Harold Garde. Painting. 50 Years

Harold Garde. painting. 50 years.

museum of florida art an appreciation.

he popular stereotype requires artists to be iconoclasts, concerned not with Tmoney or material reward, but with Art, going where it and an individual vision lead, often unappreciated, defiant, fearless. Cowboys of the garret. Always measured against the great ear slicer. Of course, most artists are more like other people, finding caution to be the better part of valor, struggling to make pictures that the market will bear because they would love to be able to make a living from their art. And most would prefer to be associated with, but not be of, the artist myth, admiring those few who are courageous, who make no concessions to prettiness or fashion, whose singleness of purpose inspires us all to tell more truth, to examine more deeply and honestly our own lives for what is personally and profoundly human. Harold Garde, though, is the real thing, far more than the stereotype, but lending credence to it—an artist of passion, integrity, commitment, unafraid of failure, unable to compromise his vision. He personifies the myth, believing totally in the personal and social necessity of art. He gives other artists courage.

—Robert Shetterly

“What makes Garde’s paintings work is the forceful handling of paint, the abrasive color and brushstroke ultimately dominating the jarring subject matter.” — Carl Little, Art New England, Boston, Massachuesetts

“Be on ‘garde’ for brilliance. Garde peels back the membrane of the daily life. What he finds is the pulsing sense of consciousness itself.” —Laura Stewart, fine art writer, The Daytona Beach News-Journal, Daytona, Florida Harold Garde. painting. 50 years.

museum of florida art c o n t e n t s .

This publication was produced in conjunction with the j eanne m. dowis touring exhibition: Harold Garde: Painting. 50 Years. on exhibition December 4, 2008 — February 15, 2009 l e g a c y . . . 9 0 at the Museum of Florida Art, DeLand, Florida j eanne m. dowis

No part of this book may be reproduced, stored in a retrieval w o r k i n m a i n e . . . 92 system, or transmitted in any form or by any electronic, s uzette lane m c a v o y mechanical, photocopying, recording or other method without prior written consent of the publisher. w o r k i n f l o r i d a . . . 9 6

Red Sweater Portrait, 1998 Harold Garde: Painting. 50 Years. Exhibition acrylic on paper, 29½" x 22" Essay © 1994, 2007: Suzette Lane McAvoy, b i o g r a p h y . . . 99 former chief curator, Farnsworth Art Museum, Rockland, Maine Essay © 2008: Jennifer McInnes Coolidge, Executive Director, e x h i b i t i o n s . . . 10 0 Museum of Florida Art, DeLand, Florida Essay © 2008: Gay Hanna, PhD MFA, Executive Director, c r e a t i v i t y m a t t e r s . . . 103 national Center for Creative Aging An Affiliate of George Washington University g a y h a n n a Front Flap © 1998: Robert Shetterly Editor: Todd Kiefer a c k n o w l e d g m e n t s . . . 10 4 Photography: Tariq Gibran, Penny McKenna, Steve Morrison, Liv Kristen Robinson, Nicolas Dowis Harold Garde Portrait Photography: Bill Kerr, Jack Mitchell Design and Production: Harrah Lord, www.yellowhousestudio.info Printing: Progressive Communications, Lake Mary, Florida

ISBN 978-0-9822093-0-1 Library of Congress Control Number: 2008940811

front and back cover: Kimono Against Red (detail), 1997, acrylic on canvas, 54" x 58"

front flap: Harold Garde, Robert Shetterly, 2006, acrylic on canvas, 35" x 30"

frontispiece: Samurai Kimono, 1997, acrylic on canvas, 56" x 45"

page 44: Green Tie from the collection of the Farnsworth Art Museum, museum purchase, 1994

page 93:

Blue Shadow from the collection of the Farnsworth Art Museum, Self Portrait: Artist as a Blind Man, 2007 dedicated to the memory of Barbara J. Kramer, 1998 acrylic on canvas, 44" x 55" artist statement.

ine is an Abstract Expressionist background. MGiven that history, beginning a painting without a preconceived image and subsequently developing a recognizable subject, feels like a natural progression. While discovering, uncovering and exploring what I find vital in the imagery, I am first concerned with the formal values before I allow myself to become fully involved with the resulting evocative and emotional components. I teach and demonstrate the technique of dry acrylic image transfer which I developed and named “Strappo.” It is a dry image technique that allows time to study, alter and develop images, balancing themes and formal elements. I always demand of myself that I have tight control, but that the work must look as fresh as if it were arrived at spontaneously. Strappo serves well that need within a monotype format. Through the years I enjoyed learning sophisticated techniques, however my delight in developing Strappo is that it requires no special tools and equipment. The result is an appealingly unique smooth surface. This method of creating and transferring images can encourage spontaneity of application while it gives me the time to enjoy Harold Garde as a young man, 1952 Photograph by Bill Kerr ultimate control. I have learned to admire and rely on the skills of curators. I have been fortunate that when they select from my work, they have done significant jobs. This allows me to continue to challenge myself in the studio, free to explore, and I continue to add to the body of work from which selection can be made. Harold Garde, 1999 Photograph by Jack Mitchell

: harold garde. painting. 50 years. artist statement : “When the subject matter

is easily identified I know that

it takes care of the initial focus.

Subsequently, abstract qualities

can be explored.”

“I have an abstract

expressionist background.

That historical period was the

most exciting new development

when I was a young painter.

Much that excited then

still energizes my work.”

“It is presentation that should be

distinctive, not the delineation

Self Portrait as of a particular object.” a Stranger, 1987 acrylic on canvas 66" x 44"

