Tony Sigel, senior conservator of objects and sculpture in the Straus Center for Conservation and Technical Studies, talks about "The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820" on view from May 19 through December 31, 2017 at the Harvard Art Museums. http://www.harvardartmuseums.org/visit/calendar/gallery-talk-philosophy-chamber-conversations-sculpture

Jean-François Gauvin, director of administration at the Harvard Collection of Historical Scientific Instruments and lecturer on the history of science, talks about "The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820" on view from May 19 through December 31, 2017. http://www.harvardartmuseums.org/visit/calendar/gallery-talk-philosophy-chamber-conversations-scientific-instruments-at-harvard

Lucie Steinberg, Ph.D. candidate in American Studies, Harvard University, talks about "The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820" on view from May 19 through December 31, 2017.

Theodore E. Stebbins Jr., curator of American art, emeritus, talks about "The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820" on view from May 19 through December 31, 2017 at the Harvard Art Museums. http://www.harvardartmuseums.org/visit/calendar/gallery-talk-philosophy-chamber-conversations-john-singleton-copley

Jennifer L. Roberts, the Elizabeth Cary Agassiz Professor of the Humanities, Harvard University, gallery talk on Submergence. "The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820" on view from May 19 through December 31, 2017. http://www.harvardartmuseums.org/visit/calendar/gallery-talk-philosophy-chamber-conversations-submergence

Ethan Lasser, head of the Division of European and American Art and the Theodore E. Stebbins Jr. Curator of American Art, talks about "The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820" on view in the Harvard Art Museums from May 19 through December 31, 2017. http://www.harvardartmuseums.org/visit/calendar/gallery-talk-philosophy-chamber-conversations-1

Jane Kamensky, professor of history at Harvard University and the Carl and Lily Pforzheimer Foundation Director of the Schlesinger Library on the History of Women in America at Radcliffe Institute for Advanced Study, will give today’s gallery talk. "The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820" on view from May 19 through December 31, 2017. http://www.harvardartmuseums.org/visit/calendar/gallery-talk-philosophy-chamber-conversations-2

Ethan Lasser, head of the Division of European and American Art and the Theodore E. Stebbins Jr. Curator of American Art at the Harvard Art Museums, talks about "The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820" on view from May 19 through December 31, 2017. http://www.harvardartmuseums.org/visit/calendar/gallery-talk-philosophy-chamber-conversations

Listen to excerpts from records on the restoration of Copley’s portrait of Governor Francis Bernard (1768) read by present-day Harvard students.

Listen to excerpts from the records of Francisco de Miranda (1783) read by present-day Harvard students. The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820 (May 19, 2017–December 31, 2017, Harvard Art Museums)

Listen to excerpts from the records of Maria Morris (1809) read by present day Harvard students. The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820 (May 19, 2017–December 31, 2017, Harvard Art Museums)

Listen to excerpts from the records of Samuel Williams, Hollis Professor of Mathematics and Natural Philosophy (1794) read by present-day Harvard students. The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820 (May 19, 2017–December 31, 2017, Harvard Art Museums)

Excerpts from records on the restoration of Copley’s portrait of Governor Francis Bernard (1768) read by present-day Harvard students. The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820 (May 19, 2017–December 31, 2017, Harvard Art Museums)

Christopher Wilmarth - Talking to the Trees by Harvard Art Museums

Christopher Wilmarth - What Kind of Day is Today by Harvard Art Museums

Christopher Wilmarth - Three Times by Harvard Art Museums

Christopher Wilmarth - 1957 by Harvard Art Museums

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of...

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of...

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of...

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of...

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of...

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of...

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of...

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of...