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Page 27 text:
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Stephen Wong utilizes his favorite form of transportation, the sliateboard. to travel from class to class. Reglna and Slgrid discuss one of their classes outside the La Salle Karen. Dave, Chris. Doc, Candy, and Kim get some sun while sitting on the quad, Ursula, Karen, Karen, and Brian relax on a bench between classes. With a view of McShaIn and College Halls in the background, students prepare to attend their next class. These resident students are anticipating eating lunch in the St. Katharine dining hall. Karen White leaves Olney Hall with a smile at the finish of her last class on Friday afternoon. Greg Brady attempts to ring the bell of the strength test. The event was sponsored by LEO as part of the Spring Fling activities.
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Page 28 text:
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The Quest for Hidden Treasure Buried treasure, hidden riches, a well-kept secret ... all of these phrases have been used to describe La Salle University ' s Art Muse- um. The fact is, though, that they don ' t strictly apply anymore. Once upon a time, the Art Museum might have been a silent, unseen presence on campus, but those days are gone. In its ninth year as part of La Salle, the Museum has grown and prospered well beyond the original conception of it as a study collection. It is more vibrantly alive than ever — a fact which more and more Explorers have come to discover. The Museum had its beginnings in the late 1960 ' s when La Salle College announced that it was starting an art history program. The program would have the benefit of an art collection that the College was also beginning to acquire. In the decade that followed, however, the original prints and drawings were supplemented by paintings, and then area collectors offered increasingly generous support, so much so that the collection needed a permanent home. The study collection became the Art Museum in 1976 when it moved into renovated space in the basement of OIney Hall. It has the distinction of being the onl ; college-or university-sponsored art museum in the Philadel- phia area. Other schools have art galleries, but as the Museum ' s curator Caroline Wistar explains, the difference lies in the permanence of their collec- tions. Art galleries, on one hand, generally offer ex- hibits that change periodi- cally and feature mostly modern art. Art museums, on the other hand, have a broader scope; they have permanent exhibits and they offer works from many different periods of art history. La Salle ' s Art Museum has a scope that ranges from the fourteenth century to the present; it presents, as Brother Daniel Burke, the director of the Museum, wrote in the foreward to the Museum ' s new catalogue, a brief visual survey of Western art. That survey, while permanent, is not stagnant. In the past year alone, the Museum has made a number of acquisitions, especially in the nineteenth and twentieth-century rooms. Additions are obtained in several ways: through a policy of trading up, that is, auctioning works the Museum already has to acquire others which better fill the gaps in the collection; through donations from private collectors; and through loans from other collectors and museums. All the additions aid one purpose — to improve the quality of the collection. Thus, while the aim to present a brief visual survey of Western art remains constant, the elements which illustrate that survey change when better illustrations become available. The one room of the Art Museum that does show continually changing exhibits is the print and drawing room. These temporary exhibits showcase one of the Museum ' s really hidden resources, its collection of Old Master and nineteenth and twentieth-century prints and drawings. Since prolonged exposure to light can harm paper (especially the paper on which the older works were created), they are stored in drawers in the Museum. Selections from the collection form the basis for the temporary shows, which are rounded out by loans from other museums. Occasionally, however, entire exhibits are loans; in the spring of 1984, for example, the Art Museum met the strict standards required by the National Gallery in Washington in order to present a collection of prints by the sixteenth-century Dutch engraver Lucas van Leyden. Such recognition from the art community outside the Philadelphia area is an indication of the growth the Art Museum has made in nine years since its inception. It has a good reputation off campus. Ironical- ly, however, many of the very people for whom it was founded — the stu- dents of La Salle — are barely aware of its exis- tence. To increase student awarness, the Art Museum is an active participant in several activities. It is, for example, the setting for several events in the Uni- versity ' s Concert and Lec- ture Series (especially the concerts, as there is a stu- dent-built harpsichord in the Renaissance room). Additionally, the Museum is a valued resource to teachers who bring classes of their students there throughout the school year. The special presentations they sec are culled from the print and drawing collection or from the Susan Dunleavy Collection of Bibles (which includes over 500 pieces, some of which are rare Catholic, Protestant, and Jewish editions) and usually serve to illustrate some aspect of the class ' s area of study. In the fall of 1984 alone, eighty classes are expected to visit the Museum. There ' s always room for more. The Museum charges no admission, and is open from eleven to four Tuesday through Friday (two to four pn Sundays). You can tour it at your own pace, and if any of the paintings or sculptures catch your interest, you can look it up in the individual room catalogues to learn more about it. And you can learn a lot; as the new catalogue ' s preface notes, every piece in the collec- tion is a reflection of the political, social, and cultural milieu in which it was created. But you don ' t have to learn anything if you ' re not in the mood. The Art Museum is colorful and captivating, but quietly so. PMadelpblaStfe 24
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