: harold garde. painting. 50 years. l e x i c o n . jeanne m. dowis

arold Garde is a painter’s painter. This term, evident, yet Garde empathizes with the modern era’s illustrations born from the act of painting itself. diumistic exploration in paint and the subject matter Hfavored by those involved in the visual arts, viewer’s dilemma of finding recognizable shapes Though emerging from Garde’s original need for it bears are essential to Garde’s process and the crux means that he loves the act of painting so much and items within non-objective and abstract works. a line or block of color or gesture within the forma- of his reason for continuing to work in many series that he is compelled to do it, and that only people After years of quelling the urge, he now renders into tive compositional process, throughout series and the simultaneously and over periods of years. who also paint or understand painting from a subject the images he discovers in the early stages course of his career, key objects have become sym- His successes, Garde states, come when differ- painter’s perspective can truly appreciate his style of of the painting process and faces appear, a swirl bolic through judicious but repetitious use. Often, ent viewers respond to the same work, both formally composition, brushwork and use of color. For viewers becomes a saucer, a line transforms into a flower their forms (vases, cups, chairs…) take on a narrative and emotively, in similar fashion but with highly who are not painters, or are not Garde himself, further stem — thus, narrative is born from nothingness. representation of more complex emotional content personalized accounts of what they believe is hap- explanation may be necessary as to why he chooses The works stand alone as solid compositions by a than their more common usage and still-life setup pening within the scene portrayed. When discussing to paint the seemingly disparate objects, contorted contemporary artist of note, but since they also speak would imply; and more often than not, the meaning a particular work’s more esoteric or psycho-dramatic chunks of color and strange-faced portraits that to the viewer on many levels aside from technique one attaches to an object changes from work to work. qualities, Garde deliberately leaves the final “reading” predominate his works. and artistic sensibility, it would be an error to look at In Garde’s case, this means that a rose is not that rose of the work up to the viewer. While many of his still His background in Abstract Expressionism is the subjects and objects that populate them as mere and it most certainly is not that other rose. This me- lifes are as fraught with tension as his portraits, he

Myth Symbols, 1957, oil on board, 15" x 12" Torso of a Modest Person, 2008, acrylic on canvas, 40" x 67"

10 : harold garde. painting. 50 years. lexicon : 11 Why does smelling apple blossoms remind one Garde’s need to flesh out barely tangible yet man of a spring 42 years ago when he picnicked specific states so they convey a universal emotional on the grass in Central Park with a sweetheart, yet message is the basis of his abstracted narrative style. the same smell cause a young woman to cry in grief, He depicts this dichotomy by setting up scenes in remembering her brother’s funeral and the unfairness which the placement, color and gesture of unilaterally of a life cut short with so much life in bloom all identified forms are essential to comprehending the around? To each, the apple blossom is a mnemonic emotions the objects represent and lay bare. It is only device, a touchstone for a complex and highly through using this fluid and transcendental lexicon emotional event that only he or she understands; that Garde’s work may be translated and a response thus, the scent-symbol becomes part of that person’s to his multi-faceted works best formed and felt. lexicon, part of their language, part of what makes their life their own.

Tossed, 1989, acrylic on canvas, 38" x 55"

offers that the psychological implications in all of lawyer’s lexicon is very different, for instance, than his series comprise just one of the many elements the that of a nurse or a contractor. Each person has a viewer could focus on, and instead swears he is con- unique lexicon, filled with self-referential phrases, tent if the composition itself “works.” But this brush- colloquialisms, beloved songs and even accessories off betrays his real mission as artist: to communicate worn as part of a “signature” look. But what of the through visual representation the variety of emotion- stuff that fills the soul? How to express or represent al states, realizations and interactions humans experi- feelings in the physical realm? How to show when it ence but cannot express through linguistically based is too difficult to tell? conversation. Consider: cathartic events, major milestone Lexicon is perhaps a better term than language achievements and incredible joys are defined in or gesture when discussing an artist’s body of work mental moments, yet the cues that allow reconnection in this respect, and in Garde’s case in particular. A with or reference to these memories are often vague, lexicon is a language or system of symbols, images more sensual than solid, and accessed by accident or words that is specific to a person, genre or field; a rather than intent.

Snow Day, 2001-2006, acrylic on canvas, 55" x 57"

12 : harold garde. painting. 50 years. lexicon : 13 Yellow Pitcher, 2006, acrylic on canvas, 44" x 56" Vase + Jack, 2006, acrylic on canvas, 44" x 55" v e s s e l s .

Vases, pitchers and coffee cups, particularly in his still-life series, Garde brings out his old iconic through voluptuously haphazard curves symbols of singular concepts that must be compared unadorned and oversimplified, become heroic in favorites and remixes them on the picture plane when and overblown proportion, as in Yellow Pitcher, or to be fully appreciated? Or is the vase, filled and Garde’s well-known series, Vessels. Whether rendered the need for line, color or shape requires it. But make when juxtaposed with “visitors” from other series, fully formed, in no mood or need of interaction with in highly saturated primary colors or scratched out no mistake, his placement of objects is not haphazard like Vase + Jack. So one must consider the narrative the pop-up puppet that has sprung from its box of blackness in stark white, each vessel the painter even if the combinations look loose and thrown element and discover what the objects stand — or are (surprise!) and revealed its contemplative madness? makes through mark means more than its basic together; these works are formally composed and standing in — for. These are but a few of the numerous readings of this form suggests. Garde’s Vessels are not mere still-life considered. Does the yellow pitcher represent spring-like seemingly simplistic work one could consider; the studies, though works like Still Vessels, One Green Vessels is an excellent series for viewers to abundance and self-fulfillment, or colorful isolation subject matter is ultimately the viewer’s to provide. and Coke and Pitcher demonstrate the painter’s acquaint themselves with Garde’s painterly construct in almost colorless surrounds? Is the “Jack” in the facility with the genre. that leads to personal interpretation of a universal box deliberately separated from the “plain-Jane” Much as Giorgio Morandi revisited and form. His containers take on symbolic qualities vase because it wants to act on what the empty form repainted the same group of objects time and again and embody psychological states as they are made represents? Are the two forms equal but antithetical

14 : harold garde. painting. 50 years. lexicon.vessels : 15 Keep 4 Vessels, 2005, acrylic on canvas, 32" x 56"

Small Green Pitcher, 2003, acrylic on canvas, 50" x 49"

16 : harold garde. painting. 50 years.years lexicon.vessels : 17 Vessels on Yellow, 2004, acrylic on canvas, 22" x 55"

Black Glass Table, 2002, acrylic on canvas, 31" x 56"

18 : harold garde. painting. 50 years. lexicon.vessels : 19 Coke and Pitcher, 2005, acrylic on canvas, 41" x 65"

City at 8pm, 2004, acrylic on canvas, 44" x 55"

20 : harold garde. painting. 50 years. lexicon.vessels : 21 Bowl and Red Chair, 2008, acrylic on canvas, 41" x 66"

Shadow Vessels, 2003, acrylic on canvas, 46" x 56"

22 : harold garde. painting. 50 years. lexicon.vessels : 23 p o r t r a i t s .

