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“What happens when local news isn’t local? This.”

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“Sinclair owns this station and nearly 200 others. It forced dozens of anchors to recite the same political message, word for word,” the Allied Progress voiceover says.”Now Sinclair is trying to control local news stations in 72 percent of American homes. Tell the FCC to stop the Sinclair merger.”

The ad urges viewers of Sinclair stations to call the government regulator and oppose Sinclair — an awfully unusual sight.

Related: Sinclair tells anchors to run media-bashing promos and the criticism goes viral

Sinclair may have calculated that refusing to run the ads would have simply drawn more attention to Allied Progress’s campaign.

So instead this message pops up right afterward:

“The misleading ad you just saw focused on a brief promotional message that simply said we’re a source for truthful news,” the Sinclair voiceover says. “It ignored thousands of hours of local news we produce each year to keep you informed. The ad was purchased by a group known for its liberal bias, and we hope you won’t buy into the hysteria and hype.”

Trademark and Copyright 2018 Cable News Network , Inc., a Time Warner Company. All rights reserved.

Filed in: Nation/World

Filed in:

Topics: Allied Progress , Federal Communications Commission , Sinclair Broadcast Group , Tribune Media

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Curious visitors who turn left off the Harvard Art Museums’ elevators on the building’s fourth floor are greeted by the Forbes Pigment Collection, a floor-to-ceiling wall of color compiled from about 1910 to 1944 by the former director of the Fogg Museum.

Stephanie Mitchell, Harvard Staff Photographer

By Colleen Walsh Harvard Staff Writer

Colleen Walsh

Date

As brilliant as any of the works in the Harvard Art Museums ’ galleries is a rainbow of small glass jars on the building’s fourth floor.

Curious visitors who turn left exiting the museums’ elevators will see the Forbes Pigment Collection, a floor-to-ceiling wall of color compiled between about 1910 and 1944 by the director of the Fogg Art Museum.

“In thinking about the role of a university museum, he was the first to conceive of it as ‘a laboratory for the fine arts,’ ” noted research curator Francesca Bewer in her book “A Laboratory for Art: Harvard’s Fogg Museum and the Emergence of Conservation in America, 1900–1950.”

Edward Forbes’ fascination with a painting’s colors and their binding medium — a close inspection of which could help to determine a work’s authenticity — fueled his desire to use science to understand and study great works of art. He is often cited as the father of the field of art conservation in the United States.

By the 1920s, Forbes had amassed containers of deep blues, rich purples, vibrant yellows, and myriad other colors from his travels to Europe and the Far East. Through the years, word of mouth helped the collection to grow as other art lovers and experts donated their own pigments. The museums’ collection, which is continually added to, now contains more than 2,500 samples and is renowned in the art community. For years, the pigments have helped art experts to research and authenticate paintings. Samples from the collection have been sent to the J. Paul Getty Museum, the Library of Congress, the Asian Art Museum of San Francisco, and the National Research Laboratory for Conservation of New Delhi, India.

In Cambridge, Forbes’ legacy thrives in the museums’ Straus Center for Conservation and Technical Studies, where experts preserve masterworks for future generations and decipher the chemical makeup of paint and pottery glaze. In addition to being their own artworks, Forbes’ pigments are a window to the past, shedding light on the working methods and preferred materials of renowned artists. Studying the pigments also reveals the effort it took, in the days before synthetic pigments, to get colors just right.

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