displaying a range of works from elaborate compositions to loosely rendered studies.

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John Elderfield, chief curator emeritus of painting and sculpture at the Museum of Modern Art in New York City, has been named the first Allen R. Adler, Class of 1967, Distinguished Curator and Lecturer at the Princeton University Art Museum.

Elderfield will begin his work at Princeton by offering a series of public lectures in the spring and is expected to teach his first course in European modern art in the fall of 2015.

With the arrival of John Elderfield at Princeton, both the art museum and our Department of Art and Archaeology build on a shared tradition of art historical leadership and are poised to achieve yet greater impact for our students and for scholars around the world," said Princeton University President Christopher L. Eisgruber.

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A new exhibition at the Princeton University Art Museum in New Jersey charts the developments in abstract painting that took place between 1950 and 1990. The show examines how postwar artists such as Josef Albers, Willem de Kooning, Richard Diebenkorn, Jean Dubuffet, Helen Frankenthaler, Hans Hofmann, Franz Kline, Morris Louis, Robert Motherwell, Robert Rauschenberg, Gerhard Richter, Mark Rothko, and Frank Stella ushered in advancements in abstraction thanks to their individual approaches to line, color, and form.

“Rothko to Richter: Mark-Making in Abstract Painting” presents nearly thirty paintings on loan from the collection of Preston H. Haskell III, a Princeton University alumnus and a longstanding Museum benefactor. The exhibition touches on a number of monumental movements, including Abstract Expressionism, Color Field painting, Minimalism, Op art, and Postmodernism.

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