Garde opens the discussion to the mixed-emotions of day-to-day life in his Portraits series with its vivid and unusual figurative compositions. One look at Tarotte, Woman in Cape or the strappo-topped Georgie Boy will have viewers wondering about how to possibly define the sitter, while the conflicting yet complimentary brushwork styles employed in each of these works adds emotional dimension and depth. Comparisons to works by Matisse, Bacon and DeKooning are certainly warranted, as they are the painter’s biggest influences, and Garde’s portraits display agility with gesture and mark-making that is as competent as any of these masters of colorful distortion. The artist’s facility with his media is evident, too, as he creates grotesque variations of humanity that make this series the hardest to look at but allow it to be the easiest to “read.” Garde’s portraits may or may not be inspired by actual people, but they in no way resemble a real person immortalized in paint as much as they represent inner dialog and emotional conflictas the sitter. These are portraits of a psychological state, not a person, in which Garde is addressing what he sometimes “sees” in others. By designing the outward appearance of the sitter — often, only through scratches on surface and seemingly jumbled stabs of color — he embodies the figures with immensely Tarotte, 2004, acrylic on canvas, 44" x 55" convoluted thoughts and emotions in painted form.

Standing Man, Red, 2000, acrylic on canvas, 49" x 71"

24 : harold garde. painting. 50 years. lexicon.portraits : 25 Portrait with Yellow Hair, 2001, acrylic on canvas, 60" x 40" In Sighting, 2002, acrylic on canvas, 16" x 11"

26 : harold garde. painting. 50 years. lexicon.portraits : 27 Toilette, 2001, acrylic on canvas, 45" x 55" The Swimmer, 1996, acrylic on canvas, 45" x 55"

28 : harold garde. painting. 50 years. lexicon.portraits : 29 Bottled Woman, 2003, acrylic on canvas, 44" x 55"

Georgie Boy, 2003, acrylic with strappo on canvas, 48" x 55"

30 : harold garde. painting. 50 years. lexicon.portraits : 31 White Figure, 2008, acrylic on canvas, 43" x 53"½

Woman with Cape, 2007, acrylic on canvas, 46" x 58"

32 : harold garde. painting. 50 years. lexicon.portraits : 33 Woman in Red Dress, 2006, acrylic on canvas, 44" x 55"

Head/Hatted, acrylic with strappo on canvas, 36" x 30"

34 : harold garde. painting. 50 years. lexicon.portraits : 35 f i g u r e s .

When Garde does let his portraits become people technique, so that one scene will include numerous and interactions take place between the persons exchanges between subjects that simultaneously on the picture plane, themes of disconnectedness, contribute to and contain all aspects of one moment. infidelity, secretiveness, loss and all manner of This deliberate narrative intrigue, and its exceptional love-related issues quickly come to the fore and are execution in works like The Consequence of Ritual shown on the almost comically contorted faces and or Green Tie, keeps viewers pondering the aspects figures within these works. Bodies intertwine and of and emotions involved in what looks like one lips whisper as fauvist-colored fellows and decadent interaction between two subjects. dames interact, showing others (or other selves) Similarly, when the artist cannot ascribe a behind the scenes who influence their states of being set physicality to actors in his scenarios, he uses and mind. line and shape to fill in for flesh, as in At Pasture, Many of these works beg questions, but Garde is Mondrian Goes West or Summer Wood. Like as mute about his subjects as he is about the stories his portraiture “subjects,” Garde’s full-blown that inform them. In the earlier paintings, which lead narratives, in this respect, represent a singular into and are cross-referenced in the Puppets and emotive event or realization, albeit a highly Pinnacles series, Garde uses a Cubist or Primitivist complex and sensitized one.

Meeting with the Oracle, 1973, acrylic on board, 48" x 36"

Site Urban, 1997–2007, acrylic on canvas, 52" x 80"

36 : harold garde. painting. 50 years. lexicon.figures : 37 Visionary, 1973, acrylic on board, 36" x 48"

Two Men in Consort, 1970, acrylic on board, 48" x 48"

38 : harold garde. painting. 50 years. lexicon.figures : 39 Woman and Man, 1994, acrylic on canvas, 44" x 55"

Queen, 1950, tempera on paper, 16" x 20"

40 : harold garde. painting. 50 years. lexicon.figures : 41 Wake, 1985, acrylic on canvas, 60" x 36" Consequence of Ritual, 1984, acrylic on canvas, 80" x 57"

42 : harold garde. painting. 50 years. lexicon.figures : 43 Green Tie, 1985, acrylic on canvas, 48" x 72" Salome, 1984, acrylic on canvas, 66" x 78"

44 : harold garde. painting. 50 years. lexicon.figures : 45 Annoint, 1987, acrylic on canvas, 45" x 55" Solace, 1995, acrylic on canvas, 45" x 55"

46 : harold garde. painting. 50 years. lexicon.figures : 47 Couple, 2007/8, acrylic on canvas, 44" x 55" The Promise, 2007, acrylic on canvas, 44" x 55"

48 : harold garde. painting. 50 years. lexicon.figures : 49 Mondrian Goes West, 2007, acrylic on canvas, 47" x 60" Summer Wood, 2007, acrylic on canvas, 44" x 55"

50 : harold garde. painting. 50 years. lexicon.figures : 51 c h a i r s .

Garde, like most artists, is seeking to visually and non-verbally represent “the perfect form” of whatever he is trying to convey. Ironically, Garde’s hit series is Chairs, and the basic furniture figure is, in fact, the “perfect form” Plato uses as an example for illustrating the concept of perception in The Allegory of the Cave within The Republic. As in Plato’s tale of the shadows on the cave walls representing what man can perceive on earth, and the perfect form reflected in wobbly, flickering versions on the walls but never envisioned in full, Garde is always trying to paint the original, elusive form he conceives. The end result is only the physical manifestation of Garde’s vision, “reflected” on the wall in acrylic on canvas or paper. Because individual perception influences interpretation, each viewer will take away a different version of the artist’s attempt at perfection, even though each thinks they are viewing the same perfected form. Chairs for Garde, however, are not still-life subject matter to be drawn and painted in multiple; they, too, are portraits. Entertaining this concept Chair, 1984, acrylic on paper, 30" x 22" of the tangible representing the psychological, with perception as both its stumbling block and its key, each Chair gains personality, and it is up to the viewer to decide whether it is an accurate representation of a more complex character or simply a seat. Thus, the functional object sits in for subject in these more playful psychological portraits realized through form, placement, color and line.

