Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 8248 WHAT DISTINGUISHES THE MASTER DRAWINGS she is leaving to Smith is that they are all complete. “They are not sketches, or fragments,” Selle says. “I’ve always preferred drawings that are finished, edge to edge. You see the artist’s full intention when the drawing is complete.” She hopes the collection will expand student and faculty scholarship, especially in the area of German art, and help elevate the Smith College Museum of Art’s drawing collection to world-renowned status.“Smith already has an impressive collection, but if other drawing collectors do something and give their art, the museum will become known as the place to go to see exquisite hand drawings.” As Selle considers her collection’s future at the museum, she has one simple request: “Keep it clean and tidy.” This article first appeared in the winter 2016/2017 issue of the Smith Alumnae Quarterly. Reprinted here with permission of Carol Osuchowski Selle ‘54 and the Smith Alumnae Quarterly. LOUISA STUDE SAROFIM ’58 has spent countless hours in some of the world’s most prestigious art museums and gal- leries. But when it came time to decide where to entrust her collection of American collage she chose an institution that has had a profound impact on her life as a collector: the Smith College Museum of Art. The collection she will bequeath to Smith includes collages by artists ranging from Louise Nevelson to Joseph Stella. “Smith has meant so much to me,” she says. “I just wanted to do something in return. I’m happy that [the collection] will be somewhere where I think people understand and appreciate art.” Speaking of the collection of more than 50 collages spanning from the mid-20th century to the present, SCMA Director Jessica Nicoll ‘83 says, “This superb collection will endow SCMA with a new area of strength, allowing students directly to study the innovative and varied responses of American artists to this essentially modern medium.” Sarofim, a native of Houston, says she “caught the bug” for appreciating art when she was 12 years old, after spending an afternoon wandering the Museum of Modern Art in New York City. She’d grown up in a family that revered art, but this experience sparked a lasting interest. “It was one of the happiest moments of my younger years,” Sarofim says. IN COLLEGE, SAROFIM FOUND A NATURAL HOME at SCMA. “The Smith museum was a special place of pleasure,” she says. An Albert Pinkham Ryder painting fascinated her. “It’s very dark and mysterious, somewhat fantastical.” She took an introductory course in art history at Smith, but it was her sense of curiosity and her critical eye—both developed at Smith—that would play the biggest role in her life as an avid art collector. For Sarofim, discovering new artists and buying art “became an addiction,” though at first she acquired a “hodgepodge” of work. When a friend introduced her to THE HILLYER SOCIETY “SMITH HAS MEANT SO MUCH TO ME, I JUST WANTED TO DO SOMETHING IN RETURN. I’M HAPPY THAT [THE COLLECTION] WILL BE SOMEWHERE WHERE I THINK PEOPLE UNDERSTAND AND APPRECIATE ART.”