Bruce Museum’s spring shows

Images that help unveil the truth of what we can see

Painting of a young woman standing at a French window, looking at a verdant garden

At the French Windows. The Artist’s Wife, (1897), by Laurits Andersen Ring

Courtesy of the Bruce Museum

Two new exhibits at the Bruce Museum, in Greenwich, Connecticut, explore Danish paintings and scientific imaging that help unveil the truth of what we can see.

At the core of “On the Edge of the World: Masterworks by Laurits Andersen Ring from SMK—the National Gallery of Denmark” (through May 24), is a heartfelt grappling with modernity. In Has It Stopped Raining? (1922), below, an able-bodied but aged man warily surveys the grayness of the scene outside his door. At the French Windows. The Artist’s Wife, painted in 1897, not long after Ring married its subject, Sigrid Kähler, the young woman in white is surrounded by a blissful, verdant scene. And yet, as chief curator and senior researcher Peter Nørgaard Larsen points out on SMK’s website, the central tree is gnarled, out of place: “I think of [Ring’s] art,” he adds, “as liminal images, pictures that are poised on a threshold.” The artist worked at a time of major cultural change, during a transition from rural to industrial life, and his symbolic yet realist paintings also feature Danish landscapes of crisp coastlines and enchanting Nordic light, along with stirring images of men and women at work in fields and villages.


Courtesy of the Bruce Museum

Just as penetrating, although in service to science, is “Under the Skin” (through July 19). The dozen anatomical images, like the thermal imaging of pelicans and their pouches and the cleaned, stained roosterfish specimen, reveal that “nature is full of beauty, at scales great and small,” notes museum curator of science Daniel Ksepka. “While each represents a research breakthrough, these striking, and, in many cases, prize-winning images, can be considered art in their own right.”


Courtesy Dr. L. Witmer, Dr. R. Porter, and Dr. G. Tattersall

Take the patterned microscopic structures of a 10-ton dinosaur’s bones, or the stunningly intricate CT scan of a hog-nosed snake in the midst of digesting its prey. These designs of pure nature—and those of Ring’s sensitive, evocative depictions—reveal the true fragility of universal life forms. 

Read more articles by Nell Porter-Brown

You might also like

Rachel Ruysch’s Lush (Still) Life

Now on display at the Museum of Fine Arts, a Dutch painter’s art proved a treasure trove for scientists.

Concerts and Carols at the Isabella Stewart Gardner Museum

Tuning into one of Boston's best chamber music halls 

Shopping for New England-made gifts this Holiday Season

Ways to support regional artists, designers, and manufacturers 

Most popular

What Trump Means for John Roberts's Legacy

Executive power is on the docket at the Supreme Court.

The Harvard Professor Who Quantified Democracy

Erica Chenoweth’s data shows how—and when—authoritarians fall.

Harvard’s Endowment, Donations Rise—but the University Runs a Deficit

The annual financial report signals severe challenges to come.

Explore More From Current Issue

A vibrant composition of flowers, a bird, and butterflies with a distant manor under a moody sky.

Rachel Ruysch’s Lush (Still) Life

Now on display at the Museum of Fine Arts, a Dutch painter’s art proved a treasure trove for scientists.

Aerial view of a landscaped area with trees and seating, surrounded by buildings and parking.

Landscape Architect Julie Bargmann Transforming Forgotten Urban Sites

Julie Bargmann and her D.I.R.T. Studio give new life to abandoned mines, car plants, and more.

A woman (Julia Child) struggles to carry a tall stack of books while approaching a building.

Highlights from Harvard’s Past

The rise of Cambridge cyclists, a lettuce boycott, and Julia Child’s cookbooks