Three Chairs, 1998, acrylic on canvas, 48" x 36"

52 : harold garde. painting. 50 years. lexicon.chairs : 53 Two Chairs, 1982, acrylic on canvas, 48" x 36"

Yellow Chair, 1983, acrylic on canvas, 56" x 40"

54 : harold garde. painting. 50 years lexicon.chairs : 55 Chair Flip, 1981, acrylic on paper 25¾" x 18¾" Still Life with Chair, 1990, acrylic on canvas, 72" x 54"

56 : harold garde. painting. 50 years. lexicon.chairs : 57 Black Hand Puppet, 1990, acrylic on canvas, 54" x 66" p u p p e t s .

Jack-in-the-Boxes, smiley balloons and puppets faceless puppeteer, he gives no other clues to his Green Glove, 2005, acrylic on canvas, 45" x 67" wander in and out of Garde’s series and make for own connection to the subject matter. Some of these interesting, if not intensely antithetical, figurative works are fairly straightforward (Black Hand Puppet, subject matter. But the strong, deliberately simple Bye-bye Puppet), but Garde often uses multiple paintings in the Puppets series act as Garde’s puppeteers and puppets, even blankly staring tongue-in-cheek satire of contemporary relationship balloons, to further confuse or clarify his message. dynamics. They ask the viewer: Are you who you He asks the viewer, through compositional interplay say you are when you interact with others? Do you between painted props and people, to consider always represent your best and brightest self? Or is him or herself and others as both the puppet(s) and your guise, like the puppet’s, too blatantly wooden or puppeteer(s); a reminder to continually seek truth and painted-on to be believed? authenticity in all aspects of life, yet realize there are While Garde has stated that in his Puppets series times to save face. he often represents himself in self-portrait as the

58 : harold garde. painting. 50 years. lexicon.puppets : 59 Discovery, 1988, acrylic on canvas, 54" x 96"

Puppets, 1993, acrylic on canvas, 84" x 48"

60 : harold garde. painting. 50 years. lexicon.puppets : 61 Interior with Hand Puppet, 2002, acrylic with strappo on canvas, 36" x 56" Dis/Play, 2007, acrylic with strappo on canvas, 45" x 71"

62 : harold garde. painting. 50 years. lexicon.puppets : 63 p i n n a c l e s .

Similarly isolated though more excruciatingly positioned than the figurative forms inPortraits or singular statements in Chairs, are the visages featured in the Pinnacles series. These rounded masks of raw emotion, mounted and barely balanced on thin, spine-like columns and gazing upward in terror or hope are the head-on-the-nail, as it were, of the artist’s psycho-dramatic oeuvre. Imprecise and difficult feelings are displayed in the Pinnacles series as the subjects confront the viewer in bleak and barren landscapes, yet viewers often leave the works feeling more centered and soothed than the subject matter would suggest. In this respect, Garde, the painter’s painter, is playing tricks through technique, not subject matter, and not leaving everything up to the viewer in interpreting his most formally composed series. Considering the pinnacle “people” as geometric elements, not pain-on-pikes, the bizarre figures become non-narrative objects, and one can more fully grasp Garde’s command of spatial tension and weight and understand the influence it has on reading the work. Nowhere is this concept of communication- through-composition more evident than in Black

Head on Block Pedestal, 1984 Pinnacle. The two faces both display waiting-room Black Pinnacle, 2006, acrylic on canvas, 45" x 67" oil on plexiglas, 24" x 12" stares and are similarly-shaped ovals placed at equal diagonal angles, but one, balanced precariously on a stretched, high triangle, is painted more realistically, suggest hair and echo the larger, less-solid triangle restrained by the positioning of both of the pinnacles while the other, a very loose drawing in acrylic black, painted in similarly linear style at right. The lush tonal at equal thirds in the rectangular picture plane. This sits atop a small square “neck” on a larger square quality of the paint mixed in the square body at left is Renaissance compositional style allows Garde to “body.” intensified and mirrored in the face at right. All of the express in toto the codependent and fixed nature of The inherent balance in the work comes from figurative elements relate to one another in balanced his characters’ placidly unsettled states. The other- subtle details. The deep ruby-rust color of the lips ratios and are harmonious, especially the base of the worldly is made down-to-earth through painterly of the face at right is matched in the make-up of the triangle and the top right portion of the square. arrangement, and it is this balance that keeps viewers smaller square neck at left. The more loosely drawn Ultimately, the viewer’s action of looking at gazing calmly at otherwise confounding subject face at left is given three short triangular marks that these equalizing diagonal elements is contained and matter.

64 : harold garde. painting. 50 years. lexicon.pinnacles : 65 Pinnacles, 1988, monotype on rag paper, 24" x 18"

Pinnacle, 1988, monotype on rag paper, 24" x 18"

66 : harold garde. painting. 50 years. lexicon.pinnacles : 67 Low Tide, 2006, acrylic on canvas, 44" x 55"

Vase Pinnacle, 2002, acrylic on canvas, 37" x 25"

68 : harold garde. painting. 50 years. lexicon.pinnacles : 69 k i m o n o s .

Garde’s Kimono series spans a dozen years, continues to this day and contains over 200 representations of the kimono form in all media and a multiplicity of sizes. This series is perhaps Garde’s best known and most shown, precisely because of what he espouses are its “decorative qualities.” No portraits sneer or stare blankly back, no perspective is changed; the kimono is presented only as a most basic form, the only “subject” of the narrative. The nature and function of a kimono and its traditional “T” shape allow it to be labeled “pretty” or “safe” subject matter and seem easily approachable. But while the form remains mostly unchanged within the Kimono series, the way in which color in paint is applied, mixed and balanced, where the kimono sits on the picture plane and the gesture of line containing and defining the form make all the difference in the way the viewer relates to one Kimono or another. Much like Mark Rothko’s numerous explorations in color-as-narrative composition, Garde’s Kimonos range in feel and dynamic from open-armed Kimono, 2004, strappo, 12" x 10" exuberance, as evidenced in Floating Kimono, to serenity, best represented in the smaller, untitled studies made in strappo and on paper. But as the artist has said more than once, “I don’t trust safe and I don’t trust pretty,” so let these forms speak to feelings and revel in rarified glimpses of pure painterly grace.

Kimono, 2004, strappo, 12" x 10"

70 : harold garde. painting. 50 years. lexicon.kimonos : 71 Kimono Against Red, 1997, acrylic on canvas, 54" x 58"

Kimono, 2004, strappo, 12" x 10"

72 : harold garde. painting. 50 years. lexicon.kimonos : 73 Kimono, 2004, acrylic on paper, 30" x 22" Kimono, 2004, acrylic on paper, 30" x 22"

74 : harold garde. painting. 50 years. lexicon.kimonos : 75 Float Kimono, 2007, acrylic on canvas, 42" x 55"

Landscape Kimono, 2002, acrylic on canvas, 55" x 48"

76 : harold garde. painting. 50 years. lexicon.kimonos : 77 Prophetic Warning, 2008, acrylic on canvas, 35" x 53"

Crossroads, 2008, acrylic on canvas, 44" x 55" crossroads.

As the millennium passed and a national election was satire about party politics) encapsulates and expresses eight years has incorporated words into narrative something more akin to a detail from a crayon-drawn decided in Florida, Garde, an October–June resident the artist’s more visual non-verbalizations of similar and includes strong titles to help the viewer focus map than a close-up confrontation. of the Sunshine State, responded to the climate of subject matter. on this new, zoomed-in perspective. Cloud forms Skill at orienteering is not necessary when change and stolen choice the way he could best: he It is a boon for viewers that when Garde redis- and horizon lines are obvious, and the brighter tonal viewing these newer works, though a sense of humor began two new series — Crossroads and Sightings — covered his literary voice more than 60 years after quality throughout the series speaks to the intense often is. The paintings are 15-second plays in acrylic, that clearly show his disillusionment with people and turning down a writing fellowship at University of sunlight, saturated colors and flattened landscape and their titles, plays on words. The subject matter put emphasis on place. It was during this period, too, Wyoming to study painting, he let go of many of the elements the painter encounters during his days in Garde addresses and the painter’s love of satire, that Garde began to write formally again, trying his more dramatic details in his larger works on canvas. the south. pun and double entendre come through in the hand at playwriting and achieving almost immediate This simpler approach to addressing composition This clarity is also evident in the series’ line paintings’ names, which become directional signs for success. His In the Rec Room won a “15 minute play” shows an artist that is still honing and heightening quality and gesture as small marks and objects the viewer’s journey and spin-offs of themes from contest in Maine and was produced to great acclaim the impact of his work by further abstracting both the are left out while shape and color remain. Huge, previous series. By abstracting and distilling his in black-box format in 2006 by Atlantic Center for message and the narrative elements that usually make chunky brush-width lines bisect blobs of brightened, own style and gesture, while adding emphasis and the Arts in New Smyrna Beach. The wildly-paced up his already hyper-close picture plane. tertiary tones in exuberant arcs and forceful X’s. information through color and title choice, Garde work is full of games and mental and literal parrying, Obviously influenced by his immediateF lorida Like segments taken from one of Garde’s Vessels or reinterprets his message by repackaging it in a more sparring and jabbing; this short tour-de-force about surrounds, the Crossroads series shows Garde’s re- Portraits pieces, the artist’s signature in gesture is pleasing palette that makes room for “pretty” without a ménage-a-trois (which also doubles as a political mixed and recently refined lexicon that in the past transformed in the Crossroads compositions into sacrificing his lexicon to “safe.”

78 : harold garde. painting. 50 years. lexicon.crossroads : 79 Converging, 2008, acrylic on canvas, 36" x 56½"

Sun/Day Drive, 2008, acrylic on canvas, 41" x 55"

80 : harold garde. painting. 50 years. lexicon.crossroads : 81 Growthing, 2006, acrylic on canvas, 45" x 62"

At the Wheel, 2008, acrylic on canvas, 39" x 58"

82 : harold garde. painting. 50 years. lexicon.crossroads : 83 Man and Woman at Crossroads, 2007, acrylic on canvas, 42" x 54" Marked, 2007–2008, acrylic on canvas, 36" x 54"

84 : harold garde. painting. 50 years. lexicon.crossroads : 85 s i g h t i n g s .

Sightings, an abstracted landscape series featured at the Maine Center for Contemporary Art in Spring 2008, shows Garde’s agility with his seminal strappo style and is a complete contrast to his Crossroads works. If Sun/Day Drive is a painterly shorthand for a message on the presence or absence of religion in modern life, or just an abstracted representation of a cracker gothic church seen on an actual Sunday drive, the Sightings works are more like descriptive paragraphs that ruminate on considering all vantage points when viewing a scene. Much like the Kimonos, pieces in Sightings are single-note songs of sentiment and sensuality, but Sightings, 2007, strappo, 8" x 10" they are sung by a chorus of ever-blending colors. In contrast to the gestural qualities and Sumi-brush style that dominate the Kimono series, the Sightings series is where one sees Garde’s love of paint in pure effect. These nebulous representations of landscape, defined only by thin, exact lines of color or separated by rectangular shapes, don’t deal in dualities of personality or drama, only perspective. The vertical and horizontal lines of complimentary color, or the placing of a smaller strappo print on top of a large one, act in place of the focusing parameters on a camera and contain two-in-one views of abstracted landscapes that are the painter’s only bargain with the double meanings that otherwise infest his oeuvre. The result is a group of daydreams and visions realized from the flowing, filmy layers of paint physically required to make the strappo print. Here, again, Garde is abstracting and refining self- referentially, though in the Sightings series his Sightings, 2007, strappo, 12" x 12" concentration seems to be on technique as a painter rather than skill as a communicator. The landscape, with its horizon line and defined field of vision, like the kimono’s “T” shape, lends itself to exploration within the form and thus frees the artist to delve into all that his creative format will let him describe.

86 : harold garde. painting. 50 years. lexicon.sightings : 87 Sightings, 2007, strappo, 12" x 12"

Sightings, 2007, strappo, 7" x 5"

88 : harold garde. painting. 50 years. lexicon.sightings : 89 l e g a c y. jeanne m. dowis

arde’s mark on the world may be as broad as his from his abstract beginnings and works such as Myth Gbrushstrokes someday. As this extraordinary Symbols and Visionary. painter and person is celebrated through exhibition Conversely, when viewing Meeting with the and text in his 85th year, it must be noted that Oracle (1973), Solace (1995) and The Promise (2007), thousands of pieces and 50 years of painting are it is clear that through the years Garde has worked barely represented with this survey of an incredible hard to do what is often most difficult for painters: career that continues to this day. simplify line, palette, and even narrative to show When looked at chronologically, it is easy to see the “perfect form” or concept realized through how the painter’s Abstract Expressionist background composition while giving up the appearance that informs his work and how he used that basis to create it took hours of painting and academic choices his abstracted narrative style and the lexicon we use to refine that vision into its purest expression on to interpret it. Placement of objects and distortion canvas. Still painting almost daily, Garde now picks of subjects that predominate Tossed or Green Tie are up where he left off in one of his many series and the narrative manifestations of shapes and forms chooses one (or more) of his painterly styles in which

At Pasture, 2006 (2001-2003 as Departure/Remains), acrylic on canvas, 43½" x 55½"

to compose based on what suits him best when he of the work, and the feelings taken away from the picks up his brush. exchange, are his or her own. Much in the same way one learns that there are The pieces included in Painting. 50 Years. are times to whisper and times to shout when making a just a smattering of the artist’s side of an ongoing point, Garde’s symbolic lexicon is as adaptive as any conversation about seeking truth and being human, spoken language: he simply uses whatever vessels though we get the full flavor of his message through and techniques seem to best embody and enable his deft manipulation of materials and masterful vision. This flexible format is remarkably functional composition. Garde seeks through painting to and facilitates an adept and insightful body of work. mine moments for meaning and to translate Be it a chair or a vase, a swimmer or puppet or rose, feelings into visions all can see clearly; his uniquely Garde knows that if “it” is properly presented the transcendental lexicon and signature style only viewer will get the gist of what he is saying despite begin to address the subjects in life that are most the language barrier. In essence, Garde has provided difficult to discuss: those that need to be seen and the recognizable objects and symbols and has even felt in order to be said.

Untitled, 1959, oil on board, 24" x 48" started the dialog, but the viewer’s understanding

90 : harold garde. painting. 50 years. legacy : 91 w ork in maine. suzette lane mc a v o y

he ever fascinating drama of human relationships this need, the Chair series emerged. Garde was just Thas been the theme of much of Harold Garde’s completing this series when he moved to Maine. work since his move to Belfast, Maine in the mid- The timing of his arrival in Belfast was opportune 1980s. With unabashed passion, Garde questions — Gallery 68 had just opened, specializing in our understanding of ourselves and others, searching graphic art, and one of Garde’s works was accepted in his work to reveal the universal traits of human for the gallery’s inaugural show. In the back room interaction. was a fine art press, which was made available for Born in New York City in 1923, Garde was local artists’ use. Over the next several years, Garde exposed to the work of Picasso and the avant-garde produced hundreds of monotypes on the Gallery at a young age through visits to the City’s museums. 68 press, relishing in the medium’s immediacy and This early exposure would come to the fore when, in experimental qualities. Works such as Conversations, his late 20s while pursuing a college degree on the and those in the Pinnacle series result from this time. G.I. Bill, he radically changed his direction of study A large selection of the Gallery 68 prints was from science to art. featured in a one-person exhibition at Maine Coast When a friend at Cooper Union was offered Artists (now the Center from Maine Contemporary a position at the University of Wyoming, Garde Art) in Rockport in 1998. Other selections from decided to follow. At the time, the head painting the series have been shown at the Farnsworth instructor at the University was the radical Art Museum, the Portland Museum of Art, Bates Expressionist, George McNeil. McNeil reinforced College Museum of Art, the University of Maine at Garde’s natural tendency towards strong color and Farmington and other venues throughout the state, gestural expressionism. Interestingly, the following affirming Garde’s reputation as a printmaker of note. year, McNeil’s position in the art department was Ever the experimenter, Garde discovered his latest filled by the Russian Constructivist Ilya Bolotowsky medium, which he has termed “strappo,” by accident. — whose refined, geometric abstractions are Scraping clean the glass plate he uses as a palette, the the aesthetic opposite of McNeil’s work. From artist became intrigued with the thick skin of acrylic Bolotowsky, Garde learned the importance of paint lifted by his palette knife. The skin retained the structure in painting, a principle that remains an texture and gesture of the paint, and yet its surface underlying constant in his art. was slick and smooth. It is this contradiction which Blue Shadow, 1989, acrylic on canvas, 41" x 55¼" Throughout the 1960s and 1970s Garde’s work Garde loves to exploit in his strappo works. swung between pure abstraction and figuration. A cross between monotype and painting, the It was in the early 1980s, while painting primarily discovery of the strappo technique gave Garde access organic abstractions, that Garde felt the need to break to what he considered the best qualities of each, and the rounded forms with which he was then working it did not take him long to realize the rich potential into cubes and more structured shapes. Through of the medium. Soon he was incorporating strappo

92 : harold garde. painting. 50 years. work in maine : 93 rectangles into larger painted canvases where they the subject is deliberately left unclear. Garde rejects add another layer of texture and association to the the notion of immediate identification with a work, works. preferring the viewer to discover and explore his or In the mid 1990s while playing with the layout her own understanding of a piece. Juxtaposing often of a number of small strappos, Garde chanced upon harsh color and seemingly disparate imagery, Garde an arrangement that suggested a kimono shape. jolts the viewer into psychological participation with This seemingly simple composition of a central the artist. rectangle flanked by two smaller rectangular “sleeves” In works such as Blue Shadow, for example, an launched a large series of kimono inspired works over-scale male figure reaches toward puppet-like which has expanded beyond strappo to encompass figures to his right, as if to move pawns in a game of a wide variety of media. The artist’s Kimono series mental chess. The tension of scene is heightened by now numbers into the hundreds, and includes small a beautifully orchestrated play of color — the orange single image strappos, larger composite strappos, chair shape upon which the male figure sits contrasts acrylic paintings on both paper and canvas, and a sharply with the violet background, while the thin red series of ceramic kimonos done in collaboration with horizon line is echoed in the red shadow of the male’s ceramicist Mark Kuzio. leg and the black stripes in the sky are repeated in the A large exhibition of the Kimono series works black “legs” of the puppet figures. It is this interplay was held at the Farnsworth Art Museum in Rockland, between color, structure and subject which ignites the Maine in 2001. Art historian Gail Scott, writing spark of Garde’s art and our appreciation of it. in the exhibition catalog states, “Garde’s output of work is prolific, and he has an exceptionally fecund ——— imagination — qualities that constantly breed new ideas as well as new revelations about established Harold Garde: The Maine Years was originally motifs. . . . The fact that the kimono shape “appeared,” published in conjunction with an exhibition of the so to speak, to Harold Garde and evolved into this artist’s work at the Frick Gallery, Belfast, Maine in series is not surprising, since he is especially attuned 1994. It has been expanded and updated by the to images with a human connection.” The Kimono author for the current publication. series remains the artist’s largest devotion to an image, one which he continues to explore in a variety of media and scale. Through formal means and through imagery, Family Portrait, 1996, acrylic with strappo on canvas, 46" x 54" Harold Garde creates layers of associations intended to prolong a viewer’s experience of his art. While much of his work of the past two decades, in particular the paintings, retains a narrative quality,

94 : harold garde. painting. 50 years. work in maine : 95 w ork in florida. jennifer mc innes coolidge

t was not just the place but the people of the was presented at the Harris House of the Atlantic Iplace who attracted Harold Garde to locate to Center for the Arts and met with great interest due Florida. With his children grown and his second to the fact that his work was in such sharp contrast wife, Barbara Kramer, by his side, he entered a world to the happy Florida landscapes often proposed for with artists, writers, architects and others who were exhibit at the community gallery at Harris House. “his people,” a second home to his dear Maine, with It was coincidental that Harold Garde chose kindred spirits. The difference — here he was viewed Florida as a place to create. Other New York artists, without the associations of father of small children, Robert Rauschenberg included, who had made a teacher, designer, etc. It was here that he was able to name for themselves in New York also found Florida focus on his art. fertile ground for their work. Those artists could But it was also here that he would struggle with the impending loss of his other association, that of husband. Much of this battle can be found in his work. As his wife fought cancer he also struggled with the possibility he would lose other loved ones Upside-down Hope, 2003, acrylic on canvas, 27" x 58" to the disease, both a daughter and a son. After years of back and forth from Maine to Florida, he would eventually be blessed with the knowledge that his have been Garde’s contemporaries in New York on his figurative imagery of kimonos, vessels and daughter and son had won their battles against had he taken the road of a full time, competitive other narrative works and developed the more recent cancer. But the other battle was lost with the passing artist showing during that period. Instead he chose Sightings and Crossroads series, unique to his time in of his beloved Barbara, a writer and muse to him for a path not of the artist seeking celebrity, but a path Florida. The quality of light, the variety of people and many years. Garde worked through his grief through that would provide space for his commitments as the natural environment became his southern muses. painting. The piece I wept. The head wept. I wept husband, father and teacher. With the rearing of Garde’s time in Florida continues to provide him again. depicts the deep mourning over that loss. In his children accomplished and his retirement from with time to paint, to expand his work and begin speaking about his work, Garde has said, “The best teaching, he chose Florida because it is a place where new series. His work, spanning over 50 years, reveals thing and the worst thing about a painting is that it he could work and live and find an art community his deep affection for humanity and the human represents a battle lost.” with which to interact. condition. I came to know Harold Garde in the early This Florida environment did influence him. As much as Garde’s paintings represent life 1990s when he first arrived in New Smyrna Beach, His palette became lighter and freer. Rather than narratives which project these universal associations, Florida. His work was figurative and compelling, succumbing to the burden of expectations that his body of work also represents his path in life: a showing great perception of the human condition. plague many when they become free to spend time path that is rich, full and layered with meaning. He represented emotions and the human story in making art, he aggressively enjoyed using this time pictorial form. Harold Garde’s first show in Florida for self discovery as a mature artist. He expanded

Garde’s Studio, 2008. Photographs by Nicolas Dowis

96 : harold garde. painting. 50 years. work in florida : 97 b i o g r a p h y .

orn in Brooklyn, New York, in 1923, Harold Garde then returned to New York City to attend BGarde is the son of Joseph Garde, a handbag graduate school at Columbia University, and in 1951 framer, and Anna Garde, a dressmaker and seam- received his Masters of Fine Art and Art Education. stress, both immigrants from Eastern Europe. New He taught secondary school in Roselle, New Jersey York City provided Garde as a young student for two years and then returned to New York City exposure to its rich and varied culture. Teachers, as an architectural interior designer. In 1968, now friends and family, especially his older sister, a father of four, three daughters Elissa, Tessa and Dorathie, encouraged his interest in the arts. Joe Amy and one son, Keith, Garde returned to teaching. Garde’s interest in music inspired Harold, who recalls He became a professor, adjunct faculty at the Art the fond memory that his father once appeared Department of the Nassau Community College in on stage with Caruso as an extra in a Paris Opera Garden City, New York. In 1971, in addition to the production. college position, he began teaching art full time in Garde attended various public schools before the secondary system of Port Washington, New York. gaining admission to the highly competitive In 1970, Garde had his first solo exhibition in Stuyvesant High School where he completed his high Huntington, New York. In 1984, he retired from school training. Stuyvesant holds within its alumni teaching to paint full time, and moved to Belfast, such noted personalities as James Cagney, actor; Maine with his second wife, writer Barbara Kramer. Samuel P. Huntington, author; Roy Innes, activist; Ten years later they bought a home in New Smyrna Thelonius Monk, musician/composer; Hubert Shelby, Beach, Florida. Barbara died in 1998, and Garde author and many other political, education and arts continues to divide time between homes and studios leaders. It was there that Garde received a solid and in Maine and Florida. He is active in the art scenes rigorous educational background that enlightened and continues to exhibit regularly in both states. his other academic pursuits. He enlisted in the Army Air Forces after three years as a science major at the College of the City of New York and served in WWII from 1943 to 1946. While stationed in the Philippines Garde became an acting first sergeant. This service won

Bye-bye Puppet, 2006, acrylic with strappo on canvas, 22" x 21" him educational opportunities through the GI Bill of Rights, which led him and his first wife, Mimi, to the University of Wyoming at Laramie. Garde became a student assistant in their Art Department and graduated in 1949 as a bachelor of Fine Arts. The faculty there included the Surrealist Leon Kelly, Garde painting at home in Florida, 2007. the Abstract Expressionist George McNeil and the Photograph by Sandi Carrol Geometric Abstractionist Ilya Bolotowsky.

98 : harold garde. painting. 50 years. biography : 99 selected recent solo exhibitions.

2008–09 Harold Garde: Painting. 50 Years. 2002 Black and White and Some Color Museum of Florida Art Caldbeck Art Gallery DeLand, Florida Rockland, Maine

2008 Harold Garde: Strappo Landscapes 2002 Kimono: Harold Garde Center for Maine Contemporary Art Maine Art Gallery Rockport, Maine Wiscassett, Maine

2008 Themes and Variations 2001 Kimono: Harold Garde Cornell Museum, Old School Square Farnsworth Museum of Art Delray Beach, Florida Rockland, Maine

2008 SophisticatedSpontaneity 2000 Considerations, Conclusions Lake Eustis Museum and Personal Vision Eustis, Florida Mt. Dora Center for the Arts Mt. Dora, Florida 2007 Themes and Variations Brevard Museum of Art 2000 Recent Studio Selections Melbourne, Florida nassau County Firehouse Gallery Garden City, New York 2006 Puppets and Pinnacles Thrasher Horne Center for the Arts 2000 Women: Hatted and Unhatted Orange Park, Florida Bates College Museum of Art Lewiston, Maine 2005 Harold Garde/Sightings Elan Gallery 2000 Great Dames: Paintings and Prints Rockland, Maine by Harold Garde Around the Lake, 2007, acrylic on canvas, 42" x 66" Firehouse Gallery 2005 Harold Garde: A Maine Retrospective Damariscotta, Maine Art Gallery, University of Maine 1998 The Belfast Prints 1996 Acrylic Paintings by Harold Garde Farmington, Maine 1999 The Belfast Prints University of Maine Brest Museum of Art Judith Leighton Gallery Presque Isle, Maine Jacksonville, Florida 2004 Vessels/Visages Blue Hill, Maine Maitland Art Center 1998 Harold Garde Recent Work 1996 Prints and Paintings of Harold Garde Maitland, Florida 1999 Strappo Images by Harold Garde Maine Arts Center DeLand Museum of Art Caldbeck Gallery Wiscasset, Maine DeLand, Florida 2004 Harold Garde: Rockland, Maine Selections from the Studio 1997 The Clay Kimono: Works by 1995 The Offbeat Figure: Clark House Gallery 1998 In the Shape of a Silk Kimono Harold Garde with Mark Kuzio Works by Harold Garde Bangor, Maine Ormond Memorial Art Museum Spring Street Gallery Harris House of Atlantic Center & Gardens Belfast, Maine for the Arts 2003 Strappo: A Decade of Work Ormond Beach, Florida New Smyrna Beach, Florida Ormond Memorial Art Museum 1997 Paintings by Harold Garde & Gardens 1998 The Belfast Prints Clark House Gallery 1995 Figurative Works Ormond Beach, Florida Maine Coast Artists Bangor, Maine Lakes Gallery Rockport, Maine South Casco, Maine

100 : harold garde. painting. 50 years. exhibitions : 101 collections. C r e at i v i t y M at t e r s . a life in the arts Print Library Metropolitan Museum of Art New York, New York arold Garde’s life in the arts exemplifies a life Portland Museum of Art with meaning and purpose. Garde destroys Portland, Maine H the stereotype of aging as a time of loss and regrets. Farnsworth Museum of Art He changes the paradigm to a time of “liberation” Rockland, Maine with freedom to explore, learn and grow while giving generously of his expertise gained through decades Bates University Lewiston, Maine of experiences, contemplation and relationships with colleagues, students, family and friends. Fine Arts Museum of New Mexico Robert Shetterly notes that Garde exemplifies Santa Fe, New Mexico the true artist’s nature as courageous, inspirational, Reading University truthful in expression which encourages others. Artists Reading, England like Garde are examples of rich as well as positive living and aging. Never retiring, Harold Garde is in Museum of Florida Art DeLand, Florida the studio daily creating new works that share his life, humanity and how he views the world. Garde as University of Maine a mature professional artist relates to The Research Presque Isle, Maine Center for Arts and Culture, Teachers College Columbia University of Maine University’s study titled “Above Ground: Information Orono, Maine on Artist III: Special Focus New York City Aging Artists.” This report found that older artists rate high Brest Museum, University of Jacksonville Jacksonville, Florida on life and job satisfaction, as Garde has much in common with Robert Motherwell who said, “For me to Bibliotheque Nationale retire from painting would be to retire from life.” Paris, France As we celebrate the continuing life and work of County of Volusia, Art in Public Places Harold Garde, an artist, teacher, mentor and friend, Volusia County, Florida we can be mentored by his example of living richly through engagement in the arts and by his dedication Bert Fish Hospital Art in Public Places Collection New Smyrna Beach, Florida to creating every day. It is an honor to be a contributor to this timely touring exhibition and artist publication. Also included in numerous public and private collections. Gay Hanna, PhD MFA Executive Director National Center for Creative Aging

Garde teaching a Strappo class, Artists’ Workshop An Affiliate of George Washington University in New Smyrna Beach, Florida, 2007. Photograph by Sandi Carrol

102 : harold garde. painting. 50 years. creativity matters : 103 About the Curator

Jeanne M. Dowis holds a BA in Humanities and a MLS from Rollins College in Winter Park, Florida. Dowis has served as a curator, project associate and program manager for such institutions as DeLand Museum of Art, the Ormond Memorial Art Museum and Gardens, Florida Alliance for Arts Education and the Atlantic Center for the Arts. Dowis serves as an independent consultant and curator as well as grants manager for the Abram and Ray Kaplan Foundation.

About the Museum

The mission of the Museum of Florida Art is to promote and show- case Florida Art and emerging and established Florida Artists through exhibitions and educational and interpretive programming made available to a diverse statewide audience of all ages; to collect and preserve works of art for this purpose; to publish books and other materials concerning the foregoing; and to make such resources available for the public. Founded in 1951 as the DeLand Museum of Art, the Museum has been dedicated to art education and showcasing Florida art. The Museum changed its name officially to the Museum of Florida Art in 2006 to reflect the programs, exhibition and collection focus on Florida.

The Museum of Florida Art offers a venue where: White Stripe Kimono, 2007, acrylic on canvas, 45" x 56" n creativity is fostered.

n appreciation of art is nurtured.

n all people are welcomed. acknowledgments. Museum of Florida Art The Museum of Florida Art gratefully acknowledges The Abram and Ray Kaplan Foundation 600 North Woodland Boulevard the support of the following in making this publica- The County of Volusia DeLand, FL 32720 tion, video and touring exhibition possible: Keith Garde www.MuseumofFloridaArt.com Elissa Garde-Joia The Florida Department of State, Division of Cultural Affairs The Museum of Florida Art Board of Trustees Progressive Communications

104 : harold garde. painting. 50 years.years lexicon : 105